Posts Tagged ‘Animal Farm’
November 7, 2014 | by Dan Piepenbring
- Fact: the New York Public Library has among its possessions a letter opener with a handle made from the paw of Charles Dickens’s dead cat. (“The story is that he had trained his cat to put out his night candle with his paw.”)
- “Genre doesn’t have to be vexing. It can be illuminating. It can be useful for writers and readers to think in terms of groups and traditions. And a good genre system—a system that really fits reality—can help us see the traditions in which we’re already, unconsciously, immersed.”
- Sixty years ago, the CIA helped to bankroll England’s first-ever animated film: an adaptation of Animal Farm. They thought it would make for great anti-Russian propaganda, especially if they changed the ending, and they knew it would be cheaper to make it in England. “The CIA agent who bought the film rights supposedly promised Mrs. Orwell that he would arrange for her to meet her favorite star, Clark Gable.” Did such a meeting ever occur? When will our government finally tell us the truth?
- Oops: “Do you remember when the Authors Guild sued Google over Google Book Search, which is basically the right to make an index of stuff in books? They said to Google, ‘If you’re going to do this, you’re going to do it on our terms, and you’re going to have to give us a whole $70 million.’ … Google said, ‘$70 million? Let’s shake the sofa and find some change for you.’ Meanwhile, you are guaranteeing that nobody else in the future history of the world will be able to afford to index books, which is one of the ways people find and buy books. Now Google owns that forever, for a mere $70 million! Nice work, Authors Guild. You’ve just made us all sharecroppers in Google’s fields for the rest of eternity.”
- The latest battle in the Usage Wars is really heating up: “If you say ‘It’s not you, it’s me,’ you are probably a native speaker of English or someone with a good command of how native speakers actually speak. If you say ‘It’s not you—it’s I,’ you will quickly achieve the goal of making the other person not want to spend any more time with you. Yet this bizarre formulation is just how Nathan Heller of The New Yorker would have you speak.”
April 12, 2013 | by John Reed
Timeline to this Timeline
September 9, 2001, I’m walking down Lafayette Street with my wife. We’re close to my apartment, with the Tribeca sky, the sky of my youth, hovering above our destination. I have a title idea. “Snowball’s Chance,” I say, “there’s something to it.” She isn’t so sure.
Then, 9/11. Then, 9/13, I understand the title. Animal Farm. Snowball returns to the farm, bringing capitalism, which has its own pitfalls. I’ll turn the Cold War allegory on its head—apply Orwell’s thinking to what had happened in the fifty years since the end of World War II. Three weeks later I have a clean draft.
I start to think about publication, and run into a bump: the feeling in the publishing world, in the entertainment world, is that parody is about to lose its protected status in the United States. Several major lawsuits are underway (2 Live Crew, The Wind Done Gone), copyright has been extended indefinitely for major corporations, and the Supreme Court has never looked more conservative. Given the climate, and that parody is not protected in the United Kingdom, the Orwell estate announces itself “hostile” to my manuscript. The book is nevertheless released in 2002 (by a small but longstanding press, Roof Books), and supported in part by a state grant. At the same moment I see fit to attack Animal Farm as a Cold War allegory—an allegory that I see as conservative, xenophobic, and a bludgeon for radical thinking—Christopher Hitchens, who has taken a sharp turn to the right, sees the need to defend it. In Why Orwell Matters, also published in 2002, Hitchens attempted to apply Orwell’s later-life “Cold War,” a term he popularized, to a stance against terrorism. The media picks up on Hitchens, and Snowball as a counterpoint, and the books are accordingly praised or derided.
Nikolai Kostomarov (1817–1885) pens his story Animal Riot, a farmyard allegory that takes as its analog a hypothetical Russian revolution. A century later, in 1988, the English-language Economist will compare Kostomarov’s 8,500-word story to George Orwell’s 20,000-word Russian Revolution allegory, Animal Farm (which, unlike Animal Riot, ends badly), finding numerous points of comparison. For example, a bull in Animal Riot:
October 24, 2012 | by Sadie Stein