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The end of that road is dishonest propaganda or art for art's sake—both of which he rejected. It would be perverse to assume that Orwell subscribed to the postmodern literary doctrine of the constructedness of reality and the unknowability of truth. A fear that facts could materialize or vanish on command lay at the heart of the totalitarian nightmare that preoccupied the last decade of his life.
Like Antaeus, Orwell drew his strength from having his feet planted on the ground. "I have a sort of belly-to-earth attitude," he confessed in a letter to Henry Miller a few months after writing "Shooting an Elephant," "and always feel uneasy when I get away from the ordinary world where grass is green, stones hard, etc." In "Why I Write," the closest thing to an Orwell literary manifesto, he declared, "When I sit down to write a book, I do not say to myself, 'I am going to produce a work of art.' I write
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