Like virtually all utopian or anti-utopian satires, Nineteen Eighty-Four presents drab, flat characters living in a grim world. Their journeys are predictable because their freedoms are narrow, often nonexistent and merely imagined. You cannot judge this book by the conventional criteria signaling a “good” novel. Even the main characters are not three-dimensional figures.
That is how it should be. What would you expect? In a world like this, it would be inconsistent, if not contradictory, to portray human beings who are not stunted and who live exciting lives with unexpected plot twists and turns.
Yet there is a hero in this anti-utopia, and Orwell’s magnificent portrait exemplifies its consummate artistry. The multidimensional, richly drawn “hero” is none other than the setting — that is, the empire of Oceania itself. Its history, its corrupt and tyrannical ruling Party, its oppressive and terrifying technology, its ingenious propagandistic language (“Newspeak”), its hatred of the body and sexuality (Julia belongs to — and pretends to support — the Junior Anti-Sex League): all this makes it a rounded, fascinating, creatively elaborated “character”. And there is no room for any other. Because Oceania is omnipotent and omniscient, it determines that its citizenry — whether prole or Party leader — is a cipher. The setting is, as it were, the (pseudo-Marxist) substructure; the superstructure of character and plot are determined by and beholden to it, utterly secondary and “superfluous” by comparison.
Orwell created an unforgettable, terrifying character — Oceania — and showed its “development” (in the spheres of technology, language, warfare, geopolitics, state torture, social relations, and family and sexuality) with astonishing inventive prowess. That development is manifested above all in Oceania’s range of technological gadgets, Newspeak neologisms, and Party slogans and catchwords.
And that is why Nineteen Eighty-Four is a gripping “novel”. That is, moreover, why it not only became a runaway bestseller in the early Cold War era, but also why it has exerted a cultural impact greater than any work of fiction in the 20th century.
John Rodden and John Rossi, “George Orwell Warned Us, But Was Anyone Listening?”, The American Conservative, 2019-10-02.
October 31, 2023
QotD: Orwell’s “hero” in Nineteen Eighty-Four
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