Search Results for: future vision

Discussion: Dystopian Visions of the Future

The Burgess Foundation and the Orwell Prize present a special event looking at dystopian visions of the future. Taking as a starting-point George Orwell’s totalitarian nightmare Nineteen Eighty-Four and Anthony Burgess’s ominously prescient fictions 1985, The Wanting Seed and A Clockwork Orange, writers and critics Eleanor Byrne (MMU), Kaye Mitchell (University of Manchester) and Michael Sayeau (UCL, the Orwell Archive) discuss these powerful texts and more, and look at what dystopias mean for us today.

The Orwell Youth Prize in Hull: students to debate the future they’re striving for

To take a rational political decision one must have a picture of the future

George Orwell, 1944

This Friday (6th March 2020) sixth form students from across Hull will gather at the University of Hull to debate societal change and the future of technology, community, education and the climate, inspired by the legacy of British writer George Orwell, whose novels include the visionary Nineteen Eighty-Four and Animal Farm, and whose non-fiction works The Road to Wigan Pier and Down and Out in Paris and London explored the conditions and causes of poverty and inequality in 1930s Europe.

The Future Forum brings together local and national organisations across the arts and society to support young people to articulate their vision for society and give them a platform to share their visions with those who hold influence and power, including Emma Hardy MP and Bishop Alison White.

The day will kick off with four provocations on key areas of contemporary relevance, from experts based in the region and beyond. Hull based playwright and Director Maureen Lennon will discuss the future of ’community’, focusing on the city of Hull. Lucy Hollis (Grow) will look at education, discussing her work as part of an educational movement transforming young people’s relationship with the food, the land and each other. Dr Darren McKie (University of Hull) will explore both the benefits and ethical dilemmas tied up in future technological developments, and Sarah Barfield Marks (Possible – a climate change charity) will consider the challenges of empowering the public to understand the climate crisis. In response, students themselves will become advocates for change in these areas, working collaboratively to present and articulate their own experiences and visions for a better society within their own lifetimes.

Students will then be supported to develop their writing and thinking on one of these topics by writers and creatives, including journalist Stephen Armstrong, Steve Arnott and Dave Okwesia from the Beats Bus Crew, writer S.K Perry and actor Michael Howcroft. They will also hear from Professor Glen Burgess, of the University of Hull, on the continuing relevance of George Orwell today. Everyone who attends will also be encouraged to enter this year’s national Orwell Youth Prize writing competition, the theme of which is ‘The Future We Want’.

The Hull Future Forum is the result of a partnership between The Orwell Youth Prize, the Humber Outreach Programme and #thehullwewant and is supported by Rethinking Poverty, the Webb Legacy. At the heart of all organisations involved is the belief that young people deserve to be heard, to be given the tools to think critically, and to have agency to shape their own futures.

Emma Hardy MP said:

The Hull Future Forum stands as the foundation for our young people to stand upon, so they can look to tackle these future challenges and to seek opportunities for change, and it is through the partnership with The Orwell Youth Prize, The Humber Outreach Programme and the University of Hull that they can do this.

The Orwell Youth Prize is a fantastic competition as it encourages young writers interested in politics to get engaged with today’s society and issues at hand.

This year’s topic “The Future We Want” could not come at a more timely hour; with the current climate crisis, future technology in employment and business, the continuity of our communities, and looking at how education can better inform us on these issues, young writers from across Hull have the opportunity to have their voices heard.

Lucy Mazdon, Dean, Faculty of Arts, Cultures, and Education, said:

As Dean of the Faculty of Arts, Cultures and Education at the University of Hull I am delighted to welcome the Future Forum to our campus. Shaping a fairer, brighter future lies at the heart of the University’s vision and mission so it gives me tremendous pleasure to host an event which will provide young people with the tools to question, challenge and impact society and its challenges.

The Orwell Youth Prize is a political writing prize for young people aged 12-18 from across the UK. Orwell claimed that his main motivation for writing was ‘political purpose’ which he defined in the widest possible sense as a ‘desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after’. Today, Orwell’s desire to push the world in a certain direction has inspired writers and campaigners across the world, whether in politics, journalism or civil society, as well as countless individual readers. The Orwell Youth Prize aims to ensure young people have the opportunity to be part of this group, and that they have opportunities to discuss and debate the society they are a part of and to communicate their own ideas for the society we should be striving after today.

About the Orwell Youth Prize

The Orwell Youth Prize is an annual programme for 12-18 year olds culminating in a writing prize. Rooted in George Orwell’s values of integrity and fairness, the prize is designed to introduce young people to the power of language and provoke them to think critically about the world in which they are living. FOR MORE INFORMATION AND DETAILS CONTACT: Alex Talbott, Programme Coordinator, The Orwell Youth Prize, alextalbott@orwellyouthprize.co.uk / 07940168100

About the Humber Outreach Programme

HOP (Humber Outreach Programme) is a partnership of Higher Education Institutions, schools, academies and colleges. The programme aims to raise the aspirations of young people from less advantaged backgrounds through exciting and challenging opportunities, with the goal of increasing their awareness of and participation in further and higher education.

About #TheHullWeWant

#TheHullWeWant is a social movement working with communities and allies in Hull to explore dreams to build connectedness & co-create imagined futures. #TheHullWeWant is proud to be part of the global #ShiftThePower movement.

2020 Theme: The Future We Want – Resources

What does the future you want look like? What’s standing in the way? How can we work to realise a better vision for our future together?

George Orwell wrote to alter perceptions on the kind of future society we want. In 2020, the Orwell Youth Prize asked young people aged 12 -18 to decide that future.

Journalism, essays, short stories, blog posts, poems, and plays were all welcome. Like the future,  responses to the 2020 theme was their choice. These resources, however, were used to provide that initial spark, and we hope they will continue to assist young writers articulate their vision of the future.

George Orwell and the Future

An Online Workshop – The Future We Want Now

Delia Jarrett-Macauley – Creative Writing Prompts and Ideas

A Message to the Orwell Youth Prize Entrants from Richard Blair, George Orwell’s Son

The Future We Want – Covid-19

Reading Recommendations

WHY ORWELL?

 

‘To take a rational political decision one must have a picture of the future’

(George Orwell, ‘Arthur Koestler’, 1944)

‘Nearly all creators of Utopia have resembled the man who has toothache, and therefore thinks happiness consists in not having toothache…whoever tries to imagine perfection simply reveals his own emptiness.’

George Orwell – ‘Can Socialists be Happy?‘ 1943.

‘One often has to aim at objectives which one can only very dimly see.’

George Orwell – ‘Can Socialists be Happy?‘ 1943.

‘Political purpose – using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after.’

George Orwell – ‘Why I Write‘ 1946

‘All revolutions are failures, but they are not all the same failure.’

George Orwell – ‘Arthur Koestler‘ 1944.

 

It makes sense to start with the man himself. Orwell wrote in a time of momentous historical change and critically engaged with the intellectual current of his time. Grand ideologies competed for dominance, where capitalism, communism, socialism, and fascism were pitted against each other on the international stage. His contemporaries were deeply optimistic about the potential for the seemingly relentless advance of technology to reshape human society and, in consequence, human nature itself.

Orwell is best remembered today for his satirical account of totalitarian regimes and his sceptical approach to the motivations underpinning utopian visions. Animal Farm (1945) and Nineteen Eighty-Four (1949) offer dystopian accounts of failed utopian projects and act as a ‘warning’ for his contemporaries. Orwell, however, never lost his faith in the possibility of a more humane society. His writing aimed ‘to alter other people’s idea of the kind of society that they should strive after.’

If you are interested in learning more about Orwell’s writing on social change and the future, you can read a more detailed account here.

 

THE WORLD TODAY

Today we tend to share Orwell’s scepticism towards grand utopian impulses and prefer to allow each of us to decide our own futures. However, we are currently living through uncertain times that impact our collective future. The climate crisis, divisive politics, deep inequality, and technology’s irreversible impact on society forces us to consider a question that pervades Orwell’s writing: what kind of society do we want to live in?

We have included a few links below for you to explore the factors that define how we approach this question. We will update this list throughout the course of the prize, but your reading should not be limited to the list below. Be inquisitive and critically engage with news items and articles you read. Most importantly, keep questioning the world around you and be radical in your solutions.

CLIMATE CHANGE

FIRST STOP OUR CLIMATE CHANGE RESOURCE 

Extra ideas…

Read

Greta Thunberg’s Speech ‘You Did not Act in Time’

RSA Resources on Climate Change

Nine Original Poems on Climate Change

Listen

Naming and Shaming the Polluters (The Guardian)

Are Extinction Rebellion the new Suffragettes?

Watch

Samsa – Anthropocene ft. Atlas

EDUCATION

Read

Should there be comprehensive universities?

The Stormzy Effect

Getting In

Watch

The Future of Education (Sajan George)

 

TECHNOLOGY & AI

Read

Elon Musk: The Architect of Tomorrow (Neil Strauss)

Would you recognise yourself from your data?

 

PLACE & COMMUNITY

Read

Meanwhile Use of Buildings

The Alternatives: making the economy work for everyone (Aditya Chakrabortty)

The rebel bank, printing its own notes and buying back people’s debts (Anna Leach)  

The Brixton Pound

 

IDENTITY

Read

What’s The Future of the Feminist Movement? 12 Leading Voices Respond

Should kids be brought up as gender netural? (Catriona White, BBC)

Intersectionality: Why it Matters?

Does Extinction Rebellion have a Race Problem?

‘Suhaiymah Manzoor-Khan’s poetry gives us tools to fight back’, an interview by Rosel Jackson Stern for gal-dem

6 Young Women On What The Black Lives Matter Movement Means To Them (Naomi Pike, Vogue) 
Watch

The Kids are Having None of It

Black Lives Matter: Parents and children talk about racism (BBC)

Listen

Kate Bornstein: The Future of Gender

 

WORK AND POVERTY

Read

RSA The Future of Work

Ending the Poverty Premium

Crumbling Britain: Big Issue competitors arrive as rough sleeping rises, Anoosh Chakelian, New Statesman 

Need some more information on what we want to change. Check out our resources on: Food Poverty  & Poverty Premium Resource

Listen

Deprivation Discourse – podcast series where young people are co-creators by Elif Emma True

 

MENTAL HEALTH

Read

In Mind: Found on Mental Health (The Guardian)

Is young people’s mental health getting worse? 

 

ART, TECHNOLOGY & POLITICS

Read

What will art look like in 20 years?

Listen

New Ways of Seeing

Tate Podcast: Art & Protest 

POLITICS & DEMOCRACY

Read

Politics as usual can’t fix the climate crisis Maybe it’s time to try a citizens’ assembly

The Case for Reparations

Why Donald Trump is proving George Orwell wrong

Watch

Knock Down the House

The Tate Podcast: Art & Protest

UTOPIAN FICTION

Read

Ecotopia (1975), Ernest Callenbach

Island (1962), Aldous Huxley

Herland (1915), Charlotte Perkins Gilman

The Dispossessed (1974) Ursula K. Le Guin

What We Can At Least Afford to Lose, Luke Kennard

Watch

Avatar (2009), James Cameron

 

WRITING ADVICE

Guide to Style

Guide to Form

Encountering Orwell

The brilliant work of previous winners of the Orwell Youth Prize

If you have any further questions, suggestions, or thoughts, please get in touch with Alex Talbott, alextalbott@orwellyouthprize.co.uk

George Orwell and the Future

THE FUTURE WE WANT – OYP THEME 2020

 

Orwell’s own writing was profoundly concerned with social change, the relationship between past, present and future, and what this means for the individual. His most celebrated and revisited work Nineteen Eighty-Four presented a chilling dystopian vision of the future which still unsettles and provokes today. But this dark vision was rooted in his belief that a better, more equal world was achievable, a belief which inspired him to make the journeys, both imaginative and real, which produced classics like The Road to Wigan Pier and Homage to Catalonia, as well as essays like The Lion and the Unicorn, which looked forward to the recreation of England after the Second World War.

All ‘favourable’ Utopias seem to be alike in postulating perfection while being unable to suggest happiness… It would seem that human beings are not able to describe, nor perhaps to imagine, happiness except in terms of contrast.

(‘Can Socialists Be Happy?’, 1943)

 

POLITICAL TURMOIL

George Orwell wrote because he wanted to change the world. In 1946, Looking back on his journey to becoming a writer, Orwell claimed that his main motivation was ‘political purpose’. Orwell defined ‘political purpose’, in the widest possible sense as a ‘desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after’. Today, Orwell’s desire to push the world in a certain direction has inspired writers and campaigners across the world, whether in politics, journalism or civil society, as well as countless individual readers.

But it was also the turbulent times he lived in which made George Orwell the writer he was. Orwell was writing during two of the most momentous decades of the twentieth century, the nineteen-thirties and the nineteen-forties, when the kind of society people should strive after were fiercely contested. As conflict spiralled around the globe, powerful ideologies like fascism, communism and socialism reshaped politics, and scientific and technological progress opened up new scope for human action, writers and commentators believed that the world was on the brink of a disorientating multitude of possible futures.

 

ORWELL THE ACTIVIST

What George Orwell wrote was a direct result of the actions he took. His investigations into homelessness in London and Paris, and the life of the labouring poor in the north of England, made him a fierce critic of inequality. In 1936 George Orwell went to Spain to fight in the Spanish Civil War as part of the ‘International Brigade’, socialists from across the world who were committed to supporting the Republican government: what he learnt about the activities of the Soviet-backed Communist Party in Spain led him to write Homage to Catalonia.  He returned to England (only just escaping with his life) and in the 1940s took part in the Second World War, working for the BBC to promote the British view of the war in India, which was then part of the British Empire.

If his experience in the 1930s made Orwell a political writer (he once said that ‘every line of serious work that I have written since 1936 has been written, directly or directly, against totalitarians and for democratic socialism, as I understand it’) it was his experience of ‘total war’ in the 1940s convinced him that revolutionary change was possible in the United Kingdom, and argument which he made in his essay, ‘The Lion and the Unicorn’ (subtitled ‘Socialism and the English Genius’).

 

ORWELL AND UTOPIA

Although a committed socialist, George Orwell was often sceptical of the motivations behind grand claims to transform society. In many of his essays, Orwell asked perceptive questions of the utopian visions which many of his fellow reformers, inspired by rapid technological advances and optimistic visions of human nature, were caught up in. “All ‘favourable’ Utopias,” Orwell wrote, “seem to be alike in postulating perfection while being unable to suggest happiness.” What, Orwell wanted to know, would the future really be like when it came?

As the dark visions of revolutions ‘gone wrong’ in Animal Farm (1945) and Nineteen Eighty-Four (1949) suggest, Orwell was not confident that change is always for the better. Yet these novels were also born out of a conviction that the futures they described did not have to happen, if ordinary people were vigilant and defended the values they believed in. Orwell described Nineteen Eighty-Four, with its dark vision of a bureaucratic state, the denial of objective truth and crushing of individual freedom as a ‘warning’. “The moral to be drawn from this dangerous nightmare situation is a simple one,” he said when Nineteen Eighty-Four was published. “Don’t let it happen. It depends on you.”

READ: Dorian Lynskey, ‘1984 at 70’

WATCH: 1984 Live: Dramatized live reading of ‘Nineteen Eighty-Four’, featuring actors and members of the public alongside prominent writers, journalists and broadcasters who, like Orwell, have grappled with issues of free speech, history and propaganda.

The Orwell Prize winners of Political Writing and Political Fiction 2021 announced

The Orwell Prize for Political Fiction 2021, sponsored and supported by Richard Blair and A. M. Heath, has been awarded to Summer by Ali Smith (Hamish Hamilton), the fourth and final book in her Seasonal Quartet. Written and published at great speed last year, Summer captures our time with great acuity, and is hopeful and furious in equal measure. Winter and Spring were previously shortlisted and longlisted for the prize, in 2018 and 2020 respectively.

The winner of the 2021 Orwell Prize for Political Writing is Between Two Fires:  Truth, Ambition and Compromise in Putin’s Russia by Joshua Yaffa (Granta). A series of beautifully-written pen-portraits of fascinating individuals – TV producers, priests, human rights activists and more – trying to thrive in contemporary Russian, many of whom are little-known to a Western audience, it is the Moscow-based journalist’s first book.

Both winners receive £3,000, and will be invited to take part in a winners ceremony later in the year. In videos released online today, both authors accepted the award virtually: Ali Smith recorded her piece in front of the Orwell mural on Southwold pier in Suffolk, while Joshua Yaffa dialled in from Moscow. Jean Seaton, the Director of the Foundation, said:

Like Orwell, both our winning authors this year are invested in the individual heart and minds’ negotiation with the pressures of their society: be it Britain heading into the 2020s, or the last two decades of Putin’s Russia. Joshua Yaffa has found an extraordinary new way of looking at Russian life, and the decisions and compromises made by those who want to make a difference, while Ali Smith’s ground-breaking project, her deft storytelling and sharp ear all make her a thrilling choice for this year’s Orwell Prize for Political Fiction. We are grateful to the careful work, and graceful discussions of the judges. And we also want to thank Richard Blair – Orwell’s son – for his generous support and interest in this prize.”

Ali Smith will be the special guest on BBC Radio 4’s Start the Week, 09.00AM on Monday 28th June.


SUMMER BY ALI SMITH (HAMISH HAMILTON)

The judges for the 2021 Orwell Prize for Political Fiction are: Delia Jarrett-Macauley (chair), former winner of The Orwell Prize for Moses, Citizen and Me; Andrea Stuart, author; Bea Carvalho, head fiction buyer at Waterstones; and Mark Ford, professor at University College London and author. They said:

The conclusion to Ali Smith’s seasonal quartet seals her reputation as the great chronicler of our age. Capturing a snapshot of life in Britain right up until the present day, Smith takes the emotional temperature of a nation grappling with a global pandemic, the brink of Brexit, heart-breaking conditions for refugees, and so much more. It will serve as a time-capsule which will prove to be essential reading for anyone seeking to understand the mood of Britain during this turbulent time.”

Ali Smith, speaking next to the mural of Orwell at Southwold Pier in Suffolk, said the following about the news:

I am so happy to be awarded the Orwell Prize for political fiction.

Orwell’s fiction understands the acute difference between the politics of art and the artfulness of politics. His fiction demonstrates that the power of language is mighty, and that this might is life-changing, world-changing and world-forming; and that language wielded for political power alone will reduce us all to a kind of fodder for powers that be or powers that want-to-be, while the core power of art and of the arts is always expansive, dimensionalising, liberating, complex, and concerned with revealing the human condition and revitalising and re-empowering the human dimension.

 “What I have most wanted to do” he said, … “was to make political writing into an art.”  The place where these two things meet can’t not be a place of humane – and inhumane – revelation.  To me, that’s what the word Orwellian means.  This, and that the structures of our arts, the shapes they take, will always make visible the structures by which we’re living, and who controls the language of the narratives we’re communally telling ourselves, and the workings of the narratives by which we’re being delineated as individuals and as a people.

 That’s why the past and future visions of his fiction will always be timeless, and why the Orwell Prize for political fiction really matters.  Big thank you.


BETWEEN TWO FIRES: TRUTH, AMBITION AND COMPROMISE IN PUTIN’S RUSSIA BY JOSHUA YAFFA (GRANTA)

The judges for the 2021 Orwell Prize for Political Writing are: Anand Menon (chair), Professor of European Politics and Foreign Affairs at Kings College London; Angela Saini, award-winning journalist and broadcaster, and author; Richard Ekins, Professor of Law and Constitutional Government at the University of Oxford; and Rosemary Goring, author and columnist with the Herald and the Sunday Herald. Commending Between Two Fires, the judges said:

A magnificent and moving account of everyday life in Putin’s Russia. Beautiful and haunting, Yaffa illuminates the challenges of moral life and the ways in which authoritarian rule is maintained. Beautiful and haunting, the book illuminates the challenges of moral life and the ways in which authoritarian rule is maintained.”

Joshua Yaffa sent in an acceptance speech from Moscow, where he is based:

I’m thrilled and honored to have won the Orwell Prize, an award that bears the name of an author who, perhaps more than any other, created a body of work that shows how one can write about politics with both clarity of thought and great humanity. That model was never far from my mind as I wrote Between Two Fires: I wanted to understand the dilemmas of compromise of the characters who form the core of the book, remaining clear eyed about their choices and the consequences of those choices, while also holding on to an empathetic reading of their lives and circumstances, oftentimes never quite sure whether I would have chosen or been able to act differently myself. The exercise of power and politics—especially in a place like Putin-era Russia—can complicate or scramble the pursuit of a noble, honest life, but life in all its beauty and strangeness remains all the same, even for those who make their own accommodation with the system. Orwell was a constant reference as I tried to untangle these stories and tell them with lucidity and, I hope, a measure of literary artistry.   


The shortlists, announced last month, featured thirteen writers working across different genres and forms to explore, confront and articulate the political challenges of our time, taking in reportage, nature-writing, history, experimental fiction and thrillers, and ranging across the world, from a Cumbrian hill-farm to a town in South-eastern Nigeria, and from the American Deep South to Ngaba Sichuan. The full list can be seen here.

The winners of The Orwell Prize for Journalism (John Harris and John Domokos, The Guardian) and The Orwell Prize for Exposing Britain’s Social Evils (Annabel Deas, for ‘Hope High’, a Radio 5 Live podcast series) were also announced this afternoon.

The Orwell Foundation also today revealed that the Orwell Prizes will return this autumn in a new format, with plans for an ambitious live event series in 2022, and a revised system of finalists and winners to replace the current longlist to winner structure, with the aim of achieving greater impact for the writing and reporting which comes through the prizes. More information will be announced in the autumn.

 

Ewan Guarnieri – ‘A Grand Reveal’

“Remarkable technically, in its control of pace and paragraph, and in the author’s manipulation of readerly expectation.” – Will Harris, Forward Prize-winning poet and Orwell Youth Prize judge 2023

The lights are off, the blinds are closed. Old food has fumigated the room. Dr Courre is stooped in his black leather chair with his face in his hands. A hundred sheets of paper are sprawled across a wide, deep desk.

He has never wanted to stop thinking like he does now.

Yesterday afternoon, there was a results reveal ceremony dedicated to experiments Courre and Dr Senmoore had co-fostered the theory for. Thirty-two personnel were present; nobody wanted to be absent if a celebration was called for. Success there would be monumental, implicating technology that would defy prediction, and guaranteeing some Nobel Prize winners. Courre did not seek recognition like some of his colleagues, but contributing to his field in such permanent fashion had always held an unavoidable allure, the potential of a transcendent legacy.

And it had gone so well. Every test had proved what it set out to prove. They had secured their coveted five-sigma certainty, assuring this was no fluke nor mistake, but to Courre, the revelations had been the antithesis of all he’d hoped for, and so against everybody’s expectations he fled the room as soon as the reveal was complete.

He was crying. Barrelling through the near-empty halls, careening around the cleaners, his thoughts were frenzied but his steps were purposeful, soon dropping him in his office where he pulled out the papers. He wasn’t revisiting anything published or revised – some uninformed acquaintances would later theorise that he had done just that, looking for just one single flaw – but he instead had sought his notes.

Courre’s notation had developed quiet notoriety among his colleagues. Few had seen it and none had been substantially exposed to it, meaning nobody in the department could vouch for it in any capacity. But, according to the few, they would be able to recognise it anywhere. Rumours claimed the script to be many outlandish things. This always amused Courre. One such rumour was that Courre had pursued a covert alliance with a Dutch hobbyist logician after Courre realised, during online correspondence regarding the hobbyist’s publications, that this person understood esoteric notation better than Dutch. They were supposedly developing it together. This rumour was true.

Yesterday and today proved the script to be far removed, still, from all of their expectations. Courre himself could not have foreseen its potential.

In ten minutes, he knows Senmoore will come and confront him about his behaviour. At first, he was not sure he was ready for this, but the inevitability of the events demands composure from him: he has seen he will be capable and so it will be.

Senmoore will expect satisfying answers because anything less would be a waste of her time. That is how she would describe her attitude if questioned, which she won’t be, and is how Courre sees her attitude, too. His respect for her is immense yet he feels his stomach wilt at the thought of having to explain what is happening to him. The truth was never Courre’s to keep – this is how he rationalises what he must do. It is weak. He is trying not to admit that he must imminently alter her perception of reality and in doing so he will likely initiate a chain of events that will culminate in the end of modern scientific progress. There will be a “tremendous loss of life.” He does not yet know if he will divulge this.

Leon Courre is seeing the future as clearly as the past, enabled by his language.

This admission will be crucial in the conversation with Senmoore. There can be no room for misinterpretation. In other circumstances, to suggest that simple fluency in a language would be the key to seeing across gaps of time would be entirely unreasonable. The silver lining is that it is Senmoore who will see him first, as Courre doesn’t know if anybody else would listen for long enough to believe him.

If he hadn’t foreseen the events of the reveal ceremony, up to and including the results themselves, he would’ve dismissed his foreboding and deja vu as nervous symptoms, borne both of the day and his Dutch correspondent’s unexplained communication blackout. If not for every anomaly of experience that peppered his morning then he could call this premonition a coincidence or one-off. If he could begin to decipher the events of yesterday without accepting his surreal condition, he would do so. He saw everything, everything in his day, right before it happened or earlier, with sickening visual clarity.

Principles of time and history and fate elude Courre right now. The cosmic implications of what is going on in his head must be swatted away like flies. He sees himself, currently, as an untapped well of crucial knowledge concerning one of man’s greatest achievements, too disoriented and overwhelmed to analyse his current condition. Sitting alone instead, slaving to commit his premonitions to memory, like a spy who has seen crucial intel. When did he stop crying?

It is this clarity of their terrible contents that nauseates Courre. In the absence of his understanding, he has decided he does not want to share the specifics with Senmoore yet. He avoids the spiral of questioning if this was ever his choice to make.

Courre is then sat in a boardroom.

A meeting has begun, with twelve bodyguards standing at the room’s perimeter, and five men in varying suits sitting at a long table. The table reflects the white lights overhead. The airy scent of the clean carpets. Courre doesn’t recognise anyone.

What is he here for? He can still hear voices outside of his office; premonitions only affect his vision. The cold-faced men are addressing him and he is responding while past-him spectates. This is bound to overlap with his meeting with Senmoore.

He watches himself moving next to a whiteboard, sketching diagrams and equations. One diagram forms a bullseye, with a centre labelled 100m across that gets filled in red. Some equations here relate to the reveal yesterday, but they’re being expounded upon. He memorises each glimpse of the board and tries to read the lips of people asking questions, tantalised by these snippets of revelation.

At some point, the 100m circle had been marked with an X. It all clicks for Courre very quickly, and he is hurled back into his body for a brief moment as his body chills. To see his hands point at that board, the words ‘casualties’ and ‘population centres’ alongside ‘maximisation,’ the unchanged expressions of the bureaucrats, stokes a flaming reaction. Courre tenses, his hands now shaking with adrenaline. Haggard reason returns to him as he seeks to formulate a plan. There is no reason he can see to grant these men the power they have consulted him for.

But part of him knows. If he could change any of what he has seen, he would know by now – the truth collecting on the edge of his mind like wisps of smoke. This was the most difficult truth to accept, more so even than his parahuman ability: what he is seeing is the future. Not deja vu, not visualised suspicion. And no matter how visceral his desire he cannot change the truth.

Until now, he had at least known he could control who knew it and prevent the wrong people from knowing the right things. The world he sees coming is not something he wants but it appears to be inevitable.

He sits back, brow unfurling. Inevitable. He plays with the word in his mouth, feeling its five steps over his tongue.

*

Courre opens his eyes and returns to reality, finally exhausted beyond thought but beyond relief, too. The coffee tastes bitter but he’s still cradling it in his hands, sitting near the biscuits. Some hindbrain section relaxes at the sight of voices syncing with lips. It’s funny to him, now, that he could’ve ever thought that so much chatter could originate from just outside his office door, unmuffled and spritely.

He clears a space at the table and pulls a notebook and pen from his breast pocket. Under other circumstances he would have to worry about somebody seeing the things he is about to write.

To his knowledge, that was his first vision within another vision. The disorientation of realising that his hearing, too, had fooled him, is actually negligible. Turning his head to the great projected countdown, his gaze passing a dozen excited faces on its way, he felt a momentary disappointment at having the surprise ruined for him.

 


Ewan Guarnieri is a senior runner up in The Orwell Youth Prize 2023

Beth Anker – ‘Meritocracy: The Politician’s Pipe Dream’

“A well argued, reflective and strongly researched analysis of the limits and limitations of meritocracy.” –  Andrew Jack, global education editor for the Financial Times and Orwell Youth Prize judge 2023

Scroll to the end of the page for an interview between Beth and 2019 Orwell Youth Prize winner, Jessica Johnson.

Former UK Prime Minister Tony Blair, speaking at LSE, 12 March 2002 – credit LSE Library


Upon first glance, a meritocracy – a world in which people can go as far as their merit takes them, and where those in power are there because of their own merit – seems to be a good thing: a marker of an equal society, and something within our grasp. For example, take the grammar school system: students who pass the test have the opportunity to aim high in an academically oriented school; push for the highest grades and attend top universities. However, I am in the majority of students who were tutored to pass the 11+. It is no longer the smartest students who are passing the test, it’s the richest ones. This illusion of meritocracy creates the idea amongst grammar school students that they are more worthy than their peers, and any success that comes their way is a product of their own hard work and talents, rather than a combination of effort, opportunity and, most importantly, luck. This encourages them to look down on their less successful peers; if the ‘winners’ deserve their success then the ‘losers’ deserve their squalor. This meritocratic hubris (Sandel, 2021, 28) is inescapable as long as humans insist on being a selfish species.

The harm caused by a meritocracy is not limited to those who are unsuccessful. The idea of a meritocracy, as it is generally thought of today, focuses heavily on academic success as a marker of merit, undermining the dignity of work and manual labour. A society cannot function on academics and politicians alone; it needs lorry drivers and factory workers. These people who arguably work just as hard as lawyers or doctors are conveniently forgotten in this “Great Meritocracy”. The average university lecturer earns double that of an average cleaner. Are university lecturers, on average, twice as good at what they do? I doubt it.

The culture surrounding elite jobs and education [becomes] more unattainable with every generation that lives through it…

Meritocracy is also bad for those on top: its ‘winners’. The culture surrounding elite jobs and education exacerbates itself, becoming more unattainable with every generation that lives through it, slowly destroying the welfare of those that are thriving, making their topple inevitable. In recent years, various reports have shown that students feel that their mental health has been significantly impacted by the pressures of elite academic settings. An apt reflection of this is that young people in “high-achieving” settings experience up to seven times the levels of anxiety and depression as their peers in other school settings (Luthar, 2020, 7); the ‘winners’ are actively being harmed by their ‘prize’.

The Achilles’ heel of a meritocracy is not its own fault. Instead it is due to our society’s values. Perhaps, if we were to completely reconstruct society from its foundations, a fair meritocracy would be viable, but the ideas that rule make it an impossibility. A meritocracy cannot work in a society that values superiority over success like our own. How can one go as far as their merit takes them, when there can only be the top “1%” with the other 99 below it? Someone, in fact most people, have to be losing, just so those who do win can gorge themselves on their spoils. The attraction of a meritocracy is its promise of equality for how can a society with superiority as its pillar, be, in any way shape or form, equal?

The idea of being successful is almost synonymous with being wealthy.

Another pitfall of meritocracy is the fault of our society. The idea of being successful is almost synonymous with being wealthy. You are not seen as successful if you’re not wealthy, and you are successful if you are wealthy with no regard to how hard you’ve worked or how good you are at what you do, as it is assumed that you must be one of the elites to walk among them. This is typified in grammar schools. It is not possible for everyone to be successful when wealth accumulation is the proxy measure of success. For a meritocracy to even be a consideration, we need to decouple achievement from wealth, and deconstruct our ideas of what it means to be successful. As it is, there is a lottery of birth, as there is a very strong correlation between the material wealth of the family a child is born into and their educational attainment (von Stumm et al., 2022), therefore creating a plutocracy, rather than the “Great Meritocracy” that has been promised to us time and time again. By Tony Blair in 1999 (White & Blair, 1999), by Theresa May in 2016 (May, 2016) and by Boris Johnson in 2019 (Havery & Caldecott, 2019). The inability to deliver equality of opportunity as promised transcends both decades and parties; Prime Ministers united in their inability to provide equality for their people.

A true meritocracy would be better for those within it.

Given that the premise of this article is that we do not live in a meritocracy, one question persists: would a genuine meritocracy be an improvement? I believe that a true meritocracy would be better for those within it. A prerequisite for this meritocracy is for everyone to be provided with a meaningful opportunity to thrive. In this alternate reality, people would be free to shape their own dreams, rather than mould them in the cast of wealth. Any avenue they chase would be in pursuit of self-actualization, rather than a necessity of survival, eradicating this race for wealth we justify by falsely calling it a meritocracy. Under this new status quo, division of resources would be equitable and therefore achievement would primarily be for self-fulfilment rather than material gain.

This meritocracy works because by removing the shackles of economic expediency; everyone is free to fulfil their potential. Therefore, everyone lives in a world of their own personal bests being achieved and is fulfilled and content. In this true meritocracy, everyone is happy. However, this construct will remain a fantasy until such a time as human rights are expanded to meet all genuine human needs to be able to live a free life. The economic imperatives of food, shelter and clothing will prevent a true meritocracy from ever coming to fruition.

It can be hard to look outside of our own veil of ignorance and challenge things we know to be unfair. It’s easy to justify our own situation by demeaning our own power and influence. We do not live in a meritocracy and the idea that we do is poisoning us. As long as we use the bodies of this impossible system’s losers as a platform to elevate the wealthy; we are doomed to be forever divided. We are fed success stories as a way to incentivize the masses, when we all know that success stories are just that. Stories.

Until we stop focussing on personal gain and instead look towards common good, meritocracy, despite being promised, will remain a pipe dream.

References 

Havery, G., & Caldecott, S. (2019, December 14). Boris Johnson holds victory rally in Sedgefield. The Northern Echo.

https://www.thenorthernecho.co.uk/news/18101982.boris-johnson-holds-victory-rally sedgefield/

Luthar, S. S. (2020, June). Students in High-Achieving Schools: Perils of Pressures to Be “Standouts”. Adversity and Resilience Science, 7.

https://www.researchgate.net/publication/342718560_Students_in_High-Achieving_S chools_Perils_of_Pressures_to_Be_Standouts

May, T. (2016, September 9). Britain, the great meritocracy: Prime Minister’s speech. GOV.UK. Retrieved May 20, 2023, from

https://www.gov.uk/government/speeches/britain-the-great-meritocracy-prime-ministe rs-speech

Sandel, M. J. (2021). The Tyranny of Merit: What’s Become of the Common Good? Penguin Books, Limited.

von Stumm, S., Cave, S. N., & Wakeling, P. (2022). Persistent association between family socioeconomic status and primary school performance in Britain over 95 years. npj Science of Learning.

White, M., & Blair, T. (1999, January 15). Blair hails middle class revolution | Politics. The Guardian. https://www.theguardian.com/politics/1999/jan/15/uk.politicalnews1


We asked previous winners and runners up of the Orwell Youth Prize to interview the 2023 cohort about their Orwell Youth Prize writing. Below, 2019 winner, Jessica Johnson, interviews 2023 winner, Beth Anker, about meritocracy, educational inequality, and the importance of valuing academic success rather than academic superiority:

Jess:  In the first paragraph you mention you were tutored to pass the 11+, what made you want to write about meritocracy from your position in it?

Beth:  I think the initial drive to write about meritocracy came from the people I’m surrounded by. A lot of the people at my school would’ve attended a private school had they not passed the 11+, the people that can afford private school make up such a disproportionately small percentage of the population compared to how they’re represented in grammar schools it made me start thinking about if ‘smarts’ (I don’t mean smarts really, it’s for a lack of a better word to describe the type of people grammar schools test for), is really the trait that grammar schools find in people, when so many seem to have lots of money too. Also considering what areas of the country have grammar schools fully instituted (Buckinghamshire, Kent and Yorkshire), are all among some of the most affluent areas outside of London. I believe recognising unfair systems that you are benefiting from is so important, and that often those within them are some of the best equipped to critique them.

Jess: What do you think about the future of education, especially considering some of the evidence that suggests mixed-ability teaching can improve overall attainment?

Beth: It’s clear our education system, which is full of division and disparity, will only reproduce inequality. If we look towards Finland as an example, by creating a ‘common’ school and working to abolish fee paying and selective schools, we can provide a better education system for every student. I think the reason a lot of parents are resistant to this change is because they believe that their child will be receiving a worse education just so others can receive a better one. The policymakers making decisions regarding overhauls like this also tend to be the same intransigent parents. However I don’t believe this perceived damage to their child’s education is a prerequisite for the common school. Instead it is about levelling up comprehensive schooling until it is comparable to selective and fee paying schooling, which in some cases it is. Once this has occurred there is no real reason, outside of to pay for your child to attend an independent school, or tutor your child to pass the 11+, thus making independent and grammar schools obsolete. I can’t even begin to imagine how big of an overhaul would be necessary to achieve this goal of equal schooling, especially with such an exam-focused education system. However it is so important that all students are provided with equal opportunities to thrive. The highest attaining students’ success should not have to depend on the lowest attaining students’ ‘failure’.

Jess: How do you think we balance valuing academic success and other achievements equally with trying to improve educational equality across the classes?

Beth: I think the main struggle in balancing valuing achievements and improving educational equality, is it seems that it would become easy to ignore high achieving students in favour of those who are struggling, and thus their grades begin to slip, creating a cycle where there are always students at the bottom. I actually think the way to avoid this is by valuing academic success. In valuing academic success, and not academic superiority, it is possible for every student to cross the ‘bar’ for academic achievement. If one student gets 90% and another 70%, it doesn’t matter as long as they both pass the test. In this way academic achievement becomes attainable for all students, making improving education equality easier as it provides clear goalposts to aim for. Schools can provide further opportunities for students already achieving academic success to deepen their knowledge and work with classes to improve their attainment.

Jess: Graduates from top universities appear to be increasingly applying for jobs in law and finance, are other less well-paid sectors missing out on our brightest minds?

Beth: In some cases, yes. There absolutely are sectors that are struggling and need more people working in them, especially people with higher education but the sectors don’t have the means to attract them. However, I believe that passion is more important than a prestigious degree, and if someone truly wants to work in a sector, a lower salary would not dissuade them. All sectors are better off with a passionate workforce, with less prestigious degrees or no degrees at all, than graduates from top universities attracted by a paycheck.


Beth Anker is a junior winner in The Orwell Youth Prize 2023

The Orwell Prizes 2022: Winners Announced

We are delighted to be able to announce that the winners of The Orwell Prizes 2022 are:

  • The Orwell Prize for Political Fiction 2022: Small Things Like These by Claire Keegan (Faber).
  • The Orwell Prize for Political Writing 2022: My Fourth Time, We Drowned by Sally Hayden (Harper Collins)
  • The Orwell Prize for Journalism 2022: George Monbiot (The Guardian)
  • The Orwell Prize for Exposing Britain’s Social Evils 2022: The Cost of Covid – Burnley Crisis by Ed Thomas (BBC News)

A Special Prize was awarded to David Collins and Hannah Al-Othman (The Sunday Times) for The Murder of Agnes Wanjiru. All winners receive £3000 and took part in the Awards Ceremony at Conway Hall on Thursday 14th July 2022. Jean Seaton, the Director of The Orwell Foundation, said of the Book Prizes:

Both Sally Hayden and Claire Keegan have, in very different ways, written gripping stories about things that should alarm us: there are awful truths right at the heart of our societies and systems. However, in their wit, elegance and compassion, these powerful winning books also help us think about the choices we make, and how to make the future better. Orwell would be proud.

Jean Seaton also said of the Journalism Prizes:

Without proper reporting we know nothing of our circumstances, yet journalism and journalists are now under threat as rarely before. So treasure this great journalism – forensic, decent and beautifully crafted.

The finalists of The Orwell Prizes 2022 inspired the programming for the Orwell Festival of Political Writing, run in partnership with Substack. With over 20 events programmed at University College London and across Bloomsbury, the festival featured over 50 writers and journalists, many of them Orwell Prize shortlistees, as well as Dominic Cummings, Joshua Yaffa, Ali Smith, Chris Patten and Jess Phillips.

The Orwell Prizes will return in 2023, with judging panels and timetables released in autumn 2022.

 


Small Things Like These by Claire Keegan (Faber)

The judges for the 2022 Orwell Prize for Political Fiction are: Dennis Duncan, writer, translator and lecturer in English at University College London; Sana Goyal, writer and deputy/reviews editor at Wasafiri; Adam Roberts (chair of judges), novelist and Professor of Literature at Royal Holloway; and Monique Roffey, writer of novels, essays, literary journalism and a memoir. They said:

The focus of this novella is close, precise and unwavering: a beautifully written evocation of Ireland in the 1980s, precisely rendered; of a good man and his ordinary life; and of the decision he makes that unlocks major, present questions about social care, women’s lives and collective morality. The very tightness of focus, and Keegan’s marvellous control of her instrument as a writer, makes for a story at once intensely particular and powerfully resonant.

 


The Fourth Time, We Drowned by Sally Hayden (Harper Collins)

The judges for the 2022 Orwell Prize for Political Writing are: Stephen Bush, columnist and associate editor at the Financial Times; David Edgerton (chair of judges),  Hans Rausing Professor of the History of Science and Technology and Professor of Modern British History at King’s College London; Kennetta Hammond Perry, founding Director of the Stephen Lawrence Research Centre and Reader in History at De Montfort University and Anne McElvoy, broadcaster and is Senior Editor of The Economist. They said:

Hayden’s reporting is an extraordinary exploration of a modern reality using modern means: truly a book of our times. While many people seeking refuge from the terrible logics of repression, war and poverty cannot easily cross frontiers, phone and Facebook messages can. They allow contact with home but are also the means by which ransoms are gruesomely demanded by traffickers.  But they are also the way in which Hayden explores the lives of people stuck under the control of traffickers, militias, the UN, and lets them speak to us as full human beings: hungry, ill, and often doomed in their quest for safety. She gets the terrible truth out to a world that has been far too indifferent.

 


George Monbiot (The Guardian)

The judges for The Orwell Prize for Journalism 2022 were Isabel Hilton (chair), journalist and founder of China Dialogue, Helen Hawkins, ex-culture editor at The Times, Marcus Ryder, Head of External Consultancies at the Sir Lenny Henry Centre for Media Diversity and chair of RADA, and Sameer Padania, author and independent journalism consultant. Isabel Hilton said:

In the finest tradition of George Orwell’s journalism, George Monbiot draws on a vast reserve of knowledge to write with wit, elegance, forensic insight, and sustained and justified anger about the most important, and most neglected, crisis facing humanity. His targets range from organised crime to criminal political indifference and he leaves us in no doubt about what we must do to survive.

 


The Cost of Covid – Burnley Crisis, Ed Thomas (BBC News)

Generously sponsored by the Joseph Rowntree Foundation, The Orwell Prize for Exposing Britain’s Social Evils 2022 was judged by Sophia Parker (chair), Director of Emerging Futures and founder and former-CEO of Little Village, Annabel Deas, investigative journalist at BBC Radio 4 and winner of The Orwell Prize for Exposing Britain’s Social Evils 2021, Jo Swinson, Director of Partners for a New Economy and former Leader of the Liberal Democrats, Kirsty McNeill, Executive Director for Policy, Advocacy, and Campaigns at Save the Children, and Sophia Moreau, a multi-award winning campaigner and Head of Advocacy at Little Village. Sophia Parker said of Ed Thomas’s winning entry, The Cost of Covid – Burnley Crisis:

We thought this was outstanding journalism, bringing humanity and empathy to the unfolding crisis of suffering and destitution that was deepened and extended by the pandemic. As readers we are invited to experience the world through the eyes of the people Ed met in Burnley, and his skillful journalism managed to bring home the depth of the crisis without sensationalising it. While the pieces were focused on Covid, the poverty Thomas’ work revealed is an issue we know is not going away, as destitution continues to rise and the cost of living crisis bites deeper every week. The panel were blown away by Ed’s reporting and we hope this award will encourage journalists to continue to shine a light on to the long shadow that poverty is casting across communities up and down the country.

David Collins and Hannah Al-Othman were also awarded a Special Prize for their entry, The Murder of Agnes Wanjiru. Sophia Parker said:

This investigation exposed, on the front page of the Sunday Times, the culture of impunity in our Armed Forces and how British soldiers stand accused of collusion in a grotesque crime. Through dogged investigation across two continents these reporters have helped her family get closer to the truth of who killed Agnes and revealed violent misogyny and racism among those charged with our protection and defence. Through this deep work the journalists have highlighted the toxic culture within a public institution – a powerful and important theme that journalists need to continue to pay attention to.

 


Each year, our independent panels award prizes to the writing and reporting which best meets the spirit of George Orwell’s own ambition ‘to make political writing into an art’. There are currently four Orwell Prizes, The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction, The Orwell Prize for Journalism, and The Orwell Prize for Exposing Britain’s Social Evils.

The Orwell Prize for Political Fiction

This is the fourth year that The Orwell Prize for Political Fiction, sponsored by the Orwell Estate’s literary agents, A. M. Heath, and Orwell’s son, Richard Blair, has been awarded. The prize rewards outstanding novels and collections of short stories first published in the UK that illuminate major social and political themes, present or past, through the art of narrative.

The Orwell Prize for Political Writing

The Orwell Prize for Political Writing (previously, Orwell Prize for Books) is for a work of non-fiction, whether a book or pamphlet, first published in the UK or Ireland. ‘Political’ is defined in the broadest sense, including (but not limited to) entries addressing political, social, cultural, moral and historical subjects and can include pamphlets, books published by think tanks, diaries, memoirs, letters and essays.

The Orwell Prize for Journalism

The Orwell Prize for Journalism is awarded to a journalist for sustained reportage and/or commentary working in any medium. A submission should consist of three articles. This might consist of, for example, three printed articles, three television or radio broadcasts or a combination of different media. As of 2020, one article may be self-published on a blogging or micro-blogging site (for example, a Twitter thread).

The Orwell Prize for Exposing Britain’s Social Evils

Sponsored and supported by the Joseph Rowntree Foundation, The Orwell Prize for Exposing Britain’s Social Evils has a unique remit to encourage, highlight and sustain original, insightful, and impactful reporting on social issues in the UK that has enhanced the public understanding of social problems and public policy, and welcomes reporting that uses investigative intelligence to pursue new kinds of story, ones that may also extend the reach of traditional media. The Prize is named in recognition of the task Joseph Rowntree gave his organization ‘to search out the underlying causes of weakness or evil’ that lay behind Britain’s social problems.

 


The Foundation would like to thank all our partners and sponsors, including the Joseph Rowntree Foundation, Richard Blair, A. M. Heath, The Political Quarterly, and University College London, home of the Orwell Archive, for their support in continuing to make these awards possible. The Foundation would also like to thank Substack for their sponsorship of the Orwell Festival of Political Writing, and the support from the Institute of Advanced Studies in UCL and the Joseph Rowntree Foundation.

The Orwell Prizes 2022: The Finalists

We can now reveal the finalists chosen by The Orwell Prize judges to go through to this year’s shortlists. The winners of each Orwell Prize will receive £3,000 and will be announced on Thursday 14th July 2022 at the closing ceremony of our Orwell Festival of Political Writing, in association with Substack and UCL.

The Orwell Prizes have a new structure for 2022, with a winner being chosen from a single shortlist of finalists, rather than the previous longlist-shortlist-winner structure. The Orwell Festival will bring together the shortlisted writers for The Orwell Prizes 2022, along with some special guests, in a series of events to discuss the most important and exciting political thinking and writing today. Head to the festival’s website to book your tickets.

As ever, The Orwell Prizes aim to encourage good political writing and reporting aimed at or accessible to the reading public. Winning entries should be of equal excellence in style and content, and the writing should be in the spirit of George Orwell’s own ambition ‘to make political writing into an art’. Congratulations to all this year’s nominees, and a huge thank you to our panels.


The Orwell Prize for Political Fiction 2022

The judges for The Orwell Prize for Political Fiction 2022 are: Dennis Duncan, writer, translator and lecturer in English at University College London; Sana Goyal, writer and deputy/reviews editor at Wasafiri; Adam Roberts (chair of judges), novelist and Professor of Literature at Royal Holloway; and Monique Roffey, writer of novels, essays, literary journalism and a memoir.

The finalists are:

  • Cwen by Alice Albinia (Serpent’s Tail)
  • A Passage North by Anuk Arudpragasam (Granta)
  • Assembly by Natasha Brown (Hamish Hamilton)
  • The High House by Jessie Greengrass (Swift Press)
  • Small Things Like These by Claire Keegan (Faber)
  • The Colony by Audrey Magee (Faber)
  • Appliance by J.O. Morgan (Jonathan Cape)
  • there are more things by Yara Rodrigues Fowler (Fleet)
  • Sterling Karat Gold by Isabel Waidner (Peninsula Press)

Adam Roberts, Chair of Judges for The Orwell Prize for Political Fiction 2022, commented: ‘This is a markedly varied list, something that reflects the diversity and variety at the very top of contemporary writing: from the distilled clarity and precision of Small Things Like These to the stylistic and formal fireworks of Sterling Karat Gold, from the capacious energy and verve of there are more things to the sharply focused vignettes of contemporary life of Assembly; from the sharply witty gaelic tale of island life and colonisation in The Colony and the feminist science fiction of Cwen to The Appliance’s Philip-Dickian fantasia on technology and authenticity; from the searching and fluent A Passage North, exploring how the traumas of the past stir the present, to the climate-changed collapsing future of The High House. What all these brilliant novels have in common, and what so impressed the judges, was the various ways they explored the politics of everyday life: personal, racial, linguistic, familial, environmental. They are all, in their ways, political novels, and all, without exception, superb.’

We would like to thank A. M. Heath Literary Agency and George Orwell’s son, Richard Blair, for their sponsorship and making the fourth year of The Orwell Prize for Political Fiction possible.


The Orwell Prize for Political Writing 2022

The judges for The Orwell Prize for Political Writing 2022 are: Stephen Bush, columnist and associate editor at the Financial Times; David Edgerton (chair of judges), Hans Rausing Professor of the History of Science and Technology and Professor of Modern British History at King’s College London; Kennetta Hammond Perry, founding Director of the Stephen Lawrence Research Centre and Reader in History at De Montfort University, and Anne McElvoy, broadcaster and is Senior Editor of The Economist.

  • Behind Closed Doors by Polly Curtis (Virago)
  • The Dawn of Everything by David Graeber and David Wengrow (Penguin)
  • Spike by Jeremy Farrar and Anjana Ahuja (Profile)
  • My Fourth Time, We Drowned by Sally Hayden (Harper Collins)
  • Uncommon Wealth by Kojo Koram (John Murray)
  • Things I Have Withheld by Kei Miller (Canongate)
  • Orwell’s Roses by Rebecca Solnit (Granta)
  • The Right to Sex by Amia Srinivasan (Bloomsbury Publishing)
  • Shutdown by Adam Tooze (Viking)
  • Do Not Disturb by Michela Wrong (Harper Collins/4th Estate)

‘Each of our shortlisted books changes our minds on something important, and does so compellingly and with a sense of urgency, peering beneath surface appearances, encrusted as they are with apologias, cliches and mendacities. Taking in reportage, essays, historical writing and economics, and ranging from the earliest human cultures to hugely important contemporary problems, they all rise to the challenge of our times which is not to speak truth to power, but to tell the truth about power.’ – David Edgerton, chair of judges, Orwell Prize for Political Fiction 2022


The Orwell Prize for Journalism 2022

The Orwell Prize for Journalism 2022 panel is chaired by Isabel Hilton, journalist and founder of China Dialogue, who is joined by Helen Hawkins, ex-culture editor at The Times, Marcus Ryder, Head of External Consultancies at the Sir Lenny Henry Centre for Media Diversity and chair of RADA, and Sameer Padania, author and independent journalism consultant.

The finalists are:

  • George Monbiot (The Guardian)
  • Tam Hussein (New Lines Magazine)
  • Neil Munshi (The Financial Times)
  • Daniel Trilling (The Guardian)
  • Ali Fowle, Aun Qi Koh, Drew Ambrose (101 East, Al Jazeera)
  • Gabriel Gatehouse and Lucy Proctor (BBC Radio 4/World Service/BBC Sounds)
  • Billy Perrigo (TIME)
  • Polina Ivanova (The Financial Times, Reuters)
  • Glenn Patterson and Conor Garrett (BBC Radio 4 & BBC Sounds)
  • Poppy Sebag-Montefiore (Tortoise Media, The Guardian)

The Orwell Prize for Exposing Britain’s Social Evils 2022

Generously sponsored by the Joseph Rowntree Foundation, Sophia Parker, Director of Emerging Futures and founder and former-CEO of Little Village, chaired this year’s panel of judges. She was supported by Annabel Deas, investigative journalist at BBC Radio 4 and winner of The Orwell Prize for Exposing Britain’s Social Evils 2021, Jo Swinson, Director of Partners for a New Economy and former Leader of the Liberal Democrats, Kirsty McNeill, Executive Director for Policy, Advocacy, and Campaigns at Save the Children, and Sophia Moreau, a multi-award winning campaigner and Head of Advocacy at Little Village.

The finalists are:

  • Ed Thomas (BBC News)
  • Yvonne Roberts (The Observer)
  • David Collins and Hannah Al-Othman (The Sunday Times)
  • Patricia Clarke, Basia Cummings, Tom Kinsella, Matt Russell, Louise Tickle, Claudia Williams (Tortoise)
  • Patrick Strudwick (The i Paper)
  • Samuel Lovett (The Independent)
  • David Conn (The Guardian)
  • Noel Titheradge and Rianna Croxford (BBC News)
  • Aaron Walawalkar (Liberty Investigates), Eleanor Rose (Liberty Investigates), Jessica Purkiss (Liberty Investigates), Mirren Gidda (Liberty Investigates), Mark Townsend (The Observer)
  • Ria Chatterjee (ITV News London)

Sophia Parker, Chair of Judges for The Orwell Prize for Exposing Britain’s Social Evils, commented: ‘This year’s shortlist for The Orwell Prize for Exposing Britain’s Social Evils prize powerfully represents the spirit of Orwell in the 21st century. All the journalists represented have fearlessly and patiently exposed the dark underbelly of modern social evils; every entry is beautifully crafted to invite readers and listeners to look afresh at our world, and ask what they might do to make a difference’


Each year, our independent panels award prizes to the writing and reporting which best meets the spirit of George Orwell’s own ambition ‘to make political writing into an art’. There are currently four Orwell Prizes, The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction, The Orwell Prize for Journalism, and The Orwell Prize for Exposing Britain’s Social Evils:

The Orwell Prize for Political Fiction

This is the fourth year that The Orwell Prize for Political Fiction, sponsored by the Orwell Estate’s literary agents, A. M. Heath, and Orwell’s son, Richard Blair, has been awarded. The prize rewards outstanding novels and collections of short stories first published in the UK that illuminate major social and political themes, present or past, through the art of narrative.

The Orwell Prize for Political Writing

The Orwell Prize for Political Writing (previously, Orwell Prize for Books) is for a work of non-fiction, whether a book or pamphlet, first published in the UK or Ireland. ‘Political’ is defined in the broadest sense, including (but not limited to) entries addressing political, social, cultural, moral and historical subjects and can include pamphlets, books published by think tanks, diaries, memoirs, letters and essays.

The Orwell Prize for Exposing Britain’s Social Evils

Sponsored and supported by the Joseph Rowntree Foundation, The Orwell Prize for Exposing Britain’s Social Evils has a unique remit to encourage, highlight and sustain original, insightful, and impactful reporting on social issues in the UK that has enhanced the public understanding of social problems and public policy, and welcomes reporting that uses investigative intelligence to pursue new kinds of story, ones that may also extend the reach of traditional media. The Prize is named in recognition of the task Joseph Rowntree gave his organization ‘to search out the underlying causes of weakness or evil’ that lay behind Britain’s social problems.

The Orwell Prize for Journalism

The Orwell Prize for Journalism is awarded to a journalist for sustained reportage and/or commentary working in any medium. A submission should consist of three articles. This might consist of, for example, three printed articles, three television or radio broadcasts or a combination of different media. As of 2020, one article may be self-published on a blogging or micro-blogging site (for example, a Twitter thread).

The Orwell Festival of Political Writing

The Orwell Festival of Political Writing, in partnership with Substack and in association with UCL, will run between 22nd June and 14th July across Bloomsbury and bring together the shortlisted writers for The Orwell Prizes 2022, along with some special guests, in a series of events to discuss the most important and exciting political thinking and writing today. We have already announced events with Rebecca Solnit, Dominic Cummings, Joshua Yaffa, and Ali Smith, with many more speakers to be announced shortly.

The Foundation would like to thank all our partners and sponsors, including the Joseph Rowntree Foundation, Richard Blair, A. M. Heath, The Political Quarterly, and University College London, home of the Orwell Archive, for their support in continuing to make these awards possible.

Rules

There are currently four prizes:

  • The Orwell Prize for Political Writing awarded to a work of non-fiction. ‘Political’ is defined in the broadest sense, including entries addressing political, social, cultural, moral and historical subjects.
  • The Orwell Prize for Political Fiction awarded to a work of fiction, including short stories, graphic novels and YA.
  • The Orwell Prize for Journalism awarded to a journalist for sustained reportage and/or commentary working in any medium.
  • The Orwell Prize for Reporting Homelessness awarded for reportage and/or commentary on homelessness.

In addition, Special Prizes may be awarded at the discretion of the judges. You can find the rules for The Orwell Prize 2025 below. Please note that rules are updated each year.


THE ORWELL PRIZE FOR POLITICAL WRITING (2025)

INTRODUCTION

1/ The Orwell Prize for Political Writing is awarded annually. The Prize awarded in June 2025 (the 2025 Prize) will recognise work first published between 1st June 2024 and 31st May 2025. Submissions are open from Wednesday 13th November 2024 until Monday 27th January 2025.

2/ It is named in memory of George Orwell, the British journalist, novelist and essayist.

3/ Both The Orwell Prize for Political Writing and its sister prize, The Orwell Prize for Political Fiction, aim to encourage good writing and thinking about political themes. The winning entry of The Orwell Prize for Political Writing should strive to meet Orwell’s own ambition ‘to make political writing into an art’. Work should be of equal excellence in style and content and live up to the values of Orwell and the Orwell Foundation.

4/ ‘Political’ is defined in the broadest sense, including (but not limited to) entries addressing political, social, cultural, moral and historical subjects and can include pamphlets, books published by think tanks, diaries, memoirs, letters and essays.

5/ The Orwell Prize for Political Writing is worth £3,000 to the winner.

ELIGIBILITY

6/ Works of non-fiction must be published in either print and/or electronic format, or both, in the UK or Ireland between 1st June 2024 and 31st May 2025 by a recognised publisher or imprint based in the UK or Ireland. The book may also have been published first in another territory, so long as both publication dates (UK and elsewhere) fall within the above window. All submitted titles should have their own ISBN (International Standard Book Number) and be available in either pounds sterling or, in the case of books published in the Republic of Ireland, euros through UK and Irish retailers.

7/ A completed submission consists of the completed entry form including e-book, and two hard copies of the book sent to the Orwell Foundation office. Submissions must be received by the deadline.

If you have any questions about eligibility, please get in touch with the administrator.

8/ Each publisher or imprint may submit a maximum of five books to the Orwell Prize for Political Writing. The judges may wish to call in other titles from a publisher or imprint, which will not count towards a publishers limit. We reserve the right to call in copies at any point during the process.

9/ A book published in paperback within the eligibility period, which was previously published in hardback before the eligibility period, is not eligible for the 2025 Prize for Political Writing. Original paperbacks published between 1st June 2024 and 31st May 2025 are eligible.

10/ A single author, or very small team of authors, must be clearly identifiable. Anthologies consisting of work by more than one author will not be accepted, but books where co-authors, up to a maximum of three, have worked on the entire book together are eligible.

11/ Revised editions and reprints will not be considered, unless the revisions are so major as to effectively render the entry a new publication.

12/ Works published in translation are ineligible.

13/ Self-published books, i.e. where the book is published by a company set up by the author solely for the purpose of publishing that book, or where the author is the publisher, are ineligible.

14/ Publishers may enter as many of The Orwell Foundation Prizes for which the work is eligible in the same year – i.e. a writer can be entered for The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction, The Orwell Prize for Journalism and the Orwell Prize for Reporting Homelessness in the same year, so long as there is no significant overlap between the material entered for each award.

15/ A disclaimer from the publisher or author is required for all entries (a checkbox on the online form) stating that the submitted work is all the author’s own and has not been plagiarised, or is otherwise primarily the work of somebody else.

16/ The final decision on the eligibility of a submission rests with the director and administrators of the Prize, subject to the oversight of Trustees of The Orwell Foundation.

17/ Judges are not permitted to enter any Orwell Prize in the year they are judging.

18/ Members of the boards of any of the Foundation’s partners or Trustees of The Orwell Foundation are not permitted to enter.

PROCESS

19/ The entry form can be found here.

20/ In the first instance, the publisher should enter two hard copies of the submitted book, and one copy of the book in electronic form in PDF. A completed online entry form should also be submitted. Please send the hard copies to:

The Orwell Prize for Political Writing
Institute of Advanced Studies
South Wing, Wilkins Building
UCL, Gower Street
London WC1E 6BT

You may then be asked to submit further physical copies for consideration (up to six copies).

21/ The deadline for entry forms is Monday 27th January 2025. Hard copies of all books should arrive by Friday 31st January 2025; if finished copies are not available, we will accept uncorrected advance or proof copies. If that is not possible, please write to the administrator and inform them when final copies will be available.

Entrants should receive emailed confirmation of receiving their entry. If they do not, they should contact the administrator.

22/ Judges may call in any titles they wish to consider provided they meet the eligibility criteria of the prize.

23/ A list of finalists will be announced in May 2025. Typically, this will consist of eight books. The judges may opt to longlist fewer or more entries at their discretion.

24/ A winner will be announced in June 2025.

25/ If a book makes it to the finalist stage, we ask the following participation from the author:

  • Finalists are requested to make themselves available for events promoting their book and the prize. Information will be sent to authors in May 2025. Whilst we will encourage in-person participation in events, we are able to be flexible if authors cannot travel and must participate digitally.
  • Finalists may be asked to write a piece for The Orwell Foundation website
  • Finalists may be briefed about The Orwell Youth Prize, and asked to consider taking part in a school workshop. Orwell Youth Prize school workshops give young people the opportunity to meet professional writers.
  • Finalists are requested to attend the Orwell Prize ceremony on 25th June (date subject to change) in Central London, where the winner will be announced alongside the other 2025 Orwell Prizes

26/ If a book makes it to the finalist stage, we require the following participation from the publisher:

  • The publisher will be required to attend an online briefing meeting with the Orwell Prize and Collective Wisdom PR agency in early May 2025
  • The publisher will be required to pay a £750 fee towards marketing and event costs. We are able to grant exemptions or reductions from this payment in certain cases, at the discretion of The Orwell Foundation. Please contact the administrator.
  • If a book is a finalist or winner, The Orwell Foundation may request a number of copies for promotional purposes (up to twenty copies).
  • If a book is a finalist or winner, ‘The Orwell Prize 2025: Finalist′ or ‘The Orwell Prize 2025: Winner′ stickers will be available to publishers and booksellers as digital files alongside other marketing materials.
  • Publishers may be asked to approve relevant, short, extracts of any books by finalist authors for use on the Orwell Foundation website and in publicity.

27/ The Prize expects as much assistance as possible from publishers of finalist and winning books in publicising the achievement. This includes carrying the news on their websites and in press releases, and highlighting the achievement in future editions of successful books, making the award of the Prize clear on subsequent reprint covers etc.


THE ORWELL PRIZE FOR POLITICAL FICTION (2025)

INTRODUCTION

1/ The Orwell Prize for Political Fiction is awarded annually. The Prize awarded in June 2025 (the 2025 Prize) will recognise work first published between 1st June 2024 and 31st May 2025. Submissions are open from Wednesday 13th November 2024 until Monday 27th January 2025.

2/ It is named in memory of George Orwell, the British novelist, journalist and essayist.

3/ Both The Orwell Prize for Political Fiction and its sister prize, The Orwell Prize for Political Writing, aim to encourage good writing and thinking about political themes. The winning entry of The Orwell Prize for Political Fiction should strive to meet Orwell’s own ambition ‘to make political writing into an art’. Work should be of equal excellence in style and content and live up to the values of Orwell and the Orwell Foundation.

4/ ‘Political’ is defined in the broadest sense, including (but not limited to) entries addressing political, social, cultural, moral and historical subjects and can include novels, short story collections, novels for children and young adults and graphic novels.

5/ The Orwell Prize for Political Fiction is worth £3,000 to the winner.

ELIGIBILITY

6/ Works of fiction must be published in either print and/or electronic format, or both, in the UK or Ireland between 1st June 2024 and 31st May 2025 by a recognised publisher or imprint based in the UK or Ireland. The book may also have been published first in another territory, so long as both publication dates (UK and elsewhere) fall within the above window. All submitted titles should have their own ISBN (International Standard Book Number) and be available in either pounds sterling or, in the case of books published in the Republic of Ireland, euros through UK and Irish retailers.

7/ A completed submission consists of the completed entry form including e-book, and two hard copies of the book sent to the Orwell Foundation office. Submissions must be received by the deadline.

If you have any questions about eligibility, please get in touch with the administrator.

8/ Each publisher or imprint may submit a maximum of five books to the Orwell Prize for Political Fiction. The judges may wish to call in other titles from a publisher or imprint, which will not count towards a publisher’s limit. We reserve the right to call in copies at any point during the process.

9/ A book published in paperback within the eligibility period, which was previously published in hardback before the eligibility period, is not eligible for the 2025 Prize for Political Fiction. Original paperbacks published between 1st June 2024 and 31st May 2025 are eligible.

10/ Short story collections by a single author are eligible but anthologies by either a single writer or multiple contributors will not be accepted. Stories in a collection may have been previously published in magazines or journals, but not in a previous collection by the author.

11/ Works published in translation are ineligible.

12/ Self-published books, i.e. where the book is published by a company set up by the author solely for the purpose of publishing that book, or where the author is the publisher, are ineligible.

13/ Publishers may enter as many of The Orwell Foundation Prizes for which the work is eligible in the same year – i.e. a writer can be entered for The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction, The Orwell Prize for Journalism and The Orwell Prize for Reporting Homelessness in the same year, so long as there is no significant overlap between the material entered for each award.

14/ A disclaimer from the publisher or author is required for all entries (a checkbox on the online form) stating that the submitted work is all the author’s own and has not been plagiarised, or is otherwise primarily the work of somebody else.

15/ The final decision on the eligibility of a submission rests with the management of The Orwell Foundation and administrators of the Prize, subject to the oversight of Trustees of The Orwell Foundation.

16/ Judges are not permitted to enter any Orwell Prize in the year in which they are judging.

17/ Members of the boards of any of the Foundation’s partners or Trustees of The Orwell Foundation are not permitted to enter.

PROCESS

18/ The entry form can be found here.

19/ In the first instance, the publisher should enter two hard copies of the submitted book, and one copy of the book in electronic form in PDF. A completed online entry form should also be submitted. Please send the hard copies to:

The Orwell Prize for Political Writing
Institute of Advanced Studies
South Wing, Wilkins Building
UCL, Gower Street
London WC1E 6BT

You may then be asked to submit further physical copies for consideration (up to six copies).

20/ The deadline for entry forms is Monday 27th January 2025. Hard copies of all books should arrive by Friday 31st January 2025; if finished copies are not available, we will accept uncorrected advance or proof copies. If that is not possible, please write to the administrator and inform them when final copies will be available.

Entrants should receive emailed confirmation of receiving their entry. If they do not, they should contact the administrator.

21/ Judges may call in any titles they wish to consider provided they meet the eligibility criteria of the prize.

22/ A list of finalists will be announced in May 2025. Typically, this will consist of eight books. The judges may opt to longlist fewer or more entries at their discretion.

23/ A winner will be announced in June 2025.

24/ If a book makes it to the finalist stage, we ask the following participation from the author:

  • Finalists are requested to make themselves available for events promoting their book and the prize. Information will be sent to authors in May 2025. Whilst we will encourage in-person participation in events, we are able to be flexible if authors cannot travel and must participate digitally.
  • Finalists may be asked to write a piece for The Orwell Foundation website
  • Finalists may be briefed about The Orwell Youth Prize, and asked to consider taking part in a school workshop. Orwell Youth Prize school workshops give young people the opportunity to meet professional writers.
  • Finalists are requested to attend the Orwell Prize ceremony on 25th June (date subject to change) in Central London, where the winner will be announced alongside the other 2025 Orwell Prizes

25/ If a book makes it to the finalist stage, we require the following participation from the publisher:

  • The publisher will be required to attend an online briefing meeting with the Orwell Prize and Collective Wisdom PR agency in early May 2025
  • The publisher will be required to pay a £750 fee towards marketing and event costs. We are able to grant exemptions or reductions from this payment in certain cases, at the discretion of The Orwell Foundation. Please contact the administrator.
  • If a book is a finalist or winner, The Orwell Foundation may request a number of copies for promotional purposes (up to twenty copies).
  • If a book is a finalist or winner, ‘The Orwell Prize 2025: Finalist′ or ‘The Orwell Prize 2025: Winner′ stickers will be available to publishers and booksellers as digital files alongside other marketing materials.
  • Publishers may be asked to approve relevant, short, extracts of any books by finalist authors for use on the Orwell Foundation website and in publicity.

26/ The Prize expects as much assistance as possible from publishers of finalist and winning books in publicising the achievement. This includes carrying the news on their websites and in press releases, highlighting the achievement in future editions of successful books, making the award of the Prize clear on subsequent reprint covers etc.


THE ORWELL PRIZE FOR JOURNALISM (2025)

INTRODUCTION

1/ The Orwell Prize for Journalism (‘the Prize’) is awarded annually. The Prize, awarded in June 2025 (the 2025 Prize) will recognise work first published between 1st April 2024 and 31st March 2025. Submissions are open between 13th November 2024 and 31st March 2025.

2/ It is named in memory of George Orwell, the British journalist, novelist and essayist.

3/ The Orwell Prize for Journalism is awarded for sustained reportage and/or commentary, working in any medium. The winning entry should strive to meet Orwell’s own ambition ‘to make political writing into an art’. The work should be of equal excellence in style and content and live up to the values of Orwell and The Orwell Foundation.

4/ The Orwell Prize for Journalism is worth £3,000 to the winner.

5/ There is no fee to enter the Prize.

ELIGIBILITY

6/ A completed submission consists of a minimum of three items and a maximum of four, from a news organisation, broadcaster or publisher of news articles.

7/ Self-published items, such as blogs, are not eligible for the Orwell Prize for Journalism. Public relations items are not eligible.

8/ Entries may include work produced for more than one publication and/or broadcaster.

9/ Written pieces (online or print), television items, podcast episodes  and radio broadcasts are all eligible. Entries may consist of any combination of different media. Transcripts of audio or video work will not be required. Books are not eligible for the Orwell Prize for Journalism.

10/ The total broadcast or listening time of any entry (i.e. the combined length of all items) must not exceed two hours. There is no word limit for text-based entries.

11/ Entries may be accompanied by a supporting statement (maximum 1200 characters) offering a brief summary of the project. If entrants believe there is additional material which would provide important context to their entry, they are encouraged to draw attention to this in their statement. It is for the judges’ discretion as to whether or not they wish to pursue these recommendations.

12/ All submissions must be accompanied by a completed entry form. Submissions must be received by the deadline.

13/ All items submitted as part of an entry to the Prize must be first published between 1st April 2024 and 31st March 2025.

14/ Entries must be able to demonstrate a link to the UK and/or Ireland by meeting one or more of the following criteria: a) The articles submitted were first published in the UK and/or Ireland b) one or more of the authors was based in the UK and/or in Ireland at the time of publication c) one or more of the authors is a UK or Irish citizen. Entries where only one author is a UK/Irish citizen or resident are eligible.

15/ A single author, or small team of authors, must be named and clearly identifiable. Entries consisting of single items by different authors will not be accepted, but entries where co-authors have worked on all three pieces will be. Entries where a named journalist has written two or three articles alone and presented a television, radio programme or podcast with a larger production team would also be accepted as an individual entry. Similarly, entries where an identifiable team has worked on two or three items, and one member of the team has written a single related item, would be accepted as a joint entry.

16/ Entries may be submitted by the author/team, or the author/team may be entered for the Prize by an editor, publisher or awards administrator.

17/ A disclaimer from the publisher, editor or author is required for all entries (a checkbox on the online form) stating that the submitted work is

A. All the author/team’s own and has not been plagiarised or is otherwise primarily the work of somebody else.

and

B. Has been subject to robust editorial oversight

18/ There is no limit to the number of journalists who may enter the Prize from a single publication or news organisation.

19/ Journalists may choose to name an editor on their form, who will be informed if the entry is chosen as a finalist and invited to any Prize events.

20/ Entrants may enter as many of The Orwell Foundation Prizes for which they are eligible in the same year – i.e. a writer can be entered for The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction, The Orwell Prize for Journalism and The Orwell Prize for Reporting Homelessness in the same year, so long as there is no significant overlap between the material entered for each award.

21/ Winners of The Orwell Prize for Journalism may not enter the Prize again for the next three Prize cycles, during which time they remain eligible for any other Orwell Prize they wish to enter.

22/ Articles published in translation are ineligible.

23/ Judges are not permitted to enter any Orwell Prize in the year in which they are judging.

24/ Members of the boards of any of the Foundation’s partners, or Trustees of The Orwell Foundation, are not permitted to enter.

25/ The final decision on the eligibility of a submission rests with the management of The Orwell Foundation and the administrator of the Prize, subject to the oversight of the Trustees of The Orwell Foundation.

26/ If you have any questions about eligibility, please contact the administrator.

SUBMISSION PROCESS

27/ The entry form can be found here.

28/ Entries need to be easily accessible for our judging panel. Every submitted written item MUST be sent as a PDF or Word document in A4.

29/ Multimedia items may be embedded or submitted as a permanent, accessible, non-expiring URL. URL should be free of paywalls and not require a subscription or log-in to access. If this is not possible, please contact the administrator, who will work with you to facilitate your entry by other means.

30/ The entrant’s contact details (email address) will be held by the Foundation for seven years following submission, in which time it will only be used to contact the entrant about their entry and/or to facilitate their entry to the Prize in the future.

31/ A byline photograph with no rights reserved must accompany every entry. If your entry is shortlisted, this photograph will be used on The Orwell Foundation website and social media.

ANNOUNCEMENT TIMELINE

32/ A list of finalists will be announced in May 2025. Typically, this will consist of eight entries. The judges may opt to shortlist fewer or more entries at their discretion.

33/ A winner will be announced on 25th June 2025 [date subject to change].

34/ If they are a finalist, journalists are expected to make themselves available for the awards ceremony on 25th June 2025 [date subject to change]. The winner of the Prize will be announced alongside the winners of The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction and The Orwell Prize for Reporting Homelessness. There is no charge for attending the event.

35/ If a finalist, journalists may be briefed about The Orwell Youth Prize, a programme for young people, and asked to consider taking part in a Youth Prize workshop or be interviewed by a young writer. The Orwell Youth Prize gives young people the opportunity to meet professional writers and develop their own confidence writing and articulating their ideas about politics and society.

36/ Finalists may be asked to write a piece for The Orwell Foundation website, speak at events, and represent the Prize when requested.

37/ Finalists will be expected to complete a questionnaire for use in evaluating the effect of the Prize and monitoring for equality/diversity purposes.

38/ Publishers may be asked to approve relevant, short, extracts of any items by finalists for use on the Orwell Foundation website and in publicity.

39/ The Prize expects as much assistance as possible from finalists and their editors in publicising their achievement. This includes carrying the news on their websites and in press releases.

40/ Entrants should receive emailed confirmation of receiving their entry. If they do not, they should contact the administrator.


THE ORWELL PRIZE FOR REPORTING HOMELESSNESS (2025)

INTRODUCTION

1/ The Orwell Prize for Reporting Homelessness (‘the Prize’) is awarded annually. The Prize, awarded in June 2025 (the 2025 Prize) will recognise work first published between 1st April 2024 and 31st March 2025. Submissions are open between 13th November 2024 and 31st March 2025.

2/ It is named in memory of George Orwell, the British journalist, novelist and essayist.

3/ The Orwell Prize for Reporting Homelessness will be awarded for reporting and/or commentary on homelessness, in all its forms. The prize aims to celebrate and showcase reporting and storytelling about homelessness that makes rigorous use of evidence and data, shares personal experiences of homelessness in an impactful way and helps to change the national conversation about the issue. The winning entry should strive to meet Orwell’s own ambition ‘to make political writing into an art’. The work should be of equal excellence in style and content and live up to the values of Orwell and The Orwell Foundation.

4/ The Orwell Prize for Reporting Homelessness is worth £3,000 to the winner.

5/ All entries must portray people experiencing homelessness in a respectful manner, having gained informed and meaningful consent.

6/ Judges will look for entries that avoid or challenge the stigma associated with homelessness, including in the use of language.

7/ It is a requirement each year that at least one member of the judging panel must have lived experience of homelessness.

8/ There is no fee to enter the Prize.

ELIGIBILITY

9/ A completed submission consists of a minimum of 1 item and a maximum of 3 items in total. Entries may include work produced for more than one publication and/or broadcaster.

10/ Items may be in any medium, such as written journalism or creative writing, video and audio content including video diaries, photojournalism (which must include text as well as photos) and social media content. Transcripts of audio or video work will not be required. Public relations items are not eligible. Books are not eligible for the Orwell Prize for Reporting Homelessness.

11/ The total broadcast or listening time of any entry (i.e. the combined length of all items) must not exceed two hours. There is no word limit for text-based entries.

12/ Entrants may also attach a supporting statement (maximum 1200 characters) offering a brief summary of the project. If entrants believe there is additional material which would provide important context to their entry, they are encouraged to draw attention to this in their statement. It is for the judges’ discretion as to whether or not they wish to pursue these recommendations.

13/ All submissions must be accompanied by a completed entry form. Submissions must be received by the deadline.

14/ All items submitted as part of an entry to the Prize must be first published between 1st April 2024 and 31st March 2025.

15/ Entries must be able to demonstrate a link to the UK and/or Ireland by meeting one or more of the following criteria: a) The articles submitted were first published in the UK and/or Ireland b) one or more of the authors was based in the UK and/or in Ireland at the time of publication c) one or more of the authors is a UK or Irish citizen. Entries where only one author is a UK/Irish citizen or resident are eligible.

16/ A single author, or small team of authors, must be named and clearly identifiable. Entries consisting of single items by different authors will not be accepted, but entries where co-authors have worked on all three pieces will be. Entries where a named journalist has written two or three articles alone and presented a television, radio programme or podcast with a larger production team would also be accepted as an individual entry. Similarly, entries where an identifiable team has worked on two or three items, and one member of the team has written a single related item, would be accepted as a joint entry.

17/ Entries may be submitted by the author/team, or the author/team may be entered for the Prize by an editor, publisher or awards administrator.

18/ A disclaimer from the publisher, editor or author is required for all entries (a checkbox on the online form) stating that the submitted work is all the author/team’s own and has not been plagiarised or is otherwise primarily the work of somebody else.

19/ There is no limit to the number of journalists who may enter the Prize from a single publication or news organisation.

20/  Entrants may choose to name another individual on their form, such as an editor, friend or colleague, who will be informed if the entry is chosen as a finalist and invited to any Prize events.

21/ Entrants may enter as many of The Orwell Foundation Prizes for which they are eligible in the same year – i.e. a writer can be entered for The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction, The Orwell Prize for Journalism and The Orwell Prize for Reporting Homelessness in the same year, so long as there is no significant overlap between the material entered for each award.

22/ Winners of The Orwell Prize for Reporting Homelessness may not enter the Prize again for the next three Prize cycles, during which time they remain eligible for any other Orwell Prize they wish to enter.

23/ Articles published in translation are ineligible.

24/ Judges are not permitted to enter any Orwell Prize in the year in which they are judging.

25/ Members of the boards of any of the Foundation’s partners, or Trustees of The Orwell Foundation, are not permitted to enter.

26/ The final decision on the eligibility of a submission rests with the management of The Orwell Foundation and the administrator of the Prize, subject to the oversight of the Trustees of The Orwell Foundation.

27/ If you have any questions about eligibility, please contact the administrator.

SUBMISSION PROCESS

28/ The entry form can be found here.

29/ Entries need to be easily accessible for our judging panel. Every submitted written item MUST be sent as a PDF or Word document in A4.

30/ Multimedia items may be embedded or submitted as a permanent, accessible, non-expiring URL. URL should be free of paywalls and not require a subscription or log-in to access. If this is not possible, please contact the administrator, who will work with you to facilitate your entry by other means.

31/ The entrant’s contact details (email address) will be held by the Foundation for seven years following submission, in which time it will only be used to contact the entrant about their entry and/or to facilitate their entry to the Prize in the future.

32/ A portrait byline photograph with no rights reserved must accompany every entry. If your entry is shortlisted, this photograph will be used on The Orwell Foundation website and social media.

ANNOUNCEMENT TIMELINE

33/ A list of finalists will be announced in May 2025. Typically, this will consist of eight entries. The judges may opt to shortlist fewer or more entries at their discretion.

34/ A winner will be announced on 25th June 2025 [date subject to change].

35/ In addition to the Prize, the judges may award further opportunities at their discretion, including but not limited to: a free place on an Arvon residential writing course and a 12 month journalism mentorship. Priority for these opportunities will be given to the unpublished entries which the judges believe best meets the Prize criteria, regardless of whether or not said entries are shortlisted for the Prize.

36/ All unpublished entries will be considered for these further opportunities, unless the entrant opts out on entry. No additional entry information is required.

37) The Orwell Foundation reserves the right not to award any further opportunities in the event that the judges cannot identify any appropriate candidates.

38/ If they are a finalist, journalists are expected to make themselves available for the awards ceremony on 25th June 2025 [date subject to change]. The winner of the Prize will be announced alongside the winners of The Orwell Prize for Political Writing, The Orwell Prize for Political Fiction and The Orwell Prize for Journalism. There is no charge for attending the event.

39/ If a finalist, journalists may be briefed about The Orwell Youth Prize, a programme for young people, and asked to consider taking part in a Youth Prize workshop or be interviewed by a young writer. The Orwell Youth Prize gives young people the opportunity to meet professional writers and develop their own confidence writing and articulating their ideas about politics and society.

40/ Finalists may be asked to write a piece for The Orwell Foundation website, speak at events, and represent the Prize when requested.

41/ Finalists will be expected to complete a questionnaire for use in evaluating the effect of the Prize and monitoring for equality/diversity purposes.

42/ Publishers may be asked to approve relevant, short, extracts of any items by finalists for use on the Orwell Foundation website and in publicity.

43/ The Prize expects as much assistance as possible from finalists and their editors in publicising their achievement. This includes carrying the news on their websites and in press releases.

44/ Entrants should receive emailed confirmation of receiving their entry. If they do not, they should contact the administrator.

We are recruiting a Deputy Director

Please note: we have reopened applications for this strategic role. A successful candidate could progress to offer before the advertised closing date, so we encourage you to apply as soon as possible if you are interested in the opportunity.

The position of Deputy Director at The Orwell Foundation is an exciting opportunity to help shape the work and strategy of a unique charity, to have a responsibility for Orwell’s heritage, and to have a positive impact on the way in which Orwell’s writing can be applied to contemporary problems.

Contract: Permanent, Part-time (4 days a week)

Salary: Depending on experience, within the range £36,000 – £45,000 pro rata

Location: Central London (with opportunity for occasional remote working)

Reporting: the Deputy Director will report to the Director, and will line manage the Prize and Programme Coordinator (PT), Youth Prize Coordinator (PT) and Finance Officer (PT)

Deadline for applications: Monday 10th January 2022, to start asap

Interviews: to take place on a rolling basis

ABOUT THE ROLE

This is a new, senior post which is expected to develop further. The Deputy Director will lead the Foundation’s fundraising efforts and manage the small team which delivers our prizes and programmes, including the prestigious Orwell Prizes, and The Orwell Youth Prize.

This is an exciting opportunity at the heart of a small team in a charity with considerable potential. The successful candidate will be expected to work with the Director and trustees as they develop the Foundation’s new five-year strategy.

The role might be suitable for a person with considerable experience looking for a fresh challenge, or someone at an earlier stage of their career.

The successful candidate will have a clear vision for the role of the Foundation as it develops. They will understand the way in which ideas and content are developing in a volatile and polarised social and political landscape. They will also have a good understanding of the charitable and voluntary sector and a commitment to the Foundation’s mission and values.

The Orwell Foundation is committed to equality of opportunity for all, and we welcome and encourage applications from people within underrepresented groups.

HOW TO APPLY

First, please download and read the application pack attached below, which includes a full job description, person specification, and all the details for how to apply.

Interviews will be arranged on a rolling basis, as the panel deems fit. We anticipate more than one round of interviews for this role. A successful candidate could progress to offer before the advertised closing date, so we encourage you to apply as soon as possible.

Applicants should send a CV and a covering letter including your vision for the future development of the Foundation, including key opportunities and key risks, addressed to Professor Jean Seaton at recruitment@orwellfoundation.com

This is a part-time position, envisaged as 4 days a week. Applications for a 3 to 3.5 days a week role will also be considered where a case can be demonstrated for it: if you wish to apply for this basis, please make this clear in your cover letter.

Applications will be read anonymously. Do not write your name on your CV or your letter.

Click here to download the Deputy Director application pack

A New Direction: Starting Small – Marnie Rauf

“This is a unique, well-written and interesting piece, which explores how small, persistent changes can impact an individual’s entire life course. It also demonstrates how the kindness of one person can contribute to changing someone else’s life, providing a sincere depiction on the impact of helping young people in difficult situations.” – Jessica Johnson

Part 1

It started with a glass of water, subsequent to waking up. I had read the health benefits
online, including how it could give you a burst of energy in the morning. Exactly what I
needed. This was my starting small.

It was 2019, 4 months after my 16th birthday, when It was necessary for me to move out.
Circumstantial. Much like a baby bird set to dispatch from its nest, able to fly, yet still
vulnerable. However, I fortunately had years of taking care of myself under my little belt.
Cooking, cleaning and being responsible for my emotional well being, the things a mother or
father may be responsible for. Longlands was where I found myself. Right at the heart of
Middlesbrough; where housing was cheap. An eminently working class area, wrapped in the
decay of its industrial past, pervaded with violence, crime, amongst many other things.
Nothing I wasn’t used to. Now alone, an empowering yet corrupting freedom overwhelmed
me, driving me away from college.

Consequently, after a few months, I accumulated a new group of friends. Acquaintances in
retrospect. Vivacious types, though flippant. I believe it is Jim Rhon who famously said “You
are the average of the five people you spend the most time with.”. A statement, which I’m
ashamed to admit is truth laden. Each other weekend was spent frivolously, then every
weekend, until we had justified almost everyday of the week to be one for drinking. It took 5
months for these actions to finally catch up with me. Due to a breach of tenancy caused by
excessive noise and partying, I was asked to leave. I did. I was now overwhelmed by a
sense of excitement and relief; to have knowledge of a new, hopefully more positive
direction, despite not knowing quite where that was.

It was now required of me to live with an adult, social services no longer trusted me. This
was May time; spring was in full swing. I stayed with my mum until I was introduced to the
man whose house I was to live in, there was no alternative. lockdown had limited my options
greatly. The house was in a small town, fairly quiet, 30 minutes drive from my previous
home, well maybe not a home, a house. The man, Adrian, was kind and roughly aged 30
something, that’s all I could really tell at first, and so I moved in just a little under a week
later. I was shown to my designated bedroom, small, but canny and very clean and began to
unpack my belongings. When my social worker had left, it was just Adrian and I. What to do
next I wasn’t sure. I left my bedroom door open as I didn’t want to seem ill mannered.
Adrian, shuffling about the house just like me unaware what to do with a stranger in his
home, came to tell me that he was always there to talk, and if I needed anything, just to ask.
He kept this promise.

Now in a much more stable position, I felt inclined to make the decision to change the
direction of my life. And such a satisfactory one after months of feeling as though my future
was not in my control. I made the decision to not just go back to sixth form but to repeat year
12. I asked my teachers, to which fortunately they agreed. And so, I was set to start the year
anew.

This wasn’t the only new thing for me. Seeing Adrian get out of bed in the morning, and go to
work everyday was new to me too. I didn’t really know anyone who had a job other than my teachers. All of my mum’s friends stayed at home with children watching tv, if social services
hadn’t already taken their children away. Another new thing was restaurants. Of course I’d
been in restaurants a few times with friends, even worked in them when times were hard, but
I had never been with a parent. Adrian and I went for breakfasts,
lunches and dinners at least one a week (once lockdown was lifted). Breakfast was my
favorite. We would sit by the window, watching inaudible hordes of people rushing by.
Watching the world in motion, coffee in hand with its tantalising steam unfurling in the
morning air. The sun’s delicate rays streaming through the window, warming my skin.

Part 2

It started with a glass of water, subsequent to waking up. I had read the health benefits
online, including how it could give you a burst of energy in the morning . Exactly what I
needed. This was my starting small. I had also read it takes 21 days to build a habit, this is
what I intended to do: build habits, healthy ones. Bit by bit, I dedicated myself to building a
morning routine, fit for a student. This included waking up at 5am, some may say
excruciatingly early, exercising, practising gratitude, reading and so on. Morning became my
favorite time of day.

September came quick enough, and the return to sixth form was fairly smooth, despite a
new year of people who I didn’t know. Although I made no conscious effort to make friends, I
did remain amiable, as always. I had been a consistent D grade student the latter end of my
secondary experience. I had never got an outstanding, or even good grade. Now in the
same position as most of those around me with a new year, I was no longer going to be that
blasè student, who produced such subpar work. Instead, I was going to achieve something I
had never achieved before, grades I was proud of. I now had someone in my life other than
myself who was interested in my education, Adrian. He would ask what I had learnt that day,
did I enjoy college and most striking of all to me, what university I wanted to attend. This
engagement was such a stark contrast to the slurred, insouciant “Aw ye” I would receive
from my mother when trying to tell her what I had learnt at school as a child. I suppose such
things don’t interest everyone. At the start of my journey in a new direction, I held a lot of
resentment for my mother. I don’t anymore, I learnt to let go. How freeing it was. I realise
now that grasping on to such feelings would only hold me back, like a tin can on the end of a
kite, desperate to fly. It struck me that maybe the past can’t change, but I can.

How to answer Adrian’s question, I didn’t really know. No one I can recall had ever asked me
if or what university I wanted to attend. This would imply they believed I wanted to go to uni,
could get into uni. This would imply that they had faith, so no one ever asked.

One day, while in sixth form, I overheard a conversation discussing university. Whoever it
was, wanted to go to Oxford. I was stunned by this. Being from the North East I believed
Oxford was for ‘smart rich people’, and that it was impossible to get in there. With my
curiosity sparked, I took to Google and searched for the course I was interested in on the
Oxford website. I wanted to see what Oxford life was like and what grades I needed. From
here it was clear to me, what I wanted and how I was going to achieve it. I was to get no less
than 3 A’s at the end of year 13, to study literature and english language. My dream course
at what was now my dream university.

The stereotypes of Oxford students, and me not fitting that (especially being of ethnic origin),
had not discouraged me. The knowledge of such a place, with so many people to converse
with on an intellectual level excited me. I intended to build my cultural capital, something I
had never really paid attention to before. For me this included reading classic literature (now
my preferred genre), starting violin lessons, writing, and expanding my vocabulary. Although
this may seem like a desperate effort to fit a mould I’am destined not to fit, such things are
so natural to me now. As though it’s what I should have always been doing. As though I’ve
been missing out.

Part 3

Adrian and I no longer live together. We parted on peaceful terms in November, due to my
need for independence. The progress I made while with Adrian had given social services the
trust they needed to allow me to live independently again. I could not express more how
grateful I am for what he offered me, stability. Now I live in a flat, closer to Sixth Form. I
adjusted exceedingly quickly as I always do. I remain with the same habits, and my mental
health as stable as it was previously with Adrian. I can every so often become indifferent to
my studies while at home. However, the reminder of my future provides sufficient motivation
to get back to it. The vision of my clothes, my books, my life in boxes in the boot of a car,
ready to drive and unpack in my room, at Oxford University.

Still, I intend to go in this new direction. To break my family’s cycle which none have
attempted to break. To walk a path that no one has paved for me but myself. To make no
one proud but myself.

It started with a glass of water, subsequent to waking up. This was my starting small.

We are recruiting a new Orwell Youth Prize Programme Coordinator

The Orwell Foundation is recruiting a new Programme Coordinator (The Orwell Youth Prize) to join our small team. This is a unique and exciting opportunity to lead the delivery and growth of our programmes for young people, building on current momentum to coordinate quality interventions for young people and teachers in the UK. Far more than a prize, the programme is rooted in Orwell’s values and encourages all young people to think and write critically and creatively about their world.

The Orwell Youth Prize is an initiative of The Orwell Foundation, a registered charity (EW1161563) based at University College London, which exists to perpetuate the achievements of the author, journalist, and essayist George Orwell (1903-1950) through the education of young people and the provision of prizes, cultural events, and debates for the public benefit.

The Orwell Youth Prize aims to:

Strengthen young people’s creative and critical writing and thinking, through the provision of personalised feedback on their entries to our annual prize from highly qualified volunteers from across academia, publishing and more.

Support teachers and educators to engage with political ideas and writing as they relate to the contemporary context through workshops, youth forums, resources, and events, produced in partnership with high-profile and emerging writers and journalists.

Build an active audience for young peoples’ writing and ideas, and create new conversations around collective priorities of entrants, taking their work to those in positions of power and influence through our active network of Orwell Youth Fellows, as well as through targeted events, publicity and research.

The Orwell Youth Prize has grown as a programme in recent years and we are ambitious about its future. The ideal candidate will be self-motivated, comfortable working independently and as part of a small team, with excellent communication skills, the ability form trusted relationships with people from a wide range of backgrounds, and experience of working with young people in an educational context (broadly defined). They will be committed to the Foundation’s vision, mission, and values and to supporting all young people to write and think creatively and critically.

Deadline for applications: 24th June; interviews w/c 5th July; available ASAP

Location: Central London

Contract: 12-month, fixed term, FT; PT applications considered (see ‘how to apply’)

Salary: 23,000 – 28,000 pro rata, depending on experience

Additional benefits: NEST pension; opportunity for flexi and remote working

Reporting to: Programme Manager

How To Apply

Please read the application pack carefully, including the job description, person specification and ‘how to apply’ section. Applications should be addressed to Jeremy Wikeley at recruitment@orwellfoundation.com. We look forward to hearing from you!

Download an application pack: Programme-Coordinator-2021-FINAL-1.pdf (2882 downloads )

Downland an Equal Ops form: Equal-Ops-Orwell.docx (1998 downloads )

Jamie See

A Love Symphony to the World

uncountable specks of embers

Void
Better off than Guatemalan women,
War rape survivors, coping with trauma.
Better off than naïve, Columbian girls;
Those recruited as soldiers, dauntless and brave,
But behind closed doors, always preyed as sex slaves.
Better off than the girls in Bangladesh.
Precious and worthy and fifteen, like me,
Wear not uniforms, instead wedding sarees.
But at least they have husbands and families;
Yet clearly, they are children, simply not ladies.

Stop whining in your high-pitched squeal.
You’re better off than them. Don’t be a diva.
Close your legs. Wear dresses not skirts.
Put on make-up. Look ladylike and presentable.
But no tank tops. They make you a whore.

Don’t go into politics. You’re a girl.
Don’t tell me you will fight for women’s rights.
You can study, vote, drive, go on maternity leaves.
Tell me what else do you think you need?
You’re so self-entitled. Never be a feminist.

When being ‘feminist’ becomes an insult,
When being a ‘girl’ means not to speak out.
Clutching onto virtues of hope and justice,
Guided hand in hand through this dark abyss,
We will never be silenced nor extinguished.

scattered separate, weak and powerless

Masquerade
How long does it take to realise
Not everyone is white, skinny, tall,
With long legs and full breasts.
How long does it take to conceive
‘Almond-shaped’ eyes are not
Invitations to be labelled as Chinks.

How long does it take to apprehend
The cruelty shown by a casual remark ‘
Were your parents once slaves?’

Does it take the genocide of six million Jews,
Or the ethnic cleansing of Muslims in Myanmar,
To discover appearances and beliefs
Are nothing but masquerades kept up?

Or does it take a masquerade ball
With our identities hidden by masks;
To relive without judgement,
To relearn we are human?

Ignited with shared passion

Hostage
secrets hidden
worries piling up
and hushed whispers
of anxiety: voices echoing
louder and louder constantly.
smiles stretched on faces and
it is so, so effortless to pretend
everything is alright and you are
happy. No one could envision tears
streaming down in the shower every
evening and pillows damp with teardrops
every night. No one hears the pleas behind
the pretty visage screaming and shrieking for
help. Notice the eyes emptied with no happiness,
no hope and no life. Sweatshirts, hoodies, sleeves hide
battle scars. They cover the body you starved to achieve too.
most afraid at nights and when alone, of the hands, the body,
most importantly the brain. It threatens and menaces the entire
existence. ‘you wear a false smile that does not reach your eyes too?
you are an unpaid, skilled, two-faced actor too? Same. What a small world.’

Rising from ashes

Closure

Lace your fingers through mine.
Written in the stars; with time we align.

World War One murdered 75 million
World War Two killed 85 million
Stalin’s regime exterminated 20 million
The Great Leap Forward destroyed 45 million
These are not statistics made up by Satan
But innocent lives, wiped out without reason.
These are the downfalls of humanity, listen,
We still are collectively hurting, as a victim.

Piece by piece, communities repair,
Learning to hold each other tighter, I swear.
Pain never stops, the world is still impaired

Especially right now, COVID-19 everywhere.
It terrifies us – the infamous lack of Medicare.
Will this end. I wonder – are you just as scared.
Do not be afraid. Our hearts will heal together
Evidenced by the challenges faced here and there.

There is love in the lullaby sung to a wailing infant.
There is love in the handshake when two hands collide.
There is love in the steps taken in order to reach home.
There is love in the smile of the neighbour down the road.
There is love in the way the wind caressed and kissed many faces.
There is love in the tears of a father in his daughter’s wedding.
There is love in the music listened on the way to work.
There is love in the mundane moments if we are willing to love.

You are a broken angel I have met on earth.
Heal with me; we await a rebirth.

hand in hand like phoenixes

Grace

I want to be able to tell my children
That the 36% of the world
No longer have to live in poverty.

I want to be able to tell my children
That the 25% of the world
Now can access adequate sanitation.

I want to be able to tell my children
That there is no need to worry about
The horrors of World War Three emerging.

I want to be able to tell my children
That the sea turtles, tigers and leopards
Exist in books and in reality.

I want to be able to tell my children
That their futures will not be limited
Because of many superficial reasons

I want to be able to tell my children
That the education they receive
Is universal, not birth lottery.

I want to be able to tell my children
That the society is accepting of
Boys liking boys and girls liking girls.

I want to be able to tell my children
That their mental health matters
Just as much as their physical health.

I want to be able to tell my children
That the world cares for every one of them
And is highly capable of loving them.

And if I cannot tell this to the future generation
And show them the green mountains and the cerulean oceans.
At least I want to be able to tell my children,
I once fought for their world without any hesitation.
together we will rise and we will love

***

This passionate and well researched poem stayed in my mind long after I read these words – just as the best poems should!  Kerry Hudson, Orwell Youth Prize Judge

‘A Love Symphony to the World’ is a junior Orwell Youth Prize 2020 Runner Up, responding to the theme ‘The Future We Want’.

Mya Basiime

What he left me with

 

“Aut viam inveniam aut faciam.”

Seven. He took me to church for the first time. The quintessential eldest child: staid, astute
and a keen leader. The drill sergeant: he issued commands and I obliged. In my
neighbourhood characterised by deprivation, church was not a building but the unity
between the people within it. I understood that we had to rely on a duty of care towards our
neighbours. The dilapidated buildings and overwhelmed public systems were mere
reminders of our inferiority. The government and police could never replicate that loyalty we
upheld towards one another. The most poignant memory I have from that day was after the
service when we passed an ice cream truck. I was in a mood, intensely craving an ice
cream laden with toppings. He saw. He saw me and my longing glances and satisfied my
desires. He watched me erupt with happiness while he stood beside me with a howling
stomach. He never did hesitate to appease me.

Just before eleven. He got a job for the first time. He walked up to Mama and told her he
was taking control, smirking excitedly at the tantalising promise of financial freedom. To
him, that first check was a symbol of hope, emblematic of a better life. Determined to find a
way to escape poverty’s vicious cycle and the streets, he spent hours hustling. Washing
dishes at the local diner for minimum wage until his hands were embroidered with vibrant
patches of eczema while working to maintain his GPA. He envisioned that he would
become somebody, inspiring us in the process. His goals were hyper-focused and
desperate to be fulfilled.

Only thirteen. He confirmed what I already knew about this world. I was poor, I witnessed
poverty in the face of my mother; her premature wrinkles told the story of a life tainted by
pain, suffering and hard labour. Capitalism’s demands saddled her with myriad health
problems. Late notices in a heap by my front door regularly reminded me of my dire
financial situation. Gentrification had brought burgeoning rent which was impossible for my
mother to meet on her own, the need to simply survive forced her to take on every job she
could find. My clothes were from thrift stores before the gentrification of thrift stores only
highlighting our position within the societal hierarchy. The sirens which played vociferously
randomly resulted in impulses of primal fear. Death permeated our community; connecting
us but also affirming that although suburbia was 40 minutes away, the gap between us and
them was impossible to bridge. People morphed into products of the environment – those
that gave you hope at fourteen had lost their ‘potential’ by seventeen. He echoed to me the
same words my father had once said, when you’re black, you do not get second chances.
Privilege was a concept he was extremely familiar with: his hustle to achieve college offers
had amounted to nothing. It did not matter, he could not pay his way through a 4 year
program. I saw him as a superhero, slashing through all the weeds in his path. His powers
meant nothing in a world where money and connections were given greater importance. His
work had not amounted to what he deserved: a bitter reminder of the cruel relentlessness of
nature’s give-and-take and the myth of meritocracy.

Three weeks into my sophomore year of high school. I hugged him for the last time.

A month later, all I had was anger and lasts.

Jayden Brown. Mistaken for the antithesis to who he was and he’s neither the first or last. In
their eyes, he was not someone who cried regularly at the film, Up, but the monolithic black
man. Unarmed but his skin colour was the only weapon they needed in order to launch the
offensive. My warnings about law enforcement had been innumerable, I had witnessed the
movement spread, there is an inconceivable dichotomy between the pursuers of justice and
their injustice. Three shots. With three shots, he no longer had a pulse or future. No
hesitation. No second chances. Just three taps on the trigger. His heterogeneity ignored,
they warped his soft brown eyes into images of immorality and aggression. Seizing his
liberties on the basis of presumptions and misguided bias, my hope in justice had been
relinquished. His Suppression, repression, further regression, is that what the black
experience is deemed to be? Is this what it means to be black? Left with condolences and
a corpse. The only person who invested his valuable time into the triviality of my life had
been stolen from me, deserting me with the memories of who he was in the past and who
he could have been. The aftermath of police brutality: kaleidoscopes of pain, anger,
devastation, emptiness, questioning the system. My agony became faded whispers,
shadows of my pain. I yearned for something other than numbness, rooted in confusion and
shock, perceptible in every neuron. I needed him. My shattered heart urged to feel a
semblance of emotion. Broken with a turbulently shaken worldview. He was gone.

When I am 20, they will say the names of those lost to police brutality, those lost to poverty,
those lost to our system which thrives on exclusion and marginalisation. He will not become
a statistic nor a memory in my brain nor a name you retweet to never acknowledge again.
Nor will they hide behind the misguided view that racism has been eradicated when
communities are still stuck in its slipstream. Quashing the myopic status quo we uphold
and confronting ever-persisting issues for a society which is not racist or colour-blind but
colour-brave: valiant enough to see race and destroy the institutions which function to
divide. Our unconscious biases will be relentlessly attacked, not deeply suppressed. We will
change the system.

Fairness is not a utopia.

The future I demand is simple: the ability to walk with the scales of justice balanced so the
presumption of innocence belongs to us all.

***

It would be remiss not to applaud the ambition of the author in presenting this story in this way. The concise way this piece is written made the reader leap straight into the action and want to keep reading to find out what happened next. This author has a firm grasp of one of the more tricky aspects of writing fiction; how the author can keep the reader interested, feeding tiny bits of information so that little by little the bigger picture unfolds. Kayo Chingonyi, Orwell Youth Prize Judge

‘What he left me with’ is a junior Orwell Youth Prize 2020 Runner Up, responding to the theme ‘The Future We Want’.

What was the inspiration behind your piece?

A draft of the piece was written before the reemergence of Black Lives Matter. However, after the deaths of George Floyd and Ahmaud Arbery, the protests inspired me and led me to rewrite some elements of my piece. The protests highlighted the harrowing effects of police brutality, it hurts more than the victims.  The perspective of a loved one was chosen because they are often perspectives we fail to acknowledge. Police brutality is seen as an American issue but I feel like my final statement is applicable to Britain. For example, prejudice and injustice are evident in the disproportionate use of stop-and-search, exemplifying that we are not all presumed to be innocent.

What tip would you give other young writers?

My biggest tip to young writers is very cliched but it is true: read anything and everything. Reading is quite possibly the biggest asset to your writing. It enables you to see different perspectives and grow your vocabulary. As a child, I read often which allowed me to develop a further enjoyment for English. Reading fiction, non-fiction, newspapers all contribute to a greater worldview which is ultimately necessary when writing. Do not be afraid to explore the limits of your imagination!

Given the global pandemic, has your idea about the future you want changed since you wrote the piece?

The pandemic has changed quite a few of my ideas surrounding the future. After seeing how it has had a greater impact on people who live in poorer areas, it has made me realise how we need to keep pushing for social mobility and equality. Additionally, the effect of pollution on coronavirus only exemplifies how people living in deprived, polluted areas suffer disproportionately. There needs to be a more sustainable way of living. We should have capitalised on the pandemic to implement a greener way of living for future generations. Lastly, the pandemic has led people to the realisation that racism is still a problem. I hope people remain conscious of racism so we can work to change the societal structures which allow racism to persist.

Jessica Tunks

KNIFEPOINT

 

I live Walthamstow, an area that has often been associated with violent crime, and was once even described as ‘WARTHAMSTOW’ in an article in The Sun. But while it’s easy for people on Twitter to call the perpetrators (or sometimes even the victims) of these crimes ‘animals’, encouraging ‘lethal injection’ as punishment, it’s different when you go to school with them. I know people who have been stabbed. I know people who have lost loved ones to knife crime. I also know people who carry knives. They are not animals. They are not monsters. They are children. Children should not be killing other children. So why does it happen?

As my friend Hani* put it, “No one cares.” Hani’s half-brother Ali has been described as a ‘knife-wielding thug’ in an article reporting the offence that landed him 13 years in prison. What the article fails to mention is Ali’s absent father, schizophrenic mother, and the fact that he was excluded from school in Year 9, and never returned.

“I don’t know what you get from excluding a 14 year old; in school you’re safe, you’re not safe on road.” Hani said, expressing a disappointment in the system she believes failed her brother. It appears that as soon as the school was rid of Ali, they lost all interest, and offered him no further support. At 14 years old, Ali was barely a teenager, and yet was left to fend for himself in a world that did not work for him.

In 2017-2018, 7,900 children were permanently excluded in England, this number being the highest we’ve seen in a decade. Of these children, 78% have been identified as those that fall under the Special Educational Needs, Free School Meals or ‘in need’ categories, showing that school exclusion policies often target the children most in need of the school’s support. The ‘schools-to-prison pipeline’ describes the disproportionate tendency for young people from disadvantaged backgrounds to become incarcerated, and the evidence supporting it is overwhelming. Of 15-17 year olds in Young Offender Institutions, 86% of young men and 74% of young women have been excluded at some point during their education. Half of them have literacy levels of 7-11 year olds, despite being much older, a sign of how much education they have missed.

Ali’s history of exclusion began in primary school, when he first began behaving disruptively, but Hani believes the story started well before this. She described how their father was never there for Ali, and how, having always lacked a positive male role model, he ended up making friends with “the wrong boys”. She went on to tell stories about how, from the age of 7, Ali would find himself being woken up in the middle of the night by a frantic mother, who did not recognise him, before being thrown out onto the street. As children, we often turn to our parents when we are in trouble, or need guidance. For children like Ali, raised by a single parent with severe mental health issues, this isn’t always possible. With no alternative support system, it would have been easy for him to feel alienated and ignored.

As Hani unravelled Ali’s story, he began to appear less like a ‘knife-wielding thug’ and more like a deeply traumatised teenage boy who did something terrible. What we experience as children shapes us for the rest of our lives, and research suggests up to 90% of young offenders have experienced maltreatment or loss. Here, a disturbing pattern begins to show, and it is impossible not to wonder: if there had been some form of intervention earlier on, how many of these crimes could have been prevented?

At 16, Ali ended up in a Young Offender Institute for his involvement in a stabbing. Richard Garside from the Centre of Crime and Justice Studies described YOIs as “grim and gruesome institutions”. He described visiting one and seeing blood in the showers and solitary confinement cells that were entirely bare, apart from a blanket on the floor. He also explained how the Ministry of Justice permits officers to use techniques described as child abuse by the Independent Inquiry into Institutional Child Sexual Abuse. A Chief Inspector’s report in 2017 concluded that ‘There was not a single establishment that we inspected in England and Wales in which it was safe to hold children and young people.’ How can we justify continuing to keep children in these conditions?

During his time in the YOI, Ali was stabbed, sustaining serious injuries that left him needing constant medical attention. But violence doesn’t only leave physical scars. Victims of violence are six times more likely to suffer from post-traumatic stress disorder, and three times more likely to suffer from depression. These mental illnesses are likely to stay with them for life.

Two years after being held in a YOI, Ali offended again and ended up in an adult prison, where he remains to this day.

At no point in Ali’s life was there any intervention from any support groups, despite all the trauma the family had experienced. Where were Social Services? The Local Authority? The Child and Adolescent Mental Health Services? It seems that as soon as a child leaves the school system, it is very easy for them to become forgotten about, even if they belong to categories that need the most support. Research has highlighted time and time again that early intervention can help prevent violence in the future, and yet educational, domestic violence and mental health services have all had their budgets cut in recent years. Stories like Ali’s can’t just be headlines in newspapers, they need to be lessons for us. The main aim of the youth justice system is to prevent the offending of children and young people. The youth justice system isn’t working. Incidents of violent crime have been on the rise since 2013, with 2019 seeing a 19% increase on the previous year. We need change. And change is possible.

Areas in Scotland have faced similar struggles with youth violence and gang crime. Yet, between 2004 and 2019, the country saw a dramatic decline in violent crime. In 2003, Scottish police recorded 15,230 cases of non-sexual violent crime. In 2018-2019, there were only 8,008 cases. But what brought about this change? In 2004, Scotland introduced a Violence Reduction Unit that took on a public health approach to violence. Violence was no longer a police issue, tackled with high visibility policing or more officers. It became a community issue, tackled with empathy, health visitors, and early years provision.

One of the many success stories of the VRU comes from the Easterhouse area of Glasgow. In 2007, a Community Initiative to Reduce Violence was established. They introduced a case management team involving people from education, social work, police, community safety and housing services. This team had a 24 hour hotline that dealt with calls from gang members, and provided them with the right support. Referral sessions were held, in which gang members heard from different voices in the community, such as police officers, doctors, mothers of victims, youth workers, and previous offenders. People with seemingly little in common came together under one goal: ending violence in their community. In the first two years of the CIRV, violent offending had decreased by 46% and gang fighting by 73%. School exclusions dropped by 85%. But the benefits of the CIRV extended well beyond the gang members themselves. The number of tenants satisfied with the area as a place to live rose by 21%, and those not feeling safe at night fell by 22%. This is just one of many case studies that give evidence of the VRU’s success.

The ten year plan implanted by the VRU across the country focused on three types of intervention: primary, secondary, and tertiary. Primary intervention sought to prevent the onset of violence. For Ali, this would have meant supporting him and his family, making sure they always had somewhere to go for support. Secondary intervention sought to halt the progression of violence once established. For Ali, this would have meant identifying his aggressive behaviour in when it started developing in school, and helping him instead of excluding him. Tertiary intervention sought to rehabilitate people with violent behaviour, or victims of violence. For Ali, this would have meant supporting him with his mental health and his future after he left the YOI, to ensure he wouldn’t offend again.

It’s too late for Ali now. But it’s not too late for the many children who are currently in similar situations. Youth violence is tearing apart families all over the country, but stories from Scotland have shown us that the motto of the VRU is true – ‘violence is preventable, not inevitable’. We can do better. We must do better. Every time a life is taken in this way, two families lose a child. We owe it to them to build a future that ensures stories like Ali’s are never heard again.

 

*Some names have been changed to protect the identities of the people featured in the article.

***

This is a well-balanced piece written with emotion, structure, and backed by research which includes speaking to those directly affected by the themes under discussion. While there are some oversimplifications in places (e.g the link made between trauma and offending) there is an overall the sense of someone writing with an affinity for what they write about which lends the piece a moral authority that, coupled with the technical assurance evidenced across the piece as a whole, made ‘Knifepoint’ stand out.” Kayo Chingonyi, Orwell Youth Prize Judge

 

This is such a powerful piece about knife crime, written from personal experience by a sixth former in Walthamstow who knows people who have been stabbed and goes to school with victims and perpetrators. The author describes brilliantly the problems in the system and vividly sets out how early trauma can lead to the behaviour that triggers exclusion. As the article says, these are not “monsters” they are children And “children should not be killing other children”. It offers an articulate response as well as an explanation.” Rachel Sylvester, Times Journalist and 2020 Orwell Prize nominee 

“In 1984 Orwell wrote ‘They can’t get inside you if you can feel that staying human is worthwhile, even when it can’t have any result whatever, you’ve beaten them’. This essay embodies that spirit; it holds a mirror to our community and speaks fearlessly and clearly about how pathways for young people like Ali become cut off, as society fails to value their future and our shared responsibility in that process. To write with such passion about knife crime and its impact is to be a voice that makes a difference; someone who isn’t beaten by injustice but is using their platform to call for us all to address it. In doing so, this essay embodies the relationship Orwell described so powerfully between independence of mind and changing the world.” Stella Creasy, MP for Walthamstow

 

Jessica Tunks is a senior 2020 Orwell Youth Prize winner, responding to the theme ‘The Future We Want’.

What was the inspiration for your piece?
The main inspiration for my piece came from an article in the Guardian that was part of the ‘Beyond the Blade’ series, called ‘The boy who killed – and the mother who tried to stop him’. I found the article really moving and it made me reflect on a lot of my own experiences of the area I grew up in, as well as those of my friends, making it quite persona to me. This inspired me to look deeper into the causes of violent crime amongst young people and think about what could possibly be done to prevent it.

Why did you choose the medium of your chosen form to communicate your idea about the future?
I wrote in an essay/article style because I had done a lot of research, and wanted to include it in my piece. Although I told a personal story, I used statistics about the issue as a whole in order to put the story into context, as well as showing how serious and widespread the problems actually were. At the same time, I tried to humanise the offenders I was writing about, to avoid people solely seeing them as a statistic. I wanted to show that every offender has a story much like the one I was telling myself.

Given the global pandemic, has your idea about the future you want changed since you wrote the piece?
My idea about the future is still very similar. I think that, if anything, we need to focus more on community efforts to support young people as a result of lockdown. Absence from school has widened the gap between the most disadvantaged students and the rest of the student body, which will affect academic achievement and well-being. Young people have been isolated at home, away from support systems, and many will have been exposed to domestic violence, poverty, or mental health problems, which can all become factors in drawing someone to violence or crime. It is essential that the support they need is there.

Orwell Prize Longlists for Journalism and Exposing Britain’s Social Evils 2020

The longlists for The Orwell Prize for Journalism and The Orwell Prize for Exposing Britain’s Social Evils (sponsored and supported by the Joseph Rowntree Foundation) are announced today, Thursday 9th April. The 27 entries, across two longlists, span a wide range of publications, media and perspectives, from the local to the national, broadsheet to broadcast, commentary and investigative reporting. The journalism of 2019 is not of the past: this reporting exposes the fault lines we are living with today.

 

 The Orwell Prize for Exposing Britain’s Social Evils longlist 2020:

This is the sixth year that The Orwell Prize for Exposing Britain’s Social Evils has been awarded. The Prize is sponsored and supported by the Joseph Rowntree Foundation and is named in recognition of the task Joseph Rowntree gave his organization ‘to search out the underlying causes of weakness or evil’ that lay behind Britain’s social problems. The Prize has a unique remit to encourage, highlight and sustain original, insightful, and impactful reporting on social issues in the UK that has enhanced the public understanding of social problems and public policy, and welcomes reporting that uses investigative intelligence to pursue new kinds of story, ones that may also extend the reach of traditional media. The full longlist is:

  • Britain’s hidden children’s homes
    • Innes Bowen, Katie Razzall, Sally Chesworth and Luke Winsbury (BBC Newsnight)
  • Locked up & secretly abused by the NHS
    • Ian Birrell, (Freelance – Mail on Sunday, I News, Tortoise)
  • Darren McGarvey’s Scotland
    • Darren McGarvey, Stephen Bennett, Harry Bell (Tern Television Productions LTD)
  • Knife Crime and Exclusions
    • Rachel Sylvester (The Times)
  • Summer on the Farm
    • Sharon Hendry (The Sunday Times Magazine)
  • Segregated Playgrounds
    • Harriet Grant and Chris Michael (The Guardian)
  • Breast Ironing in the UK
    • Inna Lazareva (The Guardian)
  • A five-year investigation to expose slave-like conditions on Bristol high street
    • Adam Cantwell-Corn and Alon Aviram (The Bristol Cable)
  • Watch out for the “scavengers”, the new kind of nightlife threat
    • Kate Pasola (Cosmopolitan UK)
  • Britain’s Everyday Drug Problem
    • Paul Caruana Galizia and Tom Goulding (Tortoise)
  • Beyond the Bubble
    • Jennifer Williams (Manchester News and Prospect)
  • Children in the Dock
    • Helen Pidd, Josh Halliday, Maya Wolfe-Robinson, Nazia Parveen, Amy Walker, Nicole Wootton-Cane and Philip Marzouk (The Guardian)
  • LBC Uncovers Major People Smuggling Ring
    • Rachael Venables, Vicky Etchells, Paul Samrai, Alex Samrai and Saskia Lumley (LBC)

_________________________________________

 

We think any of the 13 entries would be a worthy winner. The quality of entries this year was exceptionally high, and very varied. In the end we decided that we would take our lead from George Orwell and originality had to be the most important judging criteria. In our longlist we have awarded stories that expose an issue you might not have known about, reporting that changed policy or attitudes, and entries that were based on a unique angle, or way of writing about a well-covered subject.”

 

Iain Dale, Chair of Judges, The Orwell Prize for Exposing Britain’s Social Evils 2020

 

The Orwell Prize for Journalism longlist 2020:

The Orwell Prize for Journalism is awarded each year to the commentary and/or reportage, in any medium, which best meets George Orwell’s own ambition ‘to make political writing into an art’. Independent of editorial agenda, the Prize is free to enter and accepts self-nomination. Journalists are listed alongside the publications written for in their submission. Each journalist is invited to submit three pieces for consideration by the judges. The full longlist is:

  • Aditya Chakrabortty, The Guardian
  • Nick Cohen, The Observer; Standpoint
  • Khaled Diab, The New Arab
  • John Harris and John Domokos, The Guardian
  • Peter Foster, The Daily Telegraph; Twitter
  • Gaby Hinsliff, Prospect; The Guardian
  • Anthony Loyd, GQ; The Times
  • Peter Oborne, Open Democracy
  • Matthew Parris, The Spectator; The Times
  • Zak Garner-Purkis, Construction News
  • Jenni Russell, The Times
  • David Smith, The Sunday Times; The Times
  • Janice Turner, The Times
  • Michela Wrong, The Guardian

 

_________________________________________

 

We were looking for journalism that’s independent of agenda, that serves the public rather than private interest, and that’s also written by journalists who are working against the grain, rather than with it. We have already found a whole load that combines accuracy, brevity, and above all in these murky times of ours, clarity. Choosing one of those above all the others that matches Orwell’s ambition to make political writing into an art, is going to be a gigantic task.”

 

Ben Fenton, Chair of Judges, The Orwell Prize for Journalism 2020

The judges for the 2020 Orwell Prize for Journalism are: Ben Fenton (chair), Senior Director and Head of Creative Industries, Edelman; author, journalist and previous Orwell Prize-winner Vanora Bennett; author and journalist Mihir Bose and the journalist and former MP for Ashfield, Gloria de Piero.

The judges for the 2020 Orwell Prize for Exposing Britain’s Social Evils are: broadcaster, author and political commentator Iain Dale (chair); Rosie Campbell, Professor of Politics and Director of the Global Institute for Women’s Leadership at King’s College London; Global Drugs Editor, VICE, and previous Orwell Prize-winner Max Daly; Deputy Director of Advocacy and Public Engagement at the Joseph Rowntree Foundation, Abigail Scott-Paul, and Editor-in-chief, ELLE, Farrah Storr.

The shortlists for both prizes will be announced in mid-May and the winners of the prizes, which are both worth £3,000, will be unveiled on George Orwell’s birthday, Tuesday 25th June, together with the winner of The Orwell Prize for Political Writing and The Orwell Prize for Political Fiction. Longlists for both The Orwell Prize for Political Writing and Orwell Prize for Political Fiction were announced on Wednesday 8th April 2020.

Professor Jean Seaton, Director of the Orwell Foundation, said:

The journalism of 2019 is not of the past. We will live and die with the virus in the world that this reporting and thinking exposed. You need to re-read this work now because your future, your family’s, your community’s, everyone else’s future depends on understanding our recent history.

We depend on good government, and good institutions as never before. We hope that they, like us, can learn. The virus will rip through social and political structures, revealing their inequality, injustice, and lack of proper care and judgement. We face an unprecedented challenge. Some politicians, from all sides, have been shameless, but this journalism shows there are lessons waiting to be learnt.”

 

Notes to editors

 

  1. The Orwell Foundation is a registered charity (1161563) providing free cultural events and resources for the public benefit. Every year, the Foundation awards The Orwell Prizes, Britain’s most prestigious awards for political writing, to work which comes closest to George Orwell’s ambition ‘to make political writing into an art’. There are currently four prizes: for Political Fiction, Political Writing, Journalism and Exposing Britain’s Social Evils.
  2. The Joseph Rowntree Foundation sponsors the Orwell Prize for Exposing Britain’s Social Evils. The Joseph Rowntree Foundation is an independent social change organisation that through research, policy collaboration and practical solutions, aims to inspire action and change that will create a prosperous UK without poverty.
  3. The Orwell Foundation uses the work of George Orwell to celebrate honest writing and reporting, uncover hidden lives and confront uncomfortable truths. The Foundation’s partners and sponsors include University College London, Political Quarterly, Richard Blair, A.M. Heath and the Joseph Rowntree Foundation. Since 2016, the Orwell Foundation has been based at UCL, which is also home to the world’s most comprehensive body of research material relating to Orwell, the UNESCO registered George Orwell Archive
  4. The Orwell Prize for Journalism was first awarded in 1994. The Orwell Prize for Exposing Britain’s Social Evils was first awarded in 2014. In 2020 The Orwell Prize for Journalism received 120 entries and The Orwell Prize for Exposing Britain’s Social Evils received 97 entries.
  5. Previous winners have included Guardian columnist Suzanne Moore (Journalism 2019) and Prospect’s Deputy Editor Steve Bloomfield (Journalism 2019), Max Daly, Global Drugs Editor at VICE (Exposing Britain’s Social Evils 2019) and Sarah O’Connor, Special Correspondent at the Financial Times (Exposing Britain’s Social Evils (2018).

 

 

 

‘The Night Orwell Died’ – marking the 70th anniversary of George Orwell’s death

This is the story of how, 70 years ago today, George Orwell died. It is not wholly a tragic story.

–      To mark the seventieth anniversary of George Orwell’s death, the Orwell Foundation and UCL Library Special Collections present a short film  ‘The Night Orwell Died’ which sheds light on the night George Orwell died.

–      The English author, journalist and essayist George Orwell (25 June 1903 – 21 January 1950), author of Nineteen Eighty-Four and Animal Farm, died seventy years ago today at the age of forty-six in a hospital bed in University College Hospital, London where he was being treated for tuberculosis.

–      George Orwell’s biographer D.J. Taylor reconstructs the months, weeks and days prior to George Orwell’s death with the help of selected items and letters from the Orwell Archive, which is held at University College London, including the luncheon menu from Orwell’s and Sonia Brownell’s wedding reception at the Ritz in October 1949, and a wedding card from the night nurses at UCH.

Richard Blair, George Orwell’s son, said:

For me as the son of George Orwell, today is a day of reflection, as I cast my mind back seventy years to that fateful BBC Home Service news Bulletin of January 1950, which announced “the death at the age of 46 of George Orwell, author of the highly acclaimed novel Nineteen Eighty-Four, a nightmare vision of the future” Contrary to what he thought, his position in the world of literature has elevated him to one of the most influential writers of the twentieth century, indeed he will be read for many years to come in a world that has become more and more “Orwellian”.

Professor Jean Seaton, the Director of the Orwell Foundation, said:

Orwell died 70 years ago. Yet his wit, fierce realism, unbending decency and fertile imagination constitute a way of seeing the world that is as fresh and useful as ever. As David Taylor says in this film, the story of the night Orwell died was not wholly tragic. Orwell had taken delight in his small, mischievous son, Richard. Orwell had been held and cherished by Antony Powell and Malcolm Muggeridge, who left poignant memories, by Sonia his new wife, he was visited by a passing anarchist poet, and, perhaps, he was seen for the final time by the ward’s night nurses.

Sarah Aitchison. Head of UCL Special Collections, home of the George Orwell Archives, said:

The George Orwell archive is an important resource for researchers as it gives a valuable insight into his life and works, which can be reconstructed through his letters, notebooks, diaries and photographs. Our job is to preserve and make this primary material available so that Orwell can continue to be as relevant today as he was 70 years ago.

All the items featured in ‘The Night Orwell Died’ will be used in the forthcoming Orwell Archive event preceding the Orwell Lecture with Daniel Finkelstein on the 18th of February, held at University College London. Visit our upcoming events page for more information and to register for your free tickets.

‘The Night Orwell Died’ is a collaboration between the Orwell Foundation and UCL Special Collections, home of the UNESCO-registered George Orwell Archive. The film was produced by Seth Pimlott and is presented by D. J. Taylor, a trustee of the Orwell Foundation and author of Orwell: The Life and most recently The Lost Girls: Love, War and Literature (2019).

The UNESCO-registered George Orwell Archive, housed at UCL Special Collections, is the most comprehensive body of research material relating to the author George Orwell (Eric Blair) (1903-1950) anywhere. Manuscripts, notebooks and personalia of George Orwell were presented in 1960 on permanent loan by his widow on behalf of the George Orwell Archive Trust, supplemented by donations and purchases. The aim of the Trustees of the Archive was to make a research centre for Orwell studies, by bringing together all [Orwell’s] printed works, including newspaper items; private correspondence; other private papers in the possession of his widow; printed matter other than his own which will help later generations to understand the controversies in which he was involved; and tape recordings or written statements by all with first-hand experience of him of any consequence.