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 it looms large. The volume affirms Huxley's prescient critiques of modernity and his continuing relevance to debates about political power, art, and the vexed relationship between nature and humankind. Individual chapters explore connections between Brave New World and the nature of utopia, the 1930s American Technocracy movement, education and social control, pleasure, reproduction, futurology, inter-war periodical networks, motherhood, ethics and the Anthropocene, islands, and the moral life. The volume also includes a 'Foreword' written by David Bradshaw, one of the world's top Huxley scholars. Timely and consistently illuminating, this collection is essential reading for students, critics, and Huxley enthusiasts alike.

Making a strong case for a revaluation of Wyndham Lewis (1882-1957), this collection argues that significant aspects of Lewis's writing, painting, and thinking have not yet received the attention they deserve. The contributors explore Lewis's contributions to the production and circulation of modernism and assess the links between Lewis's writing and painting and the work of other key contemporary figures, to position Lewis not only as one of the first twentieth-century cultural critics but also as one who anticipated the work of the Frankfurt School and other social theorists. Familiar topics and themes such as Vorticism receive fresh appraisals, and Lewis's significance as a philosopher-critic, novelist, and artist becomes fully realized in the context of his associations with important figures such as John Rodker, Charlie Chaplin, Evelyn Waugh, Naomi Mitchison, and Rebecca West. Lewis emerges as a figure whose writings on politics, corporate patronage, shell shock, anthropology, art, and cinema extend their influence into the late twentieth and early twenty-first centuries.

Considered a quintessentially 'popular' author, John Buchan was a writer of fiction, journalism, philosophy and Scottish history. By examining his engagement with empire, psychoanalysis and propaganda, the contributors to this volume place Buchan at the centre of the debate between popular culture and the modernist elite.

Considered a quintessentially 'popular' author, John Buchan was a writer of fiction, journalism, philosophy and Scottish history. By examining his engagement with empire, psychoanalysis and propaganda, the contributors to this volume place Buchan at the centre of the debate between popular culture and the modernist elite.

Making a strong case for a revaluation of Wyndham Lewis (1882-1957), this collection argues that significant aspects of Lewis's writing, painting, and thinking have not yet received the attention they deserve. The contributors explore Lewis's contributions to the production and circulation of modernism and assess the links between Lewis's writing and painting and the work of other key contemporary figures, to position Lewis not only as one of the first twentieth-century cultural critics but also as one who anticipated the work of the Frankfurt School and other social theorists. Familiar topics and themes such as Vorticism receive fresh appraisals, and Lewis's significance as a philosopher-critic, novelist, and artist becomes fully realized in the context of his associations with important figures such as John Rodker, Charlie Chaplin, Evelyn Waugh, Naomi Mitchison, and Rebecca West. Lewis emerges as a figure whose writings on politics, corporate patronage, shell shock, anthropology, art, and cinema extend their influence into the late twentieth and early twenty-first centuries.

George Orwell's Nineteen Eighty-Four (1949) remains a book of the moment. This Companion builds on successive waves of generational inheritance and debate in the novel's reception by asking new questions about how and why Nineteen Eighty-Four was written, what it means, and why it matters. Chapters on a selection of the novel's interpretative contexts, the literary histories from which it is inseparable, the urgent questions it raises, and the impact it has had on other kinds of media, ranging from radio to video games, open up the conversation in an expansive way. Established concerns (e.g. Orwell's attitude to the working class, his anxieties about the socio-political compartmentalization of the post-war world) are presented alongside newer ones (e.g. his views on evil, and the influence of Nineteen Eighty-Four on comics). Individual essays help us see in new ways how Orwell's most famous work continues to be a novel for our times.

George Orwell's Nineteen Eighty-Four (1949) remains a book of the moment. This Companion builds on successive waves of generational inheritance and debate in the novel's reception by asking new questions about how and why Nineteen Eighty-Four was written, what it means, and why it matters. Chapters on a selection of the novel's interpretative contexts, the literary histories from which it is inseparable, the urgent questions it raises, and the impact it has had on other kinds of media, ranging from radio to video games, open up the conversation in an expansive way. Established concerns (e.g. Orwell's attitude to the working class, his anxieties about the socio-political compartmentalization of the post-war world) are presented alongside newer ones (e.g. his views on evil, and the influence of Nineteen Eighty-Four on comics). Individual essays help us see in new ways how Orwell's most famous work continues to be a novel for our times.

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 it looms large. The volume affirms Huxley's prescient critiques of modernity and his continuing relevance to debates about political power, art, and the vexed relationship between nature and humankind. Individual chapters explore connections between Brave New World and the nature of utopia, the 1930s American Technocracy movement, education and social control, pleasure, reproduction, futurology, inter-war periodical networks, motherhood, ethics and the Anthropocene, islands, and the moral life. The volume also includes a 'Foreword' written by David Bradshaw, one of the world's top Huxley scholars. Timely and consistently illuminating, this collection is essential reading for students, critics, and Huxley enthusiasts alike.

How and why did the life and music of Ludwig van Beethoven (1770-1827) matter to experimental writers in the early twentieth century? Previous answers to this question have tended to focus on structural analogies between musical works and literary texts, charting the many different ways in which poetry and prose resemble Beethoven's compositions. This book takes a different approach. It focuses on how early twentieth-century writers-chief among them E. M. Forster, Aldous Huxley, Wyndham Lewis, Dorothy Richardson, Rebecca West, and Virginia Woolf-profited from the representational conventions associated in the nineteenth century and beyond with Beethovenian culture. The emphasis of Moonlighting falls for the most part on how modernist writers made use of Beethovenian legend. It is concerned neither with formal similarities between Beethoven's music and modernist writing nor with the music of Beethoven per se, but with certain ways of understanding Beethoven's music which had long before 1900 taken shape as habit, myth, cliche, and fantasy, and with the influence they had on experimental writing up to 1930. Moonlighting suggests that the modernists drew knowingly and creatively on the conventional. It proposes that many of the most experimental works of modernist literature were shaped by a knowing reliance on Beethovenian consensus; in short, that the literary modernists knew Beethovenian legend when they saw it, and that they were eager to use it.

The first guide to the work of Wyndham Lewis as writer, novelist, and critic. This critical guide introduces the reader to the work of Wyndham Lewis (1882-1957), a major modernist and thought provoking satirist who was at the centre of the avant garde in early 20th century London and a key figure in the development of Vorticism. These 15 newly commissioned essays explain the complex role Lewis's work played in the formation, development, and criticism of modernism. There are chapters on Lewis and Vorticism and Avant Gardism, War, Cultural Criticism, Satire, Race and Gender, Politics, Technology and Mass Media, and Modernism as well as individual chapters on key texts, including Tarr, The Apes of God, The Revenge for Love, The Human Age, and Self Condemned. With an Introduction, an opening chapter on Lewis's pre war writing and a closing chapter on his reputation and legacy, this is the most thorough survey of Lewis's work to date. Provides a clear and reader friendly overview of Lewis's literary, critical, and non fictional achievements for readers with no prior knowledge of his work; includes a biographical overview of Lewis's life and writing career, a detailed bibliography and a chronology of key publication dates of academic criticism on Lewis; explores Lewis's most important novels in individual chapters and expert contributors include David Bradshaw (University of Oxford), Ian Patterson (University of Cambridge), Scott W. Klein (Wake Forest University), Miranda Hickman (McGill University), Paul Edwards (Bath Spa University), and Alan Muntun (University of Exeter).

'The face was quite unfamiliar to her, and yet not strange. She had not known till this moment what face to expect'. A Clergyman's Daughter is George Orwell's least well-known, most unappreciated novel. Drawing on his experiences as a hop-picker, teacher, and urban vagrant, it tells the peculiar story of Dorothy Hare, the daughter of the Rector of St Athelstan's in the fictional town of Knype Hill. Unacknowledged by her absent-minded father and gossiped about by his rheumatic parishioners, Dorothy is suddenly and traumatically catapulted into the unknown. She wakes up in London, her memory temporarily gone; travels to the Kentish countryside; spends a night in Trafalgar Square; works for the authoritarian schoolteacher Mrs Creevy; and then journeys back to her old, limited life. A novel about loss and return, A Clergyman's Daughter charts the course of a young woman's voyage out and circular homecoming. In his introduction to the novel, Nathan Waddell lays out the fantastical elements and socio-political dimensions of A Clergyman's Daughter and examines how it drew inspiration from James Joyce's epic modernist novel Ulysses, a book Orwell deeply admired. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.