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This title in other formats:All Art Is Propaganda: Critical Essaysby George Orwell
Synopses & ReviewsPublisher Comments:As a critic, George Orwell cast a wide net. Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary. With masterpieces such as "Politics and the English Language" and "Rudyard Kipling" and gems such as "Good Bad Books," here is an unrivaled education in, as George Packer puts it, "how to be interesting, line after line." Review:"Before he was a renowned novelist, George Orwell was a masterful essayist. Spanning the 1940s, this companion to Facing Unpleasant Facts: Narrative Essays showcases Orwell in an often unexpected cavalcade of observations on diverse subjects — in the literary field alone as varied as T. S. Eliot, Charles Dickens, Henry Miller, Graham Greene and Kipling. But since this is Orwell, the book takes on a range of subjects with gusto: power and bully worship and the deleterious influence of Catholicism on literature. Orwell's withering observations on professional academic criticism ('Politics and the English Language') are tempered by his sly 'Confessions of a Book Reviewer' ('constantly inventing reactions towards books about which one has no spontaneous feelings whatever') and 'Good Bad Books' (the 'supreme example' being Uncle Tom's Cabin). Not to be overlooked is a freewheeling take on the naughty postcards of Donald McGill. Overall, this collection highlights the work of a writer who always put his money where his mouth was, reiterating frequently the importance of clarity of expression in enabling independent thought." Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.) About the AuthorGEORGE ORWELL (1903–1950) served with the Imperial Police in Burma, fought with the Republicans during the Spanish Civil War, and was a member of the Home Guard and a writer for the BBC during World War II. He is the author of many works of nonfiction and fiction. GEORGE PACKER is a staff writer for the New Yorker and author of The Assassin's Gate: America in Iraq and other works. He lives in Brooklyn. Keith Gessen was born in Russia and educated at Harvard. He is a founding editor of n+1 and has written about literature and culture for Dissent, the Nation, the New Yorker, and the New York Review of Books. He is the author of the novel All the Sad Young Literary Men. Table of Contentscontents
Foreword by George Packer • ix Introduction by Keith Gessen • xvii Charles Dickens • 1 Boys Weeklies • 63 Inside the Whale • 95 Drama Reviews: The Tempest, The Peaceful Inn • 141 Film Review: The Great Dictator • 144 Wells, Hitler and the World State • 148 The Art of Donald McGill • 156 No, Not One • 169 Rudyard Kipling • 177 T. S. Eliot • 194 Can Socialists Be Happy? • 202 Benefit of Clergy: Some Notes on Salvador Dali • 210 Propaganda and Demotic Speech • 223 Raffles and Miss Blandish • 232 Good Bad Books • 248 The Prevention of Literature • 253 Politics and the English Language • 270 Confessions of a Book Reviewer • 287 Politics vs. Literature: An Examination of Gullivers Travels • 292 Lear, Tolstoy and the Fool • 316 Writers and Leviathan • 337 Review of The Heart of the Matter by Graham Greene • 346 Reflections on Gandhi • 352 Notes • 363 What Our Readers Are SayingBe the first to add a comment for a chance to win!Product Details
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