Download 100,000+ Images From The History of Medicine, All Free Courtesy of The Wellcome Library

L0043496 Ambroise Pare: prosthetics, mechanical hand

The Well­come Library, in Lon­don, spe­cial­izes in the his­to­ry of med­i­cine. While the insti­tu­tion has long offered a good dig­i­tal col­lec­tion for brows­ing, the library announced yes­ter­day that they are mak­ing more than 100,000 his­tor­i­cal images free to down­load under a Cre­ative Com­mons CC-BY license. (Users can dis­trib­ute, edit, or remix at will; the license even allows for com­mer­cial use, with attri­bu­tion.)

The Wellcome’s hold­ings rep­re­sent the institution’s long-term inter­est in col­lect­ing art relat­ed to med­i­cine, the body, pub­lic health, and med­ical sci­ence. The drop-down menu labeled “Tech­nique” in the stan­dard search box returns a stag­ger­ing array of types of visu­al cul­ture, from aquatint to carv­ing to fres­co to X‑ray. The library reports that the ear­li­est image avail­able is from 400 AD: a frag­ment of papyrus from an illus­trat­ed herbal man­u­script, fea­tur­ing a fad­ed col­or draw­ing of a plant.

L0031627 Mastectomy, attributed to a Dutch artist, 17th century

Some images in the col­lec­tion are, per­haps unsur­pris­ing­ly, squirm-induc­ing (an 1851 Japan­ese wood­cut show­ing an ampu­ta­tion of the low­er leg; a Dutch etch­ing depict­ing a 17th-c mas­tec­to­my; a Ger­man illus­tra­tion show­ing 17th-cen­tu­ry monks per­form­ing eye surgery). But there is plen­ty of beau­ty here, as well. I loved an a 19th-c wood­cut of a sumo match, and a Tibetan illus­trat­ed man­u­script used in the pro­duc­tion of med­i­cines.

L0038345 Tibetan plant manuscript Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org Illustrations of Tibetan materia medica, plant and animal, used in the production of medicine. Title: 'A Selection of Substances used for the Production of Medicine based on the Teaching of the four (medical) Tantras' This anonymous manuscript is written in the 'Trungpa' ('khrungs dpe) genre of Tibetan medical literature. Entitled, 'Sman bla'i dgongs rgyan rgud bzhi'i nang gi 'khrungs dpe re zhig', it deals with various material medica, plant and animal, used in the production of medicine. The book comprises unbound sheets of thick (perhaps Russian?) paper held together by two boards and wrapped in a piece of cloth. The medical illustrations are finished in colour. The manuscript is very rare and obviously very expensive. Its owner made a significant effort to obtain illustrations for every medicine mentioned, including plants, stones and animals. There are several suggestions about the origin of the manuscript. It might well be a copy from Sangye Gyatso's 'tankas', possibly written by a painter or doctor who travelled from Mongolia to Lhasa. It could have been transcribed in Tibet and subsequently sold to Mongolia. There is a similarity between the images of material medica in this manuscript and those found in the 19th century Tibetan xylographs of medical works, like the 'Mdzes mtshar mig rgyan', which circulated in the territory of Mongolia in the nineteenth century. 18th century Sman bla'i dgongs rgyan rgud bzhi'i nang gi 'khrungs dpe re zhig 'A Selection of Substances used for the Production of Medicine based on the Teaching of the four (medical) Tantras Published: - Copyrighted work available under Creative Commons Attribution only licence CC BY 4.0 http://creativecommons.org/licenses/by/4.0/

Browsers inter­est­ed in dip­ping a toe into the stream of images may try out the gal­leries list­ed on the Images home­page. The “Olympic Sports” gallery offers an 1829 engrav­ing of the famous con­joined twins Chang and Eng hold­ing bad­minton rack­ets, and an 1870 illus­tra­tion of rec­om­mend­ed ring exer­cis­es for lady gym­nasts. The “Witch­craft” col­lec­tion (under the “Favourites” tab) con­tains many illus­tra­tions from his­tor­i­cal books cov­er­ing witch­craft in Europe and the Amer­i­can colonies, along with a more sur­pris­ing 19th-cen­tu­ry Malayan black-mag­ic charm.

Rights-man­aged images are marked as such in the thumb­nail results that appear after a search. Although the archive requires you to enter a CAPTCHA to access the free images, you can select sev­er­al thumb­nails on the search-results page in order to bulk-down­load files for many images at the same time. The sam­ple files I request­ed arrived on my desk­top at 300 dpi.

The image above is an illus­tra­tion of a mechan­i­cal hand from 1564.

h/t @kirstinbutler

Rebec­ca Onion is a writer and aca­d­e­m­ic liv­ing in Philadel­phia. She runs Slate.com’s his­to­ry blog, The Vault. Fol­low her on Twit­ter: @rebeccaonion

Relat­ed Con­tent:

The British Library Puts 1,000,000 Images into the Pub­lic Domain, Mak­ing Them Free to Reuse & Remix

The Get­ty Puts 4600 Art Images Into the Pub­lic Domain (and There’s More to Come)

The Nation­al Gallery Makes 25,000 Images of Art­work Freely Avail­able Online

Read Martin Luther King and The Montgomery Story: The Influential 1957 Civil Rights Comic Book

MLKComic

From the para­noid fun­da­men­tal­ist tracts of Jack Chick, to Ronald McDon­ald pro­mot­ing scout­ing, to an upcom­ing graph­ic nov­el explain­ing the sci­ence of cli­mate change, comics and graph­ic nov­els have long been a means of both pros­e­ly­tiz­ing and inform­ing, con­dens­ing com­plex nar­ra­tives into a digestible for­mat with broad appeal. The medi­um is so elas­tic, it can seem­ing­ly adapt itself to any kind of sto­ry, even the most sober­ly seri­ous and his­tor­i­cal­ly sig­nif­i­cant. For exam­ple, Geor­gia Con­gress­man John Lewis, vet­er­an of the Civ­il Rights move­ment, chose to tell his story—in col­lab­o­ra­tion with co-writer Andrew Aydin and artist Nate Powell—as a graph­ic nov­el called March (mak­ing him the first law­mak­er to appear at a Com­ic-Con). Part one of three was pub­lished late last year and rose to the top of the New York Times and Wash­ing­ton Post best­seller lists. March has also become an impor­tant resource for teach­ers and librar­i­ans (down­load a free 11-page teach­ers guide from pub­lish­er Top Shelf here).

MontgomeryMethod

Lewis’ choice of medi­um may seem moti­vat­ed by the cur­rent esteem in which the form is held in schol­ar­ly and pop­u­lar cir­cles alike, but he was pri­mar­i­ly influ­enced by a much ear­li­er civ­il rights com­ic book, Mar­tin Luther King and the Mont­gomery Sto­ry. (See cov­er up top. Read it online here.) Begun just five months after Rosa Parks’ his­toric refusal, the com­ic aimed to dis­sem­i­nate the epic tale of the Mont­gomery, AL bus boy­cott through­out the South. A sec­tion called “The Mont­gomery Method” (first page above) instructs read­ers on the non­vi­o­lent resis­tance tech­niques employed by civ­il rights work­ers in Alaba­ma, with a primer on Gand­hi and his influ­ence on King. In the short video below, see NYU pro­fes­sor and King schol­ar Sylvia Rhor explain the gen­e­sis of the com­ic in the work of Alfred Has­sler, then leader of Civ­il Rights orga­ni­za­tion Fel­low­ship of Rec­on­cil­i­a­tion. Has­sler, a lit­tle-known fig­ure who died in 1991, is now receiv­ing more recog­ni­tion through sim­i­lar means. He him­self recent­ly became the sub­ject of a graph­ic nov­el project (and now doc­u­men­tary) called The Secret of the 5 Pow­ers about his work with Bud­dhist peace activists Thich Nhat Hanh and Sis­ter Chan Khong dur­ing the Viet­nam War.

As Rhor notes above, the King com­ic has had tremen­dous influ­ence, not only in the past, and not only on Rep. Lewis in the present. In 2003–2004, The Mont­gomery Sto­ry was trans­lat­ed into Ara­bic, and Egypt­ian rev­o­lu­tion­ar­ies dur­ing the Arab Spring found inspi­ra­tion in the com­ic book that “turned Mar­tin Luther King into a super­hero”

Relat­ed Con­tent:

200,000 Mar­tin Luther King Papers Go Online

MLK’s Last Days and Final Speech

Nichelle Nichols Tells Neil deGrasse Tyson How Mar­tin Luther King Con­vinced Her to Stay on Star Trek

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Revisit the 1940 Map of American Diversity, Owned & Bitingly Annotated by Poet Langston Hughes

EthnicToleranceMapFinal.jpg.CROP.original-originalRebec­ca Onion, who occa­sion­al­ly con­tributes to Open Cul­ture, runs The Vault, a blog resid­ing at Slate.com that’s “ded­i­cat­ed to his­to­ry at its most beau­ti­ful, strange, fun­ny, and mov­ing.” It’s a great place to spend time if you enjoy revis­it­ing archival doc­u­ments of his­tor­i­cal inter­est — pho­tographs, pam­phlets, but­tons, toys and, yes, maps, like the one above. Fea­tured on The Vault last week, this curi­ous map was issued by the Coun­cil Against Intol­er­ance in Amer­i­ca in 1940 and depicts the “geo­graph­i­cal loca­tions, typ­i­cal employ­ment, and reli­gious com­mit­ments” of eth­nic groups liv­ing in the Unit­ed States at the time time. A copy of the map was owned and anno­tat­ed by poet Langston Hugh­es, the Amer­i­can poet, social activist, play­wright, who was a lead­ing fig­ure in the Harlem Renais­sance. If you enlarge the image (click here, then click again) and look care­ful­ly, you can see that he anno­tat­ed the map with a red pen. One such anno­ta­tion — where he placed a burn­ing cross and “K.K.K.” in the vicin­i­ty of African Amer­i­cans liv­ing in the South — appears in the image below. Head over to The Vault to get more on this sto­ry.

hughes annotation 2

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Poems as Short Films: Langston Hugh­es, Pablo Neru­da and More

The Uni­ver­si­ty of Rich­mond Ani­mates the 1932 Atlas of the His­tor­i­cal Geog­ra­phy of the Unit­ed States

Visu­al­iz­ing Slav­ery: The Map Abra­ham Lin­coln Spent Hours Study­ing Dur­ing the Civ­il War

Discover Cy Endfield’s “Microwriter,” The World’s First Portable Word Processor (Circa 1980)

The hall­mark of an endur­ing inven­tion is the dif­fi­cul­ty oth­ers encounter when attempt­ing to improve on its orig­i­nal design. The QWERTY key­board is a prime exam­ple: since the emer­gence of the Rem­ing­ton No. 1 type­writer in 1874, the key­board has con­fi­dent­ly with­stood any sig­nif­i­cant chal­lenges. That’s not to say that curi­ous alter­na­tives haven’t occa­sion­al­ly come along. Indeed, sev­er­al weeks ago we wrote about the Malling-Hansen Writ­ing Ball, the late 19th cen­tu­ry type­writer Friedrich Niet­zsche used while trav­el­ling. Unfor­tu­nate­ly, the writ­ing ball proved too frag­ile and expen­sive to man­u­fac­ture, and today sur­vives sole­ly as a rel­ic.

The most unusu­al recent attempt to rein­vent the key­board was devised by Cy End­field in the ear­ly 1980s. End­field was a Hol­ly­wood direc­tor of some suc­cess pri­or to being declared a Com­mu­nist by Joseph McCarthy’s House Un-Amer­i­can Activ­i­ties Com­mis­sion and black­list­ed in 1951. An alto­geth­er enter­pris­ing fel­low, End­field kept his chin up and his upper lip stiff, opt­ing to head to Eng­land where he worked on films (e.g., Zulu, 1964), wrote a book, and per­formed card tricks with remark­able skill. He also cre­at­ed a six-but­ton word proces­sor he called the Microwriter.

Microwriter

In a 1984 inter­view with NPR, End­field recount­ed want­i­ng to reduce the num­ber of keys used when typ­ing. Instead of push­ing a key and obtain­ing the cor­re­spond­ing let­ter (a 1‑to‑1 ratio), he want­ed to use a hand­ful of keys to yield the whole of the alpha­bet. He decid­ed that chords were the answer:

“It occurred to me that… it would be pos­si­ble to com­bine a set of sig­nals from sep­a­rate keys, and there­fore you could reduce the total num­ber of keys. But, of course, this involved the learn­ing of chords… dif­fi­cult to mem­o­rize… But how do you make these chords mem­o­rable? And, one day, star­ing at a sheet of paper on which I was draw­ing a set of five keys in sort of the arch formed by the fin­ger ends, it occurred to me, ah! if I press the thumb key, and the index fin­ger key, any­body can do this just lis­ten­ing now, press your thumb key and your index fin­ger down and you’ll see that a ver­ti­cal line joins those two fin­ger ends, a short ver­ti­cal line. There is an equiv­a­lence between that short ver­ti­cal line and one let­ter of the alpha­bet. It’s the let­ter “I.”

The above video pro­vides a much sim­pler and more con­cise expla­na­tion.

Equipped with 16 kb of RAM and a sin­gle line LED dis­play, the Microwriter allowed users to quick­ly type notes on the go and trans­fer the results to their com­put­ers through the ser­i­al port. Five of the but­tons cor­re­spond­ed to the var­i­ous chord-keys, and the low­er thumb but­ton allowed users to cycle through var­i­ous input modes.

While it was pos­si­ble to achieve a quick pace with the device when typ­ing tex­tu­al rather than numer­ic input, users of the device remem­ber need­ing sev­er­al days of train­ing to remem­ber the var­i­ous key com­bi­na­tions and to begin using the device with some pro­fi­cien­cy. Need­less to say, in spite of End­field­’s claims of being the world’s first portable word proces­sor, the Microwriter sim­ply was­n’t user friend­ly enough to sur­vive. It entered pro­duc­tion in the ear­ly 1980s, and ceased in 1985.

To read or lis­ten to Cy Endfield’s full inter­view, head over to the NPR Archives tum­blr.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Relat­ed Con­tent:

Mark Twain Wrote the First Book Ever Writ­ten With a Type­writer

The His­to­ry of the Seem­ing­ly Impos­si­ble Chi­nese Type­writer

The Endur­ing Ana­log Under­world of Gramer­cy Type­writer

Dis­cov­er Friedrich Nietzsche’s Curi­ous Type­writer, the “Malling-Hansen Writ­ing Ball”

Com­put­er Sci­ence: Free Online Cours­es

Memory of the Camps (1985): The Holocaust Documentary that Traumatized Alfred Hitchcock, and Remained Unseen for 40 Years

You may have heard the news that the world will soon see “Alfred Hitch­cock­’s unseen Holo­caust doc­u­men­tary.” That intrigu­ing sound­ing announce­ment belies a more com­pli­cat­ed real­i­ty. This new, restored film draws on footage shot by the British Army Film Unit in Nazi con­cen­tra­tion camps in 1945, which was actu­al­ly released in the mid-80s, in a film called Mem­o­ry of the CampsThis first ver­sion, which you can watch above, took near­ly forty years to reach the pub­lic, when it was final­ly released in 1984, first at the Berlin Film Fes­ti­val, then on PBS. Until that time, the orig­i­nal footage sat unused in stor­age at the Impe­r­i­al War Muse­um, con­signed there after the Allied mil­i­tary gov­ern­ment decid­ed that such pub­lic­i­ty for Nazi atroc­i­ties would­n’t get Ger­many recon­struct­ed any faster. How, right in the after­math of the Sec­ond World War, might we have react­ed to its haunt­ing­ly reveal­ing cov­er­age of Bergen-Belsen?

Accord­ing to the Inde­pen­dent, a screen­ing of Mem­o­ry of the Camps’ mate­r­i­al left even Alfred Hitch­cock, cer­tain­ly no stranger to death and malev­o­lence, “so trau­ma­tised that he stayed away from Pinewood Stu­dios for a week.” He’d shown up there in the first place as an advi­sor, and in that capac­i­ty offered direc­tor Sid­ney Bern­stein advice on how, visu­al­ly, to place these shock­ing rev­e­la­tions in a rec­og­niz­able geo­graph­i­cal and human con­text. “He took a cir­cle round each con­cen­tra­tion camp as it were on a map, dif­fer­ent vil­lages, dif­fer­ent places and the num­bers of peo­ple,” Bern­stein remem­bers. “Oth­er­wise you could show a con­cen­tra­tion camp, as you see them now, and it could be any­where, miles away from human­i­ty. He brought that into the film.” For more on Mem­o­ry of the Camps and its upcom­ing suc­ces­sor, a remas­tered ver­sion with a “lost” sixth reel restored, see also Richard Brody’s relat­ed New York­er post.

Mem­o­ry of the Camps and oth­er wartime films appears in our col­lec­tion of 700 Free Movies Online.

Relat­ed Con­tent:

Watch World War II Rage Across Europe in a 7 Minute Time-Lapse Film: Every Day From 1939 to 1945

Did Hol­ly­wood Movies Stu­dios “Col­lab­o­rate” with Hitler Dur­ing WW II? His­to­ri­an Makes the Case

Don­ald Duck’s Bad Nazi Dream and Four Oth­er Dis­ney Pro­pa­gan­da Car­toons from World War II

How Alice Herz-Som­mer, the Old­est Holo­caust Sur­vivor, Sur­vived the Hor­rif­ic Ordeal with Music

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Read 700 Free eBooks Made Available by the University of California Press

mark twain uc press

The Uni­ver­si­ty of Cal­i­for­nia Press e‑books col­lec­tion holds books pub­lished by UCP (and a select few print­ed by oth­er aca­d­e­m­ic press­es) between 1982–2004. The gen­er­al pub­lic cur­rent­ly has access to 770 books through this ini­tia­tive. The col­lec­tion is dynam­ic, with new titles being added over time.

Read­ers look­ing to see what the col­lec­tion holds can browse by sub­ject. The cura­tors of the site have kind­ly pro­vid­ed a sec­ond brows­ing page that shows only the pub­licly acces­si­ble books, omit­ting any frus­trat­ing off-lim­its titles.

The collection’s strengths are in his­to­ry (par­tic­u­lar­ly Amer­i­can his­to­ry and the his­to­ry of Cal­i­for­nia and the West); reli­gion; lit­er­ary stud­ies; and inter­na­tion­al stud­ies (with strong selec­tions of Mid­dle East­ern Stud­ies, Asian Stud­ies, and French Stud­ies titles).

A quick browse yields a mul­ti­tude of inter­est­ing pos­si­bil­i­ties for future read­ing: Shel­ley Streeby’s 2002 book about sen­sa­tion­al lit­er­a­ture and dime nov­els in the nine­teenth-cen­tu­ry Unit­ed States; Luise White’s intrigu­ing-look­ing Speak­ing with Vam­pires: Rumor and His­to­ry in Colo­nial Africa (2000); and Karen Lystra’s 2004 re-exam­i­na­tion of Mark Twain’s final years. (The image above comes from anoth­er Twain text by Ran­dall Knop­er.) Two oth­er note­wor­thy texts include Roland Barthes’ Inci­dents and Hugh Ken­ner’s Chuck Jones: A Flur­ry of Draw­ings.

Sad­ly, you can’t down­load the books to an e‑reader or tablet. Hap­pi­ly, there is a “book­bag” func­tion that you can use to store your titles, if you need to leave the site and come back.

As always, we’d encour­age you to vis­it our col­lec­tion of 800 Free eBooks for iPad, Kin­dle & Oth­er Devices, where we recent­ly added texts by Vladimir Nabokov, Philip K. Dick and oth­ers. Also find free cours­es in our list of 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Rebec­ca Onion is a writer and aca­d­e­m­ic liv­ing in Philadel­phia. She runs Slate.com’s his­to­ry blog, The Vault. Fol­low her on Twit­ter:@rebeccaonion.

Relat­ed Con­tent:

Free: The Met­ro­pol­i­tan Muse­um of Art and the Guggen­heim Offer 474 Free Art Books Online

Read 18 Short Sto­ries From Nobel Prize-Win­ning Writer Alice Munro Free Online

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the Web

Down­load 14 Great Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books and Free eBooks

Down­load 20 Pop­u­lar High School Books Avail­able as Free eBooks & Audio Books

The Curious Story of London’s First Coffeehouses (1650–1675)

coffee englandIn his 1621 opusThe Anato­my of Melan­choly, Robert Bur­ton wrote, “The Turks have a drink called cof­fa (for they use no wine), so named of a berry as black as soot, and as bit­ter … which they sip still of, and sup as warm as they can suf­fer; they spend much time in those cof­fa-hous­es, which are some­what like our ale­hous­es or tav­erns…”

Sev­er­al decades lat­er, read­ers would require no such expla­na­tions: Eng­land would be awash in cof­fee­hous­es, num­ber­ing in the thou­sands. The curi­ous sto­ry of how the British swapped much of their dai­ly ale con­sump­tion for this “syrop of soot, or essence of old shoes,” is told by Matthew Green in “The Lost World of The Lon­don Cof­fee House,” on the Pub­lic Domain Review.

Pri­or to 1652, when Pasqua Rosée estab­lished a small cof­fee­house in St. Michael’s Alley in Lon­don, cof­fee was vir­tu­al­ly unknown in Eng­land. Rosée, a ser­vant of a cof­fee-lov­ing trad­er to the Lev­ant, found tremen­dous suc­cess with his ven­ture and, accord­ing to Green, was soon sell­ing over 600 serv­ings a day. Above, read­ers can view Rosée’s orig­i­nal hand­bill, where the entre­pre­neur adver­tised both the ther­a­peu­tic and pro­phy­lac­tic effects of his wares on diges­tion, headaches, rheuma­tism, con­sump­tion, cough, drop­sy, gout, scurvy, and mis­car­riages. It’s a won­der any­one ever drink­ing the stuff got sick.

Cof­fee­hous­es quick­ly became pop­u­lar places for men to con­verse and con­gre­gate, and Green notes that women soon grew tired of their absence. This exas­per­a­tion mount­ed until the 1674 Women’s Peti­tion Against Cof­fee, which claimed that “Exces­sive use of that New­fan­gled, Abom­inable, Hea­then­ish Liquor called COFFEE” led to England’s falling birthrate, mak­ing men “as unfruit­ful as the sandy deserts, from where that unhap­py berry is said to be brought.” Men, as they are wont to do, expressed their dis­agree­ment, and stat­ed in Men’s Answer to the Women’s Peti­tion Against Cof­fee that cof­fee made “the erec­tion more vig­or­ous, the ejac­u­la­tion more full, add[ing] a spir­i­tu­al ascen­den­cy to the sperm.”

A year lat­er, cof­fee­hous­es found more for­mi­da­ble oppo­si­tion in the form of King Charles II, who issued the “Procla­ma­tion for the sup­pres­sion of Cof­fee Hous­es” in 1675. Charles, how­ev­er, was more inter­est­ed in their polit­i­cal effects than the spir­i­tu­al ascen­den­cy of his sub­jects’ sperm. Cof­fee­hous­es pro­vid­ed an oppor­tu­ni­ty for more mind­ful and seri­ous con­ver­sa­tions than did ale­hous­es, and allowed any­one who paid the sin­gle pen­ny entrance charge to par­tic­i­pate in dis­cus­sions — to Charles, these were the ide­al cir­cum­stances for plot­ting sedi­tion and trea­son among the pop­u­lace. Despite the King’s procla­ma­tion, the cof­fee­hous­es, buoyed by a sup­port­ive pub­lic, pre­vailed.

To read Green’s fas­ci­nat­ing essay in full, includ­ing a descrip­tion of the cof­fee­house fre­quent­ed by Alexan­der Pope, Jonathan Swift, Joseph Addi­son, and Richard Steele, head over to the Pub­lic Domain Review.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Relat­ed Con­tent:

Hon­oré de Balzac Writes About “The Plea­sures and Pains of Cof­fee,” and His Epic Cof­fee Addic­tion

Men In Com­mer­cials Being Jerks About Cof­fee: A Mashup of 1950s & 1960s TV Ads

 

The His­to­ry of Cof­fee and How It Trans­formed Our World

Black Cof­fee: Doc­u­men­tary Cov­ers the His­to­ry, Pol­i­tics & Eco­nom­ics of the “Most Wide­ly Tak­en Legal Drug”

 

George Orwell Explains in a Revealing 1944 Letter Why He’d Write 1984

via Wikimedia Commons

Image via Wiki­me­dia Com­mons

Most of the twen­ti­eth cen­tu­ry’s notable men of let­ters — i.e., writ­ers of books, of essays, of reportage — seem also to have, lit­er­al­ly, writ­ten a great deal of let­ters. Some­times their cor­re­spon­dence reflects and shapes their “real” writ­ten work; some­times it appears col­lect­ed in book form itself. Both hold true in the case of George Orwell, a vol­ume of whose let­ters, edit­ed by Peter Davi­son, came out last year. In it we find this mis­sive, also pub­lished in full at The Dai­ly Beast, sent in 1944 to one Noel Will­mett, who had asked “whether total­i­tar­i­an­ism, leader-wor­ship etc. are real­ly on the up-grade” giv­en “that they are not appar­ent­ly grow­ing in [Eng­land] and the USA”:

I must say I believe, or fear, that tak­ing the world as a whole these things are on the increase. Hitler, no doubt, will soon dis­ap­pear, but only at the expense of strength­en­ing (a) Stal­in, (b) the Anglo-Amer­i­can mil­lion­aires and © all sorts of pet­ty fuhrers of the type of de Gaulle. All the nation­al move­ments every­where, even those that orig­i­nate in resis­tance to Ger­man dom­i­na­tion, seem to take non-demo­c­ra­t­ic forms, to group them­selves round some super­hu­man fuhrer (Hitler, Stal­in, Salazar, Fran­co, Gand­hi, De Valera are all vary­ing exam­ples) and to adopt the the­o­ry that the end jus­ti­fies the means. Every­where the world move­ment seems to be in the direc­tion of cen­tralised economies which can be made to ‘work’ in an eco­nom­ic sense but which are not demo­c­ra­t­i­cal­ly organ­ised and which tend to estab­lish a caste sys­tem. With this go the hor­rors of emo­tion­al nation­al­ism and a ten­den­cy to dis­be­lieve in the exis­tence of objec­tive truth because all the facts have to fit in with the words and prophe­cies of some infal­li­ble fuhrer. Already his­to­ry has in a sense ceased to exist, ie. there is no such thing as a his­to­ry of our own times which could be uni­ver­sal­ly accept­ed, and the exact sci­ences are endan­gered as soon as mil­i­tary neces­si­ty ceas­es to keep peo­ple up to the mark. Hitler can say that the Jews start­ed the war, and if he sur­vives that will become offi­cial his­to­ry. He can’t say that two and two are five, because for the pur­pos­es of, say, bal­lis­tics they have to make four. But if the sort of world that I am afraid of arrives, a world of two or three great super­states which are unable to con­quer one anoth­er, two and two could become five if the fuhrer wished it. That, so far as I can see, is the direc­tion in which we are actu­al­ly mov­ing, though, of course, the process is reversible.

As to the com­par­a­tive immu­ni­ty of Britain and the USA. What­ev­er the paci­fists etc. may say, we have not gone total­i­tar­i­an yet and this is a very hope­ful symp­tom. I believe very deeply, as I explained in my book The Lion and the Uni­corn, in the Eng­lish peo­ple and in their capac­i­ty to cen­tralise their econ­o­my with­out destroy­ing free­dom in doing so. But one must remem­ber that Britain and the USA haven’t been real­ly tried, they haven’t known defeat or severe suf­fer­ing, and there are some bad symp­toms to bal­ance the good ones. To begin with there is the gen­er­al indif­fer­ence to the decay of democ­ra­cy. Do you realise, for instance, that no one in Eng­land under 26 now has a vote and that so far as one can see the great mass of peo­ple of that age don’t give a damn for this? Sec­ond­ly there is the fact that the intel­lec­tu­als are more total­i­tar­i­an in out­look than the com­mon peo­ple. On the whole the Eng­lish intel­li­gentsia have opposed Hitler, but only at the price of accept­ing Stal­in. Most of them are per­fect­ly ready for dic­ta­to­r­i­al meth­ods, secret police, sys­tem­at­ic fal­si­fi­ca­tion of his­to­ry etc. so long as they feel that it is on ‘our’ side. Indeed the state­ment that we haven’t a Fas­cist move­ment in Eng­land large­ly means that the young, at this moment, look for their fuhrer else­where. One can’t be sure that that won’t change, nor can one be sure that the com­mon peo­ple won’t think ten years hence as the intel­lec­tu­als do now. I hope they won’t, I even trust they won’t, but if so it will be at the cost of a strug­gle. If one sim­ply pro­claims that all is for the best and doesn’t point to the sin­is­ter symp­toms, one is mere­ly help­ing to bring total­i­tar­i­an­ism near­er.

You also ask, if I think the world ten­den­cy is towards Fas­cism, why do I sup­port the war. It is a choice of evils—I fan­cy near­ly every war is that. I know enough of British impe­ri­al­ism not to like it, but I would sup­port it against Nazism or Japan­ese impe­ri­al­ism, as the less­er evil. Sim­i­lar­ly I would sup­port the USSR against Ger­many because I think the USSR can­not alto­geth­er escape its past and retains enough of the orig­i­nal ideas of the Rev­o­lu­tion to make it a more hope­ful phe­nom­e­non than Nazi Ger­many. I think, and have thought ever since the war began, in 1936 or there­abouts, that our cause is the bet­ter, but we have to keep on mak­ing it the bet­ter, which involves con­stant crit­i­cism.

Yours sin­cere­ly,
Geo. Orwell

Three years lat­er, Orwell would write 1984. Two years after that, it would see pub­li­ca­tion and go on to gen­er­a­tions of atten­tion as per­haps the most elo­quent fic­tion­al state­ment against a world reduced to super­states, sat­u­rat­ed with “emo­tion­al nation­al­ism,” acqui­es­cent to “dic­ta­to­r­i­al meth­ods, secret police,” and the sys­tem­at­ic fal­si­fi­ca­tion of his­to­ry,” and shot through by the will­ing­ness to “dis­be­lieve in the exis­tence of objec­tive truth because all the facts have to fit in with the words and prophe­cies of some infal­li­ble fuhrer.” Now that you feel like read­ing the nov­el again, or even for the first time, do browse our col­lec­tion of 1984-relat­ed resources, which includes the eBook, the audio book, reviews, and even radio dra­ma and com­ic book adap­ta­tions of Orwell’s work.

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Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to George Orwell

The Only Known Footage of George Orwell (Cir­ca 1921)

George Orwell and Dou­glas Adams Explain How to Make a Prop­er Cup of Tea

George Orwell’s Polit­i­cal Views, Explained in His Own Words

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

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