Thou shalt have no other Gods before me: allegory and Feast of the Goat

It may be that there is an allegorical level to Mario Vargas Llosa's The Feast of the Goat, which, at least initially (or superficially) seems like a realistic examination of the personality of a dictator (Trujillo) and of his cronies and lap dogs, and in fact it may be very closely based on historical fact and characters, and despite the occasional narrative flourishes (chapters that move seamlessly and almost unnoticed from description of events of the past to events of the present) - just finished reading a long chapter in which Urania's father, a disgraced senator and servile supporter of Trujillo, first learns that he's a suspect and on the outs: he's suddenly being followed by secret police (in VW Beetles, an interesting touch) and he can't get in to see Trujillo, he's persona non grata, and most tellingly he has no idea what he's done to put himself out of favor. On one level, this seems to be a Kafkaesque narrative, in which the protagonist is accused or on trial for an unknown crime, act, or vice - but I began to see it in another way: Isn't this disgraced senator (I wish I could remember his name, the names of the secondary characters are exasperatingly elusive in this novel, for some reason) a Job-like figure - made to suffer endless torment and to lose his status, wealth, and power, for no apparent reason. Seeing him as Job-like obviously makes Trujillo the dictator into a vengeful Old Testament God - and I think that makes sense: the Benefactor, as he likes to call himself, bestows his wealth and grace on those below him, but all according to his own whims and needs, and in return he demands absolute fealty and adoration, just like Yahweh. One side plot of the novel is Trujillo's virulent anger against the priests who do not support him - again, a God-like attitude, but an Old Testament God in particular: I am a jealous God, thou shalt have no other gods before me, etc. I have to pause and think about a Latin American novel whose central figure is an Old Testament God, however: it's a highly Catholic culture, and wouldn't a truly great, tragic figure be a New Testament God, a Christ? Vargas Llosa's depiction of the tyrant as a "jealous" God is both an indictment of the despotism in many Latin countries and an indictment of a faith that would worship a God so vengeful and temperamental.