about a party he had recently viiĪttended. Significantly, however, H.G. Wells, the peerless kingpin of futuristic speculation at this time, was not one of Huxley’s literary admirers, even though it could be argued that Wells was one of Huxley’s guru figures in the late 1920s and especially the early 1930s (following the likes of H.L. Mencken, D.H. Lawrence, and J.W.N. Sullivan, and a little in advance of Gerald Heard) and that Huxley became an ardently Wellsian ‘open conspirator’ during this period.3 On 22 July 1929 the economist and political theorist Harold Laski wrote to the American jurist Oliver Wendell Holmes, Jr. Whether Aldous Huxley borrowed his title from The Tempest or lifted it from the final stanzas of Kipling’s ‘The Gods of the Copybook Headings’ (1919)-‘As it will be in the future, it was at the Birth of Man- | There are only four things certain since Social Progress began:- | That the Dog returns to his Vomit and the Sow returns to her Mire, | And the burnt Fool’s bandaged finger goes wabbling back to the Fire | And that after this is accomplished, and the brave new world begins | When all men are paid for existing and no man must pay for his sins, | As surely as Water will wet us, as surely as Fire will burn, | The Gods of the Copybook Headings with terror and slaughter return!’-it has become irremovably cemented in our culture and indissolubly associated with the author of Brave New World.1 ‘Unhesitatingly’, Ethel Mannin wrote in January 1931, ‘I place Aldous Huxley as the most important, the greatest intellect and the most serious artist of my male contemporaries.’2 Mannin’s comment is an important indication of the kind of esteem in which Huxley was held by many of his peers a year before Brave New World was published. Cover image © Illustration Works / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer-Verlag London Ltd.įor Hank and Maggie (J. G.) and little Henry, Orson, and Sienna (N. W.), and their futures. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication.
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in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The use of general descriptive names, registered names, trademarks, service marks, etc. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Library of Congress Control Number: 2016953102 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Design and Patents Act 1988. Nathan Waddell University of Nottingham Nottingham, United Kingdom E-Book Contentīrave New World : Contexts and Legacies Edited by Jonathan Greenberg and Nathan WaddellĮditors Jonathan Greenberg Montclair State University Montclair, USA Timely and consistently illuminating, this collection is essential reading for students, critics, and Huxley enthusiasts alike. The volume also includes a ‘Foreword’ written by David Bradshaw, one of the world’s top Huxley scholars.
Individual chapters explore connections between Brave New World and the nature of utopia, the 1930s American Technocracy movement, education and social control, pleasure, reproduction, futurology, inter-war periodical networks, motherhood, ethics and the Anthropocene, islands, and the moral life. The volume affirms Huxley’s prescient critiques of modernity and his continuing relevance to debates about political power, art, and the vexed relationship between nature and humankind. Leading international scholars consider from new angles the historical contexts in which the book was written and the cultural legacies in which it looms large. This collection of essays provides new readings of Huxley’s classic dystopian satire, Brave New World (1932).
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