2 y ago in Quotes
You don't write those books because you hope those things will happen. You write those books because you think they might happen.. but you'd rather they didn't.
3 y ago in Quotes
There are many great authors of the past who have survived centuries of oblivion and neglect, but it is still an open question whether they will be able to survive an entertaining version of what they have to say.
4 y ago in Quotes
War, Fascism, concentration camps, rubber truncheons, atomic bombs, etc., are what we daily think about, and therefore to a great extent what we write about, even when we do not name them openly. We cannot help this. When you are on a sinking ship, your thoughts will be about sinking ships.
5 y ago in Quotes
I make a statement. Then another. Soon, more follow; truncated by pauses, commas, contemplative line breaks. The flow is shallow, stagnated. The words stop as quickly as they start. Another sentence. They are interminable, needlessly pithy reminders of a point I'm trying to bore into your skull. They are obtrusive. Some time later - though not so much later, in this instance - I break my cadence with a qualification blocked in hyphens. It is expository, important, essential to the rhythm of the piece. You can tell that this is intentional. Another sentence. Then another. This one, slightly longer, though not much. My points are considered; important. Take heed of this gravitas.
The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.
I cannot say with certainty which of my motives are the strongest, but I know which of them deserve to be followed. And looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.
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. So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information. It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public, non-individual activities that this age forces on all of us.
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.