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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." In these essays, Orwell, not only discusses the authors' literary works in terms of their literary merits, but writes about the authors and their works them in terms of their political context and how they influence political life. Orwell discussed both good and bad works and gave tips on the correct language to use when writing literary, critical essays.
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."
As the death toll mounts in the Iraq War, Americans are agonizing over how the mess started and what to do now. George Packer, a staff writer at The New Yorker, joins the debate with his thoughtful book The Assassins' Gate. Packer describes himself as an ambivalent pro-war liberal "who supported a war [in Iraq] by about the same margin that the voting public had supported Al Gore." He never believed the argument that Iraq should be invaded because of weapons of mass destruction. Instead, he saw the war as a way to get rid of Saddam Hussein and build democracy in Iraq, in the vein of the U.S. interventions in Haiti and Bosnia. How did such lofty aims get so derailed? How did the U.S. get stuck in a quagmire in the Middle East? Packer traces the roots of the war back to a historic shift in U.S. policy that President Bush made immediately after 9/11. No longer would the U.S. be hamstrung by multilateralism or working through the UN. It would act unilaterally around the world--forging temporary coalitions with other nations where suitable--and defend its status as the sole superpower. But when it came to Iraq, even Bush administration officials were deeply divided. Packer takes readers inside the vicious bureaucratic warfare between the Pentagon and State Department that turned U.S. policy on Iraq into an incoherent mess. We see the consequences in the second half of The Assassins' Gate, which takes the reader to Iraq after the bombs have stopped dropping. Packer writes vividly about how the country deteriorated into chaos, with U.S. authorities in Iraq operating in crisis mode. The book fails to capture much of the debate about the war among Iraqis themselves--instead relying mostly on the views of one prominent Iraqi exile--but it is an insightful contribution to the debate about the decisions--and blunders--behind the war. --Alex Roslin
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.
A riveting examination of a nation in crisis, from one of the finest political journalists of our generation. American democracy is beset by a sense of crisis. Seismic shifts during a single generation have created a country of winners and losers, allowing unprecedented freedom while rending the social contract, driving the political system to the verge of breakdown, and setting citizens adrift to find new paths forward. In The Unwinding, George Packer, author of The Assassins' Gate: America in Iraq, tells the story of the United States over the past three decades in an utterly original way, with his characteristically sharp eye for detail and gift for weaving together complex narratives. The Unwinding journeys through the lives of several Americans, including Dean Price, the son of tobacco farmers, who becomes an evangelist for a new economy in the rural South; Tammy Thomas, a factory worker in the Rust Belt trying to survive the collapse of her city; Jeff Connaughton, a Washington insider oscillating between political idealism and the lure of organized money; and Peter Thiel, a Silicon Valley billionaire who questions the Internet's significance and arrives at a radical vision of the future. Packer interweaves these intimate stories with biographical sketches of the era's leading public figures, from Newt Gingrich to Jay-Z, and collages made from newspaper headlines, advertising slogans, and song lyrics that capture the flow of events and their undercurrents. The Unwinding portrays a superpower in danger of coming apart at the seams, its elites no longer elite, its institutions no longer working, its ordinary people left to improvise their own schemes for success and salvation. Packer's novelistic and kaleidoscopic history of the new America is his most ambitious work to date. National Book Ward 2013
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