George Orwell
Why I write ?

"My Country Right or Wrong."
Revising History
Wishful Thinking
    Capitalism and Communism:

 The Coming Age of Superpowers

Links X X X X X X



Excerpts from

Why I Write

by George Orwell,

 Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are:

  1. Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on the grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful businessmen -- in short, with the whole top crust of humanity. The great mass of human beings are not acutely selfish. After the age of about thirty they almost abandon the sense of being individuals at all -- and live chiefly for others, or are simply smothered under drudgery. But there is also the minority of gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money .

  2. Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.

  3. Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity.

  4. Political purpose -- using the word "political" in the widest possible sense. Desire to push the world in a certain direction, to alter other peoples' idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.

I am a person in whom the first three motives would outweigh the fourth. In a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties. As it is I have been forced into becoming a sort of pamphleteer. First I spent five years in an unsuitable profession (the Indian Imperial Police, in Burma), and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the first time fully aware of the existence of the working classes, and the job in Burma had given me some understanding of the nature of imperialism: but these experiences were not enough to give me an accurate political orientation. Then came Hitler, the Spanish Civil War, etc. By the end of 1935 I had still failed to reach a firm decision.

The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one's political bias, the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.

What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always a feeling of partisanship, a sense of injustice. When I sit down to write a book, I do not say to myself, "I am going to produce a work of art." I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. But I could not do the work of writing a book, or even a long magazine article, if it were not also an aesthetic experience. Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant. I am not able, and do not want, completely to abandon the world view that I acquired in childhood...

It is not easy. It raises problems of construction and of language, and it raises in a new way the problem of truthfulness. Let me give just one example of the cruder kind of difficulty that arises. My book about the Spanish civil war, Homage to Catalonia, is of course a frankly political book, but in the main it is written with a certain detachment and regard for form. I did try very hard in it to tell the whole truth without violating my literary instincts. But among other things it contains a long chapter, full of newspaper quotations and the like, defending the Trotskyists who were accused of plotting with Franco. Clearly such a chapter, which after a year or two would lose its interest for any ordinary reader, must ruin the book. A critic whom I respect read me a Lecture about it. "Why did you put in all that stuff?" he said. "You've turned what might have been a good book into journalism." What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.

In one form or another this problem comes up again. The problem of language is subtler and would take too long to discuss. I will only say that of late years I have tried to write less picturesquely and more exactly. In any case I find that by the time you have perfected any style of writing, you have always outgrown it. Animal Farm was the first book in which I tried, with full consciousness of what I was doing, to fuse political purpose and artistic purpose into one whole. I have not written a novel for seven years, but I hope to write another fairly soon.



Excerpts from various Newspaper columns.

"My Country Right or Wrong."

Tribune, 24 December 1943

Attacking me in the Weekly Review for attacking Douglas Reed, Mr. A. K. Chesterton remarks, "'My country -- right or wrong' is a maxim which apparently has no place in Mr. Orwell's philosophy." He also states that "all of us believe that whatever her condition Britain must win this war, or for that matter any other war in which she is engaged."

The operative phrase is any other war. There are plenty of us who would defend our own country, under no matter what government, if it seemed that we were in danger of actual invasion and conquest. But "any war" is a different matter. How about the Boer War, for instance? There is a neat little bit of historical irony here. Mr. A. K. Chesterton is the nephew of G. K. Chesterton, who courageously opposed the Boer War, and once remarked that "My country, right or wrong" was on the same moral level as "My mother, drunk or sober."

Revising History

Tribune, 4 February 1944

Up to a fairly recent date, the major events recorded in the history books probably happened. It is probably true that the battle of Hastings was fought in 1066, that Columbus discovered America, that Henry VIII had six wives, and so on. A certain degree of truthfulness was possible so long as it was admitted that a fact may be true even if you don't like it. .... Some of the facts -- the casualty figures, for instance -- were regarded as neutral and in substance accepted by everybody. No such thing would be possible now. A Nazi and a non-Nazi version of the present war would have no resemblance to one another, and which of them finally gets into the history books will be decided not by evidential methods but on the battlefield.

During the Spanish civil war I found myself feeling very strongly that a true history of this war never would or could be written. Accurate figures, objective accounts of what was happening, simply did not exist. And if I felt that even in 1937, when the Spanish Government was still in being, and the lies which the various Republican factions were telling about each other and about the enemy were relatively small ones, how does the case stand now? Even if Franco is overthrown, what kind of records will the future historian have to go upon? And if Franco or anyone at all resembling him remains in power, the history of the war will consist quite largely of "facts" which millions of people now living know to be lies. One of these "facts," for instance, is that there was a considerable Russian army in Spain. There exists the most abundant evidence that there was no such army. Yet if Franco remains in power, and if Fascism in general survives, that Russian army will go into the history books and future school children will believe in it. So for practical purposes the lie will have become truth.

In the last analysis our only claim to victory is that if we win the war we shall tell fewer lies about it than our adversaries. The really frightening thing about totalitarianism is not that it commits "atrocities" but that it attacks the concept of objective truth; it claims to control the past as well as the future.

Wishful Thinking

Partisan Review,
Winter 1945

... People can foresee the future only when it coincides with their own wishes, and the most grossly obvious facts can be ignored when they are unwelcome. ... To name just one ... example: who foresaw the Russo-German pact of 1939? A few pessimistic Conservatives foretold an agreement between Germany and Russia, but the wrong kind of agreement, and for the wrong reasons. So far as I am aware, no intellectual of the Left, whether russophile or russophobe, foresaw anything of the kind. For that matter, the Left as a whole failed to foresee the rise of Fascism and failed to grasp that the Nazis were dangerous even when they were on the verge of seizing power. To appreciate the danger of Fascism the Left would have had to admit its own shortcomings, which was too painful; so the whole phenomenon was ignored or misinterpreted, with disastrous results.

Capitalism and Communism: Two Paths to Slavery

9 April 1944

The Road to Serfdom by F.A. Hayek The Mirror of the Past by K. Zilliacus

Taken together, these two books give grounds for dismay. The first of them is an eloquent defence of laissez-faire capitalism, the other is an even more vehement denunciation of it. They cover to some extent the same ground, they frequently quote the same authorities, and they even start out with the same premise, since each of them assumes that Western civilization depends on the sanctity of the individual. Yet each writer is convinced that the other's policy leads directly to slavery, and the alarming thing is that they may both be right....

Between them these two books sum up our present predicament. Capitalism leads to dole queues, the scramble for markets, and war. Collectivism leads to concentration camps, leader worship, and war. There is no way out of this unless a planned economy can somehow be combined with the freedom of the intellect, which can only happen if the concept of right and wrong is restored to politics.

The Coming Age of Superpowers

Tribune, 2 February 1945

Germany, I suppose, will be defeated this year, and ... Japan will not be able to stand up to the combined powers of Britain and the U.S.A. Then there will be a peace of exhaustion, with only minor and unofficial wars raging all over the place, and perhaps this so-called peace may last for decades. But after that, by the way the world is actually shaping, it may well be that war will become permanent. Already, quite visibly and more or less with the acquiescence of all of us, the world is splitting up into the two or three huge super-states forecast in James Burnham's Managerial Revolution. One cannot draw their exact boundaries as yet, but one can see more or less what areas they will comprise. And if the world does settle down into this pattern, it is likely that these vast states will be permanently at war with one another, though it will not necessarily be a very intensive or bloody kind of war. ...

If these two or three super-states do establish themselves, not only will each of them be too big to be conquered, but they will be under no necessity to trade with one another, and in a position to prevent all contact between their nationals. Already, for a dozen years or so, large areas of the earth have been cut off from one another, although technically at peace.







OK Economics was designed and it is maintained by Oldrich Kyn.
To send me a message, please use one of the following addresses: ---

This website contains the following sections:

General  Economics:

Economic Systems:

Money and Banking:

Past students:

Czech Republic

Kyn’s Publications

 American education

free hit counters
Nutrisystem Diet Coupons