Chapter 3 reads Ronan Bennett’s The Catastrophist, a Graham Greene-style thriller set in Lumumba’s Congo, and Anne Enright’s The Pleasure of Eliza Lynch, a neohistorical romance set in nineteenth-century Paraguay. Bennett’s work unsettles late imperial English realist conventions to contest the apolitical apathy that characterizes much contemporary fiction about Africa and offers a related critique of Irish revisionism. Enright’s experimental novel explores the meaning of ‘female adventure’ and ‘emancipation’ in a catastrophic wartime setting. Both novels express anxieties about whether the novel as form can offer something more than just passive or compromised testimonies to violence in the Global South. In both instances, new modes of Irish political fiction struggle to release themselves from inherited colonial discourses.