The Other Orwell, the Cold War, the CIA, MI6, and the Origin of Animal Farm: A Conversation between John Reed and Andrea Scrima 

by Andrea Scrima

Twenty years ago, John Reed made an unexpected discovery: “If Orwell esoterica wasn’t my foremost interest, I eventually realized that, in part, it was my calling.” In the aftermath of September 11, 2001, ideas that had been germinating suddenly coalesced, and in three weeks’ time Reed penned a parody of George Orwell’s Animal Farm. The memorable pig Snowball would return from exile, bringing capitalism with him—thus updating the Cold War allegory by fifty-some years and pulling the rug out from underneath it. At the time, Reed couldn’t have anticipated the great wave of vitriol and legal challenges headed his way—or the series of skewed public debates with the likes of Christopher Hitchens. Apparently, the world wasn’t ready for a take-down of its patron saint, or a sober look at Orwell’s (and Hitchens’s) strategic turn to the right.

Snowball’s Chance, it turns out, was only the beginning. The book was published the same year as Hitchens’s Why Orwell Matters, and the media frequently paired the two. In the years that followed, Reed wrote a series of essays (published in The Paris Review, Harper’s, The Believer, and other journals) analyzing the heated response to the book and everything it implied. Orwell’s writing had long been used as a propaganda tool, and evidence had emerged that his political leanings went far beyond defaming communism—but if facing this basic historical truth was so unthinkable, what was the taboo preventing us from seeing? Reed’s examination of our Orwell preoccupation sifts through the changes the West has undergone since the Cold War: its cultural crises, its military disasters, its self-deceptions and confusions, and more recently—perhaps even more troubling—its new instability of identity. The Never End brings together nine of these essays and adds an Animal Farm timeline, a footnoted version of Orwell’s proposed preface, and the Russian text Animal Farm originally drew from to more clearly assess the circumstances behind, and the conclusions to be drawn from, the book’s global importance. Read more »



by Akim Reinhardt

The Changing Face of Michael Jackson - SpindittyOver the course of more than a decade, Michael Jackson transformed from a handsome young man with typical African American features into a ghostly apparition of a human being. Some of the changes were casual and common, such as straightening his hair. Others were the product of sophisticated surgical and medical procedures; his skin became several shades paler, and his face underwent major reconstruction.

As stark as the changes were, perhaps even more jarring were Jackson’s public denials. His transformation was so severe and empirical that it was as plain as, well, the nose on his face. Yet he insisted on playing out some modern-day telling of “The Emperor’s New Clothes,” either minimizing or steadfastly denying all of it. In order to explain away the changes or claim that they had never even happened, Jackson repeatedly offered up alternate versions of reality that ranged from the plausible-but-highly-unlikely to the utterly ludicrous. He blamed the skin bleaching on treatments for vitiligo, a rare skin disorder. He denied altogether the radical changes to his facial structure, claiming his cheek bones had always been that way because his family had “Indian blood.”

It was equal parts bizarre and sad. But in some ways, perhaps the most disturbing aspect of it all were those among Jackson’s loyal fans who swallowed his story whole. Despite the irrefutability of it all, they refuted it. They parroted his narratives in lockstep, repeating his claims and avidly defending the King of Pop from any questions to the contrary.

Today we face a similar situation. But it’s not about a pop star’s face lift. Ludicrous denials of reality and bizarre make believe counter-narratives are now are now central to discourses about politics and the politicized pandemic. Read more »