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• W20894064 abstract "If for no other reason, Orwell should be accounted a genius for having deceived his critics and admirers so effectively and for so long. It must be evident by now, however, that, whatever else he may or may not have been, Orwell was by no means simple. He was a complex, difficult personality disguising himself as an unremarkable, ordinary, and even very amiable fellow. He succeeded in persuading almost all of his readers to accept the disguise, but in the long run that disguise has turned out not even to have been necessary; for, as the enduring fame and powerful coherence of his last two novels have demonstrated convincingly, Orwell was in fact a genius plain and simple, though in a very complicated way. ********** He was not a genius, and this is one of the remarkable things about him. --Lionel Trilling (1952) THE QUESTION WHETHER or not a writer is a genius-recognized genius survives mortality and lives in the perpetual present--is important for the writer, posterity, the canon, and the prospective reader--in short, everyone who views literature as of cardinal importance in a culture. What makes such a writer is of course the making of great books, and their greatness depends in turn upon the depth and in most eases the breadth of a writer's demonstrated ambition, sympathies, and understanding. Of Homer, Shakespeare, and Milton there is no doubt, and the twentieth century has its canonized and its candidates. According to one of the most influential critics of the century, Lionel Trilling, the author of Nineteen Eighty-Four was not a genius. But this seems a somewhat peculiar assertion, for if Orwell was indeed a non-genius and a non-great writer, it's very odd that he should nevertheless possess in abundance many of the attributes and appurtenances usually associated with great (dead) writers of genius. That is, all of his work is available in a multi-volume, complete edition lovingly produced by Peter Davison, supplementing another, cheaper and more accessible (and less complete) four-volume edition of his journalism, many of his letters, and most of his reviews, assembled by his second wife, Sonia Orwell, together with Ian Angus. In addition, there are numerous individual paperbacks featuring not only his last two, internationally celebrated, dystopian novels, Animal Farm (1945) and Nineteen Eighty-Four (1949); but also his earlier, more conventional novels, along with just about all of the somewhat less well-known, so-called documentaries, such as Homage to Catalonia (1938)--from the introduction to the first American edition of which, incidentally, the above epigraph is taken. All of his work, let me repeat, even including seemingly minor, transitory pieces like reviews, is still in print, and his fiction and major essays, along with much of his journalism, have been translated into just about all of the major Western languages. Of what other modern authors who were not geniuses can the same be said? It is also surely significant that even some acknowledged modern geniuses, like T.S. Eliot, don't yet have complete editions of their work. (Trilling specifically places Eliot in the category of genius.) What is more, there are at least five biographies of Orwell, with one even describing itself as authorized, despite Orwell's explicit death-bed prohibition against anyone producing any biography of him whatsoever. Moreover, there is also a collection of contemporaneous reviews of his writings in the Critical Heritage Series, edited by Jeffrey Meyers (also one of Orwell's biographers). And, as befits all major modern writers in this age of university criticism, there are, almost literally, innumerable critical studies in several languages, both in the form of books and essays. So, not surprisingly, when the year 1984 rolled around, there occurred something like a frenzy of academic critical conferences, and casebooks on Nineteen Eighty-Four sprouted up like weeds. …" @default.
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• W20894064 date "2011-09-22" @default.
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• W20894064 title "Homage to George Orwell" @default.
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