Under a social order that can be called fascism, an understanding of life as a cartoon or comic book, or alternately as a high-velocity suspense thriller novel, is continuously asserted, more so by the articulate and intellectuals than by young delinquents or children. The comic book, cartoon or suspense-genre novel becomes life and is participatory, goading the average person to feel they he lives it. In compensation, the permitted art increasingly becomes one of petty and private chronicles, whose inhabitants toast and exalt the glorious political changes while huddling along in timid and trivial humdrum. That is why Nazim Hikmet, the Turkish poet and revolutionary openly told Stalin his opinions on socialist realist art: Hikmet decried that socialist realism was neither ”socialist” nor ”realism” but actually a ”petit bourgeois art” Yet the ordinary citizen supporting Stalinism felt that life had become the thriller, the suspense novel and comic book. Quotidian averagism and domestic life becomes the center-point of suspense, displacing art. The erosion of freedoms in a society is shown again and again as a big adventure, one in which average people in their clubs and associations are invited to participate in the grand scheme of manichean struggles, of finding the evil-doers.