Project Gutenberg offers free ebooks for Kindle, iPad, Nook, Android, and iPhone. eBooks-Library publishes Aldous Huxley and other eBooks from all genres of In , Point Counter Point was published, with Lawrence being one of the main ePub - 'Antic Hay' (EAHX) · Find a printed copy of Antic Hay by Aldous . PDF Kindle EPub, Free, UToronto. Herrick . Huxley, Aldous, , Collected Works]: Point Counter Point: A Novel, Lond, Graphic, Free, UMichigan.
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Book Source: Digital Library of India Item ronaldweinland.info: Huxley ronaldweinland.infoioned. Book Source: Digital Library of India Item ronaldweinland.info: Huxley, ronaldweinland.infoioned. Point Counter Point by Aldous Huxley; 37 editions; First published in ; Subjects: In library, Information services, Intellectual life, Accessible.
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In late a friend's death prompted me to ask what would be the one thing I regret not doing. I've always been an avid reader but have not had the courage to write. And I made a New Year resolution to write a book.
That's how "The Great Game" was born. I try to write about serious topics - I have strong interest in history, economics and international politics - but wrap them into an action-filled story. I was born in Europe but lived in the US for over half of my life. Hopefully, this gives me a multiple points of view perspective. While all my books are entirely fictional, each of them carries a Commentary how the fiction is rooted in facts and realities of current events.
Editorial Reviews The Great Game is an international intrigue and thriller piece and is a strong recommendation for readers who enjoy cat-and-mouse games Add a waitress Maggie who unwittingly becomes involved and a series of murders that draw ever closer to two ordinary individuals not well versed in either politics or espionage, and you have a riveting story line cemented by very strong, believable protagonists.
Connecting the political to personal realms is a challenging achievement: too often either the politics aren't properly explored, or the protagonists assume one-dimensional proportions in comparison to the wider political arena.
There was one admirably simple method of confusing these people and at the same time justifying ourselves in our political and erotic revolt: we could deny that the world had any meaning whatsoever. Huxley was an eloquent interpreter of the feverish mood of the Twenties.
His clever and sardonic criticism of his contemporaries lays bare the futility and immorality of a social class which seeks oblivion in pleasure. He expresses the unavowed despair which underlies their defiant negation of values and shows the vulnerability of modern man, his distrust of his fellow-beings and his reluctance to face life responsibly.
All of them are sophisticated people who refuse to take life seriously and either become cynics or are secretly distressed about their own negative attitude.
In a sense, the type of characters he presents in his early novels and what he reveals of their way of life limit the bearing of his satires.
This and the topical character of his novels explain their success, though Huxley has always been both a widely read and a controversial writer. This form of fiction has been, if not vindicated, at least accounted for, by Frederick Hoffman, 2 who showed that Huxley used ideas as if they were animated persons and that he dramatized ideas instead of the life of his characters. His conversation-pieces are often a curious blend of urbane seriousness reminiscent of Peacock and of Firbankian frivolity.
His method can hardly render the reality of life or of people, for it only reveals a limited aspect of the human personality. Huxley does not present life itself but the approach to life of a particular social class. As has often been pointed out, he is his own most lucid critic. The mixture of superior irony and bitterness in his satires may be accounted for by his twofold capacity as detached observer and self-deprecating actor in the social game he presents: in each of them an intelligent but frustrated young man vainly attempts to come to terms with life.
The novels published by Huxley between the Wars are to some extent the story of these attempts and of his own spiritual development.
Little Percy, the hero, was never good at games, but he was always clever. He passes through the usual public school and the usual university and comes to London, where he lives among the artists.
He is bowed down with melancholy thought; he carries the whole weight of the universe upon his shoulders. He writes a novel of dazzling brilliance; he dabbles delicately in Amour and disappears, at the end of the book, into the luminous Future.
Denis, Gumbril Jr. These young men start in life with plenty of illusions about their future achievements and with vague ideals about the true, the good and the beautiful. But they are soon disappointed in their romantic expectations, and they are either unable to reconcile the real with the ideal or torn between idealism and the temptation to yield to the cynical nihilism of those with whom they associate.
They are at once anxious to fit into society and to escape from it, eager to discover the quintessence of life behind its richness, yet afraid of its complexity and above all of committing themselves to a positive attitude. They are absolutely unprepared for life and unable to behave sensibly in a world which is itself without established standards or beliefs.
One entered the world … having ready-made ideas about everything. One had a philosophy and tried to make life fit into it. In the world of ideas everything was clear; in life all was obscure, embroiled.
Was it surprising that one was miserable, horribly unhappy? Denis is seldom free from a sense of frustration because he can never take an initiative. Gumbril also lacks self-assurance, but he puts on a semblance of decision and momentarily gains confidence by wearing a false beard. The mild and melancholy Gumbril is thus transformed into a complete man and the transformation gives him power to act and to conquer where formerly he would have been hopelessly inefficient.
But the episode is a farce; his completeness belongs to a fantasy world. It may help him to win the favour of Rosie, who also assumes a false personality to gain assurance, but when he discards his disguise in order to please the innocent Emily, he is unable to resist the challenge issued by Myra Viveash to destroy their relationship: he renounces his chances of being happy with Emily and allows himself to be dragged into a vacuum.
As to Chelifer, he denies the potential richness of life much more consciously and determinedly. Whether in the secluded world of Crome, in the hectic atmosphere of post-war London, or in the sophisticated, cosmopolitan setting of an Italian palazzo, everyone goes about in search of his own pleasure.
The characters seem to have been brought together by mere chance; they talk but share no particular interest, purpose or feeling, and their relations with one another are mostly based on pretence. They are people without love and without compassion, unaware of others as human beings capable of joy and suffering.
They are, indeed, incapable of real communication, isolated in their own thoughts, interests and concern with themselves.
Parallel tracks — that was the thing. These older people have retained a sense of decency and are capable of generosity, but they have always lived in a fairly closed world and refuse to open their minds to change and progress or even to take an interest in mankind. Gumbril Jr. They are too weak to resist the spiritual disease of their day and they readily give up the human values they had meant to uphold. There are quiet places also in the mind. Deliberately — to put a stop to the quietness.
All the thoughts, all the preoccupations in my head — round and round continually. Ah, but it is; it is there, in spite of everything. It grows, it becomes more perfect. Something inexpressibly lovely advances through the crystal, nearer, nearer. And, oh, inexpressibly terrifying.
Anything for a diversion. Break the silence, smash the crystal to pieces. There it lies in bits. And by this time the lovely and terrifying thing is three infinites away, at least.
Each character in the novel stands for a distorted attitude, whether in art, intellectual pursuit, or emotional and spiritual life. In Lypiatt, as in Mary Thriplow in Those Barren Leaves, Huxley satirizes a belated and sham romanticism and exposes with cruel lucidity the spiritual poverty of people who use art and beauty to conceal their emptiness.
Both stimulate passions with their minds because they are emotionally impotent, and both deceive themselves by pretending to feelings which they never experience. No dream, no religion, no morality. What I glory in is the civilized, middle way between stink and asepsis. The latter is a cynic who revels in degradation and filth.
The latter is another perverted intellectual, a physiologist interested in science for its own sake, in the functions of the human body but not in man. He tries to forget Myra Viveash by devoting himself to grotesque and pointless experiences.
At the end of the novel he pedals unceasingly on a stationary bicycle while Mrs. None of them can reconcile the potential spiritual greatness of man with what they consider as his physical repulsive-ness. They either try to ignore the body or become cynically sensual.
In moments of depression Cardan is reminded that the body suffers degradingly, dies and is eaten by maggots.
In his urbane manner he declares that the final triumph of the flesh over the body is a farce which the wise man forgets lest it should spoil the pleasures of the spirit as well as of the body. Their insensitiveness is further increased by the interest with which they analyse what feelings they may experience. It is true that, like Lewis, he is unable to create a character capable of behaving as a normal human being, a fact which accounts for his partial failure as a novelist.
In his early novels there are also occasional touches of sympathy and understanding which now and then take the place of real insight and prevent his work from being purely satirical; this also reveals his deeper awareness of the complexity of life. Thus the dignified Henry Wimbush shrinks from human contact but enjoys the spectacle of pigs breeding in numbers and delights in the eccentricities of his ancestors. In the nineteenth century the three romantic Lapith girls pretended to ignore their bodily existence and never ate in public until one of their suitors discovered that they gorged themselves in secret, and threatened to expose their greediness.
Scogan says. They were brought up in an age when man thought he was conquering Nature.
Scogan rejoices in the achievements of applied science which gradually replace natural functions, but like Cardan, he is a disappointed man. Both are convinced that the majority of people in contemporary society are not sufficiently intelligent to make use of progress and civilization or even of their increasing freedom; whatever class they belong to, they are all becoming bourgeois, i.
They are themselves unable to deal with life. All is vanity.
But what difference does that make? The simpleton dies, and he is again faced with the prospect of solitude and poverty. Huxley often resorts to the grotesque to describe the whims of the older generation. All these people are the spiritual inheritors of Crome, for none are able to face life or to integrate into the world of men. Unlike Denis, Gumbril does not lament over a missed opportunity.
One enjoys the pleasant things, avoids the nasty ones. But we still cling pathetically to art. However, his attempt to escape from a meaningless world is not very convincing. There is the ulterior reality to be looked for. Both Chelifer and Calamy evade a positive attitude to life in exactly the same manner: the former chooses a soulless reality and rejects the temptation of the mind, while the latter gives up the flesh reluctantly to cultivate the spirit. Apart from Brave New World they are in their limited way his most successful novels and come nearest to achieving his purpose, which might be likened to that of Knockespotch, the imaginary author whose tales Mr.
Scogan so much appreciates: 19 Crome Yellow, p. Oh, those Tales — those Tales! In , Point Counter Point was published, with Lawrence being one of the main characters.
In the 's, Huxley moved to France where he wrote Brave New World , the work for which he is best remembered today and considered by many to be a masterpiece of science fiction. In , he moved to California hoping that the climate would be better for his eyes, and began writing screenplays.
In , his house and papers were destroyed in a fire. Huxley, suffering from throat cancer, died on the same day as President Kennedy's assassination in In addition to his novels, Huxley was an excellent essayist and also produced numerous short stories and poems. All Rights Reserved eBooks-Library. General Reference.