These years saw the publication of The Road to Wigan Pier, Homage to Catalonia, and Coming Up for Air. The most important document that has come to light regarding Orwell's Spanish experiences is the deposition charging him and Eileen with espionage and high treason, a charge unknown to them. This is fully analysed and can now be read in the context of the disputes that then divided the Left, well illustrated by the letters and documents printed here, notably his bitter response to Authors Take Sides on the Spanish War. The correspondence includes that with Yvonne Davet, who undertook the Translation of Orwell's books into French; George Kopp, Orwell's commandent in Spain; and a number of Eileen's letters. Orwell's Diary of Events Leading Up to the War' (2 July - 1 September 1939); his Domestic Diary (9 August 1938 - 29 April 1940), which records in detail his attempts at running a smallholding; his abstracts from Daily Worker and News Chronical reports on the Spanish Civil War; and his Marrakech Notebook with illustrations are reproduced. Many letters not previously published are included, and there is a large number of reviews. This volume also includes a sequence of letters that throws a completely new light on Orwell's personal relationships.

Essays by the author of 1984 on topics from “remembrances of working in a bookshop [to] recollections of fighting in the Spanish Civil War” (Publishers Weekly). 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. “Best known for his late-career classics Animal Farm and 1984, George Orwell—who used his given name, Eric Blair, in the earliest pieces of this collection aimed at the aficionado as well as the general reader—was above all a polemicist of the first rank. Organized chronologically, from 1931 through the late 1940s, these in-your-face writings showcase the power of this literary form.” —Publishers Weekly, starred review

Essays by the author of 1984 on topics from “remembrances of working in a bookshop [to] recollections of fighting in the Spanish Civil War” (Publishers Weekly). 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. “Best known for his late-career classics Animal Farm and 1984, George Orwell—who used his given name, Eric Blair, in the earliest pieces of this collection aimed at the aficionado as well as the general reader—was above all a polemicist of the first rank. Organized chronologically, from 1931 through the late 1940s, these in-your-face writings showcase the power of this literary form.” —Publishers Weekly, starred review

Red Britain sets out a provocative rethinking of the cultural politics of mid-century Britain by drawing attention to the extent, diversity, and longevity of the cultural effects of the Russian Revolution. Drawing on new archival research and historical scholarship, this book explores the conceptual, discursive, and formal reverberations of the Bolshevik Revolution in British literature and culture. It provides new insight into canonical writers including Doris Lessing, George Orwell, Dorothy Richardson, H.G Wells, and Raymond Williams, as well bringing to attention a cast of less-studied writers, intellectuals, journalists, and visitors to the Soviet Union. Red Britain shows that the cultural resonances of the Russian Revolution are more far-reaching and various than has previously been acknowledged. Each of the five chapters takes as its subject one particular problem or debate, and investigates the ways in which it was politicised as a result of the Russian Revolution and the subsequent development of the Soviet state. The chapters focus on the idea of the future; numbers and arithmetic; law and justice; debates around agriculture and landowning; and finally orality, literacy, and religion. In all of these spheres, Red Britain shows how the medievalist, romantic, oral, pastoral, anarchic, and ethical emphases of English socialism clashed with, and were sometimes overwritten by, futurist, utilitarian, literate, urban, statist, and economistic ideas associated with the Bolshevik Revolution.

Between 1936 and 1939, the Spanish Civil War showcased anarchism to the world. News of the revolution in Spain energised a moribund international anarchist movement, and activists from across the globe flocked to Spain to fight against fascism and build the revolution behind the front lines. Those that stayed at home set up groups and newspapers to send money, weapons and solidarity to their Spanish comrades. This book charts this little-known phenomenon through a transnational case study of anarchists from Britain, Ireland and the United States, using a thematic approach to place their efforts in the wider context of the civil war, the anarchist movement and the international left.

The tragedies of World War II are well known. But at least one has been forgotten: in September 1939, four hundred thousand cats and dogs were massacred in Britain. The government, vets, and animal charities all advised against this killing. So why would thousands of British citizens line up to voluntarily euthanize household pets? In The Great Cat and Dog Massacre, Hilda Kean unearths the history, piecing together the compelling story of the life—and death—of Britain’s wartime animal companions. She explains that fear of imminent Nazi bombing and the desire to do something to prepare for war led Britons to sew blackout curtains, dig up flower beds for vegetable patches, send their children away to the countryside—and kill the family pet, in theory sparing them the suffering of a bombing raid. Kean’s narrative is gripping, unfolding through stories of shared experiences of bombing, food restrictions, sheltering, and mutual support. Soon pets became key to the war effort, providing emotional assistance and helping people to survive—a contribution for which the animals gained government recognition. Drawing extensively on new research from animal charities, state archives, diaries, and family stories, Kean does more than tell a virtually forgotten story. She complicates our understanding of World War II as a “good war” fought by a nation of “good” people. Accessibly written and generously illustrated, Kean’s account of this forgotten aspect of British history moves animals to center stage—forcing us to rethink our assumptions about ourselves and the animals with whom we share our homes.

A spirited and essential companion to Orwell and his works, covering all the novels and major essays An intellectual who hated intellectuals, a socialist who didn't trust the state--our foremost political essayist and author of Animal Farm and Nineteen Eighty-Four was a man of stark, puzzling contradictions. Knowing Orwell's life and reading Orwell's works produces just as many questions as it answers. Celebrated Orwell biographer D. J. Taylor guides fans and new readers alike through the many twists and turns of Orwell's books, life and thought. As a writer he intended his works to be transparent and instantly accessible, yet they are also full of secrets and surprises, tantalising private histories, and psychological quirks. From his conflicted relationship with religion to his competing anti-imperialism and fascination with empire, Who Is Big Brother? delves into the complex development of this essential yet enigmatic voice. Taylor leads us through Orwell's principal writings and complex life--crafting an illuminating guide to one of the most enduringly relevant writers in the English language.

Winner of the 2018 International Standing Conference for the History of Education's First Book Award Drawing on a rich array of archival sources and historical detail, The Politics of 1930s British Literature tells the story of a school-minded decade and illuminates new readings of the politics and aesthetics of 1930s literature. In a period of shifting political claims, educational policy shaped writers' social and gender ideals. This book explores how a wide array of writers including Virginia Woolf, W.H. Auden, George Orwell, Winifred Holtby and Graham Greene were informed by their pedagogic work. It considers the ways in which education influenced writers' analysis of literary style and their conception of future literary forms. The Politics of 1930s British Literature argues that to those perennial symbols of the 1930s, the loudspeaker and the gramophone, should be added the textbook and the blackboard.