See also: Sex Crime (Nineteen Eighty-Four), Eurythmics in NEW YEAR’S EVE PARTY: DANCE (ARTS – MUSIC – ROCK I)


George Orwell in 1941

Odilon Redon, The Egg, 1885

Part Three Chapter 14

Underfoot, overhead, left, right, behind, ahead: Omnipresent, metal and glass conspire to remove all our bearings; unmoored, we ascend in spidery space. In a riot of shadow and light the guts of the construction invade our vision; reaching for your hand I catch your gaze: In the depths of your eyes as our hands entwine, I see Winston and Julia about to commit sexcrime.

By Martha C. Carpentier

Winston’s dream then shifts to oedipal desire as he envisions himself in an edenic ‘Golden Country,’ foreshadowing his first sexual encounter with Julia and his ‘admiration for the gesture with which she had thrown her clothes aside,’ a sign of her unfettered sexuality which he already idealizes as able to annihilate ‘Big Brother and the Party and the Thought Police by a single splendid movement of the arm,’ reprising his image of maternal protection.

Winston’s first love-making with Julia replays his dream, taking place in the edenic Golden Country replete with fetishistic fish. At first Julia’s youth and beauty overwhelm him, but his masculinity is assuaged by her role as nurturing oral mother when she feeds him chocolate that, as it melts, stimulates ‘memory moving round the edges of consciousness’. Thereafter the birdsong becomes ‘a flood of music’ that silences consciousness as ‘though it were a kind of liquid stuff that poured all over him,’ and he perceives Julia ‘as yielding as water’. She delays Winston’s climax, however, and Deleuze’s discussion of how essential ‘disavowal, suspense, waiting, fetishism and fantasy’ are to the ‘constellation of masochism’ comes into play. The couple moves to another spot where she tells Winston of the ‘scores of times she had done it,’ filling him ‘with a wild hope,’ and he responds, ‘The more men you’ve had, the more I love you’. Winston has discovered that chastity is orthodoxy and sexual repression is thought-control, so he sees her erotic love as the enemy of the state and her ‘undifferentiated desire’ as the ‘force that would tear the Party to pieces’.


This is an edited extract from an article by Martha C. Carpentier, “The ‘Dark Power of Destiny’ in George Orwell’s Nineteen Eighty-Four”, Mosaic, vol. 47 no. 1, March 2014, pp. 179-194. Posted by kind permission of Martha C. Carpentier.

Akselli Gallen-Kallela, The Lovers, 1906-1917