Collected Essays. Brian Aldiss
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there are still some good guys left. We are also duly grateful for the one just departed.
Of course, Sturgeon had his faults, but at his best his turn of phrase, his twist of mind, should have made him a widely admired name in American letters. A story like ‘When You’re Smiling’, which appeared in Galaxy in the 1950s, is beautiful and brutal, spiked with psychological understanding. It’s the old conundrum, posed every day to those of us who love SF: why doesn’t everyone recognize its sterling virtues?
So Ted slowly went into eclipse—not that that is not often the fate also of better-known writers. He showed up at one of Harry Harrison’s Dublin conferences in the late 1970s with a charming lady in tow. He addressed me in these words, ‘Hey, Brian, you and I are the best ever SF writers, why don’t we get together and write the best ever novel? Why don’t I come back to your place for a coupla months, settle in and work with you?’
A hundred reasons for saying no leapt immediately to mind.
Now there’s a Sturgeon Project,[1] aiming at returning all of Sturgeon’s stories to print. In 1993, the project published Argyll, an eighty-page booklet. It is Ted’s tragic story of his relationship with his step-father. Samuel R. Delany, in a well meaning afterword, compared Argyll with Kafka’s Letter to His Father. That’s a mistake. Kafka’s profound document adds to our understanding of human nature. Whereas Ted Sturgeon’s piece, though of great interest, is just a self-pitying account of a man’s cruelty to a small boy, a persecution of the almost helpless.
At least it tells us where ‘Microcosmic God’ came from.
1. For more information, write to The Sturgeon Project, c/o Paul Williams, Box 611, Glen Ellen, CA 95442, USA.
THE DOWNWARD JOURNEY Orwell’s 1984
‘There is a word in Newspeak’, said Syme, ‘I don’t know whether you know it: duckspeak, to quack like a duck. It is one of those interesting words that have two contradictory meanings. Applied to an opponent, it is abuse; applied to someone you agree with, it is praise.’
Neologisms such as duckspeak and slogans like WAR IS PEACE provide dramatic signposts in the landscape of George Orwell’s 1984, and direct our attention towards the oppositions and paradoxes of which it is constructed. The whole novel charts an example of enantiodromia, that is, the inevitable turning of one thing into its opposite; its strategy is to anatomize Winston Smith’s progression from hatred to the time—dramatically achieved in that resounding last sentence of the text—when he comes to love Big Brother.
In this mirror effect, left has become right, right left. I shall deal here with some of the ways in which Orwell mirrors life.
One major mirror effect is proclaimed in the very title, for Nineteen Eighty-Four is itself a piece of wordplay, the year 1984 being a mirror image, at least as far as the last two digits are concerned, of the year in which Orwell was writing the novel, 1948.
The novel itself is full of similar oppositions. Winston Smith’s barrack-like flat is contrasted with the love-nest over the antique shop. The elaboration and importance of his work at the Ministry is contrasted with its triviality. The astronomical number of boots manufactured on paper by the state is contrasted with the fact that half the population of Oceania goes barefoot. When O’Brien holds up four fingers, Smith sees five, in the final obscene triumph of doublethink.
It is a profoundly disturbing view of life: everything depends on words and what goes on in the head. External reality no longer exists, at least as far as the Party is concerned. 1984 might have been written by Bishop Berkeley.
There is another hierarchy of oppositions, the ones which most grasp our attention because they are mirror images of assumptions we make in the everyday world. We do not believe that IGNORANCE IS STRENGTH or that FREEDOM IS SLAVERY—although the novel shows clearly how these things can be. We believe that peace is the norm and war is the exception, unlike the rulers of Oceania. Nor do we readily accept that political confessions, extracted under duress, are true.
All these oppositions, which are word-orientated, are paraded in order to unsettle us. If the novel’s title is ‘merely’ wordplay, then we are entitled to ask to what extent Orwell was actually trying to predict the future, or to what extent he was simply deploying ‘the future’ as a metaphor for his present; in other words, using the future for yet another mirror effect.
In many of its aspects, 1984 captures accurately daily existence in World War II for the civilian population. Reading Orwell’s sordid future, we relive the tawdry past.
Here are the run down conditions under which people in England, Germany, and elsewhere actually lived, here are the occasional bombs falling, the spirit of camaraderie, and the souped up hatred of a common enemy. The rationing, the propaganda, the life lived in shelters, the cigarettes which must be kept horizontal so that their tobacco does not spill out, the shortage of razor blades, the recourse to cheap gin: these are details of common experience in the 1940s, gathered together for maximum artistic effect. At the same time, on a more personal level, Smith’s work at the Ministry of Truth reflects Orwell’s work at the BBC in Broadcasting House.
In such aspects, Orwell used a general present. It is the general present which provides the furniture of the novel.
More deeply part of the centrality of the book are some of Orwell’s own obsessions. The familiar Orwellian squalor is in evidence throughout. The woman poking out a drain in The Road to Wigan Pier reappears as Mrs Parsons with her drain problem, and so on. Such matters are in evidence even in Orwell’s first novel, Keep the Aspidistra Flying, and a preoccupation with illness and personal decay infect the novel—hardly surprising, in view of Orwell’s deteriorating health. He died only a few months after 1984 was published and proclaimed. In the final scenes, when Smith and Julia meet for the last time, it is age as well as torture which has ruined them: ‘her thickened, stiffened body was no longer recognisable from behind’.
But this is a novel operating beyond the compass of the ordinary realist novel. Being a political novel—that rare thing, an English political novel—it has more dimensions to it than the physical. Its principal preoccupation is with betrayal, betrayal through words. In this respect, it is a sibling of Animal Farm. ALL ANIMALS ARE EQUAL BUT SOME ANIMALS ARE MORE EQUAL THAN OTHERS is a step, or rather a long stride, towards duckspeak, and the betrayal of the deepest intentions of a revolution. Winston Smith, right from the start, is not only a secret enemy of the Party he serves. He also betrays himself by his enjoyment of the work he does for it. ‘Smith’s greatest pleasure in life was his work’—and his work is bound up with words, distorting the truth by falsifying old records even when those records are themselves already fake.
Orwell’s deployment of the philosophical entanglements inherent in words and phrases is masterly. He was early in life fascinated by G. K. Chesterton’s unparalleled talent for paradox. 1984 may owe something to Chesterton’s future-fantasy, The Napoleon of Notting Hill; it certainly extends its paradoxes. One example must suffice. When Smith asks O’Brien if Big Brother exists ‘in the same way as I exist’, O’Brien answers immediately, ‘You do not exist’. Here the paradox is that no paradox exists, for, in Newspeak terms, Smith has become an unperson and indeed does not exist.
Nor is it too fanciful to imagine that Orwell believed that his novel would falsify the future. Certainly, that seems to have been one of its effects. Fear is a great hypnotizer, and some people are prepared to believe that we live in an actual Orwellian vision of the future, in that world whose image is a boot stamping on a human face forever. In a literal sense, of course, this is totally untrue. We still live in a world worth defending. War and peace are still distinguishable states of mind. (And in 1984 at least one atomic bomb has been dropped on Airstrip One; that has not happened in our real world.)
The West may, like decadent Byzantium apeing the manners of its besiegers, ultimately betray itself from within to the enemy without. But we still live in a community where diverse opinion