If one harbours anywhere in one's mind a nationalistic loyalty or hatred, certain facts, although in a sense known to be true, are inadmissible.
George OrwellRead
The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature.
Interpretation
Orthodoxy stifles creativity, particularly in novel writing, which thrives on freedom and diversity of thought.
In this quote, George Orwell expresses the idea that rigid adherence to established norms and beliefs, or orthodoxy, is detrimental to the art of writing, especially when it comes to novels. He argues that the novel, as a literary form, flourishes best in an environment characterized by freedom and variety, rather than conformity and dogma, suggesting that creativity and innovation are often at odds with authoritarian thinking.
In practice
During a writing workshop, one could use this quote to emphasize the importance of creative freedom.
If one harbours anywhere in one's mind a nationalistic loyalty or hatred, certain facts, although in a sense known to be true, are inadmissible.
The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.
Political writing in our time consists almost entirely of prefabricated phrases bolted together like the pieces of a child's Meccano set. It is the unavoidable result of self-censorship. To write in plain, vigorous language one has to think fearlessly, and if one thinks fearlessly one cannot be politically orthodox.
Not to expose your true feelings to an adult seems to be instinctive from the age of seven or eight onwards.
As with the Christian religion, the worst advertisement for Socialism is its adherents.
It is fatal to look hungry. It makes people want to kick you.
But I too hate long books: the better, the worse. If they're bad they merely make me pant with the effort of holding them up for a few minutes. But if they're good, I turn into a social moron for days, refusing to go out of my room, scowling and growling at interruptions, ignoring weddings and funerals, and making enemies out of friends. I still bear the scars of Middlemarch.
I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit.
What Shakespeare was able to do in English he would certainly not have done in French.
Literature sucks you into another psyche. So the creation of empathy necessarily influences how you'll behave to other people.
From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme.
When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.
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