Neurath’s first port of exile after the fascist takeover in Austria was the Netherlands. With the aid of existing connections there, he set up the International Foundation for Visual Education in The Hague, providing an official haven for the work of the Social and Economic Museum. It also acted as a base for the International Institute for the Unity of Science, through which Neurath organized its congresses during the 1930s. Neurath’s Dutch period was marked by increasing contacts with England and the USA: he wrote books in C. K. Ogden’s Basic English and for New York publisher Knopf; he also became editor-in-chief of the International Encyclopedia of Unified Science. On several visits to the USA, he secured high-profile contracts for Isotype work, while also exploring the possibility of a foothold in Britain.

This chapter argues that we should take seriously Orwell’s claim, in his 1946 essay ‘Why I Write’, that ‘what I  have most wanted to do throughout the past ten years is to make political writing into an art’. By examining how this ambition of yoking art to politics plays out in Orwell’s final novel, it places Nineteen Eighty-Four within the context of the literary problems and practices of Orwell’s precursors and contemporaries. First, it considers his relationship with literary modernism and its legacies, with particular reference to his analysis of the work of James Joyce and Henry Miller, for instance in the 1940 essay ‘Inside the Whale’. Next, it examines Nineteen Eighty-Four in the light of earlier dystopian and speculative fiction by William Morris, Aldous Huxley, E. M. Forster, Jack London, Katharine Burdekin, Storm Jameson, and others; it also considers the influence on Orwell of Arthur Koestler’s Darkness at Noon. Finally, it assesses depictions of writing and the politics of language within the novel, and how their treatment might relate to Orwell’s sense of his place within twentieth-century literature.