Letter to Humphry House, (11 April 1940). p. 532 http://books.google.com/books?id=0j2qODEJkdoC&pg=PA532#v=onepage&q&f=false, The Collected Essays, Journalism, & Letters, George Orwell: An age like this, 1920–1940, Editors: Sonia Orwell, Ian Angus

“[Some correspondents] rightly claimed that State patronage [for artists and authors] is a better guarantee against starvation than private patronage, but seemed to me too ready to disregard the censorship that this implies. The usual line was that it is better for the artist to be a responsible member of a community than an anarchic individualist. The issue, however, is not between irresponsible "self-expression" and discipline; it is between truth and lies. Artists don't so much object to aesthetic discipline. Architects will design theatres or churches equally readily, writers will switch from the three-volume novel to the one-volume, or from the play to the film, according to the demand. But the point is that this is a political age. A writer inevitably writes—and less directly this applies to all the arts—about contemporary events, and his impulse is to tell what he believes to be the truth. But no government, no big organization, will pay for the truth. To take a crude example: can you imagine the British Government commissioning E. M. Forster to write A Passage to India?”

George Orwell

He could only write it because he was not dependent on State aid. "As I Please" column in The Tribune (13 October 1944) http://alexpeak.com/twr/orwell/quotes/ http://alexpeak.com/twr/ooc/#2 As I Please (1943–1947)

“There is a geographical element in all belief-saying what seem profound truths in India have a way of seeming enormous platitudes in England, and vice versa. Perhaps the fundamental difference is that beneath a tropical sun individuality seems less distinct and the loss of it less important.”

George Orwell

Review of Indian Mosaic by Mark Channing, in The Listener (15 July 1936)

“The thing that I think very striking is that no one, or no one I can remember, ever writes of an execution with approval. The dominant note is always horror. Society, apparently, cannot get along without capital punishment—for there are some people whom it is simply not safe to leave alive—and yet there is no one, when the pinch comes, who feels it right to kill another human being in cold blood. I watched a man hanged once. There was no question that everybody concerned knew this to be a dreadful, unnatural action. I believe it is always the same—the whole jail, warders and prisoners alike, is upset when there is an execution. It is probably the fact that capital punishment is accepted as necessary, and yet instinctively felt to be wrong, that gives so many descriptions of executions their tragic atmosphere. They are mostly written by people who have actually watched an execution and feel it to be a terrible and only partly comprehensible experience which they want to record; whereas battle literature is largely written by people who have never heard a gun go off and think of a battle as a sort of football match in which nobody gets hurt.”

George Orwell

"As I Please" column in The Tribune (3 November 1944) http://alexpeak.com/twr/oocp/ "As I Please" (1943–1947)

“We crawled up to bed, tumbled down half dressed, and stayed there ten hours. Most of my Saturday nights went like this. On the whole, the two hours when one was perfectly and wildly happy seemed worth the subsequent headache. For many men in the quarter, unmarried and with no future to think of, the weekly drinking-bout was the one thing that made life worth living.”

George Orwell book Down and Out in Paris and London

Source: Down and out in Paris and London (1933), Ch. 17

“During the Spanish civil war I found myself feeling very strongly that a true history of this war never would or could be written. Accurate figures, objective accounts of what was happening, simply did not exist. And if I felt that even in 1937, when the Spanish Government was still in being, and the lies which the various Republican factions were telling about each other and about the enemy were relatively small ones, how does the case stand now? Even if Franco is overthrown, what kind of records will the future historian have to go upon? And if Franco or anyone at all resembling him remains in power, the history of the war will consist quite largely of "facts" which millions of people now living know to be lies.”

George Orwell

"As I Please" (1943–1947)