All Art Is Propaganda: Critical Essays Page 2

  But there is a deeper logic to these essays, beneath the contradictions and inevitable oversights. The crisis that Orwell was writing himself through in the 1940s was the crisis of the war and, even more confusingly, the postwar. It involved a kind of projection into the future of certain tendencies latent in the present. Throughout these essays Orwell worries about the potential Sovietization of Europe, but also the infection by totalitarian thinking of life outside the Soviet sphere--not just specific threats to specific freedoms, but to deeper structures of feeling. As the philologist Syme says to Winston Smith in 1984: "Don't you see that the whole aim of Newspeak is to narrow the range of thought?...Every year fewer and fewer words, and the range of consciousness always a little smaller." If Orwell was wrong in some sense about the long-term development of totalitarianism, he was right about its deepest intellectual intentions, about the rot it wished to create at the center of thinking itself. And he was right that this rot could spread.

  One solution would be to cordon off literature from life and politics entirely: This was, in some sense, the solution adopted by the writers of the previous generation--Eliot, James Joyce, D. H. Lawrence, Ezra Pound--whom Orwell calls the writers of the 1920s and we now call the high modernists. And yet Orwell did not want to make a special plea for literature; in fact, of all the writers of his time, Orwell was constitutionally the least capable of making this separation. His own writing and politics were the fruit of his specific experience--of imperialism in Burma, of the conditions in the English coal mines, of the war in Spain. He begins these essays with the insistence that "all art is propaganda" (he repeats this several times)--the expression of a particular worldview. In Dickens's case this is the worldview of a classic nineteenth-century bourgeois liberal, a worldview Orwell admires even as he sees its limitations. ("Dickens seems to have succeeded in attacking everybody and antagonizing nobody. Naturally this makes one wonder whether after all there was something unreal in his attack upon society.") In the case of boys' weeklies, it is a worldview that is in a sense incidental (precisely because they are not art): "These papers exist because of a specialised demand, because boys at certain ages find it necessary to read about Martians, death-rays, grizzly bears and gangsters. They get what they are looking for, but they get it wrapped up in the illusions which their future employers think suitable for them." Orwell was producing these essays contemporaneously with the great Western Marxist debates over "committed" literature, but Orwell is, to put it mildly, considerably more down to earth. In the case of the boys' weeklies he suggests some reforms: not that they become the Daily Worker, but, since it's all the same to the boys so long as the death rays are present, that a more leftist perspective couldn't hurt.

  For the Orwell of the early essays, the case of Henry Miller is the tough one. Because while Dickens's politics are in the end congenial enough, Miller's quietism is less so. "I first met Miller at the end of 1936, when I was passing through Paris on my way to Spain," writes Orwell. "What most intrigued me about him was to find that he felt no interest in the Spanish war whatever. He merely told me in forcible terms that to go to Spain at that moment was the act of an idiot." Orwell nonetheless went to Spain, and fought there. He was a writer who felt it was vital to let politics animate his work; Miller was the opposite. As Orwell puts it in perfect Orwell deadpan: "When Tropic of Cancer was published the Italians were marching into Abyssinia and Hitler's concentration-camps were already bulging. The intellectual foci of the world were Rome, Moscow and Berlin. It did not seem to be a moment at which a novel of outstanding value was likely to be written about American dead-beats cadging drinks in the Latin Quarter." And yet, as Orwell suggests, someone this unfashionable had to be working under the spell of a profound conviction. He contrasts Miller favorably to W. H. Auden, who at this time in the famous poem "Spain" was miming the thoughts of the good party man about the "necessary murder." Miller is so far removed from this sort of sentiment, so profound is his individualism and his conviction, that Orwell comes close to endorsing it--"Seemingly there is nothing left but quietism--robbing reality of its terrors by simply submitting to it. Get inside the whale--or rather, admit that you are inside the whale (for you are, of course)." Except Orwell doesn't really mean this. He may be inside the whale but he does not intend to stop disturbing its digestion, he does not intend to be any more quietistic--in fact, just a few months later, in one of his eccentric moods, Orwell was drawing up a scheme for the guerrilla defense of the island, in case the Germans landed, and trying to get it to the government. What he admired above all in Miller was his willingness to go against the grain of the time. While all art is propaganda, it needn't necessarily propagandize something correct. The important thing is that the writer himself believe it.

  But there are certain things--here is where Orwell begins to extend and then to contradict his thinking--that you simply can't believe. "No one ever wrote a good book in praise of the Inquisition," he asserts. Is that true? At almost the exact same moment, Jean-Paul Sartre (a writer Orwell thought, incorrectly, was "full of air"), in What Is Literature? was writing, "Nobody can suppose for a moment that it is possible to write a good novel in praise of anti-Semitism." Is that true? It seems to have been a problem that leftist writers of the 1940s were going to face by sheer bluff assertion. For Orwell the number of beliefs hostile to literary production seemed to expand and expand. Eliot's "Four Quartets" is labeled "Petainist"--a fairly strong term to hurl at a long experimental poem that doesn't even rhyme. And Salvador Dali, in "Benefit of Clergy," is a "rat." Orwell wants to chart a middle course between the philistines who would dismiss Dali out of hand for his outrages and the aesthetes unable even to acknowledge the problem, but Orwell's own trouble is that he loathes Dali, above all for abandoning France in its moment of danger. After asserting that the painter is more talented than most of the people who would denounce his morals, Orwell proceeds to denounce those morals, and the morals of those who enjoy Dali's paintings.

  As the war goes on, then ends, Orwell's sense of peril grows sharper, and he looks at literature in a different way. He comes to think that no matter who wins, the world will find itself split again into armed camps, each of them threatening the others, none of them truly free--and literature will simply not survive. This is the landscape of 1984 and it is also the landscape of the later essays in this volume--"The Prevention of Literature," "Politics and the English Language," "Writers and Leviathan." There is even, momentarily, a kind of hallucination, in the curious short piece "Confessions of a Book Reviewer," where some of Orwell's old interest in the starving writer crops up, now mixed with the wintry gloominess of his later years: "In a cold but stuffy bed-sitting room littered with cigarette ends and half-empty cups of tea, a man in a moth-eaten dressing gown sits at a rickety table, trying to find room for his typewriter among the piles of dusty papers that surround it ... He is a man of 35, but looks 50. He is bald, has varicose veins and wears spectacles, or would wear them if only his pair were not chronically lost." Who is this but Winston Smith, the failed hero of 1984, figured as a book reviewer? Or who, conversely, is Winston Smith, but a book reviewer figured as the prisoner of a futuristic totalitarian regime?

  In the earlier essays Orwell sees totalitarian patterns of thought in the excuses made for Stalin by left-wing intellectuals; in the later essays he begins to see the same patterns in writers and thinkers of any political stripe who seek too much purity or too much goodness from the world. There is perhaps a biographical strain to this: widowed, tubercular, increasingly reclusive, and still brutally honest, Orwell was becoming a saint. Three of the late essays--on Leo Tolstoy, Graham Greene, and Mahatma Gandhi--deal with saints. Orwell doesn't like them. He had never particularly liked them: "If you look into your own mind, which are you, Don Quixote or Sancho Panza?" he had asked in the great essay on dirty postcards. "Almost certainly you are both. There is one part of you that wishes to be a hero or a saint, but another part of you is a little fat man who sees very clearly
the advantages of staying alive with a whole skin. He is your unofficial self, the voice of the belly protesting against the soul." But back then he thought the saint at least exercised a kind of good example for the fat little man inside us; by the end of his life he seems to have thought the saint a positive evil. Anything that would interrupt the free play of the mind, its commitment to the truth of experience as it actually is rather than as one would like it to be, was an evil. And saints, it turns out, are censorious--Gandhi wanted to throw out cigarettes and meat, which was bad enough, but Tolstoy wanted to throw out Shakespeare, which was even worse.

  With great doggedness, then, Orwell keeps delving into the question of literature's position in society, and what might be done to keep it alive in a time of total politics. Eventually, the middle ground he'd managed to inhabit by admiring Henry Miller, Eliot's early poetry, and that essentially apolitical masterpiece, Ulysses, gives way beneath him. The pressure of totalitarianism is too great, and as he begins to contemplate the brutal unresolved reality of the postwar, with its two or three warring, nuclear-armed camps (Orwell was enough of a patriot to think that Britain might not actually be subsumed by the United States), he surrenders. In "Writers and Leviathan," dated 1948, he argues that writers must ultimately separate themselves from their political work. It's a depressing essay and it ends--one wonders whether Orwell was aware of this--with an echo of the line of Auden's he so reviled: The writer capable of separating himself from his political activity will be the one who "stands aside, records the things that are done and admits their necessity, but refuses to be deceived as to their true nature." Orwell was always a realist who knew that politics was a dirty business--but he was never quite such a realist as here. The realm of freedom had finally shrunk to a small, small point, and it had to be defended. As Winston Smith says in 1984, "Nothing was your own except the few cubic centimetres inside your skull."

  It's hard not to wonder whether the pessimism of this conclusion--its separation of art and politics, after so many attempts at an integration, or at least some kind of accord--was partly a response to the art (or propaganda) Orwell was himself creating in those years. He had published Animal Farm in 1945; weakened by the tuberculosis that would kill him, he was writing 1984 in 1947-48. After the reception of Animal Farm, and with the direction 1984 was taking, it must have been clear to him on some level that the world was going to use these books in a certain way. And it did use them that way. The socialist critique of Orwell's late work seems essentially correct--they were not only anti-Stalinist but antirevolutionary, and were read as such by millions of ordinary people (a fact that Orwell, who was always curious to know what ordinary people thought, would have had to respect). It cannot be entirely a case of devious propaganda that Orwell the avowed democratic Socialist came eventually to be claimed ("stolen," as he says here of Dickens) by the Right in the Cold War; that his "social patriotism" soon reverted, in the hands of many, into simple nationalism; that it was under the banner of Orwell, a convinced anti-imperialist, that some of the best intellectuals in Britain and the United States cheered on the 2003 invasion of Iraq.

  Writers write because they want to justify themselves to the world. Orwell's essays here, his final reflections on the separation of the politics of the man from the art of the man, can serve as a guide to the Orwell of the 1940s. Out of "necessity" he had chosen a position, and a way of stating that position, that would be used for years to come to bludgeon the antiwar, anti-imperialist left. That he had chosen honestly what seemed to him the least bad of a set of bad political options did not make them, in the long view of history, any better.

  But what a wonderful writer he had become! That voice--once you've heard it, how do you get it out of your head? It feels like the truth, even when it's not telling the truth. It is clear and sharp but unhurried; Orwell is not afraid to be boring, which means that he is never boring. He had been shot through the throat by a sniper's bullet in 1937. A tall man, well over six feet, he was standing up in a trench at night, telling his fellow soldiers--as they later recalled--about some brothels he'd visited in Paris, when the bullet hit. It missed Orwell's esophagus by millimeters. He survived, but contemporaries report that Orwell's voice changed. It became slightly flattened and metallic. Some people found it disconcerting.

  Orwell's voice as a writer had been formed before Spain, but Spain gave him a jolt--not the fighting or the injury, though these had their effects, but the calculated campaign of deception he saw in the press when he got back, waged by people who knew better. "Early in life I had noticed that no event is ever correctly reported in a newspaper," Orwell recalled, "but in Spain, for the first time, I saw newspaper reports which did not bear any relation to the facts, not even the relationship which is implied in an ordinary lie. I saw great battles reported where there had been no fighting, and complete silence where hundreds of men had been killed....This kind of thing is frightening to me, because it often gives me the feeling that the very concept of objective truth is fading out of the world. After all, the chances are that those lies, or at any rate similar lies, will pass into history."

  This insight reverberates through Orwell's work for the rest of his life. The answer to lies is to tell the truth. But how? How do you even know what the truth is, and how do you create a style in which to tell it? Orwell's answer is broadly consistent with the philosophical movements--of which he would have been only a little aware--of his time. There is no necessarily anterior truth; language creates it. Orwell lays out the method in "Politics and the English Language": You avoid ready phrases, you purge your language of dead metaphors, you do not claim to know what you do not know. Far from being a relaxed prose (which is how it seems), Orwell's is a supremely vigilant one. It's interesting that Orwell didn't go to college. He went to Eton, the most prestigious of the English boarding schools, but he loafed around there and, afterward, went off to Burma as a police officer. College is where you sometimes get loaded up with fancy terms whose meaning you're not quite sure of. Orwell was an intellectual and a highbrow who thought Joyce, Eliot, and Lawrence were the greatest writers of his age, but he never uses fancy terms.

  These essays typically open with a very strong, flat, memorable statement: "Autobiography is only to be trusted when it reveals something disgraceful"; "Saints should always be judged guilty until they are proved innocent"; or even just, "There is very little in Eliot's later work that makes any deep impression on me." They often do a bit of summarizing--Orwell's style is perfectly adapted to dry, funny plot summary, because it often happens that if you summarize the contents of a novel straight they will sound very funny. (And much of the time Orwell means them to.) Typically, he moves on to a more general philosophical question--"Kipling is in the peculiar position of having been a by-word for fifty years. During five literary generations every enlightened person has despised him, and at the end of that time nine-tenths of those enlightened persons are forgotten and Kipling is in some sense still there." Why is that? Orwell goes on to explain that Kipling cannot be defended as a humanitarian, or nonracist, or anti-imperialist--he was clearly on the wrong side of all those questions. But then Orwell shows the vividness of Kipling's descriptions of life, the singular musicality of his "good bad poetry," and you begin to see what has allowed Kipling to endure.

  You could say that Orwell was not essentially a literary critic, or you could say that he was the only kind of literary critic worth reading. He was most interested in the way that literature intersects with life, with the world, with groups of actual people. Some of the more enjoyable essays in this volume deal with things that a lot of people read and consume--postcards, detective fiction, "good bad books" (and poetry)--simply because a lot of people consume them. Postwar intellectuals would celebrate (or bemoan) the "rise of mass culture." Orwell never saw it as a novel phenomenon. He was one of the first critics to take popular culture seriously because he believed it had always been around and simply wanted attention. These essays are part of a deeply
democratic commitment to culture in general and reading in particular.

  His reading of writers who were more traditionally "literary" is shot through with the same commitment. Orwell had read a great deal, and his favorite writers were by many standards difficult writers, but he refused to appeal to the occult mechanisms of literary theory. "One's real reaction to a book, when one has a reaction at all, is usually 'I like this book' or 'I don't like it,' and what follows is a rationalisation. But 'I like this book' is not, I think, a non-literary reaction." And the "rationalization," Orwell saw, was going to involve your background, your expectations, the historical period you're living through. Orwell often launches off on fairly long digressions--like the one on A. E. Housman in "Inside the Whale"--that no other literary critic would even consider, much less get away with. But he does get away with them (more or less), because they're so clearly in the service of trying to pin down a general view of life, and history, and politics. Nothing is ever separate from anything else in Orwell, though at the same time nothing is ever allowed to overshadow the task at hand. "While I have been writing this book," he writes in the essay on Miller (the first three essays in this volume were published under the title Inside the Whale, in the spring of 1940), "another European war has broken out....What is quite obviously happening, war or no war, is the break-up of laissez-faire capitalism and of the liberal-Christian culture." And this means we ought to read Henry Miller!