Animal Farm was published on August 17, 1946. Here is George Orwell on the four universal motives for writing and creativity, including #4, political purpose.
“Realist representation minimizes contradiction. The conventional narrative structure introduces disruptions in the social order, and then through plot and character development—a development that elicits audience identification—the play or text arrives at a narrative closure that re-establishes order.”
Existence is language, and language is always a matter of politics.
Scientists Alone Can’t Help Us Reverse Global Warming, We Need The Romantic Poets
“Many scientists and ecologists have recently taken the lead in trying to persuade us, by an appeal to the facts, of [a] lethal threat to the natural world. It remains to be seen whether merely to know the facts is enough, or whether it will take a revival and dissemination of some equivalent to the Romantic vision of nature to enable us, in Shelley’s great phrase, ‘to imagine that which we know.’ It seems likely that only such a motive power—such an emotive power—will suffice to release the energies, the invention, and the will to make the sacrifices that are needed if we are to salvage this no-longer-quite-so-green earth while it is still fit to live on.”
—M. H. Abrams, from the essay “This Green Earth: The Vision of Nature in the Romantic Poets” from The Fourth Dimension of a Poem and Other Essays.
Anti-authoritarians question whether an authority is a legitimate one before taking that authority seriously. Evaluating the legitimacy of authorities includes assessing whether or not authorities actually know what they are talking about, are honest, and care about those people who are respecting their authority. And when anti-authoritarians assess an authority to be illegitimate, they challenge and resist that authority—sometimes aggressively and sometimes passive-aggressively, sometimes wisely and sometimes not.
Some activists lament how few anti-authoritarians there appear to be in the United States. One reason could be that many natural anti-authoritarians are now psychopathologized and medicated before they achieve political consciousness of society’s most oppressive authorities.
Her psychopathic ideas made billionaires feel like victims and turned millions of followers into their doormats
"It is not hard to see why Rand appeals to billionaires. She offers them something that is crucial to every successful political movement: a sense of victimhood. She tells them that they are parasitised by the ungrateful poor and oppressed by intrusive, controlling governments.
"It is harder to see what it gives the ordinary teabaggers, who would suffer grievously from a withdrawal of government. But such is the degree of misinformation which saturates this movement and so prevalent in the US is Willy Loman syndrome (the gulf between reality and expectations) that millions blithely volunteer themselves as billionaires’ doormats. I wonder how many would continue to worship at the shrine of Ayn Rand if they knew that towards the end of her life she signed on for both Medicare and social security. She had railed furiously against both programmes, as they represented everything she despised about the intrusive state. Her belief system was no match for the realities of age and ill health."
"Electoral photography is therefore above all the acknowledgment of something deep and irrational co-extensive with politics. What is transmitted through the photograph of the candidate are not his plans, but his deep motives, all his family, mental, even erotic circumstances, all this style of life of which he is at once the product, the exemplar, and the habit. It is obvious that what most of our candidates offer us through their likeness is a type of social setting, the spectacular comfort of the family, legal and religious norms, the suggestion of innately owning such items of bourgeois property as Sunday Mass, xenophobia, steak and chips, cuckold jokes, in short, what we call an ideology. Needless to say the use of electoral photography presupposes a kind of complicity: a photograph is a mirror, what we are asked to read is the familiar, the known; it offers to the voter his own likeness, but clarified, exalted, superbly elevated into a type. This glorification is in fact the very definition of the photogenic: the voter is at once expressed and heroized, he is invited to elect himself."
From Roland Barthes’s Mythologies, 1957
"Acts themselves alone are history and these are neither the exclusive property of Hume, Gibbon, nor Voltaire, Echard, Rapin, Plutach, nor Herodotus. Tell me the Acts, O historian, and leave me to reason upon them as I please; away with your reasoning and your rubbish! all that is not action is not worth reading. Tell me the What; I do not want you to tell me the Why, and the How; I can find that out myself, as well as you can, and I will not be fooled by you into opinions, that you please to impose, to disbelieve what you think improbable or impossible."
William Blake, Descriptive Catalogue, E543-44.