'Brave New World': Contexts and Legacies
This collection of essays provides new readings of Huxley’s classic dystopian satire, Brave New World (1932). Leading international scholars consider from new angles the historical contexts in which the book was written and the cultural legacies in which
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Brave New World: Contexts and Legacies
Jonathan Greenberg • Nathan Waddell Editors
Brave New World: Contexts and Legacies
Editors Jonathan Greenberg Montclair State University Montclair, USA
Nathan Waddell University of Nottingham Nottingham, United Kingdom
ISBN 978-1-137-44540-7 ISBN 978-1-137-44541-4 DOI 10.1057/978-1-137-44541-4
(eBook)
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. This work is subject to copyright. 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. The use of general descriptive names, registered names, trademarks, service marks, etc. 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 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. 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. 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.
For Hank and Maggie (J. G.) and little Henry, Orson, and Sienna (N. W.), and their futures.
FOREWORD
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 indic
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