By George Orwell, Keith Gessen
As a critic, George Orwell solid a large web. both at domestic discussing Charles Dickens and Charlie Chaplin, he moved backward and forward around the porous borders among essay and journalism, excessive paintings and occasional. A common commentator on literature, language, movie, and drama all through his profession, Orwell grew to become more and more to the serious essay within the Nineteen Forties, while his most vital reports have been at the back of him and a few of his so much incisive writing lay ahead.
All paintings Is Propaganda follows Orwell as he demonstrates in piece after piece how purpose research of a piece or physique of labor provides upward thrust to trenchant aesthetic and philosophical commentary. With masterpieces comparable to "Politics and the English Language" and "Rudyard Kipling" and gem stones corresponding to "Good undesirable Books," this is an unequalled schooling in, as George Packer places it, "how to be fascinating, line after line."
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Extra resources for All Art Is Propaganda
She had not been a particularly intellectual woman, nor, according to some witnesses, a particularly nice one. Whether Lewis mostly worshipped her or mostly suffered her, or both or neither, we don’t really know. He began by needing her and ended by looking after her; perhaps it was not such an unusual relationship. In 1926 Lewis began a friendship that was to have a formative inﬂuence of a different kind on his life, especially his imaginative life. J. R. R. Tolkien was six years older and already the Professor of Anglo-Saxon at Oxford.
All accounts of Bowra emphasize his wit: quick, sharp, sometimes riotously inventive, often savagely satirical, much of it (to judge by quoted specimens) exhibiting a rather Wildean posiness. But the talk could also be serious, learned, and cultivated as well as incisive, frank, and shocking (he liked to shock). Accounts by admirers, of whom there were many, stress his role in ‘liberating’ them. Once installed in Oxford, Bowra applied his formidable force of personality to liberating young English men from the conventionality, philistinism, and moralism of their backgrounds.
Pound’s career, by contrast, seemed to have run aground on the reefs of his own impatient literary experimentation and tactless self-advertisement. The rejection was mutual: England, he declared more than once (and more than tactlessly), now exhibited nothing but a ‘dead mentality’, and he decided to give up on the project of civilizing it by means of establishing a purer poetry, leaving for Paris in December 1920. He was to move to Italy in 1924, never to live in England again. Many of the things that Pound did and said and wrote in the remaining ﬁve decades of his life (he died in 1972) so damaged his reputation that even now he can be dismissed in some quarters as—the emphases vary—a Fascist, a traitor, an anti-Semite, or a lunatic (he spent twelve years in an American military mental hospital after the war, having initially been tried for treason for having made pro-Fascist broadcasts from Mussolini’s Italy).