Aldous Huxley's Island

Jeffrey Kripal on Aldous Huxley:

I find it strange, and more than a little depressing, that, despite all of this well-known biographical and metaphysical material, Aldous Huxley is best known today for his dystopian novel, Brave New World. Why is a man who had so much to say about the synthesis of science and spirituality and the deeper dimensions of human consciousness known primarily for a novel about the authoritarian horrors and technological dead-ends of the modern consumer state? Why is this consummate individualist, intrigued by the potential for spiritual ecstasy, still mostly identified with a story of moral despair and fascist political control? Obviously, part of the answer is because Brave New World was so incredibly accurate. But Huxley did more than diagnose the disease; he also provided what he thought of as a realistic treatment in Island.

I interviewed Laura Huxley about Island a few years ago (she died last year at the age of 96). She described the novel to me as "the last will and testament" of her late husband. Island, she suggested, is where he left his most sincere convictions and deepest thoughts about what human beings are capable of at their best. He was very careful, she pointed out, not to include anything in the novel that was not possible, that had not been practiced somewhere before and found useful. So he was quite upset when Island was received as a piece of fantasy rather than a practical program for translating his abstract philosophy of consciousness and existential mysticism into effective social, educational, and contemplative experiments. Island was no fantasy for Aldous Huxley. It was, as Laura said, his "ultimate legacy."

This seems like the right time to entertain the possibility that Aldous Huxley is more relevant now than he ever was, that Island is as important as Brave New World, and that the two novels should be read together. I am particularly struck by Huxley's vibrant critique of religious literalism and the whole psychology of belief in Island. "In religion all words are dirty words," the Old Raja's little green book declared. Hence the novel's ideal of the "Tantrik agnostic" (Aldous's grandfather returns) and its scorn for that "Old Nobodaddy" in the sky (the expression is pure William Blake). Hence the humorous prayer of Pala: "Give us this day our daily Faith, but deliver us, dear God, from Belief." The scarecrows in the fields were even made to look like a God the Father, so that the children who manipulated them with strings to scare off the birds could learn that "all gods are homemade, and that it's we who pull their strings and so give them the power to pull ours."

Link: Brave New Worldview: The Return of Aldous Huxley (Chronicle of Higher Education)

The full article is much longer and worth reading if you're interested in Huxley and issues of science and religion. I haven't read Island, but I'm tempted to give it a try now, though I think it may still be a wee bit too metaphysical/new-agey for me.

Comments

[mariana]

I do not get this phenomenon, why is it that most of the people choose to carry a life without strong emotions and surprises?

Are human beings determined to be like robots, becoming as similar as they can to them with the passage of time?

These hypothesis are complemented with the idea that man tries to stay exactly the same cause it is tranquilizing.

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I interviewed Laura Huxley about Island a few years ago (she died last year at the age of 96). She described the novel to me as "the last will and testament" of her late husband. Island, she suggested, is where he left his most sincere convictions and deepest thoughts about what human beings are capable of at their best. He was very careful, she pointed out, not to include anything in the novel that was not possible, that had not been practiced somewhere before and found useful. So he was quite upset when Island was received as a piece of fantasy rather than a practical program for translating his abstract philosophy of consciousness and existential mysticism into effective social, educational, and contemplative experiments. Island was no fantasy for Aldous Huxley. It was, as Laura said, his "ultimate legacy."