Nineteen Eighty-Four essay "Notes on Nationalism" about the lack of vocabulary needed to explain the unrecognised phenomena behind certain political forces. In "Nineteen Eighty-Four", the Party's artificial, minimalist language 'Newspeak' addresses the matter. O'Brien concludes: "The object of persecution is persecution. The object of torture is torture. The object of power is power." In the book, Inner Party member O'Brien describes the Party's vision of the future: A major theme of "Nineteen Eighty-Four" is censorship, especially in the Ministry of Truth, where photographs are modified and public archives rewritten to rid them of "unpersons" (persons who are erased from history by the
Nineteen Eighty-Four Socialist states, like a looser and freer version of the Union of Soviet Republics". When it was first published, "Nineteen Eighty-Four" received critical acclaim. V. S. Pritchett, reviewing the novel for the "New Statesman" stated: "I do not think I have ever read a novel more frightening and depressing; and yet, such are the originality, the suspense, the speed of writing and withering indignation that it is impossible to put the book down." P. H. Newby, reviewing "Nineteen Eighty-Four" for "The Listener" magazine, described it as "the most arresting political novel written by an Englishman since Rex Warner's "The Aerodrome.""