‘Thwarted by the general drift of society’: celebrating George Orwell

Yesterday afternoon, Gideon Haigh and Alan Attwood got together with Overland editor Jeff Sparrow to discuss the life and work of George Orwell, 60 years after his passing. Nineteen Eighty-Four is one of my favourite novels, but I am not so familiar with Orwell’s nonfiction – but I tell you what, Haigh and Attwood’s discussion, and the segments they read, made me want to get to know Orwell intimately. They mentioned such things as the simple and almost timeless language; Attwood mentioned Orwell’s ‘extraordinary grasp of detail’ but also his ‘powerful sense of humanity’; and Haigh noted Orwell’s sincerity and intellectual honesty – as opposed to a lot of today’s ‘phoniness’ and opinion for the sake of having an opinion. Orwell, even in his personal nonfiction, remains disembodied and humble. His consistent enemy was ‘orthodoxy’ and he was aware of contradictions, as in the class systems, but as a writer, ‘Orwell never shouts’, the speakers agreed.

I’ll share with you this section that Haigh read from an essay called ‘The Prevention of Literature’ (and I highly encourage you to read it in full) which demonstates the enduring relevance of Orwell’s prose and themes:

‘In our age, the idea of intellectual liberty is under attack from two directions. On the one side are its theoretical enemies, the apologists of totalitarianism, and on the other its immediate, practical enemies, monopoly and bureaucracy. Any writer or journalist who wants to retain his integrity finds himself thwarted by the general drift of society rather than by active persecution. The sort of things that are working against him are the concentration of the press in the hands of a few rich men, the grip of monopoly on radio and the films, the unwillingness of the public to spend money on books, making it necessary for nearly every writer to earn part of his living by hackwork, the encroachment of official bodies like the M.O.I. [Ministry of Information] and the British Council, which help the writer to keep alive but also waste his time and dictate his opinions, and the continuous war atmosphere of the past ten years, whose distorting effects no one has been able to escape. Everything in our age conspires to turn the writer, and every other kind of artist as well, into a minor official, working on themes handed down from above and never telling what seems to him the whole of the truth. But in struggling against this fate he gets no help from his own side; that is, there is no large body of opinion which will assure him that he’s in the right. In the past, at any rate throughout the Protestant centuries, the idea of rebellion and the idea of intellectual integrity were mixed up. A heretic–political, moral, religious, or aesthetic–was one who refused to outrage his own conscience.’

Attwood mentioned that today, Orwell might in fact be a blogger. What do you think?

You can find more of Orwell’s works collected online, here.

Posted on 4 September 2010, in MWF events and tagged , , , . Bookmark the permalink. 4 Comments.

  1. Orwell’s ‘Politics and the English Language’ is a personal favourite. Galvanising and indispensible. Read it here. (Great session summary too!)

  2. Interestingly, Christos Tsolkias was interviewed this morning (One on One, ABC 24) and he said that he was disappointed that in general, modern literature lacked ‘a sense of urgency’ in that we are faced with enormous issues that are not fully dealt with by writers. Funnily enough, these issues are very similar to those mentioned by Orwell, particularly in response to the current War on Terror, in which there is little response from writers. This issue has also created a ‘continuous war atmosphere of the past ten years, whose distorting effects no one has been able to escape.’ Yet it does not seem to manifest itself in today’s writing in proportion to the degree to which it has affected the world.

    I am not talking about political essays, but I have not yet seen the present deep current of fear, insecurity, and alienation emerge as a major narrative in Australian writing. Yet we live in times where fear of the Other has some of us convinced that small groups of people in battered boats pose a threat to ‘our way of life.’ Read 1984, and you see clearly that this is a strategy to unite people against the threat of an Other, an ‘Us’ and ‘Them’ dichotomy which changes according to political or social expediency.

    To return to Tsolkias, who, according to the interviewer, has been labelled a misogynist and racist as a result of The Slap. He defended himself by saying that he was in fact exploring the values of what he saw as a complacent, ‘bloated’ Australian society. (Having spent th past four months in Europe, he said he had seen fist hand that people affected by the financial crisis are dealing wwith enormous issues of basic survival that we in The (very) Lucky Country did not have to face on such a scale.)

    As Orwell said, this criticism has come from ‘his own side’ and perhaps like Orwell himself certain writers who mirror unpleasant truths about our society are indeed labelled heretics when in fact they are the ones who are actually ‘telling what seems to (them) the whole of the truth.’

  3. Angela (Ms LiteraryMinded)

    Hi Maryanne, cheers for that. I have been watching with interest the criticism Tsiolkas has received in the UK – it’s nuts! I just can’t believe people can’t see that his characters are representatives of (frightening) societal values (under consumerism, new conservativism, overt PC-ness etc.). And it’s an angry book. It’s easier for them to say ‘oh, the author is a misogynist’. Gross.

    It’s interesting that you say you haven’t seen fear, alienationa nd insecurity explore much in Australian fiction yet. I think we will see more and more as younger authors come to the fore. Some books I’ve felt represent issues (and in some cases, more a ‘mood’) of contemporary Western society (Aus and the wider) include Kalinda Ashton’s The Danger Game, Tom Cho’s Look Who’s Morphing and Steven Amsterdam’s Things We Didn’t See Coming. And stories in journals like Wet Ink and Torpedo. And these are subtle. But I think there is some great US fiction dealing with contemporary issues, if you know where to look. One of my favourites is Dana Spiotta’s Eat the Document, which very much deals with similar things to The Slap (as in, the generational kind of failures and the commodified, empty, so-much-choice-there’s-no-choice things left) but in a completely different way. Here’s my 2008 review: http://blogs.crikey.com.au/literaryminded/2008/06/09/eat-the-document-dana-spiotta/

  4. Angela,

    thanks for that. As you said, if you know where to look for them. Now I have a list that will interest me.

    I’ll post something in reply to your comments on the Indian Lit session. That really interested me as I have a sort of ‘vested interest.’

Leave a comment