Sandra Newman’s novel reimagines George Orwell’s classic from the point of view of Winston’s lover.
George Orwell never went down the memory hole, but a layer of gray dust settled over his work after the Cold War.Near the start of the 21st century, those allusions exploded, along with the deserts of Iraq, as President George W. Bush rummaged around for weapons of mass destruction that did not exist.
Given that publicity campaign, Orwell’s novel spiked to No. 1 on Amazon. Sales of “1984” skyrocketed 9,500 percent, and the publisher announced a specialto meet the rush of demand. “Just remember,” Trump told a crowd of veterans the next year, “what you’re seeing and what you’re reading is not what’s happening,” which sounded eerily reminiscent of Big Brother’s insistence that Party members must “deny the evidence of your senses.
Many of the characters, the Ministries of Truth and Love, the ever-shrinking dictionary, the constantly rewritten histories, the Two Minutes Hate, the endless war with Eurasia and all your favorite horrors from “1984” are here.But while “Julia” depends on Orwell for its architecture, the novel’s ironic tone is Newman’s own. By switching the perspective from Winston, she has effectively expanded the story’s palette.
So “Julia” considers just how such a young woman might really behave. As Margaret Atwood’s “The Handmaid’s Tale” has made plain, totalitarianism inevitably hits women of childbearing age in ways it doesn’t hit men. And Newman knows the dystopian terrain well. Last year, she published “The Men,” a novel in which everyone with a Y chromosome mysteriously vanishes.
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