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In America, his political views probably attracted more attention than his fiction, and certainly he was a crusty old communist. You can argue that, for a man who used words so carefully, his words often seemed calculated to inflame, or offend, as much as enlighten; I'm sure he would argue that the reaction to his words, even if ill-chosen, simply proved his points. As if to prove that, David 'Axis Of Evil' Frum was typically over-the-top in writing a piece called 'Death Of A Jew-Hater', but made some interesting points about Saramago's position during the years of dictatorship in Portugal; though I'm not sure that, as someone happy to work for a proto-fascist regime, he was the best-placed to pass judgement on them accurately. But he was cogent enough to get me to note the fact that despite his much-publicised exile in protest from Portugal, Saramago quietly continued to maintain a residence in Lisbon, which struckme as practical, if somewhat diluting the scale of the protest. Frum was, however, correct in summarizing that 'no one requires an artist to be a hero' and that posterity will judge Saramago's work on its own merit. And that judgement will likely be extremely positive for years to come.
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