comparative essay on the texts "Nineteen Eighty-Four" by George Orwell, "Watchmen" by Allen Moore and poem by Allen Ginsberg.

 
Title: comparative essay on the texts "Nineteen Eighty-Four" by George Orwell, "Watchmen" by
Allen Moore and poem by Allen Ginsberg.
Subject: Literature
Type of Paper: Literature Review
Words: 6747
The influence of the party creates an unknown divergence in class consciousness that ultimately
creates a need of base desire that can only be partially satisfied by The Party. This suppression of
socially rejected the releases a relapse of even greater desire that it contorted into support for The
Party’s doctrine. This reformation in the conscious mind is where a person will once again look
for a way to feed such needs, and The Party will be right there like a mother nursing a new-born
to gratify them, “he clung to O’Brien like a baby, curiously comforted by the heavy arm round
his shoulders”, an instinctive feeling towards the man that has been portrayed to have neither
consciousness or compassion. Due to his inhuman attributes, Winston gazes towards this prophet
of Big Brother with respect and awe, wishing he could become like him. But by doing so
Winston revaluates himself as a creature that is not fit to be called human as he clings to life
under the Party, and people like O’Brien. By idolising a person, you do not reduce them as
beings of a lesser state than human, but casting away the thoughts of that person being imperfect,
they surpass the guidelines in what it means to be human. The beat generation is oppressed by
society as it was composed of homosexuals, prostitutes and criminals that where shunned by
society for their decisions or the way they were from birth. This oppression unlikely created the
many pieces of controversial, now renowned for its revolutionary aspects, pieces of literature
that reshaped the thinking in modern writing and the minorities in 1950s/60s America.
‘Watchmen’ explores a realm, through incredibly detailed recurring visual themes and story,
where those we deem under the title “superhero” with or without superpowers in fact have deep
and complex psychological profiles in this serialised text. Sometimes these profiles overlap with
the degrading humanity of the sea captain in “Tales of the Black Freighter” that acts as a subplot
for the true meaning or voices behind the minds of many of the characters as it is interlinked with
key moments. The almost omnipotent Dr Manhattan has advanced the work under the American
government, doing incomprehensible research. The shady, half-cracked Rorschach, armed with
little more than a latex mask and an ironclad will “of there is good and there is evil, and evil
must be punished”, is a right-winged beyond insane vigilante that pursues a self-imposed guilt
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and responsibility for justice to the uttermost limits. The readers witnesses how the characters
further gain an understanding of the gravity of a world facing a constant threat of apocalypse and
how their true humanity is tested in the face of the trails in their lives. Nevertheless, to truly
understand the messages Allen Moore and George Orwell delivers, we must understand the
characters. Most of them have retired to their normal lives integrated with the ever changing
society, except for the both the weakest and strongest of them.
Those who were living on the back alleys of America, outside of the ‘American Dream’ where
reduced to nothing more than the outcasts of society. Yet by Ginsberg living with the very
people that were deemed unnecessary, he shortly discovered that the true Americans lived in
those isolated places, much more human than the monotonous society that craved the inhuman
humans to function. “Howl” describes the beat generation exploring spiritual transcendence
within themselves through drugs and the unadulterated human experience in a neo platonic
approach. Rorschach is disappointed in the helplessness of the human state when needing to
defend others, “We do not do this thing because it is permitted. We do it because we have to. We
do it because we are compelled”, an ideology that we can clearly see is Rorschach’s creed, much
more black and white than the other senses of morality presented in the other Crimebusters; there
is no grey for Rorschach. “Fearful Symmetry” itself is structured and panelled as a mirrored
chapter to emulate the rise and downfall in Rorschach himself. Where another pool of blood
would later spill on his side from the death of a prisoner, or another type of dog, either reawaken
or change the humanity of Rorschach once again during a prison breakout. “Nobody got out”
from the turning point of Walter Kovacs into Rorschach, he may have truly left his old self that
was simply “too soft” to tackle the unjust world. Rorschach in that fire not only killed the
murderer but too killed off his sympathetic and human side; leaving behind not only his weaker
compromising within himself the punishment f