Facing Unpleasant Facts: Narrative EssaysEssays by the author of 1984 on topics from “remembrances of working in a bookshop [to] recollections of fighting in the Spanish Civil War” (Publishers Weekly). George Orwell was first and foremost an essayist, producing throughout his life an extraordinary array of short nonfiction that reflected—and illuminated—the fraught times in which he lived. “As soon as he began to write something,” comments George Packer in his foreword, “it was as natural for Orwell to propose, generalize, qualify, argue, judge—in short, to think—as it was for Yeats to versify or Dickens to invent.” Facing Unpleasant Facts charts Orwell’s development as a master of the narrative-essay form and unites such classics as “Shooting an Elephant” with lesser-known journalism and passages from his wartime diary. Whether detailing the horrors of Orwell’s boyhood in an English boarding school or bringing to life the sights, sounds, and smells of the Spanish Civil War, these essays weave together the personal and the political in an unmistakable style that is at once plainspoken and brilliantly complex. “Best known for his late-career classics Animal Farm and 1984, George Orwell—who used his given name, Eric Blair, in the earliest pieces of this collection aimed at the aficionado as well as the general reader—was above all a polemicist of the first rank. Organized chronologically, from 1931 through the late 1940s, these in-your-face writings showcase the power of this literary form.” —Publishers Weekly, starred review |
From inside the book
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Page x
... story; the essays in AllArt Is Propaganda hold something up to critical scrutiny. The first is based on narrative, the second on analysis, and Orwell was equally brilliant at both. He wrote more narrative essays early in his career, in ...
... story; the essays in AllArt Is Propaganda hold something up to critical scrutiny. The first is based on narrative, the second on analysis, and Orwell was equally brilliant at both. He wrote more narrative essays early in his career, in ...
Page xviii
... story? Why is he one of “a party of men walking together” through a prison courtyard in Burma during the rainy season? What does he think of the deed they're about to do? Is the ac- count based in fact, or is it made up? Brief and open ...
... story? Why is he one of “a party of men walking together” through a prison courtyard in Burma during the rainy season? What does he think of the deed they're about to do? Is the ac- count based in fact, or is it made up? Brief and open ...
Page xxi
... story, and only a naive reader demands that they reflect factual truth. If anything, an invented incident would show that Orwell's imaginative writing is underrated. But I think in this case the naive reaction is the right one. Writers ...
... story, and only a naive reader demands that they reflect factual truth. If anything, an invented incident would show that Orwell's imaginative writing is underrated. But I think in this case the naive reaction is the right one. Writers ...
Page xxii
... stories in these essays because they are good stories. He tells them, in the words of “Why I Write,” with “aesthetic enthusiasm” and “[p]leasure in the impact of one sound on xxii introduction.
... stories in these essays because they are good stories. He tells them, in the words of “Why I Write,” with “aesthetic enthusiasm” and “[p]leasure in the impact of one sound on xxii introduction.
Page xxiii
... story.” The sheer vitality of language in his descriptions of a Moroccan funeral or a Parisian charity hospital is part of what makes one re- turn to the essays again and again. Orwell had an ability to create single images that somehow ...
... story.” The sheer vitality of language in his descriptions of a Moroccan funeral or a Parisian charity hospital is part of what makes one re- turn to the essays again and again. Orwell had an ability to create single images that somehow ...
Contents
1 | |
11 | |
23 | |
29 | |
38 | |
Marrakech | 44 |
My Country Right or Left | 52 |
War time Diary | 59 |
Revenge Is Sour | 184 |
The Case for the Open Fire | 189 |
The Sporting Spirit | 193 |
In Defence of English Cooking | 198 |
A Nice Cup of Tea | 201 |
The Moon Under Water | 205 |
In Front of Your Nose | 209 |
Some Thoughts on the Common Toad | 214 |
England Your England | 109 |
Dear Doktor Goebbels Your British Friends are Feeding Fine | 139 |
Looking Back on the Spanish War | 143 |
As I Please 1 | 167 |
As I Please 2 | 172 |
As I Please 3 | 175 |
As I Please 16 | 180 |
A Good Word for the Vicar of Bray | 219 |
Why I Write | 224 |
How the Poor Die | 232 |
Such Such Were the Joys | 245 |
Notes | 296 |
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actually American army believe bombs bread Britain British Burmese Days cell child Cyprian’s Cyril Connolly Daily Worker doubt early elephant England English essays eyes face fact Fascist feeling fight fire Flip France Fredric Warburg French German hand happened Hitler Homage to Catalonia Home Guard intelligentsia Italian Jews killed kind knew labour later less live London look man’s memory merely Moon Under Water morning Nazis never newspaper night one’s Orwell Orwell’s papers party patriotism perhaps Pétain political prison probably raids remember rifle round Russian Sambo seemed shoot Shooting an Elephant shot side simply soldiers sort Spain Spanish Spanish civil war spike stories talk thing thought tion took Tramp Major turned Vicar of Bray whole words writing