No, he didn't predict the future. (Photo by NurPhoto/Corbis via Getty Images)

England’s most celebrated performance art piece is the work of Eric Arthur Blair, a man dead for 71 years. A disguise of Englishness was the performance’s core — it was the whole performance — and now gives its name to a society, a trust, a fund, and a memorial prize. In a country where a row can break out over the lowest triviality in half a moment, the goodness, integrity, and decency of the performance is indiscriminately recognised by all — if rarely ever the fact that it was a performance.
When he created his artist’s name — and this is not known for sure, but it is too good not to be true — he thought of England. George for the saint, Orwell for the East Anglian river. The central question of his work is whether he saw Englishness as a tradition in itself and for itself, or as a source of imagery to be exploited for his own political purposes. Most of us don’t get that far though. The performance blocks our view.
A contemporary thought him “as English as the grass that grows alongside the Thames at Runnymede”. Another said “George Orwell walking down the road, was England”. “A quintessentially” wrote J.R. Hammond, “English writer.” “Full of good English qualities” reckoned the American literary critic Edmund Wilson, like common sense and concrete thoughts. Raymond Williams described him as the “most native and English of writers”. We still do. Whenever England or Englishness is the subject, Orwell is ready, the scripture we quote, the trusted authority.
It’s a lovely thing to have, in a way. Orwell there, on the bookshelf, waiting for us to steal ideas about our national identity from. When he imagined Charles Dickens’s face as “as the face of a man who is always fighting against something, but who fights in the open and is not frightened, the face of man who is generously angry” it is hard not to transfer the warm feeling these words summon to Orwell himself. It’s a preposterous feeling. They were both writers — so they were never in the open, and if they were they were in the open, then their reality was still their desks, and their words. Orwell’s best essays are always about the best English writers, like Dickens, and Kipling, and Gissing — projecting himself as a peer, and into the canon.
Orwell’s Dickens is a seductive fantasy, and the Orwell that comes down to us is a flattering fantasy, especially if you’re English. Kindly, gentle George, pottering about in his garden, counting the shillings he spends on books and cigarettes, contemplating pubs, all with a newspaper man’s interest in nitty-gritty detail. What elevates him into a figure, rather than a weird Jeremy Corbyn type stroking his marrows in an allotment, is that Orwell is a proper man, not soft or abstract, because he tells us he is prepared to use physical force, extreme violence even, to defend those flower pots, those books, and all those little shillings.
Until relatively recently in England we did not think of ourselves as aggressors. William Hazlitt, writing long before Orwell, said that England was the bravest nation. Why? Englishmen did not “delight in cruelty”. They only fought reactively: “not out of malice but to show pluck and manhood.” This is what Orwell meant 80 years ago when he described the “gentleness” of English life. It’s why he noted that all our war stories are tales of “disasters and retreats.” It’s why we quote him on this, and ignore that Trafalgar Day was toasted for more than a century. He wrote what we want to be true.
In a sense he was born to flatter. Eric Arthur Blair’s family were Imperial agents and bureaucrats. They were well-off, and they feared working people. He called it the “lower-upper-middle class” which meant comfortable, but not mink coat, Rolls-Royce comfortable. No land, no substantial property. They were professionals with salaries — providing service, without being servants, but bag-carriers all the same. Today, they would be setting up all the zoom calls for Davos, or working as expensive personal shoppers.
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