Crome Yellow is the first novel by British author Aldous Huxley, published by Chatto & Windus in 1921, followed by a U.S. edition by George H. Doran Company in 1922. Though a social satire of its time, it is still appreciated and has been adapted to different media. Crome Yellow was written during the summer of 1921 in the Tuscan seaside resort of Forte dei Marmi and published in November of that year. In view of its episodic nature, the novel was described in The Spectator as "a Cubist Peacock". This was in recognition of the fact that it was modelled on (and publicised as in the tradition of) Thomas Love Peacock's country-house novels. There diverse types of the period are exhibited interacting with each other and holding forth on their personal intellectual conceits. There is little plot development. Indeed, H. L. Mencken questioned whether its comedy of manners could be called a novel at all but hailed with delight the author's "shrewdness, ingenuity, sophistication, impudence, waggishness and contumacy." At the same time F. Scott Fitzgerald observed how within the novel's ambiguous form Huxley created structures and then demolished them "with something too ironic to be called satire and too scornful to be called irony." In addition, the open treatment of sexuality there appeared significant to Henry Seidel. Although "Nothing important happens...the story floats and sails upon the turbid intensity of restless sex." (wikipedia.org)

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. Politics vs. Literature, the fourth in the Orwell’s Essays series, is, at heart, a review of Jonathan Swift’s Gulliver’s Travels. Having been given a copy of the book on his eighth birthday, Orwell knows it inside out, and thinks highly of it; it is ‘pessimistic’, though, he says – ‘it descends into political partisanship of a narrow kind,’ designed to ‘humiliate man by reminding him that he is weak and ridiculous.’ Using the book as an example of enjoying a book whose author one cannot stand, Orwell goes on to say that he considers Gulliver’s Travels a work of art, leaving the reader to reconsider the books on their own shelves. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

We rely on your support to help us keep producing beautiful, free, and unrestricted editions of literature for the digital age. Will you support our efforts with a donation? Mrs. Aldwinkle, an English aristocrat of a certain age, has purchased a mansion in the Italian countryside. She wishes to bring a salon of intellectual luminaries into her orbit, and to that end she invites a strange cast of characters to spend time with her in her palazzo: Irene, her young niece; Ms. Thriplow, a governess-turned-novelist; Mr. Calamy, a handsome young man of great privilege and even greater ennui; Mr. Cardan, a worldly gentleman whose main talent seems to be the enjoyment of life; Hovenden, a young motorcar-obsessed lord with a speech impediment; and Mr. Falx, a socialist leader. To this unlikely cast is soon added Mr. Chelifer, an author with an especially florid, overwrought style that is wasted on his day job as editor of The Rabbit Fancier’s Gazette, and the Elvers, a scheming brother who is the guardian of his mentally-challenged sister. As this unlikely group mingles, they discuss a great many grand topics: love, art, language, life, culture. Yet very early on the reader comes to realize that behind the pompousness of their elaborate discussions lies nothing but vacuity—these characters are a satire of the self-important intellectuals of Huxley’s era. His skewering of their intellectual barrenness continues as the group moves on to a trip around the surrounding country, in a satire of the Grand Tour tradition. The party brings their English snobbery out in full force as they traipse around Rome, sure of nothing else except in their belief that Italy is culturally superior simply because it’s Italy. As the vacation winds down, we’re left with a biting lampoon of the elites who suppose themselves to be at the height of art and culture—the kinds of personalities that arise in every generation, sure of their own greatness but unable to actually contribute anything to the world of art and culture that they feel is so important.

On vacation from school, Denis goes to stay at Crome, an English country house inhabitated by several of Huxley's most outlandish characters--from Mr. Barbecue-Smith, who writes 1,500 publishable words an hour by "getting in touch" with his "subconscious," to Henry Wimbush, who is obsessed with writing the definitive history of chrome. Denis's stay proves to be a disaster amid his weak attempts to attract the girl of his dreams and the ridicule he endures regarding his plan to write a novel about love and art. Lambasting the post-Victorian standards of morality, Chrome yello is a witty masterpiece that, in F. Scott Fitzgerald's words, "is too ironic to be called satire and too scornful to be called irony."

Although the title of this volume is Aldous Huxley between East and West, the order of the articles found within goes from West to East, which naturally imitates Huxley's own progress, especially since he went to the trouble of stepping out as far West as possible before starting for the East. Indeed one could argue that he was already on his way there before he left for California, a continuous journey, perhaps, since from the Californian shores of the Pacific the East is the further West. After the Introduction which places Huxley between East and West, the book starts with a consideration of Huxley's family connections, then goes onto his earliest fictions, his interest in science and the issue of modernity, and his experiments with drama and their inherent philosophical concerns. The poetry with which he began his writing career is then viewed as a link between his earlier Western self and his later Oriental interests, suggesting that the latter was always inherent in the former. A number of considerations of the Utopian themes in Huxley's middle and later fiction leads the volume to a climax with four articles surveying the foibles and the wisdom of Huxley's encounter with Eastern religious thought and philosophy, his misunderstandings, as well as ours, of what actually he had learned and wished to pass on to the Western world.

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.