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Consider the first two sections of George Orwell’s ‘Marrakech,’ and write an evaluation of one of the techniques that the author used in one of these sections.
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George Orwell uses sentence structure throughout the essay. He uses repetition of the word no when saying “No gravestone, no name, no identifying mark of any kind”. The repetition of ‘no’ focuses the reader’s attention on the fact that the lives of these people were unimportant and had no value. Further on, the writer states “you see how the people live, and still more how easily they die” demonstrating the contrast between the western and colonial worlds. This reveals to the reader the extreme poverty of these people in Marrakech and how they live their lives.
George Orwell uses imagery in the form of a simile in the second paragraph to illustrate the poverty and the harsh conditions that exist in Marrakech when he says “like broken brick”. This suggests that in the same way that a broken brick is useless and is often discarded without care, the dead bodies of the people in Marrakech are left to waste and have been carelessly discarded. This can further be conveyed by the use of the words “dump” “fling” and “hack” which pose an image of carelessness. This makes it clear to the reader that the people in Marrakech cannot afford a coffin illustrating that poverty does exist in Marrakech.
George Orwell uses ..something.. to highlight the poorness of the people in Marrakech when saying “merely wrapped in a piece of rag”. This emphasises how poor the people are as they have been wrapped in a piece of rag once they had died as they couldn’t afford coffins. Furthermore, it’s also highlighted that the people that have died are unimportant as their family members “can’t even be certain where their relatives are buried”. This therefore informs the reader of the poorness and unsanitary conditions of Marrakech.
George Orwell expresses how common and meaningless death is to the people in Marrakech through word choice at the beginning of the essay such as, “hack”, “dump” and “fling”. Each of these words would suggest to the reader something being handled carelessly and it also suggests something worthless that can just be thrown away. This is effective because it focuses the reader’s attention on the every day lives of the people in this country and how they are treated after they die, as if their whole lives were meaningless and can therefore be easily discarded. Furthermore, these words dehumanise the people’s bodies being handled which emphasises the unimportance of who they were and shows the extreme poverty which the people of Marrakech are living in.
George Orwell uses in depth description throughout the essay to highlight the poverty and how death is a common issue in Marrakech. In the opening sentence Orwell describes “as the corpse went past the flies left the restaurant table in a cloud and rushed after it, but they came back a few minutes later.” Orwell is highlighting the fact that even a corpse doesn’t make a good enough meal for a fly. Furthermore demonstrates the unsanitary conditions present in Marrakech that a dead body is being carried around a food market. Therefore making it clear to the reader that this is an area of extreme poverty.
George Orwell’s word choice in the beginning of the essay conveys the immense poverty suffered by the people of Marrakech when he writes that the bodies of the dead are “merely wrapped in a piece of rag.” This demonstrates the severity of these people’s impoverishment as they are unable to afford even the most basic casket for their dead. In addition, Orwell’s use of the words “hack”, “dump”, and “fling” suggest that the people of the city see death as unimportant because of how common it is within their community. This further emphasises the deprivation and poverty in Marrakech.
Goerge Orwell uses word choice to convey the desperation and poverty that exists within Marrakech as he says “clamouring for a cigarette”. The word “clamouring” suggests that the people of Marrakech are even desperate to obtain something as cheap as a cigarette was during this time. This highlights to the reader that extreme poverty exists as these people are poor and have little or no money to purchase their own.
George Orwell uses symbolism in the ninth paragraph when saying “the houses are completely windowless”. This is symbolic of the lack of hope and highlights to the reader that the people living in Marrakech were locked in and couldn’t get out, just like they couldn’t get out of poverty. Furthermore, Orwell states that children were “sore-eyed” revealing that they had no hope or outlook for the future demonstrating the poverty and the cycle it goes through and how it is constantly repeated.
George Orwell uses word choice to demonstrate the poverty of the Jews in Marrakech: “cigarette as a more or less impossible luxury.” This demonstrates the poverty as cigarettes were a ridiculously cheap item at this time and everyone in the British working class could even afford to smoke and the Jews cannot even afford this habit and see a single cigarette as a luxury. This is effective in showing just how poor the Jews of Marrakech were. The effective of this on the reader is that they are shocked and feel sympathy for the Jews. As such it is clear that Orwell’s use of word choice is effective in portraying how deprived the Jews are.
Orwell’s use of symbolism near the beginning of the essay effectively shows how hopeless the people of Marrakech are because of the poverty they live in, “the houses are completely windowless,” This symbolism shows that the people of Marrakech feel completely empty inside and have given up their lives as they believe it is meaningless. This is effective as it demonstrates to the reader how different their lives are compared to Orwell’s and people in developed countries who almost always have something to live for. Furthermore, this contributes to the sympathy the reader feels towards these people as the way they are living is unimaginable as Orwell effectively described this to be the case.
Orwell uses word choice and symbolism to exploit the deprived state of Marrakech, “the house are completely windowless, and sore-eyed children cluster everywhere in unbelievable numbers, like clouds of flies.” This suggests there is a lack of hope and symbolic of the fact the Jews in Marrakech are enclosed, there is no hope of getting out. “sore eyed” is symbolic of the people also having no outlook on life. Furthermore the word choice of “cluster” degrades the people of Marrakech to animals or even insects suggesting they are insignificant. Orwell’s use of wordchoice and symbolism is effective in demonstrating the poverty present in Marrakech more so on Jews.
George Orwell uses contrast at the end of his essay to show the differences between white people and black people in Marrakech, “armed men, flowing peacefully up the road, while the great white birds drifted over them in the opposite direction,” this contrast clearly shows how the white people are taking over Marrakech and can dictate to the black people and tell them to leave their homes. This is effective because the fact that the birds-which are symbolic of white people-are flying over the people-who are symbolic of black people-shows that the white people at this time have power over the black people and they are so out of reach that they can drift along above them unharmed while the black people are always being watched. This further goes to show the horrible position that the people of Marrakech are in throughout their lives.
Orwell uses animalism at the end of his essay to show the poor position that the people of Marrakech take in society, “a flock of cattle” This expresses to the reader that these people are no better than cattle and so do not deserve to be given human qualities thus are animalised by this quotation. This is effective because it allows the reader to relate the poor standard and cleanliness of cattle to the people of Marrakech which effectively allows them to understand the appearance and standards of the people. Furthermore this conveys the theme of inequality because the suggestion here is that the people of Marrkech are no better in any way than a flock of dirty animals and so should not be treated the same as humans which increases the reader’s understanding of the poverty these people are living in.
George Orwell uses word choice in early part of his essay to convey the theme of death when he writes that “only a certain regularity in the bumps tells you that you are walking over skeletons.” This demonstrates how irreverently death is treated in the impoverished areas of the colony and thus shows how common death is within these communities. This common nature of death in the community effectively shows how deprived the people of Marrakech are. This forces the reader to question whether or not colonisation has any benefits to the people of the colony itself.
Orwell’s use of a simile in his essay conveys the themes of hopelessness and deprivation when he writes that the Jews work in “dark fly-infested booths that look like caves.” The comparison to a cave suggests how undeveloped and deprived Marrakech is as caves were inhabited by early humans thousands of years ago. In addition, the word choice of “dark” implies the hopelessness of the Jews who work in the bazaar as light symbolises hope and there is none reaching the workers in the booths. Furthermore, the term “fly-infested” emphasises the immense deprivation of the people of Marrakech and highlights the unsanitary conditions that they must live and work in.
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A Collection of Essays - Marrakech Summary & Analysis
Marrakech Summary
Orwell sits in a city park in Marrakech and feeds bread to an antelope. He thinks that the antelope looks like it would be good to eat. A municipal employee considers Orwell for some time and then mentions that he could eat the bread - Orwell gives him most of the remaining bread.
The Jews in the city are crowded into restricted zones and are horribly poor. Many of the children are sick and most of the men work twelve-hour days just to subsist. Rumors of Hitler's pogroms circulate. Nearly everyone is malnourished, and the working peasants seem to simply blend into the background and vanish. Farming the desiccated and eroded soil is backbreaking toil and women are treated harshly. Most Europeans are appalled at the harsh treatment meted out to the local donkeys but none of them seem overly concerned with the...
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"Marrakech" by George Orwell An Analysis
Literary Journalism and Social Justice pp 117–128 Cite as
Making Visible the Invisible: George Orwell’s “Marrakech”
- Russell Frank 3
- First Online: 05 August 2022
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Much of the best literary journalism shows us what we do not and perhaps wish not to see. Nowhere is the mission of making visible those who are invisible articulated as explicitly as in George Orwell’s 1939 essay “Marrakech.” The colonial enterprise, Orwell tells us, is predicated on not seeing as fully human those whom we subjugate. If we did, we would have to reckon not only with their misery but with our complicity in their subjugation and misery. This chapter argues for the critical role of “Marrakech,” and literary journalism in general, in the shift from the ethnocentrism that underpins colonization abroad and domestic oppression at home, to recognition of our common humanity.
- Literary journalism
- George Orwell
- Colonialism
- Ethnocentrism
- Journalism history
- Narrative journalism
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Kevin Kerrane and Ben Yagoda, eds., The Art of Fact: A Historical Anthology of Literary Journalism (New York: Simon & Schuster, 1998).
George Orwell, “Marrakech,” in The Art of Fact , eds. Kevin Kerrane and Ben Yagoda (New York: Simon & Schuster, 1998), 434.
Orwell, “Marrakech,” 435.
Orwell, “Marrakech,” 437.
Karim Bejjit Hassan II, “Orwell’s Marrakech: Desolate Spaces, Dehumanised Subjects,” Writing the Maghreb , https://writingthemaghreb.wordpress.com/2011/07/11/orwell’s-marrakech-desolate-spaces-dehumanised-subjects/ .
Hassan, “Orwell’s Marrakech.”
Thomas March, “Orwell’s Marrakech,” Explicator 57, Spring 1999, 163–164.
Orwell, “Marrakech,” 434.
Sylvester Monroe and Peter Goldman, “Brothers,” in The Art of Fact , 204–211.
Monroe and Goldman, “Brothers,” 208.
Orwell, “Marrakech,” 436.
James Agee, Let Us Now Praise Famous Men: Three Tenant Families (Boston: Houghton-Mifflin, 1969), 38–43.
Orwell, “Marrakech,” 438.
Cleo McNelly, “On Not Teaching Orwell,” College English 38, no. 6 (1977): 553. https://doi.org/10.2307/376095 .
Ryszard Kapuscinski, “Another Day of Life,” in The Art of Fact , 507–521.
Kapuscinski, “Another Day of Life,” 515.
Kapuscinski, “Another Day of Life,” 508.
Orwell, “The Spike,” in The Art of Fact , 245–251.
Stephen Crane, “An Experiment in Misery,” in The Art of Fact , 63–70.
Jack London, from The People of the Abyss, in The Art of Fact , 83–89.
Marvel Cooke, from “The Bronx Slave Market,” in The Art of Fact , 252–257.
Ted Conover, from Coyotes, in The Art of Fact , 331–335.
Charles Dickens, “The Great Tasmania’ s Cargo,” in The Art of Fact , 38–45.
Walt Whitman from Specimen Days , in The Art of Fact , 46–48.
Martha Gellhorn, “The Third Winter,” in The Art of Fact , 422–432.
John Steinbeck, from Once There Was a War, in The Art of Fact , 458–460.
Walter Bernstein, “Juke Joint,” in The Art of Fact , 104–110.
John Hersey, from Hiroshima , in The Art of Fact , 111–114.
Michael Herr, from Dispatches, in The Art of Fact , 494–506.
Svetlana Alexievich, from Boys in Zinc, in The Art of Fact , 536–548.
Lillian Ross, from “Portrait of Hemingway,” in The Art of Fact , 129–138 .
W.C. Heinz, “The Day of the Fight,” in The Art of Fact , 115–128.
Gay Talese, “The Silent Season of a Hero,” in The Art of Fact , 143–160.
Al Stump, “The Fight to Live,” in The Art of Fact , 271–289 .
Bob Greene, “So … We Meet at Last, Mr. Bond,” in The Art of Fact , 212–217.
Richard Ben Cramer, from What It Takes: The Way to the White House , in The Art of Fact , 236–241.
W.T. Stead, from If Christ Came to Chicago , in The Art of Fact , 49–57 .
Abraham Cahan, “Can’t Get Their Minds Ashore” and “Pillelu, Pillelu!” in The Art of Fact , 76–82.
Joseph Mitchell, “Lady Olga,” in The Art of Fact , 439–451.
Rosemary Mahoney, from Whoredom in Kimmage , in The Art of Fact , 367–383.
Dennis Covington, from “Snake Handling and Redemption,” in The Art of Fact , 391–403.
Tom Wolfe, from The Electric Kool-Aid Acid Test , in The Art of Fact , 169–182.
Gary Smith, “Shadow of a Nation,” in The Art of Fact , 218–235 .
Bill Buford, from Among the Thugs, in The Art of Fact , 354–366.
Daniel Defoe, from The True and Genuine Account of the Life and Actions of the Late Jonathan Wild , in The Art of Fact , 23–28 .
Hickman Powell, from Ninety Times Guilty, in The Art of Fact , 97–103.
Truman Capote, from In Cold Blood , in The Art of Fact , 161–168.
Katherine Boo, Behind the Beautiful Forevers (New York: Random House, 2014), 36–37.
Stephen Crane, “An Experiment in Misery,” 70.
Francois Rabelais, and Burton Raffel, Gargantua and Pantagruel (New York: Norton, 1990). The Rabelais quote is the source for the title of Jacob Riis’ How the Other Half Lives (New York: Charles Scribner’s Sons, 1890).
London, from The People of the Abyss , 84.
Tracy Kidder, Mountains Beyond Mountains (New York: Random House, 2003).
Orwell, “The Spike,” 247.
Orwell, “The Spike,” 249.
Cooke, from “The Bronx Slave Market,” 256.
Sylvester Graham, “Harlem on My Mind,” in The Art of Fact , 386.
See also Barbara Ehrenreich, Nickel and Dimed: On Not Getting by in America (New York: Henry Holt, 2002).
James Agee, from Let Us Now Praise Famous Men , in The Art of Fact , 417–421.
Rebecca West, from Black Lamb and Grey Falcon, in The Art of Fact , 456.
West, from Black Lamb and Grey Falcon , 457.
James Clifford, “On Ethnographic Surrealism,” in The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge and London: Harvard University Press, 1988), 121.
Clifford, “On Ethnographic Surrealism,” 120.
See, for example, Barbara Myerhoff and Jay Ruby, eds., A Crack in the Mirror: Reflexive Perspectives in Anthropology , introduction (Philadelphia: University of Pennsylvania Press, 1982).
Viet Thanh Nguyen, ed., The Displaced: Refugee Writers on Refugee Lives , (New York, NY: Abrams, 2018), introduction, Kindle.
Nguyen, The Displaced , introduction.
Daniel Trilling, Lights in the Distance: Exile and Refuge at the Borders of Europe , (London: Picador, 2019), chap. 21, Kindle.
Wesley Lowery, They Can’t Kill Us All: Ferguson, Baltimore, and a New Era in America’s Racial Justice Movement (Little Brown & Company, 2017), 58.
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Frank, R. (2022). Making Visible the Invisible: George Orwell’s “Marrakech”. In: Alexander, R., McDonald, W. (eds) Literary Journalism and Social Justice . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-89420-7_8
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George Orwell uses in depth description throughout the essay to highlight the poverty and how death is a common issue in Marrakech. In the opening sentence Orwell describes "as the corpse went past the flies left the restaurant table in a cloud and rushed after it, but they came back a few minutes later."
Marrakech, the essay of George Orwell. First published: Christmas 1939 by/in New Writing, GB, London. Index > Library > Articles > Marrakech > English > E-text. George Orwell Marrakech. As the corpse went past the flies left the restaurant table in a cloud and rushed after it, but they came back a few minutes later. ...
As the essay continues, Orwell further moves the reader by illustrating that Jews are not the only group marginalised in Marrakech: women are too. Orwell presents a vivid physical description of the women of Marrakech and describes the intensive labour they are expected to perform, despite their lack of health and strength.
^Marrakech _ by George Orwell is an intriguing essay depicting the grim reality of colonial life for the oppressed natives. In the essay, Orwell skilfully blends narration using anecdotes and observation to illustrate to the reader the extreme poverty and suffering of those exploited by imperialism. We are forced to confront the racist abuse and
Marrakech George Orwell Non fiction text from 1939 Themes of colonialism, racism, oppression and poverty (question) Orwell describes throughout the text the conditions he encounters during his time spent in Marrakech We are shown how native Moroccans live through (question) Questions his own prejudice and the readers Reader self evalutes beliefs, increases their appreciation of the text Used ...
Marrakech Summary. Orwell sits in a city park in Marrakech and feeds bread to an antelope. He thinks that the antelope looks like it would be good to eat. A municipal employee considers Orwell for some time and then mentions that he could eat the bread - Orwell gives him most of the remaining bread. The Jews in the city are crowded into ...
"Marrakech" by George Orwell: An Analysis George Orwell, renowned for his novels "1984" and "Animal Farm", was also a prolific essayist. One of his lesser-known works is "Marrakech", a poignant short essay that offers a candid portrayal of colonial Morocco. Overview "Marrakech" is a narrative essay where Orwell recounts his experiences in the Moroccan city.
Much of the best literary journalism shows us what we do not and perhaps wish not to see. Nowhere is the mission of making visible those who are invisible articulated as explicitly as in George Orwell's 1939 essay "Marrakech.". The colonial enterprise, Orwell tells us, is predicated on not seeing as fully human those whom we subjugate.
George Orwell's essay 'Marrakech'. - First published in 1939. - 'Gazelles are almost the only animals that look good to eat when they are still alive, in fact, one can hardly look at their hindquarters without thinking of mint sauce. ... Index > Library > Articles > Marrakech > Index eng. Marrakech. George Orwell Marrakech, 1939 [L.m./F.s ...
Abstract. Much of the best literary journalism shows us what we do not and perhaps wish not to see. Nowhere is the mission of making visible those who are invisible articulated as explicitly as in ...
The foreshadowing of the ending of colonialism: black soldiers/symbolism of the birds - the bird quote. "the great white birds drifted over them in the opposite direction, glittering like scraps of paper." Quotes for SQA Higher English Critical Essay on Marrakech by George Orwell Learn with flashcards, games, and more — for free.
George Orwell's intriguing non-fiction text 'Marrakech' is a tragic and emotional text which uses vivid description of life in Marrakech. Orwell's use of language and narrative voice further enhance the meaning of his essay and provokes a strong reaction in the reader as the essay develops. Orwell successfully reveals the mistreatment the ...
Marrakech - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. Orwell uses descriptive language and literary devices to summarize the social conditions in Marrakech in 1939. He describes the poverty seen through images like flies following a dead body. Orwell examines the mistreatment of marginalized groups like Jews and women through vivid ...
George Orwell's "Marrakech" is an essay where his use of vivid description is an important feature in revealing the poverty and discrimination caused by the failures of colonialism. Orwell's powerful use of anecdote and imagery help to convey this critical stance on colonialism clearly to the reader. The essay begins with a vivid image ...
In 1939 George Orwell wrote an essay entitled " Marrakech ". It has become a staple of English composition classes and studies in creative nonfiction. In it, he describes the streets of ...
We definitely see quite a number of stylistic devices in even the very first paragraph of George Orwell's essay "Marrakech." One stylistic device he employs is anthropomorphism , which is a form ...
Introduction. 'Marrakech' by George Orwell is an emotive non-fiction text set in Morocco in 1939 during the author's six month stay. Throughout the text, Orwell discusses the cruel oppression of the Jewish locals and the women who were victimised due to the French Colonial Empire. The account was written to (link to question).
In conclusion, 'Marrakech' by George Orwell, is an emotional and moving essay. Orwell skilfully uses imagery, word choice and anecdotes to convey his critical attitude of imperialism and illustrate how ineffective and oppressive it was. The plight of the natives is overwhelming and shocking to a modern audience.
MARRAKECH Context Quote Analysis In the opening paragraph, Orwell establishes how unclean and distasteful the conditions are in Marrakech. The flies, drawn to the decay, follow a dead body being taken through the streets, yet return, as the restaurant is unsanitary enough to provide them with the possibility of food. There is an
The page where you can choose your language - top page of George Orwell's essay 'Marrakech' - Dag's Orwell Project ... George Orwell. Choose your language: English language [L. m.: 2019-12-29] Russian language [L. m.: 2019-12-29] Library [Eng] [Rus] > Essays & articles [Eng] [Rus] ~ [CSS on]
George Orwell. 3.72. 105 ratings11 reviews. In this short essay, written in the spring of 1939, Orwell again makes proof of his remarkable ability to turn every aspect of native life into a spectacle of disorder and futility. Having contracted a case of tuberculosis in England, he made his journey south to Marrakech in the winter of 1938, where ...
The Text:George Orwell's "Marrakech" (1939) .The Essay's Direct Link: http://www.george-orwell.org/Marrakech/.htmlIn his visit to Morocco Orwell, during the...
Quotes for SQA Higher English Critical Essay on Marrakech by George Orwell Learn with flashcards, games, and more — for free. ... Quotes for SQA Higher English Critical Essay on Marrakech by George Orwell. Share. Students also viewed. 3.2 Transport. 16 terms. laurabuckk. Preview. History of Mental Health. 11 terms. leahplatten.