Here is an article that was edited by NPR's "Ministry of Truth." Remember Double Think Dubya? Big Brother is a live and well in the
TeleComm's
interlocking directorate.
A lone man hunted by faceless government spies. A doomed love affair, its urgent moments stolen against a backdrop of terror and war. Surveillance, capture, torture, betrayal. If this doesn't describe a thriller, the thriller doesn't exist.
Orwell's novel makes for such devastating political commentary that in spite of the classic elements I mention above it isn't usually recognized as a thriller. This is a shame, because in addition to its many other virtues, Nineteen Eighty-Four demonstrates the potential power of the form to deliver a dire warning in the guise of entertainment.
I first read the book in high school, and at the time thought of it almost as science fiction: commentary about events set in a remote future that hadn't come to be. There was no Big Brother. Certainly no one was staring back at me while I watched television. And relatively speaking, the country was at peace.
Of course, that was a long time ago. Now we have a civilian population eager to believe the president is "our" Commander-in-Chief, increasingly pervasive government surveillance, and a "long war" against a shifting global enemy so ill-defined it might as well be Eurasia and Eastasia.
Most of all, we have the language — the "newspeak" — Orwell predicted. No, there's no Ministry of Truth, but such an institution would anyway seem superfluous given that The New York Times, USA Today, Wall Street Journal, andWashington Post all now refuse to use the word "torture" to describe waterboarding, beatings, and sleep deprivation of prisoners, adopting instead the government-approved phrase "enhanced interrogation techniques" (as Chris Hayes of The Nation has observed, this is like calling rape "unilateral physical intimacy"). Even NPR, alas, has banned "torture" from its reporting. Escalation in Iraq is a "surge," prisoners are "detainees," assassinations are "targeted killings," and the 60,000 barrel-a-day ongoing undersea oil eruption is nothing but a "spill" or "leak." As bad as it is, imagine how much worse it might be if Orwell hadn't warned against it.
It's interesting to consider that Orwell addressed the major themes of Nineteen Eighty-Four a few years earlier, in his essay Notes on Nationalism. And yet Notes, as excellent as it is, is read much less widely. Why? Because certain themes resonate more powerfully when presented within the structure of a thriller—when brought to life in the conflicts and confusion of characters on the page. For readers,Nineteen Eighty-Four is a warning. For thriller writers, it's something to aspire to.
Image via Wikipedia
No comments:
Post a Comment