the World
, fish and chips, stopped-up drains. He got the feel of 1948 all right. Physical grittiness. Weariness and privation. Those werenât tragic. All the tragedy then was reserved for the Nazi deathcamps. And the Russian ones too, but you werenât supposed to think of those. Ergo, our own troubles were comic.
You mean: if a thing isnât tragic it has to be comic
?
In art, if not in real life. Let me tell you more about 1949, when I was reading Orwellâs book about 1948. The war had been over four years, and we missed the dangers â buzz-bombs, for instance. You can put up with privations when you have the luxury of danger. But now we had worse privations than during the war, and they seemed to get worse every week. The meat ration was down to a couple of slices of fatty corned beef. One egg a month, and the egg was usually bad. I seem to remember you could get cabbages easily enough. Boiled cabbage was a redolent staple of the British diet. You couldnât get cigarettes. Razor blades had disappeared from the market. I remember a short story that began, âIt was the fifty-fourth day of the new razor bladeâ â thereâs comedy for you. You saw the effects of German bombing everywhere, with London pride and loosestrife growing brilliantly in the craters. Itâs all in Orwell.
What you seem to be saying is that
Nineteen Eighty-Four
is no more than a comic transcription of the London of the end of the Second World War
.
Well, yes. Big Brother, for instance. We all knew about Big Brother. The advertisements of the Bennett Correspondence College were a feature of the pre-war press. You had a picture of Bennett
père
, a nice old man, shrewd but benevolent, saying, âLet me be your father.â Then Bennett
fils
came along, taking over the business, a very brutal-looking individual, saying: â LET ME BE YOUR BIG BROTHER .â Then you get this business of the Hate Week. The hero of the book, Winston Smith, canât take the lift to his flat because the electricityâs been cut off â we were all used to that. But the 1984 juice has been cut as part of an economy drive in preparation for Hate Week â typical government
non sequitur
.Now we knew all about organized hate. When I was in the army I was sent on a course at a Hate School. It was run by a suspiciously young lieutenant-colonel â boy friend of which influential sadist, eh? We were taught Hatred of the Enemy. âCome on, you chaps, hate, for Godâs sake. Look at those pictures of Hun atrocities. Surely you want to slit the throats of the bastards. Spit on the swine, put the boot in.â A lot of damned nonsense.
And I suppose the contradiction of that section of the book is meant to be comic too?
Contradiction?
The electricity has been cut off, but the telescreen is braying statistics to an empty apartment. Itâs hard to accept the notion of two distinct power supplies
.
I hadnât thought of that. I donât think anybody thinks of it. But there you are â a necessary suspension of disbelief, appropriate to a kind of comic fairy tale. And the television screen that looks at you â Orwell had lifted that from Chaplinâs
Modern Times
. But itâs prophetic, too. Weâre in the supermarket age already, with a notice saying, âSmile â youâre on TV!â
Did England have television in those days?
Are you mad? Weâd had television back in the 1930s. The Baird system, what James Joyce called the âbairdbombardmentboardâ or something. Logie Baird, his name dimly echoing in Yogi Bear. I saw the very first BBC television play â Pirandello,
The Man with a Flower in His Mouth
. You got vision from your Baird screen and sound from your radio. Aldous Huxley transferred that system to his
Brave New World
â 1932, as I remember. Mind you, itâs never been necessary actually to have television in order to appreciate its
Brian Herbert, Kevin J. Anderson