George Orwell - Inside the Whale and Other Essays

To-morrow for the young, the poets exploding like bombs,

The walks by the lake, the weeks of perfect communion;

To-morrow the bicycle races

Through the suburbs on summer evenings. But to-day the struggle.

To-day the deliberate increase in the chances of death,

The conscious acceptance of guilt in the necessary murder:

To-day the expending of powers

On the flat ephemeral pamphlet and the boring meeting.

The second stanza is intended as a sort of thumb-nail sketch of a day in the life of a 'good party man'. In the morning a couple of political murders, a ten-minutes' interlude to stifle 'bourgeois' remorse, and then a hurried luncheon and a busy afternoon and evening chalking walls and distributing leaflets. All very edifying. But notice the phrase 'necessary murder'. It could only be written by a person to whom murder is at most a word. Personally I would not speak so lightly of murder. It so happens that I have seen the bodies of numbers of murdered men—I don't mean killed in battle, I mean murdered. Therefore I have some conception of what murder means—the terror, the hatred, the howling relatives, the post-mortems, the blood, the smells. To me, murder is something to be avoided. So it is to any ordinary person. The Hitlers and Stalins find murder necessary, but they don't advertise their callousness, and they don't speak of it as murder; it is 'liquidation', 'elimination', or some other soothing phrase. Mr Auden's brand of amoralism is only possible if you are the kind of person who is always somewhere else when the trigger is pulled. So much of left-wing thought is a kind of playing with fire by people who don't even know that fire is hot. The warmongering to which the English intelligentsia gave themselves up in the period 1935-9 was largely based on a sense of personal immunity. The attitude was very different in France, where the military service is hard to dodge and even literary men know the weight of a pack.

Towards the end of Mr Cyril Connolly's recent book, Enemies of Promise, there occurs an interesting and revealing passage. The first part of the book is, more or less, an evaluation of present-day literature. Mr Connolly belongs exactly to the generation of the writers of 'the movement', and with not many reservations their values are his values. It is interesting to notice that among prose-writers he admires chiefly those specialising in violence—the would-be tough American school, Hemingway, etc. The latter part of the book, however, is autobiographical and consists of an account, fascinatingly accurate, of life at a preparatory school and Eton in the years 1910-20. Mr Connolly ends by remarking:

Were I to deduce anything from my feelings on leaving Eton, it might be called The Theory of Permanent Adolescence. It is the theory that the experiences undergone by boys at the great public schools are so intense as to dominate their lives and to arrest their development.

When you read the second sentence in this passage, your natural impulse is to look for the misprint. Presumably there is a 'not' left out, or something. But no, not a bit of it! He means it! And what is more, he is merely speaking the truth, in an inverted fashion. 'Cultured' middle-class life has reached a depth of softness at which a public-school education—five years in a lukewarm bath of snobbery—can actually be looked back upon as an eventful period. To nearly all the writers who have counted during the thirties, what more has ever happened than Mr Connolly records in Enemies of Promise? It is the same pattern all the time; public school, university, a few trips abroad, then London. Hunger, hardship, solitude, exile, war, prison, persecution, manual labour—hardly even words. No wonder that the huge tribe known as 'the right left people' found it so easy to condone the purge-and-Ogpu side of the Russian regime and the horrors of the first Five-Year Plan. They were so gloriously incapable of understanding what it all meant.

By 1937 the whole of the intelligentsia was mentally at war. Left-wing thought had narrowed down to anti-Fascism', i.e. to a negative, and a torrent of hate-literature directed against Germany and the politicians supposedly friendly to Germany was pouring from the Press. The thing that, to me, was truly frightening about the war in Spain was not such violence as I witnessed, nor even the party feuds behind the lines, but the immediate reappearance in left-wing circles of the mental atmosphere of the Great War. The very people who for twenty years had sniggered over their own superiority to war hysteria were the ones who rushed straight back into the mental slum of 1915. All the familiar wartime idiocies, spy-hunting, orthodoxy-sniffing (Sniff, sniff. Are you a good anti-Fascist?), the retailing of atrocity stories, came back into vogue as though the intervening years had never happened. Before the end of the Spanish war, and even before Munich, some of the better of the left-wing writers were beginning to squirm. Neither Auden nor, on the whole, Spender wrote about the Spanish war in quite the vein that was expected of them. Since then there has been a change of feeling and much dismay and confusion, because the actual course of events has made nonsense of the left-wing orthodoxy of the last few years. But then it did not need very great acuteness to see that much of it was nonsense from the start. There is no certainty, therefore, that the next orthodoxy to emerge will be any better than the last.

On the whole the literary history of the thirties seems to justify the opinion that a writer does well to keep out of politics. For any writer who accepts or partially accepts the discipline of a political party is sooner or later faced with the alternative: toe the line, or shut up. It is, of course, possible to toe the line and go on writing—after a fashion. Any Marxist can demonstrate with the greatest of ease that 'bourgeois' liberty of thought is an illusion. But when he has finished his demonstration there remains the psychological fact that without this 'bourgeois' liberty the creative powers wither away. In the future a totalitarian literature may arise, but it will be quite different from anything we can now imagine. Literature as we know it is an individual thing, demanding mental honesty and a minimum of censorship. And this is even truer of prose than of verse. It is probably not a coincidence that the best writers of the thirties have been poets. The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature. How many Roman Catholics have been good novelists? Even the handful one could name have usually been bad Catholics. The novel is practically a Protestant form of art; it is a product of the free mind, of the autonomous individual. No decade in the past hundred and fifty years has been so barren of imaginative prose as the nineteen-thirties. There have been good poems, good sociological works, brilliant pamphlets, but practically no fiction of any value at all. From 1933 onwards the mental climate was increasingly against it. Anyone sensitive enough to be touched by the zeitgeist was also involved in politics. Not everyone, of course, was definitely in the political racket, but practically everyone was on its periphery and more or less mixed up in propaganda campaigns and squalid controversies. Communists and near-Communists had a disproportionately large influence in the literary reviews. It was a time of labels, slogans, and evasions. At the worst moments you were expected to lock yourself up in a constipating little cage of lies; at the best a sort of voluntary censorship ('Ought I to say this? Is it pro-Fascist?') was at work in nearly everyone's mind. It is almost inconceivable that good novels should be written in such an atmosphere. Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own unorthodoxy. Good novels are written by people who are not frightened. This brings me back to Henry Miller.