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."how to be interesting, line after line."Contents:Charles DickensBoys' WeekliesInside the WhaleDrama Reviews: The Tempest, The Peaceful InnFilm Review: The Great DictatorWells, Hitler and the World StateThe Art of Donald McGillNo, Not OneRudyard KiplingT.S. EliotCan Socialists Be Happy?Benefit of Clergy: Some Notes on Salvador DaliPropaganda and Demotic SpeechRaffles and Miss BlandishGood Bad BooksThe Prevention of LiteraturePolitics and the English LanguageConfessions of a Book ReviewerPolitics vs. Literature: An Examination of Gulliver's TravelsLear, Tolstoy and the FoolWriters and LeviathanReview of The Heart of the Matter by Graham GreeneReflections on Gandhi

    The second edition had a substantial new chapter by R. C. Churchill on twentieth-century literature and appeared in 1961. This is a digital reprint of the 1970 edition, prepared by Mr Churchill, which provides a revision of the first thirteen chapters. Three very substantial chapters were added that had the effect of making this the only complete and up-to-date survey as of 1970 of world literature in English. The literature of the USA is surveyed in extenso and in its own right. The literatures in English of Ireland, India, Pakistan, Ceylon, Malaysia, Canada, Australia, New Zealand, the West Indies, South Africa and the predominately English-speaking African states are also treated. Students and general readers will find this a comprehensive and lively-minded survey, guide and reference book to the world's literature in the English language.

    Shakespeare, Dostoevski, Cervantes, Thoreau, Melville, Whitman, Rilke, Randolph Bourne (of whom we are so regrettably ignorant in England)--these are the prophets to be expounded, related, excoriated (stripped of accretions of platitude and misunderstanding). But behind them are the original prophets, the great Hebrew prophets, and the greatest prophet of them all, the Galilean.

    Serves as a valuable introduction to Cassuto's illuminating commentaries on the Pentateuch, in which he emerges as one of the most original modern biblical exegetes.

    This welcome re-issue—one of several for this title—testifies to the value publishers put on it and to a reluctance among them ever to let it stay out of print for very long.The subjects Wilson treats—Dickens and Kipling, Edith Wharton and Ernest Hemingway, Joyce and Sophocles, and perhaps most surprising, Jacques Casanova—reveal the range and dexterity of his interests, his historical grasp, his learning, and his intellectual curiosity.Wilson’s essays did not give rise to a new body of literary theory nor to a new school of literary criticism. Rather, he animated or reanimated the reputations of the artists he treated and furthered the quest for the sources of their literary artistry and craftsmanship.F. Scott Fitzgerald called Wilson “the literary conscience of my generation.” Today’s readers of The Wound and the Bow may want to make the claim for their generation as well.