When the whole is at stake, there is no crime except that of rejecting the whole, or not defending it. … Those who identify themselves with the whole… - Herbert Marcuse

While this bourgeois order found its rich—and even affirmative—representation in art and literature, … it remained an order which was over-shadowed, broken, refuted by another dimension which was irreconcilably antagonistic to the order of business, indicting it and denying it. And in the literature, this other dimension is represented not by the religious, spiritual, moral heroes (who often sustain the established order) but rather by such disruptive characters as the artist. the prostitute, the adulteress, the great criminal and outcast, the warrior, the rebel-poet, the devil, the fool—those who don't earn a living, at least not in an orderly and normal way. To be sure, these characters have not disappeared from the literature of advanced industrial society, but they … perform a function very different from and even contrary to that of their cultural predecessors. They are no longer images of another way of life but rather freaks or types of the same life, serving as an affirmation rather than negation of the established order.

In the form of the oeuvre, the actual circumstances are placed in another dimension where the given reality shows itself as that which it is. Thus it tells the truth about itself; its language ceases to be that of deception, ignorance, and submission. Fiction calls the facts by their name and their reign collapses; fiction subverts everyday experience and shows it to be mutilated and false.

By virtue of the way it has organized its technological base, contemporary industrial society tends to be totalitarian. For "totalitarian" is not only a terroristic political coordination of society, but also a non-terroristic economic-technical coordination which operates through the manipulation of needs by vested interests.