Infallibility Complex: the British Left and the Soviet Union, 1930-1950
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British Fiction Today
Birkbeck ePrints: an open access repository of the research output of Birkbeck College http://eprints.bbk.ac.uk Brooker, Joseph (2006). The middle years of Martin Amis. In Rod Mengham and Philip Tew eds. British Fiction Today. London/New York: Continuum International Publishing Group Ltd., pp.3-14. This is an author-produced version of a paper published in British Fiction Today (ISBN 0826487319). This version has been peer-reviewed but does not include the final publisher proof corrections, published layout or pagination. All articles available through Birkbeck ePrints are protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Citation for this version: Brooker, Joseph (2006). The middle years of Martin Amis. London: Birkbeck ePrints. Available at: http://eprints.bbk.ac.uk/archive/00000437 Citation for the publisher’s version: Brooker, Joseph (2006). The middle years of Martin Amis. In Rod Mengham and Philip Tew eds. British Fiction Today. London/New York: Continuum International Publishing Group Ltd., pp.3-14. http://eprints.bbk.ac.uk Contact Birkbeck ePrints at [email protected] The Middle Years of Martin Amis Joseph Brooker Martin Amis (b.1949) was a fancied newcomer in the 1970s and a defining voice in the 1980s. He entered the 1990s as a leading player in British fiction; by his early forties, the young talent had grown into a dominant force. Following his debut The Rachel Papers (1973), he subsidised his fictional output through the 1970s with journalistic work, notably as literary editor at the New Statesman. -
Ar Thur Koestler and Mysticism
AR THUR KOESTLER AND MYSTICISM by NILS BJORN KVASTAD ARTHUR Koestler was an influential writer during the first years after the war. His attacks on communism got a world-wide echo, in particular among intellectuals. To the reading public he was in the first place a political writer. But according to himself the political content is only one aspect of his literary production from his first years as an author. As important were some mystical experiences he had while sitting in one of Franco's prisons awaiting execution during the Spanish Civil War. These experiences had for him certain ethical impli cations, and an important theme in his first books was the contrast between the ethics derived from his mystical experiences on the one hand and Marxist-Leninist ethics as well as the ethical implications of Freudian psychoanalysis on the other. In his autobiography Koest ler writes about how his first books were influenced by his mysti cal experiences, or the 'hours by the window' as he called them: 'In the years that followed I wrote a number of books in which I at tempted to assimilate the (mystical) experiences of cell no. 40. Ethical problems had hitherto played no part in my writing, now they became its central concern. In 'The Gladiators', ( ...), and 'Darkness at Noon', ( .•. ), I tried to come to intellectual terms wi th the in tuiti ve glimp ses gained durin g the 'hours by th e win dow'. Both novels were variations on the same theme: the problem of Ends and Means, the conflict between transcendental morality and social expediency. -
Lost in Back-Translation
24 The German Times October 2018 ARTS & LIFE Lost in back-translation The rediscovered original manuscript of Arthur Koestler’s novel Darkness at Noon allows for a new interpretation of a literary and political classic Rubashov, who is arrested and The book does not reveal the be resold for up to eight times works were all translated from one of the interrogation scenes, BY LUTZ LICHTENBERGER soon thereafter imprisoned. In country in which it is set. At the retail price. By mid-year, the the English. Scammell notes that Rubashov scoffs that “our lead- captivity he is interrogated to several points in the novel there novel had sold 300,000 copies, German-speaking readers would ership [is] more grotesque than t’s the political novel of the excruciating effect by two exam- are indications it may be Nazi and after two years, two million. have regarded the novel as “testi- that jumping jack’s with the little day, a warning signal, a reck- ining magistrates, Ivanov, an erst- Germany, or perhaps communist With the escalation of the Cold mony of a foreign culture.” This, mustache” – a direct reference to Ioning with all forms of totali- while friend and fellow traveler, Soviet Union. Scammel writes War, however, Koestler’s anti- perhaps, encouraged many of Hitler. However, the phrase in tarianism, a riveting literary dys- and Gletkin, a hostile and ruth- that early on, more astute critics totalitarian – indeed universal – them to overlook the passages Daphne Hardy’s original transla- topia. As a matter of fact, Dark- less inquisitor. The two officials called attention to the generally message passed nearly unnoticed. -
HE CONTRIBUTION of GEORGE ORWELL and ARTHUR KOESTLER to the POLIT- ICAL THEORY of TOTALITARIANISM ~Oland James Wensley
~HE CONTRIBUTION OF GEORGE ORWELL AND ARTHUR KOESTLER TO THE POLIT ICAL THEORY OF TOTALITARIANISM ~oland James Wensley ·A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Master of Arts , Department of Economies and Political Science, McGill University, Montreal. August, 1964. TABLE OF CONTENTS PREFACE i-v CHAPTER I: The Men and the Age 1-18 Situation in the 1930's Pl-2; Koestler's personal background P3-6; Koestler's background related to his thought P6-10; Orwell's personal background Pl0-12; Orwell's background related to his thought Pl2-16; Koestler and Orwell compared in general terms Pl7-18. CHAPTER II: Spain 1937 - The Impact of Totalita rianism on Koestler and Orwell 19-34 Situation in Spain 1936-37, Pl9-20; Koestler's Spanish experience P21-26J Orwell's Spanish experience P26-30; meaning of the Spanish experience for Koestler and Orwell as defined in terms of ''li.m.ited '' and "luxuriant r• totalita rianism P31-34. CHAPTER III: Arthur Koestler and Limited Totalita rianism 35-61 Koestler's view of man and society P35-38J Koestler's idea of the genesis of totalitarianism P39-41; attraction of Communism for Koestler P41-43; Koestler's conception of Stalinism P44-48; Koestler's theory of history P47-48; Koestler's idea of totalita rianism P48-56; the meaning of '' limi ted '' totalitarianism in Koestler's work ex pounded P56-61. CHAPTER IV: George Orwell and Luxuriant Totalita rianism 62-83 Orwell's view of man and society P62-64; Orwell's ideas compared with Koestler's on this P65-69; Orwell's extension of the anomalies of the modern age P69-73; Orwell on totalitarian stability1 distortion of reality, and the in vasion of the human personality P73-80; Orwell's conception of luxuriant totalitarianism P80-83. -
Tufts University the American Left And
TUFTS UNIVERSITY THE AMERICAN LEFT AND STALIN'S PURGES, 1936-38: FELLOW-TRAVELLERS AND THEIR ARGUMENTS UNDERGRADUATE HONORS THESIS DEPARTMENT OF HISTORY by SUSAN T. CAULFIELD DECEMBER 1979 CONTENTS Chapter I. INTRODUCTION 1 II. SHOW TRIALS AND PURGES IN THE SOVIET UNION, 1936-38 7 III. TYPOLOGY OF ARGUMENTS 24 IV. EXPLANATIONS .••.•• 64 V. EPILOGUE: THE NAZI-SOVIET PACT 88 SELECTED BIBLIOGRAPHY 95 I. INTRODUCTION In 1936, George Soule, an editor of the New Republic, described in that magazine the feelings of a traveller just returned from the Soviet Union: ••• After a week or so he begins to miss something. He misses the hope, the enthusiasm, the intellectual vigor, the ferment of change. In Russia people have the sense that something new and better is going to happen next week. And it usually does. The feeling is a little like the excitement that accompanied the first few weeks of the New Deal. But the Soviet New Deal has been going on longer, is proyiding more and more tangible results, and retains its vitality ..• For Soule, interest in the "Soviet New Deal" was an expression of dis- content with his own society; while not going so far as to advocate So- viet solutions to American problems, he regarded Soviet progress as proof that there existed solutions to those problems superior to those offered by the New Deal. When he and others on the American Left in the 1930's found the Soviet Union a source of inspiration, praised what they saw there, and spoke at times as if they had found utopia, the phenomenon was not a new one. -
View: "Koestler"
Books Book Review: "Koestler" The Literary and Political Odyssey of a Twentieth-Century Skeptic. By Michael Scammell '85GSAS. By Michael Kimmage | Winter 2009-10 Arthur Koestler in New York City. (Bettman / Corbis) When Arthur Koestler arrived in New York City in March 1948 to launch an American speaking tour, his visit was front-page news. An audience of 3000 filled Carnegie Hall, eager to hear Koestler’s thoughts on “the radical’s dilemma” and on America’s pressing need to confront Soviet communism. Koestler had gained worldwide fame for his novel Darkness at Noon, published in 1940. The hero of the novel is Nicholas Rubashov, a devout communist caught in Stalin’s net in the 1930s for straying from the party line. Before his inevitable execution, he is interrogated and forced to confess to ludicrous crimes. At the heart of his ordeal is an “absolute faith in History”: Stalin may be fallible, but the Soviet cause is infallible and can be made to justify countless deaths, including Rubashov’s own. The novel’s taut, philosophical style made it a staple of international literary culture, damaged the Communist Party’s global reputation, and made its author an icon of the engagé intellectual. For much of the Cold War, Koestler was a celebrity anti- communist. Yet when Koestler, the author of some 30 books, died in 1983, his chosen legacy was detached from political parties, movements, and causes. In his will, he left most of his estate to endow an academic chair in parapsychology. This unorthodox evolution can now be traced in Koestler: The Literary and Political Odyssey of a Twentieth-Century Skeptic, a new biography by Michael Scammell ’85GSAS, professor of creative writing at Columbia. -
Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 Ryan Gentry Department of History Presen
Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 Ryan Gentry Department of History Presented for the Partial Requirements Necessary for a Master of Arts Degree (History) at Concordia University Montreal, Quebec March 2018 © Ryan Gentry, 2018 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ryan Gentry Entitled: Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 and submitted in partial fulfillment of the requirements for the degree of Master of Arts, History complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Barbara Lorenzkowski Examiner Dr. Norman Ingram Examiner Dr. Eric H. Reiter Thesis Supervisor Dr. Alison Rowley Approved by Dr. Peter Gossage Chair of Department or Graduate Program Director André Roy Dean, Faculty of Arts and Science Date Gentry iii Abstract Letting “Mad Dogs” Lie: Anglo-American Journalism and the First Moscow Trial, 1936 Ryan Gentry There have been many scholarly efforts covering the period in the Soviet Union known as the Great Terror; most often these writings tried to contextualize and understand the inner working of the regime or its people. The present work shifts this lens, since it seeks to uncover how Anglo-American audiences grappled with one significant event from that era: the 1936 Trial of the Sixteen, the first of Stalin’s major show trials. As the Old Bolsheviks were led to the slaughter, people in the West received a myriad of information concerning this very public spectacle. -
Report to UCL Octagon Small Grants Fund Sarah Gibbs 1 Conference: Rebel? Prophet? Relic? Perspectives on George Orwell in 2019
Report to UCL Octagon Small Grants Fund Sarah Gibbs 1 Conference: Rebel? Prophet? Relic? Perspectives on George Orwell in 2019 24-25 May 2019 University College London (UCL) Conference Programme Summary UCL’s first George Orwell conference, Rebel? Prophet? Relic? Perspectives on George Orwell in 2019, took place on May 24th and 25th. The event explored all aspects of the author’s oeuvre and presence in popular culture, from the continuing significance of his masterpiece, the political dystopia Nineteen Eighty-Four (1949), to his relationship to the British Empire and mid-century Fascism. Panelists discussed his reception history in different parts of the world, and adaptations of his work in a variety of media. The speaker list was international, and truly interdisciplinary. Presenters, who were academics, theatre directors, video game designers, authors, journalists, and members of the Armed Forces, traveled Report to UCL Octagon Small Grants Fund Sarah Gibbs 2 from Australia, Canada, Iraq, the United States, China, Germany, Scotland, and all parts of England to participate. The conference brought together a number of Orwell-focused organizations and institutions: the Orwell Foundation, the Orwell Society, and UCL Special Collections, holder of the Orwell Archive. Approximately forty members of the public also joined the event. The support of the Octagon Small Grants Fund not only allowed scholars to participate in a conference dedicated to Orwell, very few of which exist, but also enabled the University to positively engage with the community and publicize its projects and collections. Twitter: @UCL_Orwell_2019; #UCLOrwell2019 Report In 1945, George Orwell wrote of war-time rumours that American troops had come to England to thwart a communist revolution: “One has to belong to the intelligentsia to believe things like that. -
Social Justice Sampler
SAA SAAMPLER SAA SAASAMPLER MPLER LAWSOCIAL & ETHICS LAW & LAW & 6” 11/16” LAW6” JU &S TICE6” ETHICS.78” 6” PRIVACY & CONFIDENTIALITY PERSPECTIVES MPLER “ Today, legal issues are pervading archival administration more intensively and in more areas ETHICS ETHICS than ever before. Fortunately, a superb new manual, Navigating Legal Issues in Archives, “Privacy and Confidentiality Perspectives brings together a diverse selection of thoughtful and provocative essays that explore the legal, ethical, written by Menzi Behrnd-Klodt and published by the Society of American Archivists, is now administrative, and institutional considerations that shape archival available to guide archivists in facing such problems. While its predecessor, Archives and debates concerning the administration of access to records containing Manuscripts: Law, by Gary and Trudy Peterson, served the last generation well, the current personal information. It is essential reading for archivists, records impact of the law on archives has changed in both detail and extent. The coverage of this new managers, archival educators and students who wish to gain a deeper under-standing of this difficult archival issue—and it is bound to stimu- book reflects these changes well—its presentation is clear, thorough, and well-documented. late broader reflection and debate.” 9” The organization, index, and notes make the book easy to use and give assurance to its quality. — Nadine Strossen Its author and publisher are to be commended for an outstanding aid to their profession.” President, American Civil Liberties Union, and ORRIS OHEN Professor of Law, New York Law School – M L. C 9” ARCHIVISTS & ARCHIVAL RECORDS Professor Emeritus of Law, and Librarian (Retired), Yale Law School “Privacy and Confidentiality Perspectives fills a crucial void in the corpus of archival literature. -
Martin Amis: Postmodernism and Beyond, Edited by Gavin Keulks 102 Martin Amis: Postmodernism and Beyond a Lethal Hostility to Deviation Or Resistance
7 Martin Amis’s Time’s Arrow and the Postmodern Sublime Brian Finney California State University, Long Beach Time’s Arrow (1991) confronts a question that has consumed Amis from an early stage in his career: is modernity leading civilization to self-destruction? While his main concern remains the world’s develop- ment of nuclear weapons, he sees the origins of the West’s drive to implode not just in Hiroshima and Nagasaki but in the Holocaust (Time’s Arrow) and the Soviet gulags (Koba the Dread). The Holocaust is, he has said, “the central event of the twentieth century” (Bellante, 16). As Dermot McCarthy observes: Amis’s “generation suffers from an event it did not experience, and will expire from one it seems power- less to prevent” (301). James Diedrick has called Einstein’s Monsters (1987), London Fields (1989), and Time’s Arrow an “informal trilogy” (104). The first two focus on a nuclear holocaust that threatens postwar civilization, whereas Time’s Arrow returns to the Holocaust, which cast its shadow over the rest of the century. London Fields and Time’s Arrow complement one another in particular. In a prefatory note to London Fields Amis mentions that he even considered calling the novel by the latter’s title. Indeed, Hitler remains at the heart of Amis’s belief that we are living in the aftermath of disaster. In London Fields Nicola Six remarks that “it seemed possible to argue that Hitler was still running the century” (395), and in 2002 Amis confessed, “I feel I have unfinished business with Hitler” (Heawood, 18). -
The Prisoner Intellectuals
Published on The New Republic (http://www.tnr.com) The Prisoner Intellectuals • Paul Berman • May 5, 2010 | 6:34 pm Koestler: The Literary and Political Odyssey of a Twentieth Century Skeptic By Michael Scammell (Random House, 689 pp., $40) I. The opening pages of Arthur Koestler’s Darkness at Noon are thrilling to read. In a very few sentences, Koestler managed to wrap his arms around one of the huge and mysterious philosophical master-themes of the last two centuries, and, in a muscular feat of poetic compression, to reduce his giant theme to a handful of simple images: The cell door slammed behind Rubashov. He remained leaning against the door for a few seconds, and lit a cigarette. On the bed to his right lay two fairly clean blankets, and the straw mattress looked newly filled. The wash-basin to his left had no plug, but the trap functioned. The can next to it had been freshly disinfected, it did not smell. The walls on both sides were of solid brick, which would stifle the sound of tapping, but where the heating and drain pipe penetrated it, it had been plastered and resounded quite well; besides, the heating pipe itself seemed to be noise-conducting. The window started at eye- level. And Rubashov observes the vista beyond the window bars: the snow, the moon, the Milky Way, a marching sentry, the yellow light of electric lanterns. You will remember that Rubashov is a hardened militant of the Communist revolution. In the old days, when he was a high-ranking commissar, he used to enforce Communist discipline on the party rank-and-file in different parts of the world, in the interest of the Soviet Union. -
Nineteen Eighty-Four
Nineteen Eighty-Four This article is about the Orwell novel. For other uses, see 1984 (disambiguation). Nineteen Eighty-Four, sometimes published as 1984, is a dystopian novel by English author George Orwell pub- lished in 1949.[1][2] The novel is set in Airstrip One (for- merly known as Great Britain), a province of the super- state Oceania in a world of perpetual war, omnipresent government surveillance and public manipulation, dic- tated by a political system euphemistically named English Socialism (or Ingsoc in the government’s invented lan- guage, Newspeak) under the control of a privileged Inner Party elite, that persecutes individualism and independent thinking as "thoughtcrimes".[3] The tyranny is epitomised by Big Brother, the quasi- divine Party leader who enjoys an intense cult of per- sonality but who may not even exist. The Party “seeks power entirely for its own sake. We are not interested in the good of others; we are interested solely in power.”[4] The protagonist of the novel, Winston Smith, is a member of the Outer Party, who works for the Ministry of Truth (or Minitrue), which is responsible for propaganda and historical revisionism. His job is to rewrite past newspa- per articles, so that the historical record always supports A 1947 draft manuscript of the first page of Nineteen Eighty- the party line.[5] Smith is a diligent and skillful worker Four, showing the editorial development. but he secretly hates the Party and dreams of rebellion against Big Brother. As literary political fiction and dystopian science-fiction, his unforgiving novel” in 1944, the implications of divid- Nineteen Eighty-Four is a classic novel in content, plot ing the world up into Zones of influence that had been con- and style.