Synopses & Reviews
The essential collection of critical essays from a 20th-century master 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."
"Reaffirm[s] the author's status as one of the definitive essayists in English literature."--Los Angeles Times GEORGE ORWELL (19031950) 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.
Also in this series: Facing Unpleasant Facts: Narrative Essays
Synopsis
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."
Synopsis
The essential collection of critical essays from a twentieth-century master and author of 1984.
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.
With an Introduction from Keith Gessen.
Synopsis
Orwell demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary.
About the Author
GEORGE ORWELL (1903-1950) was born in India and served with the Imperial Police in Burma before joining the Republican Army in the Spanish Civil War. Orwell was the author of six novels as well as numerous essays and nonfiction works. 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 Contents
contents
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