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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."
- Sales Rank: #42707 in Books
- Brand: Orwell, George/ Packer, George (COM)/ Gessen, Keith (INT)
- Published on: 2009-10-14
- Released on: 2009-10-14
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.07" w x 5.31" l, .86 pounds
- Binding: Paperback
- 416 pages
From Publishers Weekly
Starred 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. (Oct. 13)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From School Library Journal
George Orwell (1903–50) is best remembered for his dark and prophetic political novels, Animal Farm (1945) and 1984 (1949). In addition to four other novels, he also produced some of the best book-length nonfiction of the modernist era, including Down and Out in Paris and London (1933) and Homage to Catalonia (1939). Harcourt is now republishing in two volumes his collected essays, compiled by Packer (The Assassin's Gate: America in Iraq). What is most astonishing about these essays are their continuing freshness and relevancy more than half a century after Orwell's death. All are worth reading for some combination of literary, historical, or cautionary merit. His criticism of art and politics (and sometimes both) remains spot-on, and the "unpleasant facts" he considers, including war, poverty, homelessness, lack of adequate medical care, and even schoolboy bullying, are unfortunately still familiar topics. Orwell's crisp and clear journalistic writing style remains highly accessible to 21st-century readers, with the occasional, now obscure reference illuminated by Packer's notes. Essential for academic libraries; highly recommended for public libraries.—Alison M. Lewis, formerly with Drexel Univ. Lib., Philadelphia
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From the Back Cover
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 (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.
Also in this series: Facing Unpleasant Facts: Narrative Essays
Most helpful customer reviews
31 of 33 people found the following review helpful.
A Great Collection of Essays
By dacios
The title of this collection of Orwell's essays is taken from the initial entry discussing Charles Dickens and it is a well chosen title. The inability of artists to be completely apolitical is the theme that holds this anthology together as Orwell examines topics ranging from the art of Salvador Dali, to Swift's Gulliver's Travels to Graham Greene. The fact that Orwell left England to risk in life in the Spanish Civil War fighting for the republican forces only to memorialize his experiences in Homage to Catalonia, puts him in a unique position to examine the intersection of art and politics.
The acerbic wit and ranging intelligence of Orwell is on full display in this pages. In addition, his rabid fear and hate of totalitarianism that has made him a touchstone for intellectuals both left and right is also apparent in his lucid analysis of Gulliver's travels and the supposed "utopia" of the Houyhnhnms. Some of these essays are familiar, such as Politics and the English Language but others are more obscure, such as Benefits of the Clergy: Some Notes on Salavdor Dali which was censored for obscenity in 1946. My particular favorite is Confessions of a Book Reviewer, which lacks the strong political overtones of his other essays but gives a vivid image into the overlooked aspect of Orwell's life as a workaday journalist and book reviewer.
Despite not living to see the Cold War or the rise of religious fanaticism his thoughts and words still matter. For those who are unfamiliar with Orwell outside 1984 or Animal Farm, All Art is Propaganda provides a great starting point into the writings of one of the great political writers of the modern era.
12 of 12 people found the following review helpful.
A peek into the mind of Orwell
By Cyndi Bu-ej
This selection of essays provides excellent insight for anyone who appreciates the theories of George Orwell.
Readers will get a better understanding of class warfare, secrets of great communicators, totalitarianism, the effects of literature, and, of course, propaganda. I especially enjoyed his essay on "The Prevention of Literature", as it implies the ideas written into his masterpiece known as 1984.
I highly recommend this book to all writers and political thinkers.
10 of 10 people found the following review helpful.
Orwell, Propaganda, and the Art of Persuasion
By Fezziwig
This collection of essays by George Orwell is part of a two-volume compilation. (The other volume is called Facing Unpleasant Facts: Narrative Essays.) In a foreword to this volume, George Packer explains that the focus of All Art Is Propaganda is Orwell’s use of the essay genre as a means of holding something up for critical scrutiny. The theme of the volume, art as propaganda or as a tool for persuasion, recurs throughout these essays. We often think of propaganda in its perjorative sense; something used by the powerful to cajole the unthinking masses into actions that they would not normally undertake on their own. But for Orwell, "propaganda" is a neutral term. Any writing or other art that attempts to persuade, for good or ill, is propaganda.
Orwell’s essay on Charles Dickens introduces this theme: “But every writer, especially every novelist, has a ‘message,’ whether he admits it or not, and the minutest details of his work are influenced by it. All art is propaganda.” (p. 47) That the Dickens message is not always clear is illustrated by the fact that people of many conflicting political leanings have, as Orwell puts it, “stolen” Dickens. Both Marxists and Catholics have latched onto him as a spokesman. This essay seeks to understand the real Dickens.
Some other literary heavyweights get a thorough Orwell examination in ths volume: Henry Miller, Shakespeare, Kipling, T.S. Eliot, and Leo Tolstoy. Tolstoy is known to have rejected Shakespeare as not even “an average author.” Orwell finds the root of Tolstoy’s displeasure with the Bard to be “the quarrel between the religious and the humanist attitudes toward life.” (p. 326) He sees in Tolstoy a writer whose religious orthodoxy makes it impossible to appreciate the sensuality and joy in living that we find in Shakespeare.
But Orwell’s critical eye is not only focused on the literary greats. “Boys’ Weeklies” takes a look at the amazing popularity of twopenny weeklies aimed a boys (sometimes called “penny dreadfuls”). These too, he finds, have a propagandistic motive. It is a motive more sinister than one might have suspected until you look into who owned and published these weeklies.
In “Raffles and Miss Blandish,” Orwell examines another popular genre: crime fiction. He decries their “vulgarisation of ideas,” “fearful intellectual sadism,” and “power-worship,” and he wonders what these trends say about British society.
Orwell does not limit himself to the art of writing. In “The Art of Donald McGill,” he examines the post card drawings of this popular artist. He looks at the obscenity of the post cards and wonders what it says about marriage and the stability of society. “Benefit of Clergy” is an analysis of the work of Salvador Dali. He sees in Dali’s work “a direct, unmistakable assault on sanity and decency,” and concludes that “a society in which they [artists like Dali] can flourish has something wrong with it” (p. 215).
Walt Whitman, Charlie Chaplin, Uncle Tom’s Cabin, Gulliver’s Travels, the Catholic Church, Soviet Russia, Gandhi, H. G. Wells, Hitler, Voltaire, Graham Greene, India and British colonialism, fascism, communism, and democracy, and, of course, boys’ magazines and detective stories. Orwell’s range of topics is seemingly endless. He was a man who hated orthodoxy and cant, who thought deeply about the act of writing and how the written word affected people, and who then wrote about all these things clearly, simply, and powerfully.
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