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Point Counter Point, by Aldous Huxley
Get Free Ebook Point Counter Point, by Aldous Huxley
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A sophisticated novel for a sophisticated age (1928) with rational and fantastic characters who are modern in their promiscuities, virtues and vices.
- Sales Rank: #933490 in Books
- Published on: 1928
- Number of items: 1
- Binding: Hardcover
- 514 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
Huxley knocks a home run out of the proverbial park!
By Herbert Booker
We love all of Aldous Huxley's books, how can they miss the target? Like Robin Hood, they split the first arrow dead center!
14 of 18 people found the following review helpful.
A profound book by a consistently profound author
By Amazon Customer
In Huxley's books, its not just the plot that captivates. Huxley's insights on society and people are so on target and so truthful, it's amazing. His ability to translate truth into words is incredible. Point Counterpoint is no exception:
"Work's no more respectable than alcohol, and it serves exactly the same purpose: it just distracts the mind, makes a man forget himself. Work's simply a drug, that's all. It's humiliating that men shouldn't be able to live without drugs, soberly; it's humiliating that they shouldn't have the courage to see the world and themselves as they really are."
"But there is in debauchery something so intrinsically dull, something so absolutely and hopelessly dismal, that it is only the rarest beings, gifted with much less than the usual amount of intelligence and much more than the usual intensity of appetite, who can go on actively enjoying a regular course of vice or continue actively to believe in its wickedness."
"But the very possession of a body is a cynical comment on the soul and all its ways. It is a piece of cynicism, however, which the soul must accept, whether it likes it or no."
If these statements strike you as surprisingly truthful, then Huxley is for you.
The theme of Point Counterpoint concerns the mind/body dichotomy, which I think is really interesting. It makes you think about yourself a little differently than you may be used to.
18 of 20 people found the following review helpful.
Point, not counterpoint
By Roger Brunyate
Aldous Huxley's 1928 novel opens with a grand London party given by Lady Edward Tantamount. Music plays. Dozens of characters cross the stage, meet briefly, argue, and part. Some go on to a restaurant that stays open past midnight; there, they meet still more characters and argue some more; several of them continue to yet another party in the early hours of the morning. We are now 100 pages into the book, a quarter of the way through. The numerous characters will continue to bump into each other over the next days and months, but the essential texture of the opening will not change.
If you Google the title, the question comes back "Did you mean Point Counterpoint?" Well, no. Counterpoint is a musical term implying line and movement: two or more voices, intertwining with one another, echoing, developing, but never standing still. Huxley certainly understands that music implies movement -- his descriptions of actual music are superb -- but his method as a novelist is essentially static: to set characters off against one another, each of whom represents a different point of view. The book is thus a series of debates, some funny, some serious, all clever. But the characters ricochet off one another like balls on a pool table; this is truly a matter of point clashing with point; there is no line, little movement, and almost no plot.
Oddly enough, Huxley has one of his characters, a writer, criticize his own method: "Novel of ideas. The character of each personage must be implied, as far as possible, in the ideas of which he is the mouthpiece. In so far as theories are rationalizations of sentiments, instincts, dispositions of soul, this is feasible. The chief defect of the novel of ideas is that you must write about people who have ideas to express -- which excludes all but about .01 per cent of the human race." And again: "The great defect of the novel of ideas is that it's a made-up affair. Necessarily; for people who can reel off neatly formulated notions aren't quite real; they're slightly monstrous. Living with monsters becomes rather tiresome in the long run." He has it right; this book IS a made-up affair, it IS tiresome, and its .01 percent of the human race consists of a handful of English aristocrats and intellectuals -- Huxley as a kind of egghead Evelyn Waugh.
Several times, I almost tossed the book away, yet kept on reading -- why? The first time was when Huxley introduces Mark Rampion, a painter and would-be novelist closely based on his friend D. H. Lawrence. Here is a character who does not come from the upper classes, whose thoughts are three-dimensional and fully worked out, and whose unconventional yet bracing morality serves as a touchstone for the other characters in the book. The chapter describing his courtship is one of the few passages where the novel of ideas becomes one of feeling, and it was riveting. Although nothing quite like that chapter comes again, I kept on because I was often amused, sometimes challenged (Huxley is an erudite author who almost demands footnotes), and increasingly aware that I was reading something that was as close to source material on the period as I was likely to find. For Huxley does not confine himself to the social and amorous goings-on typical of an early Waugh book such as A HANDFUL OF DUST. He also addresses politics (both fascism and communism are represented), religion and its substitutes, philosophy, the arts, and science. Even sex gets analyzed with an almost scientific detachment: there is a long disquisition by one of the more despicable characters on the techniques of seduction, perversion, and spiritual degradation; another embarks on what must be the first examination in literature of the phrase "sleeping around". As a reference work, this is fascinating; I just wish it were a better novel. Interesting though the numerous points are, I could have done with some genuine counterpoint.
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