This article argues that the various conspiracy theories surrounding the Swedish Academy scandal constitute historical parables. Clichéd representations of the 18th century came in handy in the public debate, especially when Katarina Frostenson and Horace Engdahl refuted the accusations of sexual abuse aimed against Frostenson’s husband, who was called the ”cultural gure.”  Focusing on the writings of and interviews with these two members of the Swedish Academy, three main tropes are found: ”The Revolution,” ” The Conspiracy,” and ”The Libertine.” Concluding remarks point out that historical parables and the idea of ”similarity” between past and present presupposes the past as an immovable entity possible to continually revisit, even though the past only exists in our interpretations of it. However, the opposite concept of static ”difference” between past and present is not satisfactory either, but since theory of history  tends to be locked in a dichotomy of either ”similarity” or ”diiffrence” the article finally suggests perspectives inspired by postcolonial and queer theory in order to transgress this contrariety