Aldous Huxley (Bloom's Modern Critical Views) by Harold Bloom

By Harold Bloom

Aldous Huxley has been referred to as the 20 th century's resolution to the Renaissance philosopher. He received status from his utopian and dystopian fiction, together with courageous New international, aspect Counter aspect, Crome Yellow, and Ape and Essence. study extra approximately Huxley throughout the paintings of revered critics incorporated during this textual content. This name, Aldous Huxley, a part of Chelsea residence Publishers’ sleek severe perspectives sequence, examines the main works of Aldous Huxley via full-length serious essays via specialist literary critics. furthermore, this identify incorporates a brief biography on Aldous Huxley, a chronology of the author’s existence, and an introductory essay written by means of Harold Bloom, Sterling Professor of the arts, Yale college.

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Brave New World, viii–ix. 5. Tomorrow and Tomorrow and Tomorrow (New York, 1956), 1. 6. Ends and Means (New York, 1937), 11. 7. The Devils of Loudun (New York, 1953), 67. 8. , 69. 9. , 313–327. 10. “Obstacle Race,” The Adelphi, April 1931, 40, 41. 24 JOHN ATTARIAN 11. Democracy and Leadership (Indianapolis, 1979), 28. 12. “Obstacle Race,” 40. 13. , 1931), 101–102, 105. 14. “The Substitutes for Religion,” in Huxley, Proper Studies (London, 1927), 207–229. 15. “Obstacle Race,” 37. 16. Jesting Pilate (London, 1926), 266–270; “Foreheads Villainous Low,” in Music at Night, 184–185.

5. Tomorrow and Tomorrow and Tomorrow (New York, 1956), 1. 6. Ends and Means (New York, 1937), 11. 7. The Devils of Loudun (New York, 1953), 67. 8. , 69. 9. , 313–327. 10. “Obstacle Race,” The Adelphi, April 1931, 40, 41. 24 JOHN ATTARIAN 11. Democracy and Leadership (Indianapolis, 1979), 28. 12. “Obstacle Race,” 40. 13. , 1931), 101–102, 105. 14. “The Substitutes for Religion,” in Huxley, Proper Studies (London, 1927), 207–229. 15. “Obstacle Race,” 37. 16. Jesting Pilate (London, 1926), 266–270; “Foreheads Villainous Low,” in Music at Night, 184–185.

H. Lawrence represented by Rampion in Point Counter Point) temporarily neglects the literary expression of his mystical vision, seen through images of color and light, in order to satirize perverted sexual relationships and perverted scientific reason. Jerome Meckier states that “It is possible to assume that under the impact of renewed acquaintanceship with Lawrence, Huxley, in 1926, makes an about face from the semi-mystical conclusions Calamy comes to at the end of Those Barren Leaves” (Aldous Huxley 80–81).

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