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."
"[T]hese books reaffirm the author's status as one of the definitive essayists in English literature. This is hardly a new assessment, but it's worth restating, especially at a moment when Orwell's achievement -- to state directly, and in plain language, what he thought and experienced -- seems like the most radical of notions, a political and aesthetic stance so unfiltered as to be naive. ... What Orwell's after is less diatribe than dialogue. In his writing, politics and literature are in constant conversation, framing reactions to what he has lived through, what he has read. Throughout these essays, we are confronted with his humanism, which, as much as his intellect, motivates his work."--David Ulin, Los Angeles Times "We know Orwell for his novels, but it's the way he saw the politics of language that makes him relevant."--Newsweek