George Orwell’s Animal Farm

Between Modernism and Postmodernism

Part III

Throughout the years, Orwell’s work has been analyzed and a great number of
parallels have been drawn between historical events and characters and the events transpired
in the book. In his companion book on Orwell’s works, Edward Quinn features a detailed
chart of correspondences between events enfolding in Soviet Russia and the actions and
characters of the book. The chart is annexed at the end of the paper.
Written in the midst of the Second World War, the book seems a valid precursor to
postmodernism, skirting the line between the two major artistic currents of the 20th century.
The major themes and ideas presented are both modernist and postmodernist in nature. The
initial fervor of the animals and their enthusiasm in creating a utopian-like society calls to
mind the desire for better or reinvention of the modernist writers, with their desire for
enlightenment and revolution. However, the central part of the story, depicting the
degradation and degeneration of their ideas is decidedly postmodernist in nature. Though
Orwell does not experiment with elaborate literary styles, devices or narrative voices, the
message of the story is powerful enough to make it a masterpiece, through its simple, yet
stunning allegorical depictions of reality. The use of a dystopian fable to convey a bleak,
bordering on absurd, reality is also postmodernist in spirit. At the same time, the depictions of
the major political currents, Marxism and fascism, as well as the naïve enthusiasm of the
animals brings to mind modernist realities.
The lack of a clear conclusion is also postmodernist – Orwell does not seek to devise
an end for his readers, does not offer any opinion throughout. The reader is left to ponder the
inevitability of misery for the animals (clearly depicting all men), even in the presence of
initially good intentions, of revolutions or reforms. A better path, a meaning, a solution is
never presented. Orwell’s story is surreal, shocking, stunning in message, simple in form.
It is never clear what side Orwell takes, politically and personally. Throughout the
years, his views on the subject become increasingly divergent, never adhering to one current
or another. He has described himself as a Tory anarchist or a democratic socialist, but beyond
all, what he seems to live by is “common decency”.
After Orwell’s death, in the 1950s, the CIA circulated huge numbers of Animal Farm
as anti-Soviet propaganda. They bought the movie rights for the books and had an animated
version made, changing the ending – in the CIA version, the animals rise up again and take
over the farm once more – an ending that most likely would not have pleased Orwell, as he
would have seen it as more propaganda.
Animal Farm is as current today as it was then, a precautionary tale for all, enjoyable
at all ages even, a masterful satire that continues to impact the spirit of readers everywhere.

Bibliography

Bloom, Harold – George Orwell’s Animal Farm – Bloom’s Modern Critical

Interpretations, Chelsea House Publications, 2006.
 Quinn, Edward – Critical Companion to George Orwell, A Literary Reference to His
Life and Work, Info Life Publishing, 2009.
Rodden, John – The Cambridge Companion to George Orwell, Cambridge University
Press, 2007.