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As he travels through the North, Wilson gets beneath the political surface to portray both the tragedy and comedy of everyday life in the Protestant and Catholic communities. Aware of the polarized image that each side has of the other, he emphasizes the importance of finding common ground and of asserting the middle against the extremes. Just as traditional Irish music is characterized by ornamentations and elaborations on a melodic theme, Ireland, a Bicycle, and a Tin Whistle is full of variations and wanderings on the theme of the trip itself. And just as traditional Irish musicians will follow a sad slow air with a lively foot-tapping reel, Wilson's mood ranges from the nostalgic and reflective to the irreverent and mischievous. If there is a lament in one ear, there is a song in the other.
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I the Supreme imagines a dialogue between the nineteenth-century Paraguayan dictator known as Dr. Francia and Policarpo Patiño, his secretary and only companion. The opening pages present a sign that they had found nailed to the wall of a cathedral, purportedly written by Dr. Francia himself and ordering the execution of all of his servants upon his death. This sign is quickly revealed to be a forgery, which takes leader and secretary into a larger discussion about the nature of truth: “In the light of what Your Eminence says, even the truth appears to be a lie.” Their conversation broadens into an epic journey of the mind, stretching across the colonial history of their nation, filled with surrealist imagery, labyrinthine turns, and footnotes supplied by a mysterious “compiler.” A towering achievement from a foundational author of modern Latin American literature, I the Supreme is a darkly comic, deeply moving meditation on power and its abuse—and on the role of language in making and unmaking whole worlds.