Help, I’m Alive: Help, I’m Alive: 1984’s1984’s First Third First Third

FeracoFeraco

SFHP and Myth/Sci-FiSFHP and Myth/Sci-Fi

16 February 201216 February 2012

• Do I dare / Disturb the universe?Do I dare / Disturb the universe?• Why was it that they could never Why was it that they could never

shout like that about anything that shout like that about anything that mattered? (70)mattered? (70)

• And even when they became And even when they became discontented, as they sometimes discontented, as they sometimes did, their discontent led nowhere, did, their discontent led nowhere, because, being without specific because, being without specific ideas, they could only focus on petty ideas, they could only focus on petty specific grievances. The larger evils specific grievances. The larger evils invariably escaped their notice (71-invariably escaped their notice (71-72).72).

The thing that now suddenly struck Winston The thing that now suddenly struck Winston was that his mother’s death, nearly thirty was that his mother’s death, nearly thirty years ago, had been tragic and sorrowful years ago, had been tragic and sorrowful in a way that was no longer possible. in a way that was no longer possible. Tragedy, he perceived, belonged to the Tragedy, he perceived, belonged to the ancient time, to a time when there were ancient time, to a time when there were still privacy, love, and friendship, and still privacy, love, and friendship, and when the members of a family stood by when the members of a family stood by one another without needing to know the one another without needing to know the reason…Today there were fear, hatred, reason…Today there were fear, hatred, and pain, but no dignity of emotion, or and pain, but no dignity of emotion, or deep or complex sorrows (30)deep or complex sorrows (30)

The first chapter accomplishes a The first chapter accomplishes a tremendous amount in a very short tremendous amount in a very short timespan. timespan.

Orwell lays out the rules of his Orwell lays out the rules of his nightmare world in broad strokes, pausing nightmare world in broad strokes, pausing to explain some while merely referencing to explain some while merely referencing others. (We trust he’ll tell us later; he others. (We trust he’ll tell us later; he justifies the trust.) justifies the trust.)

In juxtaposing the familiar (London!) In juxtaposing the familiar (London!) with the patently unfamiliar (what’s with the patently unfamiliar (what’s Airstrip One? What’s Oceania?), Orwell Airstrip One? What’s Oceania?), Orwell establishes the tone that he’ll carry establishes the tone that he’ll carry throughout the entire first section: throughout the entire first section: jumbled and largely grim, with glimmers jumbled and largely grim, with glimmers of hope at the edges of the picture he’s of hope at the edges of the picture he’s painting. painting.

But beyond establishing his world, But beyond establishing his world, tone, and narrative perspective, Orwell tone, and narrative perspective, Orwell uses Chapter One to introduce Winston uses Chapter One to introduce Winston Smith, a character who’s initially a Smith, a character who’s initially a baffling, contradictory mixture of baffling, contradictory mixture of thoughtfulness, decency, cowardice, and thoughtfulness, decency, cowardice, and vice. vice.

Winston would probably be a deeply Winston would probably be a deeply unsympathetic figure in virtually any unsympathetic figure in virtually any other type of narrative, but in the terrible other type of narrative, but in the terrible realm of realm of 1984,1984, we latch onto his we latch onto his fundamental humanity like a drowning fundamental humanity like a drowning man clings to passing driftwood. man clings to passing driftwood.

Before looking more extensively at the Before looking more extensively at the specific world, mood, and characters of specific world, mood, and characters of 1984,1984, an an examination of its genre is in order. examination of its genre is in order. 11

984984 belongs to a literary tradition that’s belongs to a literary tradition that’s pretty well-trodden at the moment, but which pretty well-trodden at the moment, but which was still fairly fresh at the time of its publication: was still fairly fresh at the time of its publication: the novel of negative utopia, or “dystopia.” the novel of negative utopia, or “dystopia.”

Up until just before the dawn of the Up until just before the dawn of the twentieth century, novels tended to present twentieth century, novels tended to present fairly straightforward visions of society. fairly straightforward visions of society.

Even speculative fiction (what passed for Even speculative fiction (what passed for science fiction at the time) tended to project science fiction at the time) tended to project society in one of two ways: either as a society in one of two ways: either as a continuation of the recognizable traditions of the continuation of the recognizable traditions of the present, or as a glorious leap forward from it. present, or as a glorious leap forward from it.

It’s this latter type that particularly It’s this latter type that particularly captured a large set of speculative-fiction captured a large set of speculative-fiction writers: why bother speculating about a future writers: why bother speculating about a future where things are markedly worse? where things are markedly worse?

As Erich Fromm points out in his As Erich Fromm points out in his Afterword to Afterword to 1984, 1984, this tradition has its this tradition has its roots in the Old Testament – the idea roots in the Old Testament – the idea that mankind is not yet what he can be, that mankind is not yet what he can be, but will reach that potential someday.but will reach that potential someday.

The tradition gained further traction The tradition gained further traction with Thomas More’s publication of with Thomas More’s publication of UtopiaUtopia – which literally means “no place” – which literally means “no place” in Greek, but which we’ve since taken to in Greek, but which we’ve since taken to mean “good place.”mean “good place.”

It carried on all the way through the It carried on all the way through the beginning of the twentieth century, at beginning of the twentieth century, at which point the first World War which point the first World War shattered a generation and introduced a shattered a generation and introduced a level of anxiety about the future on a level of anxiety about the future on a global scale.global scale.

From this anxiety was born a From this anxiety was born a counter-movement of sorts – counter-movement of sorts – “dystopian novels,” or books about “dystopian novels,” or books about “bad places.”“bad places.”

One of the key elements of a One of the key elements of a dystopian novel is that the society in dystopian novel is that the society in question must be a twisted version of question must be a twisted version of an impossible Utopian ideal (since the an impossible Utopian ideal (since the impossibility, after all, is built into the impossibility, after all, is built into the term). term).

People wouldn’t buy into a picture People wouldn’t buy into a picture of pure evil arising from nothingness of pure evil arising from nothingness and conquering the world, but they and conquering the world, but they would follow the concept of a good idea would follow the concept of a good idea turned bad by its adherents – or by turned bad by its adherents – or by people who co-opted such movements people who co-opted such movements for their own purposes.for their own purposes.

Before Before 1984, 1984, the most famous the most famous dystopian work was Aldous Huxley’s dystopian work was Aldous Huxley’s Brave New World.Brave New World.

Huxley taught Orwell when he Huxley taught Orwell when he was a university student, and the was a university student, and the professor’s ideas echo throughout professor’s ideas echo throughout both novels.both novels.

That said, it should be noted That said, it should be noted that the stories represent two sides that the stories represent two sides of the same coin – that they have the of the same coin – that they have the same general idea of society gone same general idea of society gone wrong, but that they take very wrong, but that they take very different paths to get there.different paths to get there.

Dystopian societies as portrayed in these Dystopian societies as portrayed in these novels tend to share the following common novels tend to share the following common traits:traits:

• Propaganda is used to control the citizens of Propaganda is used to control the citizens of societysociety

• Information, independent thought, and freedom Information, independent thought, and freedom are restrictedare restricted

• A figurehead or concept is worshipped by the A figurehead or concept is worshipped by the citizens of the societycitizens of the society

• Citizens are perceived to be under constant Citizens are perceived to be under constant surveillancesurveillance

• Citizens have a fear of the outside worldCitizens have a fear of the outside world• Citizens live in a dehumanized stateCitizens live in a dehumanized state• The natural world is banished and distrustedThe natural world is banished and distrusted• Citizens conform to uniform expectationsCitizens conform to uniform expectations• Individuality and dissent are badIndividuality and dissent are bad• The society is an illusion of a perfect utopian The society is an illusion of a perfect utopian

worldworld

But dystopian novels’ main But dystopian novels’ main purpose is not simply to invent a purpose is not simply to invent a society.society.

In many ways, the society at In many ways, the society at hand cannot simply be a twisted hand cannot simply be a twisted version of the Utopian ideal; it has to version of the Utopian ideal; it has to be a twisted version of the be a twisted version of the current current society were it to pursue that ideal.society were it to pursue that ideal.

In this way, authors can use In this way, authors can use dystopias not simply as works of dystopias not simply as works of speculative fiction, but as a means of speculative fiction, but as a means of criticizing current trends societal criticizing current trends societal norms, or political systems.norms, or political systems.

Orwell and Huxley both painted Orwell and Huxley both painted worst-case scenarios of the modern worst-case scenarios of the modern Western world’s downfall; both were Western world’s downfall; both were British, and it’s no surprise that the British, and it’s no surprise that the action in both takes place in action in both takes place in transformed versions of England.transformed versions of England.

You’ll see (at least in Myth/Sci-Fi) You’ll see (at least in Myth/Sci-Fi) Neil Postman’s adage borne out: that Neil Postman’s adage borne out: that Huxley believed we’d be destroyed by Huxley believed we’d be destroyed by the things we loved, and Orwell the things we loved, and Orwell feared we were more susceptible to feared we were more susceptible to the things we hated.the things we hated.

• The first chapter:The first chapter:– Establishes Winston as a viable Establishes Winston as a viable

protagonistprotagonist• The world overwhelms us, so give us The world overwhelms us, so give us

someone similarly powerlesssomeone similarly powerless

– Shows us the contrast between ideology Shows us the contrast between ideology and realityand reality

– Teaches us to appreciate beauty in small Teaches us to appreciate beauty in small bursts while moving us into a bursts while moving us into a “hunkered-down” mindset“hunkered-down” mindset• Lays out a raw-nerved emotional landscapeLays out a raw-nerved emotional landscape

From the instant the clocks From the instant the clocks strike thirteen, we know this book is strike thirteen, we know this book is going to be trouble: either the laws going to be trouble: either the laws of time have been screwed up of time have been screwed up somehow, or the society we’re about somehow, or the society we’re about to study has been permanently to study has been permanently militarized (since military time militarized (since military time dispenses with am/pm designations, dispenses with am/pm designations, operating instead on a twenty-four-operating instead on a twenty-four-hour cycle). hour cycle).

We suspect it’s the latter when We suspect it’s the latter when we realize everything’s branded we realize everything’s branded “Victory This” and “Victory That.”“Victory This” and “Victory That.”

• This chapter also gives us glimpses This chapter also gives us glimpses of daily life – both the routines (Two of daily life – both the routines (Two Minutes’ Hate) and social Minutes’ Hate) and social conventionsconventions

•We see who thrives – and the dangers that We see who thrives – and the dangers that threaten survival threaten survival

– Outlines Winston’s first real riskOutlines Winston’s first real risk– Foreshadows a ridiculous amount of the Foreshadows a ridiculous amount of the

book’s final chaptersbook’s final chapters

•Basically, it’s really important, Basically, it’s really important, even if it seems like “nothing even if it seems like “nothing happens”happens”

• The second chapterThe second chapter– Establishes some more social structure – Establishes some more social structure –

youth organizations, family systems, and youth organizations, family systems, and so on – as well as explaining more about so on – as well as explaining more about thoughtcrime, slogans, etc.thoughtcrime, slogans, etc.

– Includes devastating social commentary – Includes devastating social commentary – our desire to “re-savage” our young in our desire to “re-savage” our young in order to mold them into ideal order to mold them into ideal citizen/soldiers comes back to destroy us, citizen/soldiers comes back to destroy us, because children can’t be trustedbecause children can’t be trusted

– The hatred displayed by the Parsons The hatred displayed by the Parsons children crystallizes Orwell’s feelings children crystallizes Orwell’s feelings regarding the demonization of foesregarding the demonization of foes

– Winston is “already dead” – when better Winston is “already dead” – when better to start living than now?to start living than now?

• The third chapterThe third chapter– Gives us hints of Winston’s past Gives us hints of Winston’s past

• The “dream” will eventually reveal a great The “dream” will eventually reveal a great deal about what Winston won’t acknowledgedeal about what Winston won’t acknowledge

• It’s our first real hint of pre-Revolution life’s It’s our first real hint of pre-Revolution life’s actual natureactual nature

– Further examines the Ingsoc dystopia, Further examines the Ingsoc dystopia, deconstructing the methods used to deconstructing the methods used to keep the populace in checkkeep the populace in check

– Helps reinforce the “dehumanization” Helps reinforce the “dehumanization” motif that’s present in everything the motif that’s present in everything the party doesparty does

• The fourth chapterThe fourth chapter– Gives us a more well-rounded picture of Gives us a more well-rounded picture of

Winston’s purpose, and fills in the Winston’s purpose, and fills in the “sketch” we’ve formed of him through “sketch” we’ve formed of him through the first three chaptersthe first three chapters

– Helps us understand what the Ministries Helps us understand what the Ministries do (or at least hints at their true do (or at least hints at their true purposes)purposes)

– Shows exactly how history can be Shows exactly how history can be “written” rather than recorded“written” rather than recorded

– Reveals a great deal about the Party’s Reveals a great deal about the Party’s “psychological profile” – its pathological “psychological profile” – its pathological need to be need to be flawlessflawless, its all-consuming and , its all-consuming and unceasing hungers, its blatant unceasing hungers, its blatant contradictions and inefficiencies, and its contradictions and inefficiencies, and its compulsive desire to dominate anything compulsive desire to dominate anything and everythingand everything

• The fifth chapterThe fifth chapter– We meet Syme and Parsons, which gives We meet Syme and Parsons, which gives

us a spectrum-wide view of the people us a spectrum-wide view of the people the Party controlsthe Party controls

– We begin to really understand We begin to really understand Newspeak’s nefarious natureNewspeak’s nefarious nature

– Winston continues ruminating on the Winston continues ruminating on the bizarre reality of Oceanian existence – bizarre reality of Oceanian existence – the false faces they wear and the false the false faces they wear and the false stats they swallowstats they swallow

– We start seeing hints about how life was We start seeing hints about how life was before the Revolutionbefore the Revolution

– The girl is back…and then she’s gone The girl is back…and then she’s gone againagain

• The sixth chapterThe sixth chapter– Provides us with more insight into Provides us with more insight into

Winston’s psychological profileWinston’s psychological profile•We’ve wondered why he seems so obsessed We’ve wondered why he seems so obsessed

with sex and love; now we understand why with sex and love; now we understand why he’s deeply lonelyhe’s deeply lonely

– Paints an explicit picture of the way the Paints an explicit picture of the way the Party has twisted human instinct, Party has twisted human instinct, particularly when it comes to love and particularly when it comes to love and sexualitysexuality•Still more confusion about why the Party Still more confusion about why the Party

actually bothers to do all of thisactually bothers to do all of this

– Katharine’s not dead, but she’s not hereKatharine’s not dead, but she’s not here

• The seventh chapterThe seventh chapter– Gives us more information about the Gives us more information about the

proles, who have received cursory proles, who have received cursory mentions previouslymentions previously

– Also goes back into life before the Also goes back into life before the RevolutionRevolution

– The chapter – along with the next one – The chapter – along with the next one – is one of the most important in terms of is one of the most important in terms of foreshadowingforeshadowing

– Everything from the song playing in the Everything from the song playing in the Chestnut Tree Café to Winston’s quotes Chestnut Tree Café to Winston’s quotes – “I understand HOW…” – is incredibly – “I understand HOW…” – is incredibly critical, and should not be forgotten or critical, and should not be forgotten or passed overpassed over

• The eighth chapterThe eighth chapter– Takes us into the Prole village, and all of Takes us into the Prole village, and all of

its weird quirks – its exposure to war, its its weird quirks – its exposure to war, its lottery and trivial concerns, its lottery and trivial concerns, its connection to a past that obsesses connection to a past that obsesses Winston but seems unimportant to them Winston but seems unimportant to them

– Essentially allows Winston to try his Essentially allows Winston to try his hand at time-travelinghand at time-traveling•Some attempts are less successful (Old Prole Some attempts are less successful (Old Prole

Man) than others (Charrington’s shop)Man) than others (Charrington’s shop)

– Winston also finds the paperweight, an Winston also finds the paperweight, an important symbol of a lost heritage – important symbol of a lost heritage – one last piece of beauty in an ugly worldone last piece of beauty in an ugly world