Author: David Cohen

Songs from Orwell’s Glass Asylum

In 1947, the year David Bowie was born, a tubercular George Orwell shuffled over to the bedroom window of his cottage on the storm-lashed Scottish island of Jura and thought about London. He was always thinking about London. The ailing Orwell—moustache and cigarette drooped downward, clad most of his days in just the same old raggedy dressing gown as he propped himself up in bed with a typewriter—was in a race against time to polish off the manuscript of what would be his ninth and final book, Nineteen Eighty-Four, a dystopian satire about totalitarianism and the cynical manipulation of language set in the British capital in the not-too-distant future. Orwell later said that the book was about his fear that “the very concept of objective truth is fading out of the world.” This he fleshes out by way of a doomed romance between Winston Smith, a wavering individualist who has begun to doubt the wisdom of the media that ceaselessly broadcasts the Party’s bizarre slogans, and a freckle-faced young sensualist named Julia. Both characters meet …