Aldous Huxley

The Genius and the Goddess (1955) is a novel by Aldous Huxley. It was published by Chatto & Windus in the UK and by Harper & Row in the US. It is the fictional account of John Rivers, a student physicist in the 1920s who was hired out of college as a laboratory assistant to Henry Maartens.

London life just after World War I, devoid of values and moving headlong into chaos at breakneck speed—Aldous Huxley's Antic Hay. like Hemingway's The Sun Also Rises, portrays a world of lost souls madly pursuing both pleasure and meaning. Fake artists, third-rate poets, pompous critics, pseudo-scientists, con-men, bewildered romantics, cock-eyed futurists—all inhabit this world spinning out of control, as wildly comic as it is disturbingly accurate. In a style that ranges from the lyrical to the absurd, and with characters whose identities shift and change as often as their names and appearances, Huxley has here invented a novel that bristles with life and energy. What the New York Times called “a delirium of sense enjoyment!”

In 1958, Aldous Huxley wrote what might be called a sequel to his novel Brave New World, published in 1932, but it was a sequel that did not revisit the story or the characters, or re-enter the world of the novel. Instead, he revisited that world in a set of 12 essays. Taking a second look at specific aspects of the future Huxley imagined in Brave New World, Huxley meditated on how his fantasy seemed to be turning into reality, frighteningly and much more quickly than he had ever dreamed.That he had been so prophetic in 1931 about the dystopian future gave Huxley no comfort. He was a far more serious man in 1958 -- at the age of 64 -- and the world was a very different place, transformed by the catastrophe of World War II, the advent of nuclear weapons and the grip of the Cold War. Looking behind the Iron Curtain, where people were not free but dominated by totalitarian power, Huxley could only bow to the grim prophecy of his friend (and, briefly, his student at Eton) George Orwell in the novel 1984. In the free world, however, the situation seemed even more to be one for despair. For it seemed to Huxley that people were well on their way to giving up their freedom and the sanctity of their individualism, in exchange for the illusions of comfort and sensory pleasure -- just as they had in Brave New World.Huxley heard, in 1958, a world full of the noise of what he called singing commercials, flooding the mass media, much like the hypnopaedia that shaped conscious thought in the world of the novel. He saw people everywhere in greater numbers taking tranquilizer drugs, to surrender to the unacceptable aspects of modern life -- not unlike the drug called soma that everyone takes in the novel. The power of propaganda, he believed, had been validated by the rise of Hitler, and the postwar world was using it effectively to manipulate the masses. Overpopulation was already a critical issue in 1958, and Huxley saw the emergence of an overpopulated world in which the chaos was, more and more, being countered by centralized control -- closer, it seemed, to the future of Brave New World, where the ultimate controlling capitalist of Huxley's early years, Henry Ford, had become the equivalent of God.In the end, Brave New World Revisited despairs of what has come to pass, primarily modern humankind's willingness to surrender freedom for pleasure. Huxley quotes from the episode of the Grand Inquisitor in The Brothers Karamazov -- 'For nothing,' the Inquisitor insists, 'has ever been more insupportable for a man or a human society than freedom.' Huxley worried that the cry of "Give me liberty or give me death" could easily be replaced by "Give me television and hamburgers, but don't bother me with the responsibilities of liberty." He saw hope in the form of education, even the most pious, orthodox and inefficient kind of education -- education that can teach people to see beyond the easy slogans, efficient ends and anesthetic influences of propaganda. Perhaps the forces that now menace freedom are too strong to be resisted for every long, Huxley concluded. It is still our duty to do whatever we can to resist them.

The novel focuses on the life of socialite Anthony Beavis, but it does so by employing a non-chronological structure. It juxtaposes four periods of Beavis' life, from the time that he is a young boy in the 1890s up until 1936. The novel describes Beavis as he goes through school, college and various romantic affairs, while probing the meaningfulness of upper class life during the same period. The novel depicts Beavis' own gradual disillusionment with high society, brought to a head by the suicide of his friend. At this point, he begins to search for some source of meaning in his life, which seems to be provided when he discovers pacifism and then mysticism.

Originally published in 1932, this outstanding work of literature is more crucial and relevant today than ever before. Cloning, feel-good drugs, antiaging programs, and total social control through politics, programming, and media -- has Aldous Huxley accurately predicted our future? With a storyteller's genius, he weaves these ethical controversies in a compelling narrative that dawns in the year 632 AF (After Ford, the deity). When Lenina and Bernard visit a savage reservation, we experience how Utopia can destroy humanity. A powerful work of speculative fiction that has enthralled and terrified readers for generations, Brave New World is both a warning to be heeded and thought-provoking yet satisfying entertainment. - Container.

Point Counter Point is a novel by Aldous Huxley, first published in 1928. It is Huxley's longest novel, and was notably more complex and serious than his earlier fiction. In 1998, the Modern Library ranked Point Counter Point 44th on its list of the 100 best English-language novels of the 20th century. (Source: [Wikipedia](

Man's Most Dangerous Myth was first published in 1942, when Nazism flourished, when African Americans sat at the back of the bus, and when race was considered the determinant of people's character and intelligcnce. Ashley Montagu presented a revolutionary theory for his time: Breaking the link between genetics and culture, he argued that race is largely a social construction, and not constitutive of significant biological differences between people. This new edition contains Montagu's most complete explication of his theory and a thorough updating of previous editions. The sixth edition takes on the issues of the Bell Curve, IQ testing, ethnic cleansing, and other contemporary race relations topics, as well as contemporary restatements of topics in previous editions. A bibliography of over 3,000 published items on race, compiled over a lifetime of work, is of enormous research value. Also available is an abridged student edition containing the essence of Montagu's argument, its policy implications, and his thoughts on contemporary race issues for use in classrooms. Ahead of its time in 1942, Montagu's arguments still contribute essential and salient perspectives as we face issues of race in the 1990s.

Describes the socialised horror of a futuristic utopia devoid of individual freedom. Human beings, graded from intellectuals to manual workers, are hatched from incubators and brought up in communal nurseries and learn by conditioning to accept their social destiny. The story develops around an unorthodox AlphaPlus, who visits a New Mexican Reservation and brings a savage back to London.

Aldous Huxley spares no one in his ironic, piercing portrayal of a group gathered in an Italian palace by the socially ambitious and self-professed lover of art, Mrs. Aldwinkle. Here, Mrs. Aldwinkle yearns to recapture the glories of the Italian Renaissance, but her guests ultimately fail to fulfill her naive expectations. Among her entourage are: a suffering poet and reluctant editor of the Rabbit Fanciers' Gazette who silently bears the widowed Mrs. Aldwinkle's desperate advances; a popular novelist who records every detail of her affair with another guest, the amorous Calamy, for future literary endeavors; and an aging sensualist philosopher who pursues a wealthy yet mentally-disabled heiress. Stripping the houseguests of their pretensions, Huxley reveals the superficiality of the cultural elite. Deliciously satirical, Those Barren Leaves bites the hands of those who dare to posture or feign sophistication and is as comically fresh today as when first published.

Huxley reveals his thoughts on the subject of travelling in general and tourism in particular. He compares walking to motoring, looks for the traveller's-eye view in literature, weighs up his selection of guidebooks, and analyzes the effects of sunglasses on the landscape.

[Purloined Letter]( / Edgar Allan Poe A terribly strange bed / Wilkie Collins The three strangers / Thomas Hardy T[he red-headed league]( / Arthur Conan Doyle The corpus delecti / Melville Davisson Post Gentlemen and players / E.W. Hornung A journey / Edith Wharton The leopard man's story / Jack London A retrieved reformation / O. Henry The problem of Cell 13 / Jacques Futrelle The absent-minded coterie / Robert Barr The invisible man / G.K. Chesterton The infallible Godahl / Frederick Irving Anderson The adventure of the unique "Hamlet" / Vincent Starrett The Gioconda smile / Aldous Huxley Haircut / Ring Lardner The killers / Ernest Hemingway The hands of Mr. Ottermole / Thomas Burke The little house at Croix-Rousse / Georges Simenon The case of the missing patriarchs / Logan Clendening Clerical error / James Gould Cozzens The two bottles of relish / Lord Dunsany The chaser / John Collier The perfect crime / Ben Ray Redman Yours truly, Jack the Ripper / Robert Bloch The blind spot / Barry Perowne The catbird seat / James Thurber Recipe for murder / C.P. Donnel Jr. The nine mile walk / Harry Kemelman Kill or be killed / Ogden Nash The specialty of the house / Stanley Ellin Nearly perfect / A.A. Milne The Gettysburg Bugle / Ellery Queen The last spin / Evan Hunter Stand up and die! / Mickey Spillane A new leaf / Jack Ritchie The snail-watcher / Patricia Highsmith The long way down / Edward D. Hoch The man who never told a lie / Isaac Asimov I have / John Gardner [Quitters, Inc.]( / Stephen King Horn man / Clark Howard The new girl friend / Ruth Rendell By the dawn's early light / Lawrence Block Iris / Stephen Greenleaf High Darktown / James Ellroy The Pietro Andromache / Sara Paretsky Soft monkey / Harlan Ellison The hand of Carlos / Charles McCarry Karen makes out / Elmore Leonard