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10. Aldous Huxley, Brave New World (1932)

  • Anya Heise-von der Lippe
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Handbook of the English Novel of the Twentieth and Twenty-First Centuries
This chapter is in the book Handbook of the English Novel of the Twentieth and Twenty-First Centuries

Abstract

This chapter reads Aldous Huxley’s Brave New World (1932) in the literary context of early twentieth-century dystopias, arguing that the novel’s criticism of its cultural context focused on the predominantly American technocratic consumer culture Huxley perceived to be on the rise at the time and the possible consequences for humanity, which might result in nothing less than a complete de-humanization and the mass-production of (post-)human beings. The chapter attempts a reading of the text in the light of recent critical posthumanist theory alongside an overview of critical approaches to the novel, focusing mainly on the framework of feminist and dystopian readings. Key strategies of utopian and dystopian narrative, the posthuman and intertextual connections to Shakespeare, whose works serve as a literary counterpart to the mass-produced mediality and hedonistic culture of the novel’s World State, are discussed alongside narrative strategies which underline these issues in the text.

Abstract

This chapter reads Aldous Huxley’s Brave New World (1932) in the literary context of early twentieth-century dystopias, arguing that the novel’s criticism of its cultural context focused on the predominantly American technocratic consumer culture Huxley perceived to be on the rise at the time and the possible consequences for humanity, which might result in nothing less than a complete de-humanization and the mass-production of (post-)human beings. The chapter attempts a reading of the text in the light of recent critical posthumanist theory alongside an overview of critical approaches to the novel, focusing mainly on the framework of feminist and dystopian readings. Key strategies of utopian and dystopian narrative, the posthuman and intertextual connections to Shakespeare, whose works serve as a literary counterpart to the mass-produced mediality and hedonistic culture of the novel’s World State, are discussed alongside narrative strategies which underline these issues in the text.

Chapters in this book

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. The English Novel as a Distinctly Modern Genre 23
  7. 2. The Novel in the Economy, 1900 to the Present 42
  8. 3. Genres: The Novel between Artistic Ambition and Popularity 64
  9. 4. Gender: Performing Politics in Prose? Performativity – Masculinity – Feminism – Queer 82
  10. 5. The Burden of Representation: Reflections on Class, Ethnicity and the Twentieth-Century British Novel 107
  11. Part II. Close Readings
  12. 6. Joseph Conrad, Heart of Darkness (1899/1902) 133
  13. 7. James Joyce, Ulysses (1922) 152
  14. 8. E. M. Forster, A Passage to India (1924) 175
  15. 9. Virginia Woolf, To the Lighthouse (1927) 195
  16. 10. Aldous Huxley, Brave New World (1932) 213
  17. 11. Henry Green, Party Going (1939) 232
  18. 12. Samuel Beckett, Molloy, Malone Dies and The Unnamable (1951–1958) 252
  19. 13. Sam Selvon, The Lonely Londoners (1956) 268
  20. 14. Doris Lessing, The Golden Notebook (1962) 288
  21. 15. John Fowles, The French Lieutenant’s Woman (1969) 303
  22. 16. B. S. Johnson, The Unfortunates (1969) 323
  23. 17. J. G. Farrell, The Empire Trilogy (1970–1978) 344
  24. 18. William Golding, Darkness Visible (1979) 365
  25. 19. Angela Carter, Nights at the Circus (1984) 384
  26. 20. Salman Rushdie, The Satanic Verses (1988) 403
  27. 21. Jeanette Winterson, Sexing the Cherry (1989) 424
  28. 22. A. S. Byatt, Possession (1990) 445
  29. 23. Philip Pullman, His Dark Materials (1995–2000) 461
  30. 24. Zadie Smith, White Teeth (2000) 481
  31. 25. David Mitchell, Cloud Atlas (2004) 498
  32. 26. China Miéville, Embassytown (2011) 518
  33. 27. Hilary Mantel, The Thomas Cromwell Trilogy (2009–) 536
  34. 28. Tom McCarthy, Satin Island (2015) 555
  35. Index of Subjects 575
  36. Index of Names 592
  37. List of Contributors 603
https://doi.org/10.1515/9783110369489-011

Chapters in this book

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. The English Novel as a Distinctly Modern Genre 23
  7. 2. The Novel in the Economy, 1900 to the Present 42
  8. 3. Genres: The Novel between Artistic Ambition and Popularity 64
  9. 4. Gender: Performing Politics in Prose? Performativity – Masculinity – Feminism – Queer 82
  10. 5. The Burden of Representation: Reflections on Class, Ethnicity and the Twentieth-Century British Novel 107
  11. Part II. Close Readings
  12. 6. Joseph Conrad, Heart of Darkness (1899/1902) 133
  13. 7. James Joyce, Ulysses (1922) 152
  14. 8. E. M. Forster, A Passage to India (1924) 175
  15. 9. Virginia Woolf, To the Lighthouse (1927) 195
  16. 10. Aldous Huxley, Brave New World (1932) 213
  17. 11. Henry Green, Party Going (1939) 232
  18. 12. Samuel Beckett, Molloy, Malone Dies and The Unnamable (1951–1958) 252
  19. 13. Sam Selvon, The Lonely Londoners (1956) 268
  20. 14. Doris Lessing, The Golden Notebook (1962) 288
  21. 15. John Fowles, The French Lieutenant’s Woman (1969) 303
  22. 16. B. S. Johnson, The Unfortunates (1969) 323
  23. 17. J. G. Farrell, The Empire Trilogy (1970–1978) 344
  24. 18. William Golding, Darkness Visible (1979) 365
  25. 19. Angela Carter, Nights at the Circus (1984) 384
  26. 20. Salman Rushdie, The Satanic Verses (1988) 403
  27. 21. Jeanette Winterson, Sexing the Cherry (1989) 424
  28. 22. A. S. Byatt, Possession (1990) 445
  29. 23. Philip Pullman, His Dark Materials (1995–2000) 461
  30. 24. Zadie Smith, White Teeth (2000) 481
  31. 25. David Mitchell, Cloud Atlas (2004) 498
  32. 26. China Miéville, Embassytown (2011) 518
  33. 27. Hilary Mantel, The Thomas Cromwell Trilogy (2009–) 536
  34. 28. Tom McCarthy, Satin Island (2015) 555
  35. Index of Subjects 575
  36. Index of Names 592
  37. List of Contributors 603
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