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While shipwrecked on the island of Pala, Will Farnaby, a disenchanted journalist, discovers a utopian society that has flourished for the past 120 years. Although he at first disregards the possibility of an ideal society, as Farnaby spends time with the people of Pala his ideas about humanity change. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Hamburg (Insitut für Anglistik), course: „Alternate Worlds“: Utopian and Counterfictional English Fiction from the late 19th Century to the 1990’s, language: English, abstract: 1. Introduction (...) Island is a novel of ideas, light on the novel-part and heavy on the ideas. In fact it could also be seen as an essay with a bit of a plot entangled around it. The plot in any case is secondary and easy to summarize: The English journalist Will Farnaby is stranded on the island of Pala and is on the secret mission to negotiate a contract for oil. Injured in the beginning, he leads long conversations with some inhibitants through which he learns about the Palanese way of life. As he takes pleasure in their virtues and beliefs, he gives up his initial oil plans. Nevertheless, in the end Pala gets invaded by the neighbour island Rendang. The emphasis in Island lies in the long conversations that Will leads in which he learns about the Palanese lifestyle and through which we, the readers, get to know about Huxley’s ideas of an ideal society. The questions this research paper deals with are: What exactly are the utopian features in Island? Are those features attainable and what is more, are they worth to attain at all? And in this context, is Island rather a utopia of escape or reconstruction? In order to find out the answers to these questions, the paper will first offer an analysis of the ideas and then it will turn to the ‘novel’-part with an analysis of the main plot.
Selected writings from the author of Brave New World and The Doors of Perception on the role of psychedelics in society. • Includes letters and lectures by Huxley never published elsewhere. In May 1953 Aldous Huxley took four-tenths of a gram of mescaline. The mystical and transcendent experience that followed set him off on an exploration that was to produce a revolutionary body of work about the inner reaches of the human mind. Huxley was decades ahead of his time in his anticipation of the dangers modern culture was creating through explosive population increase, headlong technological advance, and militant nationalism, and he saw psychedelics as the greatest means at our disposal to "remind adults that the real world is very different from the misshapen universe they have created for themselves by means of their culture-conditioned prejudices." Much of Huxley's writings following his 1953 mescaline experiment can be seen as his attempt to reveal the power of these substances to awaken a sense of the sacred in people living in a technological society hostile to mystical revelations. Moksha, a Sanskrit word meaning "liberation," is a collection of the prophetic and visionary writings of Aldous Huxley. It includes selections from his acclaimed novels Brave New World and Island, both of which envision societies centered around the use of psychedelics as stabilizing forces, as well as pieces from The Doors of Perception and Heaven and Hell, his famous works on consciousness expansion.
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Hamburg (Insitut fur Anglistik), course: -Alternate Worlds- Utopian and Counterfictional English Fiction from the late 19th Century to the 1990's, language: English, abstract: 1.Introduction (...) Island is a novel of ideas, light on the novel-part and heavy on the ideas. In fact it could also be seen as an essay with a bit of a plot entangled around it. The plot in any case is secondary and easy to summarize: The English journalist Will Farnaby is stranded on the island of Pala and is on the secret mission to negotiate a contract for oil. Injured in the beginning, he leads long conversations with some inhibitants through which he learns about the Palanese way of life. As he takes pleasure in their virtues and beliefs, he gives up his initial oil plans. Nevertheless, in the end Pala gets invaded by the neighbour island Rendang. The emphasis in Island lies in the long conversations that Will leads in which he learns about the Palanese lifestyle and through which we, the readers, get to know about Huxley's ideas of an ideal society. The questions this research paper deals with are: What exactly are the utopian features in Island? Are those features attainable and what is more, are they worth to attain at all? And in this context, is Island rather a utopia of escape or reconstruction? In order to find out the answers to these questions, the paper will first offer an analysis of the ideas and then it will turn to the 'novel'-part with an analysis of the main plot.
A Modern Utopia - H. G. Wells - A Modern Utopia is a dystopian book by H. G. Wells. In his preface, Wells says that A Modern Utopia would be the last of a series of volumes on social problems. This book is a tale of two travelers who fall into a space-warp and suddenly find themselves upon a Utopian Earth controlled by a single World Government. It is told to us by a sketchily described character known only as the Owner of the Voice. Herbert George Wells (21 September 1866 – 13 August 1946) was an English writer. Prolific in many genres, he wrote dozens of novels, short stories, and works of social commentary, history, satire, biography and autobiography. His work also included two books on recreational war games. Wells is now best remembered for his science fiction novels and is sometimes called the "father of science fiction. During his own lifetime, however, he was most prominent as a forward-looking, even prophetic social critic who devoted his literary talents to the development of a progressive vision on a global scale. A futurist, he wrote a number of utopian works and foresaw the advent of aircraft, tanks, space travel, nuclear weapons, satellite television and something resembling the World Wide Web. His science fiction imagined time travel, alien invasion, invisibility, and biological engineering. Brian Aldiss referred to Wells as the "Shakespeare of science fiction", while American writer Charles Fort referred to him as a "wild talent". Wells rendered his works convincing by instilling commonplace detail alongside a single extraordinary assumption per work – dubbed "Wells's law" – leading Joseph Conrad to hail him in 1898 as "O Realist of the Fantastic!". His most notable science fiction works include The Time Machine (1895), which was his first novel, The Island of Doctor Moreau (1896), The Invisible Man (1897), The War of the Worlds (1898) and the military science fiction The War in the Air (1907). Wells was nominated for the Nobel Prize in Literature four times.
When Aldous Huxley's Brave New World first appeared in 1932, it presented in terms of purest fantasy a society bent on self-destruction. Few of its outraged critics anticipated the onset of another world war with its Holocaust and atomic ruin. In 1948, seeing that the probable shape of his anti-utopia had been altered inevitably by the facts of history, Huxley wrote Ape and Essence. In this savage novel, using the form of a film scenario, he transports us to the year 2108. The setting is Los Angeles where a "rediscovery expedition" from New Zealand is trying to make sense of what is left. From chief botanist Alfred Poole we learn, to our dismay, about the twenty-second-century way of life. "It was inevitable that Mr. Huxley should have written this book: one could almost have seen it since Hiroshima is the necessary sequel to Brave New World."—Alfred Kazin. "The book has a certain awesome impressiveness; its sheer intractable bitterness cannot but affect the reader."—Time.
Jacob Ericson is a quiet, kind and somewhat simple man who works as a ranch hand for crotchety Professor Carter and his crippled daughter, Sharon, in California's Mojave Desert in the 1920s. Jacob is a good man, genuine, honorable, but hardly extraordinary–until he miraculously heals a dying calf with his hands. However, while he is content to cure the town's animals, it isn't long before he is persuaded to use his gift in other ways. When Sharon, whom he adores, begs him to heal her leg, he cannot deny her. His acquiescence causes them both to be exploited. Sharon runs away to Los Angeles to pursue her dreams of stardom. Jacob follows her, hopeful that they will meet again. And they do–as miserable performers in a seedy stage show. While they plan their escape from the dreary stage life, Jacob is asked to heal a self–absorbed young millionaire. And with his assent, Jacob's plans and all of his dreams begin to crumble. Written in tight, vivid, and seamlessly crafter prose, this previously unpublished tale by two of the greatest storytellers of the twentieth century shows the dangers a magical gift holds for even the noblest of characters.
This classic novel of a perfectly engineered society is “one of the most prophetic dystopian works of the twentieth century” (The Wall Street Journal). Half a millennium from now, in the World State, the watchword is that every one belongs to every one else. No matter what class of human you are bred to be—from the intellectual Alphas to the Epsilons who provide the manual labor—you are a part of the efficient, well-oiled whole. You are nourished, secure, and blissfully serene thanks to the freely distributed drug called soma. And while sex is strongly encouraged, the old way of procreation is forbidden, eliminating even the pains of childbirth. But when a man and woman journey beyond these confines to where the “savages” reside, and bring back two outsiders, the cracks begin to show. Named as one of the 100 best English-language novels of the twentieth century by the Modern Library, Brave New World is one of the first truly dystopian novels. Influenced by the historic events of Huxley’s era yet as relevant today as ever, it is a remarkable depiction of the conflict between progress and the human spirit. “Chilling. . . . That he gave us the dark side of genetic engineering in 1932 is amazing.” —Providence Journal-Bulletin “It is a frightening experience, indeed, to discover how much of his satirical prediction of a distant future became reality in so short a time.” —The New York Times Book Review
The concepts of utopia and dystopia have received much historical attention. Utopias have traditionally signified the ideal future: large-scale social, political, ethical, and religious spaces that have yet to be realized. Utopia/Dystopia offers a fresh approach to these ideas. Rather than locate utopias in grandiose programs of future totality, the book treats these concepts as historically grounded categories and examines how individuals and groups throughout time have interpreted utopian visions in their daily present, with an eye toward the future. From colonial and postcolonial Africa to pre-Marxist and Stalinist Eastern Europe, from the social life of fossil fuels to dreams of nuclear power, and from everyday politics in contemporary India to imagined architectures of postwar Britain, this interdisciplinary collection provides new understandings of the utopian/dystopian experience. The essays look at such issues as imaginary utopian perspectives leading to the 1856-57 Xhosa Cattle Killing in South Africa, the functioning racist utopia behind the Rhodesian independence movement, the utopia of the peaceful atom and its global dissemination in the mid-1950s, the possibilities for an everyday utopia in modern cities, and how the Stalinist purges of the 1930s served as an extension of the utopian/dystopian relationship. The contributors are Dipesh Chakrabarty, Igal Halfin, Fredric Jameson, John Krige, Timothy Mitchell, Aditya Nigam, David Pinder, Marci Shore, Jennifer Wenzel, and Luise White.