Antic Hay by Aldous Huxley (kiss me liar novel english txt) 📕
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Theodore Gumbril Junior is fed up with his job as a teacher, and tries a new tack as an inventor of pneumatic trousers. The development and marketing of these is set against his attempts to find love, and the backdrop of his friends’ and acquaintances’ similar quest for meaning in what seems to them a meaningless world.
Aldous Huxley, although primarily known these days for his seminal work Brave New World, gained fame in the 1920s as a writer of social satires such as this, his second novel. Condemned at the time for its frank treatment of sexuality and adultery—it was even banned in Australia—the book’s characters’ comic lack of stability following the society-wide alignment of the Great War still resonates today.
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- Author: Aldous Huxley
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“It may be rather difficult,” said Gumbril, shaking his head.
“It may,” Mr. Boldero agreed. “But difficulties are made to be overcome. We must pull the string of snobbery and shame: it’s essential. We must find out methods for bringing the weight of public opinion to bear mockingly on those who do not wear our trousers. It is difficult at the moment to see how it can be done. But it will have to be done, it will have to be done,” Mr. Boldero repeated emphatically. “We might even find a way of invoking patriotism to our aid. ‘English trousers filled with English air, for English men.’ A little farfetched, perhaps. But there might be something in it.”
Gumbril shook his head doubtfully.
“Well, it’s one of the things we’ve got to think about in any case,” said Mr. Boldero. “We can’t afford to neglect such powerful social emotions as these. Sex, as we’ve seen, is almost entirely out of the question. We must run the rest, therefore, as hard as we can. For instance, there’s the novelty business. People feel superior if they possess something new which their neighbours haven’t got. The mere fact of newness is an intoxication. We must encourage that sense of superiority, brew up that intoxication. The most absurd and futile objects can be sold because they’re new. Not long ago I sold four million patent soap-dishes of a new and peculiar kind. The point was that you didn’t screw the fixture into the bathroom wall; you made a hole in the wall and built the soap-dish into a niche, like a holy water stoup. My soap-dishes possessed no advantages over other kinds of soap-dishes, and they cost a fantastic amount to instal. But I managed to put them across, simply because they were new. Four million of them.” Mr. Boldero smiled with satisfaction at the recollection. “We shall do the same, I hope, with our trousers. People may be shy of being the first to appear in them; but the shyness will be compensated for by the sense of superiority and elation produced by the consciousness of the newness of the things.”
“Quite so,” said Gumbril.
“And then, of course, there’s the economy slogan. ‘One pair of Gumbril’s Patent Small-Clothes will outlast six pairs of ordinary trousers.’ That’s easy enough. So easy that it’s really uninteresting.” Mr. Boldero waved it away.
“We shall have to have pictures,” said Gumbril, parenthetically. He had an idea.
“Oh, of course.”
“I believe I know of the very man to do them,” Gumbril went on. “His name’s Lypiatt. A painter. You’ve probably heard of him.”
“Heard of him!” exclaimed Mr. Boldero. He laughed. “But who hasn’t heard of Lydgate.”
“Lypiatt.”
“Lypgate, I mean, of course.”
“I think he’d be the very man,” said Gumbril.
“I’m certain he would,” said Mr. Boldero, not a whit behindhand.
Gumbril was pleased with himself. He felt he had done someone a good turn. Poor old Lypiatt; be glad of the money. Gumbril remembered also his own fiver. And remembering his own fiver, he also remembered that Mr. Boldero had as yet made no concrete suggestion about terms. He nerved himself at last to suggest to Mr. Boldero that it was time to think of this little matter. Ah, how he hated talking about money! He found it so hard to be firm in asserting his rights. He was ashamed of showing himself grasping. He always thought with consideration of the other person’s point of view—poor devil, could he afford to pay? And he was always swindled and always conscious of the fact. Lord, how he hated life on these occasions! Mr. Boldero was still evasive.
“I’ll write you a letter about it,” he said at last.
Gumbril was delighted. “Yes, do,” he said enthusiastically, “do.” He knew how to cope with letters all right. He was a devil with the fountain pen. It was these personal, hand-to-hand combats that he couldn’t manage. He could have been, he always felt, such a ruthless critic and satirist, such a violent, unscrupulous polemical writer. And if ever he committed his autobiography to paper, how breath-takingly intimate, how naked—naked without so much as a healthy sunburn to colour the whiteness—how quiveringly a sensitive jelly it would be! All the things he had never told anyone would be in it.
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