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Books : Literature & Fiction : Authors, A-Z : ( O ) : Orwell, George
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Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him. The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted imply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.
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Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him. The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted imply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.
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ANIMAL FARM
George Orwell's classic satire of the Russian Revolution is an intimate part of our contemporary culture. It is the account of the bold struggle, initiated by the animals, that transforms Mr. Jones's Manor Farm into Animal Farm--a wholly democratic society built on the credo that All Animals Are Created Equal. Out of their cleverness, the pigs Napoleon, Squealer, and Snowball emerge as leaders of the new community in a subtle evolution that proves disastrous. The climax is the brutal betrayal of the faithful horse Boxer, when totalitarian rule is reestablished with the bloodstained postscript to the founding slogan: But some Animals Are More Equal Than Others. . . .
1984
In 1984, London is a grim city where Big Brother is always watching you and the Thought Police can practically read your mind. Winston is a man in grave danger for the simple reason that his memory still functions. Drawn into a forbidden love affair, Winston finds the courage to join a secret revolutionary organization called The Brotherhood, dedicated to the destruction of the Party. Together with his beloved Julia, he hazards his life in a deadly match against the powers that be.
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Volume 11 from The Complete Works of George Orwell
The most important document that has come to light regarding Orwell's Spanish experiences is the deposition charging him and Eileen with espionage and high treason, a charge unknown to them. This is fully analyzed and can now be read in the context of the disputes that then divided the Left, well illustrated by the letters and documents printed here, notably his bitter response to Authors Take Sides on the Spanish War. This volume also includes a sequence of letters that throws a completely new light on Orwell's personal relationships.
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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."
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In a true marriage of minds, Christopher Hitchens takes on George Orwell and the value of one of the twentieth century's great independent thinkers.In this brilliant and contemplative biographical essay, Christopher Hitchens assesses the life, the achievement, and the myth of the great political writer and participant George Orwell. The result is the perfect convergence of two kindred spirits. Hitchens has long regarded Orwell as a mentor and model, and in true emulative and contrarian style, he is both adulatory and aggressive, sympathetic yet critical, taking true measure of his subject as hero and as problem.
Combining the best of Hitchens's polemical punch and intellectual elegance in a tightly woven and subtle argument, Why Orwell Matters tears down the façade of sainthood erected by hagiographers and probes deeper to find the true George Orwell: gifted, flawed, and human. With lyrical and allusive prose, Hitchens examines Orwell and his perspectives on fascism, empire, feminism, and Englishness, as well as his outlook on America, a country and culture toward which he exhibited little curiosity but much ambivalence.
With his characteristic wit, Christopher Hitchens has written a book that addresses not only why Orwell matters today but how he will continue to matter in a future, uncertain world.
Hitchens on Orwell:
This is not a biography, but I sometimes feel as if George Orwell requires extricating from a pile of saccharine tablets and moist hankies; an object of sickly veneration and sentimental overpraise, employed to stultify schoolchildren with his insufferable rightness and purity.This kind of tribute is often of the Rochefoucauldian type; suggestive of the payoff made by vice to virtue, and also of the tricks played by an uneasy conscience. What [Orwell] illustrates, by his commitment to language as the partner of truth, is that "views" do not really count; that it matters not what you think, but how you think, and that politics are relatively unimportant, while principles have a way of enduring, as do the few irreducible individuals who maintain allegiance to them.
Others on Hitchens:
"I have been asked whether I wish to nominate a successor, an inheritor, a dauphin or delphino. I have decided to name Christopher Hitchens." -Gore Vidal
"Christopher Hitchens's writing has sweep and flair. He is accurate where others are merely dutiful, unpredictable where the tendency is to go for the cliché. In short, brilliant." -Edward W. Said
"May his targets cower." -Susan Sontag
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A generous and varied selection—the only hardcover edition available—of the literary and political writings of one of the greatest essayists of the twentieth century.
Though best known as the author of Animal Farm and Nineteen Eighty-Four, George Orwell left an even more lastingly significant achievement in his voluminous essays, which dealt with all the great social, political, and literary questions of the day and exemplified an incisive prose style that is still universally admired. Included among the more than 240 essays in this volume are Orwell's famous discussion of pacifism, "My Country Right or Left," his scathingly complicated views on the dirty work of imperialism in "Shooting an Elephant," and his very firm opinion on how to make “A Nice Cup of Tea.” In his essays, Orwell elevated political writing to the level of art, and his motivating ideas—his desire for social justice, his belief in universal freedom and equality, and his concern for truth in language—are as enduringly relevant now, a hundred years after his birth, as ever.
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In one of the most intrepid travelogues in recent memory, Emma Larkin tells of the year she spent traveling through Burma, using as a compass the life and work of George Orwell, whom many of Burma’s underground teahouse intellectuals call simply "the Prophet." In stirring prose, she provides a powerful reckoning with one of the world’s least free countries. Finding George Orwell in Burma is a brave and revelatory reconnaissance of modern Burma, one of the world’s grimmest and most shuttered police states, where the term "Orwellian" aptly describes the life endured by the country’s people.
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A guide to reading "Animal Farm" with a critical and appreciative mind. Includes background on the author's life and times, sample tests, term paper suggestions, and a reading list.