Writers In Politics

Arguably Conor Cruise O'Brien's most influential and admired book was this brilliant collection of essays - on history, literature and public affairs - first published in 1965. 'I can still remember the excitement with which I discovered a copy of Writers and Politics, in a provincial library in Devonshire thirty years ago. Nobody who tries to write about either of those subjects, or about "the bloody crossroads" where they have so often met, can disown a debt to the Cruiser.' Christopher Hitchens, London Review of Books 'When a liberal can write such pieces as "Mercy and Mercenaries", "Journal de Combat", "Varieties of Anti-Communism", "A New Yorker Critic", and "Generation of Saints", an important voice has returned to our culture.' Raymond Williams, Guardian

Explore the tradition of the political essay with this brilliant anthology. David Bromwich is one of the most well-informed, cogent, and morally uncompromising political writers on the left today. He is also one of our finest intellectual historians and literary critics. In Writing Politics, Bromwich presents twenty-seven essays by different writers from the beginning of the modern political world in the seventeenth century until recent times, essays that grapple with issues that continue to shape history—revolution and war, racism, women’s rights, the status of the worker, the nature of citizenship, imperialism, violence and nonviolence, among them—and essays that have also been chosen as superlative examples of the power of written English to reshape our thoughts and the world. Jonathan Swift, Edmund Burke, Henry David Thoreau, Harriet Taylor, Abraham Lincoln, George Eliot, W. E. B. Du Bois, Mohandas Gandhi, Virginia Woolf, Martin Luther King, and Hannah Arendt are here, among others, along with a wide-ranging introduction.

This book reflects many of the concerns found in Decolonising the Mind and Moving the Centre.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Originally published in 1986, this book is an interpretative survey of the development of political writing in the former Federal Republic of Germany. It illustrates how intertwined writing is with politics, whether by the political commitment of writers like Grass or the analysis of Böll, by the exclusion of writers from political debate under Adenauer or their insistence on involvement in the years of the SPD. So many themes central to German life are themselves political - the division of the German state, the interpretation of the German character, the Green Movement. This wide-ranging and thorough study discusses a central issue of European politics and culture.

Ngugi has put together a new collection under an old title. One of the completely new pieces, "Freedom of Expression," was written for the campaign to try to save Ken Saro-Wiwa and seven other writers from execution in Nigeria. He has rewritten almost all of the other pieces which have been kept. Ngugi says "It seemed to me how ironic the title Writers in Politicshad turned out to be. In re-issuing these essays I didn't want to lose that nexus between culture and power which had been captured by the title."

The politics of literature is not the same as the politics of writers and their commitments, nor does it concern the way writers represent social structures or political struggles. The expression 'politics of literature' assumes that there is a specific connection between politics as a form of collective practice and literature as a historically determined regime of the art of writing. It implies that literature intervenes in the parceling out of space and time, place and identity, speech and noise, the visible and the invisible, that is the arena of the political. This book seeks to show how the literary revolution shatters the perceptible order that underpinned traditional hierarchies, but also why literary equality foils any bid to place literature in the service of politics or in its place. It tests its hypotheses on certain writers: Flaubert, Tolstoy, Hugo, Mallarmé, Brecht and Borges, to name a few. It also shows the consequences of this for psychoanalytical intepretation, historical narration and philosophical conceptualization.