Cassady was born to Maude Jean Scheuer and Neal Marshall Cassady in Salt Lake City, Utah.^[1] After his mother died when he was ten, he was raised by his alcoholic father in Denver, Colorado. Cassady spent much of his youth living on the streets of skid row with his father, or spending time in reform school.

As a youth, Cassady was repeatedly involved in petty crime. He was arrested for car theft when he was 14, for shoplifting and car theft when he was 15, and for car theft and fencing when he was 16.

In 1941, the 15-year old Cassady met Justin W. Brierly, a prominent Denver educator.^[2] Brierly was well known as a mentor of promising young men, and, impressed by Cassady's intelligence, Brierly took an active role in Cassady's life over the next few years. He helped admit Cassady to East High School where he taught, encouraged and supervised his reading, and found employment for him. Cassady continued his criminal activities, however, and was repeatedly arrested from 1942 to 1944; on at least one of these occasions, he was released by law enforcement into Brierly's safekeeping. In June 1944, Cassady was arrested for receipt of stolen property, and served eleven months of a one-year prison sentence. He and Brierly actively exchanged letters during this period even through Cassady's intermittent incarcerations; these represent Cassady's earliest surviving letters.^[3] Brierly, apparently a closeted homosexual, is also believed to have been responsible for Cassady's first homosexual experience.^[4]

[edit]Love Life

In October 1945, after being released from prison, he married the fifteen-year-old LuAnne Henderson. In 1947, Cassady and his wife moved to New York City, where they met Jack Kerouac and Allen Ginsberg at Columbia University through Hal Chase, another protégé of Justin W. Brierly's. Although Cassady did not attend Columbia, he soon became friends with them and their acquaintances, some of whom later became members of the Beat Generation. Carolyn Robinson met Cassady in 1946 while she worked in Denver, Colorado, as a teaching assistant. Carolyn originally dated Jack Kerouac and would leave the Beat group shortly after walking in on Neal, Allen Ginsberg and Neal's wife at the time, LuAnne, in bed together. Five weeks after her departure, Neal got an annulment from LuAnne and married Carolyn. Her book, "Off the Road," details her marriage to Cassady and recalls him as "the archetype of the American Man." ^[5]

After Cassady's marriage to LuAnne Henderson was annulled, Cassady married Carolyn on April 1, 1948. The couple eventually had three children and settled down in a ranch house in Monte Sereno, California, 50 miles south of San Francisco, where Kerouac and Ginsberg sometimes visited.^[6] In 1950 he entered into a bigamous marriage with Diane Hansen, with whom he fathered one son, Curtis Hansen. During this period, Cassady worked for the Southern Pacific Railroad and kept in touch with his "Beat" acquaintances even as they became increasingly different philosophically.

Cassady had a sexual relationship with Ginsberg which lasted off and on for the next twenty years,^[7] and he traveled cross-country with both Kerouac and Ginsberg on multiple occasions.

[edit]Role of Drugs

Following an arrest during 1958 for offering to share a small amount of marijuana with an undercover agent at a San Francisco nightclub, Cassady served a sentence at San Quentin State Prison. After his release in June 1960, he struggled to meet family obligations, and Carolyn divorced him when his parole period expired in 1963. Cassady shared an apartment with Allen Ginsberg and Charles Plymell in 1963 at 1403 Gough Street, San Francisco.

Cassady first met author Ken Kesey during the summer of 1962, eventually becoming one of the Merry Pranksters, a group who formed around Kesey in 1964 who were vocal proponents of the use of psychedelic drugs. During 1964, he served as the main driver of the bus Further on the iconic first half of the journey from San Francisco to New York, which was immortalized by Tom Wolfe's book, The Electric Kool-Aid Acid Test. Cassady appears at length in a documentary film about the Merry Pranksters and their cross-country trip, Magic Trip, directed by Alex Gibney, released on 5 August 2011.

[edit]Travels and Death

In January 1967, Cassady traveled to Mexico with fellow prankster George "Barely Visible" Walker and longtime girlfriend Anne Murphy.^{[citation needed]} In a beachside house just south of Puerto Vallarta, Jalisco, they were joined by Barbara Wilson and Walter Cox. All-night storytelling, speed drives in Walker's Lotus Elan and the use of LSD made for a classic Cassady performance – "like a trained bear," Carolyn Cassady once said.^{[citation needed]} Cassady was beloved for his ability to inspire others to love life. Yet at rare times he was known to express regret over his wild life, especially as it affected his family.^{[citation needed]} At one point Cassady took Cox, then 19, aside and told him, "Twenty years of fast living – there's just not much left, and my kids are all screwed up. Don't do what I have done."^{[citation needed]}

During the next year, Cassady's life became less stable and the pace of his travels became more frenetic. He left Mexico in May, traveling to San Francisco, California; Denver, Colorado; New York City, New York and points in between: then returned to Mexico in September and October (stopping in San Antonio, Texas on the way to visit his oldest daughter who had just given birth to his first grandchild); visited Ken Kesey's Oregon farm in December; and spent the New Year with Carolyn at a friend's house near San Francisco. Finally, in late January 1968, Cassady returned to Mexico once again.

On February 3, 1968, Cassady attended a wedding party in San Miguel de Allende, Guanajuato, Mexico. After the party he went walking along a railroad track to reach the next town, but passed out in the cold and rainy night wearing nothing but a T-shirt and jeans. In the morning, he was found in a coma by the track, reportedly by Dr. Anton Black, later a professor at El Paso Community College, who carried Cassady over his shoulders to the local post office building. Cassady was then transported to the closest hospital, where he died a few hours later on February 4, four days short of his forty-second birthday.

The exact cause of Cassady's death remains uncertain. Those who attended the wedding party confirm that he took an unknown quantity of Secobarbital, a powerful barbiturate sold under the brand name of Seconal, that can easily lead to overdose. Cassady was not a heavy drinker, though he may have participated in a toast to the bride and groom. The physician who performed the autopsy wrote simply "general congestion in all systems". When interviewed later, the physician stated that he was unable to give an accurate report, because Cassady was a foreigner and there were drugs involved. 'Exposure' is commonly cited as his cause of death, although his widow disputes this and believes he may have died of renal failure.^[8]

Grotowski made his directorial debut in 1958 with the production "Gods of Rain" which introduced Grotowski's bold approach to text, which he continued to develop throughout his career, influencing many subsequent theatre artists. Later in 1958 Grotowski moved to Opole where he was invited by the theatre critic and dramaturg Ludwik Flaszen to serve as Director of the Theatre of 13 Rows. There he began to assemble a company of actors and artistic collaborators which would help him realize his unique vision. It was also there that he began to experiment with approaches to performance training which enabled him to shape the young actors - initially allocated to his provincial theatre - into the transformational artists they eventually became.

Among the many productions for which his theatre company became famous were "Orpheus" by Jean Cocteau, "Shakuntala" based on text by Kalidasa, "Dziady (Forefathers' Eve)" by Adam Mickiewicz and "Akropolis" by Stanisław Wyspiański. This last production was the first complete realization of Grotowski's notion of 'poor theatre.' In it the company of actors (representing concentration camp prisoners) build the structure of a crematorium around the audience while acting out stories from the Bible and Greek mythology. This conceptualization had particular resonance for the audiences in Opole, as the Auschwitz concentration camp was only sixty miles away. "Akropolis" received much attention, and could be said to have launched Grotowski's career internationally due to inventive and aggressive promotion by visiting foreign scholars and theatre professionals. A film of the production was made with an introduction by Peter Brook, which constitutes one of the most accessible and concrete records of Grotowski's work.

In 1964 Grotowski followed success with success when his theatre premiered "The Tragical History of Doctor Faustus" based on the Elizabethan drama by Christopher Marlowe, featuring Zbigniew Cynkutis in the title role. Foregoing the use of props altogether, Grotowski let the actors' bodies represent different objects, establishing an intimate dynamic of relation between actors and spectators by seating audience members as the guests at Faust's last supper, with the action unfolding on and around the table where they were seated.

In 1965 Grotowski moved his company to Wrocław relabeling them a "Teatr Laboratorium", in part to avoid the heavy censorship to which professional 'theatres' were subject in Poland at that time. Work had already begun on one of their most famous productions, "The Constant Prince". Debuting in 1967, this production is thought by many to be one of the greatest theatrical works of the 20th century. Ryszard Cieslak's performance in the title role is considered the apogee of Grotowski's approach to acting. In one of his final essays, Grotowski detailed how he worked individually with Cieslak for more than a year to develop the details of the actor's physical score before combining this central element of the performance with the work of other actors and the context of torture and martyrdom intrinsic to the play.

The last professional production from Grotowski as a director was in 1969. Entitled "Apocalypsis Cum Figuris" it is widely admired. Again using text from the Bible, this time combined with contemporary writings from authors such as T.S. Eliot and Simone Weil, this production was cited by members of the company as an example of a group 'total act'. The development of Apocalypsis took more than three years, beginning as a staging of Slowacki's Samuel Zborowski and passing through a separate stage of development as a staging of the Gospels, Ewangelie (elaborated as a completed performance though never presented to audiences) before arriving to its final form. Throughout this process, Grotowski can already be seen abandoning the conventions of traditional theatre, straining at the boundaries of what he later termed Art as presentation.

Grotowski revolutionized theatre, and, along with his first apprentice Eugenio Barba, leader and founder of Odin Teatret, is considered a father of contemporary experimental theatre. Barba was instrumental in revealing Grotowski to the world outside the iron curtain. He was the editor of the seminal book, Towards a Poor Theatre (1968) which Grotowski wrote together with Ludwik Flaszen, in which it is declared that theatre should not, because it could not, compete against the overwhelming spectacle of film and should instead focus on the very root of the act of theatre: actors co-creating the event of theatre with its spectators.

Theatre - through the actor's technique, his art in which the living organism strives for higher motives - provides an opportunity for what could be called integration, the discarding of masks, the revealing of the real substance: a totality of physical and mental reactions. This opportunity must be treated in a disciplined manner, with a full awareness of the responsibilities it involves. Here we can see the theatre's therapeutic function for people in our present day civilization. It is true that the actor accomplishes this act, but he can only do so through an encounter with the spectator - intimately, visibly, not hiding behind a cameraman, wardrobe mistress, stage designer or make-up girl - in direct confrontation with him, and somehow " instead of" him. The actor's act - discarding half measures, revealing, opening up, emerging from himself as opposed to closing up - is an invitation to the spectator. This act could be compared to an act of the most deeply rooted, genuine love between two human beings - this is just a comparison since we can only refer to this "emergence from oneself" through analogy. This act, paradoxical and borderline, we call a total act. In our opinion it epitomizes the actor's deepest calling.^[2]

[edit]Debut in the west

The year 1968 marked Grotowski's debut in the West. His company performed the Stanislaw Wyspianski play Akropolis/Acropolis (1964) at the Edinburgh Festival. This was a fitting vehicle for Grotowski and his Poor Theatre because his treatment of the play in Poland had already achieved wider recognition, and was published in Pamiętnik Teatralny (Warsaw, 1964), Alla Ricerca del Teatro Perduto (Padova, 1965), and Tulane Drama Review (New Orleans, 1965). It marked the first time many in Britain had been exposed to "Poor Theatre". The same year his book titled Towards A Poor Theatre appeared in Danish, published by Odin Teatrets Forlag. It appeared in English the following year, published by Methuen and Co. Ltd., with an Introduction by Peter Brook, then Director of the Royal Shakespeare Company. In it he writes feelingly about Grotowski's private consulting for the Company; he/they felt Grotowski's work was unique but equally understood that its value was diminished if talked about too much, if faith were broken with the consultant.

Grotowski's company made its debut in the United States under the auspices of the Brooklyn Academy of Music in the fall of 1969. BAM built a theatre for Grotowski's company in the Washington Square Methodist Church in Greenwich Village. Three productions were presented: Akropolis, The Constant Prince and Apocalypsis Cum Figuris during a three week run.

[edit]Paratheatrical phase

In 1973 Grotowski published "Holiday,"^{[citation needed]} which outlined a new course of investigation. He would pursue this 'Paratheatrical' phase until 1978. This phase is known as the 'Paratheatrical' phase of his career because it was an attempt to transcend the separation between performer and spectator. Grotowski attempted this through the organization of communal rites and simple interactive exchanges that went on sometimes for extended periods, attempting to provoke in participants a deconditioning of impulse. The most widely circulated description of one of these post-theatrical events (a "beehive") is given by Andre Gregory, Grotowski's longtime friend and the American director whose work he most strongly endorsed, in My Dinner with Andre. Various collaborators who had been important to Grotowski's work in what he termed his "Theatre of Productions" phase had difficulty following him in these explorations beyond the boundary of conventional theatre. Other, younger members of the group came to the foreground, notably Jacek Zmysłowski, whom many would consider Grotowski's closest collaborator in this period. Theatre critics have often exoticized and mystified Grotowski's work on the basis of these paratheatrical experiments, suggesting that his work should be seen in the lineage of Antonin Artaud, a suggestion Grotowski strongly resisted. Later in life, he clarified that he quickly found this direction of research limiting, having realized that unstructured work frequently elicits banalities and cultural cliché from participants.

[edit]Theatre of Sources

In this period of his work, Grotowski traveled intensively through India, Mexico, Haiti and elsewhere, seeking to identify elements of technique in the traditional practices of various cultures that could have a precise and discernible effect on participants. Key collaborators in this phase of work include Włodzimierz Staniewski, subsequently founder of Gardzienice Theatre Association, Jairo Cuesta and Magda Złotowska, who traveled with Grotowski on his international expeditions. His interest in ritual techniques linked to Haitian practice led Grotowski to a long-standing collaboration with Maud Robart and Jean-Claude Tiga of Saint Soleil. Always a master strategist, Grotowski made use of his international ties and the relative freedom of travel allowed him to pursue this program of cultural research in order to flee Poland following the imposition of martial law. He spent time in Haiti and in Rome, where he delivered a series of important lectures on the topic of theatre anthropology at the University of Rome La Sapienza in 1982 before seeking political asylum in the United States. His dear friends Andre and Mercedes Gregory helped Grotowski to settle in the US, where he taught at Columbia University for one year while attempting to find support for a new program of research.

[edit]Objective Drama

Unable (despite the best efforts of Richard Schechner) to secure resources for his projected research in Manhattan, in 1983 Grotowski was invited by Professor Robert Cohen to UC Irvine, where he began a course of work known as 'Objective Drama'. This phase of research was characterized by an investigation of the psychophysiological impact of selected songs and other performative tools derived from traditional cultures on participants, focusing specifically on relatively simple techniques that could exert a discernible and predictable impact on the doer regardless of her belief structures or culture of origin. Ritual songs and related performative elements linked to Haitian and other African diaspora traditions became an especially fruitful tool of research. During this time Grotowski continued several important collaborative relationships begun in earlier phases, with Maud Robart, Jairo Cuesta, and Pablo Jimenez taking on significant roles as performers and research leaders in the project. He also initiated a longstanding creative relationship with American director James Slowiak and discovered the individual to whom he would ultimately pass responsibility for his life-long research, Thomas Richards, son of legendary North-American black director Lloyd Richards.

[edit]Art as vehicle

In 1986, Grotowski was invited by Roberto Bacci of the Centro per la Sperimentazione e la Ricerca Teatrale to shift the base of his work to Pontedera, Italy, where he was offered an opportunity to conduct long-term research on performance without the pressure of having to show results until he was ready. Grotowski gladly accepted, taking with him three assistants from Objective Drama research (Richards, Jimenez and Slowiak) to help in founding his Italian Workcenter. Robart also led a work-team in Pontedera for several years, after which time funding cuts necessitated downscaling to a single research group, led by Richards. Grotowski took the term used to describe his final phase of research from a talk by Peter Brook, who coined the phrase "art as vehicle" to characterize the focus of his attention. "It seems to me," Brook said, "that Grotowski is showing us something which existed in the past but has been forgotten over the centuries; that is that one of the vehicles which allows man to have access to another level of perception is to be found in the art of performance." Toward that end, he drove Richards to take on increasingly greater responsibility and leadership in the work, until he was not only the primary doer in the practice of Art as Vehicle, but also its leader and "director" (if such a term can be accurately used) of the performance structures created around these Afro-Caribbean vibratory songs, most significantly 'Downstairs Action' (filmed by Mercedes Gregory in 1989) and 'Action', on which work began in 1994 and continues to the present. Italian actor Mario Biagini, who joined the Workcenter shortly after its founding, also became a central contributor to this research. In 1995, Grotowski changed the name of the Italian center to the Workcenter of Jerzy Grotowski and Thomas Richards to signal the unique and central place Richards held in his work. Although Grotowski died in 1999 at the end of a prolonged illness, the research of Art as Vehicle continues at the Pontedera Workcenter, with Richards as Artistic Director and Biagini as Associate Director. Grotowski's Will declared the two his "universal heirs," holders of copyright on the entirety of his textual output and intellectual property.

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     qdo nao souber o q fazer, avacalhe. avacalhe e se esculhambe. (O bandido da luz vermelha)
    

    
    
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     “Forth, and fear no darkness! Arise! Arise, Riders of Théoden! Spears shall be shaken, shields shall be splintered! A sword day… a red day… ere the sun rises! Ride now!… Ride now!… Ride! Ride to ruin and the world’s ending! Death! Death! DEATH! Forth Eorlingas!” (O retorno do rei)
    

    
    
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     ‎"The beginning is a very delicate moment" (Dune)
    

    
    
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     The only thing you can guess about a broken down old man is that he is a survivor. (A sangue frio)
    

    
    
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     Oh Lord, please don't burn us/Don't grill or toast your flock/Don't put us on the barbecue/Or simmer us in stock/Don't braise or bake or boil us/Or stir-fry us in a wok/Oh please don't lightly poach us/Or baste us with hot fat/Don't fricassee or roast us/Or boil us in a vat/And please don't stick thy servants Lord/In a Rotiss-o-mat. (O sentido da vida)
    

    
    
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    unless you love your life will flash by (A arvore da vida)
    

    
    
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    Nobody ever really quits. A smoker's a smoker when the chips are down. (Sin City)
    

    
    
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     Some people never go crazy. What truly horrible lives they must lead. (Barfly)
    

    
    
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     She appeared like an angel. Out of this filthy mess, she is alone. They... cannot... touch... her. (Taxi driver)
    

    
    
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     life is a series of divorces, suicides, promises broken, children abandoned. (Love streams)
    

    
    
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     all glory is fleeting. (Patton)
    

    
    
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     what we do in life echoes in eternity(Gladiador)

Orwell liked to provoke argument by challenging the status quo, but he was also a traditionalist with a love of old English values. He criticised and satirised, from the inside, the various social milieus in which he found himself – provincial town life in A Clergyman's Daughter; middle-class pretention in Keep the Aspidistra Flying; preparatory schools in Such Such were the Joys; colonialism in Burmese Days, and some socialist groups in The Road to Wigan Pier. In his Adelphi days he described himself as a "Tory-anarchist".^[125][126]

In 1928, Orwell began his career as a professional writer in Paris. His first article, Censorship in England, was an attempt to account for the 'extraordinary and illogical' suppression of plays and novels on the grounds of public decency, then practised in Britain. His own explanation was that the rise of the 'puritan middle class', who had stricter morals than the aristocracy, tightened the rules of censorship in the 19th century. Orwell's first article to be published in his home country, A Farthing Newspaper, was a critique of the new French daily, the Ami de Peuple. This paper was sold much more cheaply than most others, and was intended for ordinary people to read. However, Orwell pointed out that its proprietor François Coty also owned the right-wing dailies Le Figaro and Le Gaulois, which the Ami de Peuple was supposedly competing against. Orwell suggested that cheap newspapers were no more than a vehicle for advertising and anti-leftist propaganda, and predicted that like India, France might soon see 'free newspapers' which would drive many legitimate dailies out of business.^[127]

The Spanish Civil War played the most important part in defining Orwell's socialism. He wrote to Cyril Connolly from Barcelona on 8 June 1937: "I have seen wonderful things and at last really believe in Socialism, which I never did before".^[128][129] Having witnessed the success of theanarcho-syndicalist communities, for example in Anarchist Catalonia, and the subsequent brutal suppression of the anarcho-syndicalists, anti-Stalin communist parties and revolutionaries by the Soviet Union-backed Communists, Orwell returned from Catalonia a staunch anti-Stalinist and joined the Independent Labour Party, his card being issued on 13 June 1938.^[108] Although he was never a Trotskyist, he was strongly influenced by the Trotskyist and anarchist critiques of the Soviet regime, and by the anarchists' emphasis on individual freedom. In Part 2 of The Road to Wigan Pier, published by the Left Book Club, Orwell stated: "a real Socialist is one who wishes – not merely conceives it as desirable, but actively wishes – to see tyranny overthrown". Orwell stated in "Why I Write" (1946): "Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it."^[130] Orwell was a proponent of a federal socialist Europe, a position outlined in his 1947 essay "Toward European Unity", which first appeared in Partisan Review. According to biographerJohn Newsinger,

the other crucial dimension to Orwell's socialism was his recognition that the Soviet Union was not socialist. Unlike many on the left, instead of abandoning socialism once he discovered the full horror of Stalinist rule in the Soviet Union, Orwell abandoned the Soviet Union and instead remained a socialist — indeed he became more committed to the socialist cause than ever."^[57]

In his 1938 essay "Why I joined the Independent Labour Party", published in the ILP-affiliated New Leader, Orwell wrote:

For some years past I have managed to make the capitalist class pay me several pounds a week for writing books against capitalism. But I do not delude myself that this state of affairs is going to last forever ... the only régime which, in the long run, will dare to permit freedom of speech is a Socialist régime. If Fascism triumphs I am finished as a writer – that is to say, finished in my only effective capacity. That of itself would be a sufficient reason for joining a Socialist party.^[131]

Towards the end of the essay, he wrote: "I do not mean I have lost all faith in the Labour Party. My most earnest hope is that the Labour Party will win a clear majority in the next General Election."^[132]

Orwell was opposed to rearmament against Nazi Germany — but he changed his view after the Molotov-Ribbentrop Pact and the outbreak of the war. He left the ILP because of its opposition to the war and adopted a political position of "revolutionary patriotism". In December 1940 he wrote inTribune (the Labour left's weekly): "We are in a strange period of history in which a revolutionary has to be a patriot and a patriot has to be a revolutionary." During the war, Orwell was highly critical of the popular idea that an Anglo-Soviet alliance would be the basis of a post-war world of peace and prosperity. In 1942, commenting on journalist E. H. Carr's pro-Soviet views, Orwell stated: "all the appeasers, e.g. Professor E. H. Carr, have switched their allegiance from Hitler to Stalin."^[133]

On anarchism, Orwell wrote in The Road to Wigan Pier: "I worked out an anarchistic theory that all government is evil, that the punishment always does more harm than the crime and the people can be trusted to behave decently if you will only let them alone." He continued however and argued that "it is always necessary to protect peaceful people from violence. In any state of society where crime can be profitable you have got to have a harsh criminal law and administer it ruthlessly."

In his reply (dated 15 November 1943) to an invitation from the Duchess of Atholl to speak for the British League for European Freedom, he stated that he didn't agree with their objectives. He admitted that what they said was "more truthful than the lying propaganda found in most of the press" but added that he could not "associate himself with an essentially Conservative body" that claimed to "defend democracy in Europe" but had "nothing to say about British imperialism". His closing paragraph stated: "I belong to the Left and must work inside it, much as I hate Russian totalitarianism and its poisonous influence in this country."^[134]

Orwell joined the staff of Tribune as literary editor, and from then until his death, was a left-wing (though hardly orthodox) Labour-supporting democratic socialist.^[135] On 1 September 1944, about the Warsaw Uprising, Orwell expressed in Tribune his hostility against the influence of the alliance with the USSR over the allies: "Do remember that dishonesty and cowardice always have to be paid for. Do not imagine that for years on end you can make yourself the boot-licking propagandist of the sovietic regime, or any other regime, and then suddenly return to honesty and reason. Once a whore, always a whore." According to Newsinger, although Orwell "was always critical of the 1945–51 Labour government's moderation, his support for it began to pull him to the right politically. This did not lead him to embrace conservatism, imperialism or reaction, but to defend, albeit critically, Labour reformism."^[136] Between 1945 and 1947, with A. J. Ayer and Bertrand Russell, he contributed a series of articles and essays to Polemic, a short-lived British "Magazine of Philosophy, Psychology, and Aesthetics" edited by the ex-Communist Humphrey Slater.^[137][138]

Writing in the spring of 1945 a long essay titled "Antisemitism in Britain", for the Contemporary Jewish Record, Orwell stated that anti-Semitism was on the increase in Britain, and that it was "irrational and will not yield to arguments". He argued that it would be useful to discover why anti-Semites could "swallow such absurdities on one particular subject while remaining sane on others".^[139] He wrote: "For quite six years the English admirers of Hitler contrived not to learn of the existence of Dachau and Buchenwald. ... Many English people have heard almost nothing about the extermination of German and Polish Jews during the present war. Their own anti-Semitism has caused this vast crime to bounce off their consciousness."^[140] In Nineteen Eighty-Four, written shortly after the war, Orwell portrayed the Party as enlisting anti-Semitic passions against their enemy, Goldstein.

Orwell publicly defended P.G. Wodehouse against charges of being a Nazi sympathiser, a defence based on Wodehouse's lack of interest in and ignorance of politics.

The British intelligence group Special Branch maintained a file on Orwell for more than 20 years of his life. The dossier, published by The National Archives, mentions that according to one investigator, Orwell had "advanced Communist views and several of his Indian friends say that they have often seen him at Communist meetings". MI5, the intelligence department of the Home Office, noted: "It is evident from his recent writings – 'The Lion and the Unicorn' – and his contribution to Gollancz's symposium The Betrayal of the Left that he does not hold with the Communist Party nor they with him."^[141]