Their progress was followed by the blank, incurious eyes of second infancy. Faces still fresh and unwithered (for senility galloped so hard that it had no time to age the cheeks-only the heart and brain) turned as they passed. Still blushing, she led the way down the ward. “Take me to her,” said the Savage, making an effort to speak in an ordinary tone.
From throat to temple she was all one hot blush. The nurse glanced at him with startled, horrified eyes then quickly looked away. “She’s my mother,” he said in a scarcely audible voice. (Not that there were many visitors anyhow: or any reason why there should be many visitors.) “You’re not feeling ill, are you?” She was not accustomed to this kind of thing in visitors. “Why, whatever is the matter?” she asked. When somebody’s sent here, there’s no …” Startled by the expression of distress on his pale face, she suddenly broke off. “You mean, of her not dying?” (He nodded.) “No, of course there isn’t. “Where is she?” asked the Savage, ignoring these polite explanations. “We try,” explained the nurse, who had taken charge of the Savage at the door, “we try to create a thoroughly pleasant atmosphere here-something between a first-class hotel and a feely-palace, if you take my meaning.” Every quarter of an hour the prevailing perfume of the room was automatically changed. Television was left on, a running tap, from morning till night. At the foot of every bed, confronting its moribund occupant, was a television box. The air was continuously alive with gay synthetic melodies. Linda was dying in company-in company and with all the modern conveniences.
It was a large room bright with sunshine and yellow paint, and containing twenty beds, all occupied. At the lift gates the presiding porter gave him the information he required, and he dropped down to Ward 81 (a Galloping Senility ward, the porter explained) on the seventeenth floor. As the Savage stepped out of his taxicopter a convoy of gaily-coloured aerial hearses rose whirring from the roof and darted away across the Park, westwards, bound for the Slough Crematorium. GradeSaver, 6 January 2010 Web.THE Park Lane Hospital for the Dying was a sixty-storey tower of primrose tiles.
A BRAVE NEW WORLD BOOK HOW TO
Next Section Brave New World Summary Buy Study Guide How To Cite in MLA Format Smith, J.N. Nevertheless, as a social critique, Brave New World takes credit with Orwell's 1984 for advancing a new genre of literature that fuses science fiction, political allegory, and literary ambition. The novel's stark depictions of sexuality and cruelty meant that it continues to incite controversy over whether or not it is an appropriate book for all ages and audiences. Other critics challenged Huxley's depictions of religion and ritual as well as his views of sexuality and drug use. Wells, a famous writer of science fiction and dystopian literature, panned the book as alarmist. The reaction of society to the book ranged from acclaim to outrage. Huxley believed that the possibility for such destruction did not only belong to weapons of war but to other scientific advancements as well.
In World War I, humanity had seen the great destruction that technology such as bombs, planes, and machine guns could cause. His novel attempts to show how such science, when taken too far, can limit the flourishing of human thought. The Western world, Huxley believed, placed too much emphasis on scientific progress at the expense of a love for beauty and art. Huxley had himself desired a scientific career before the near blindness that he suffered during childhood kept him from such pursuits. The novel also comments on humanity's indiscriminate belief in progress and science. Many readers initially found this difficult to accept, living as they did in the aftermath of World War I, when a lack of societal control had caused a war that inflicted great pain and death on an entire continent.
Through Brave New World and his other writings, he suggested that beauty is a result of pain and that society's desire to eliminate pain limits society's ability to thrive culturally and emotionally. This intrusion, he believed, limited the expression of freedom and beauty that is integral to the human character. Huxley, by 1932, had observed the increasing tendency of Western government to intrude upon people's lives. Huxley's novel is chiefly a critique of the socialist policies that states had begun to advocate in the early twentieth century. The novel envisions a world that, in its quest for social stability and peace, has created a society devoid of emotion, love, beauty, and true relationships. Aldous Huxley's Brave New World, published in 1932, is a dystopian novel set six hundred years in the future.
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