Originally published: New York: Union Square Press, 2006.

"This is Mr. Huxley's best novel for a very long time . . . admirably constructed . . . bright and sun-pierced." New Statesman and Nation

When Aldous Huxley's Brave New World first appeared in 1932, it presented in terms of purest fantasy a society bent on self-destruction. Few of its outraged critics anticipated the onset of another world war with its Holocaust and atomic ruin. In 1948, seeing that the probable shape of his anti-utopia had been altered inevitably by the facts of history, Huxley wrote Ape and Essence. In this savage novel, using the form of a film scenario, he transports us to the year 2108. The setting is Los Angeles where a "rediscovery expedition" from New Zealand is trying to make sense of what is left. From chief botanist Alfred Poole we learn, to our dismay, about the twenty-second-century way of life. "It was inevitable that Mr. Huxley should have written this book: one could almost have seen it since Hiroshima is the necessary sequel to Brave New World."—Alfred Kazin. "The book has a certain awesome impressiveness; its sheer intractable bitterness cannot but affect the reader."—Time.

Aldous Huxley- a major figure of the literary and intellectual history of this century- dramatizes here one man's disillusionment threatening to plunge the world into a new morass.

"By the mid-1950s, New York had been the unrivaled capital of America's national pastime for a century, a place where baseball was followed with a truly fanatical fevor. The city's threee teams--the New York Yankees, the New York Giants, and the Brooklyn Dodgers--had over the previous decade rewarded their fans'devotion with stellar performances: From 1947-1957, one or more of these teems had played in the World series every year but one. Yet on opening day 1958, the Giants and Dogers were gone. Their owners, Walter O'Malley and Horance Stoneham, had ripped them away from their longtime home and from the hearts of millions of devoted and passionate fans and taken them to California" -- inside cover.

A Hollywood millionaire with a terror of death, whose personal physician happens to be working on a theory of longevity-these are the elements of Aldous Huxley's caustic and entertaining satire on man's desire to live indefinitely. With his customary wit and intellectual sophistication, Huxley pursues his characters in their quest for the eternal, finishing on a note of horror. "This is Mr. Huxley's Hollywood novel, and you might expect it to be fantastic, extravagant, crazy and preposterous. It is all that, and heaven and hell too....It is the kind of novel that he is particularly the master of, where the most extraordinary and fortuitous events are followed by contemplative little essays on the meaning of life....The story is outrageously good."—New York Times. "A highly sensational plot that will keep astonishing you to practically the final sentence."—The New Yorker. "Mr. Huxley's elegant mockery, his cruel aptness of phrase, the revelations and the ingenious surprises he springs on the reader are those of a master craftsman; Mr. Huxley is at the top of his form." —London Times Literary Supplement.

Coworkers and friends of the literary giants who worked as screenwriters in the 30s and 40s describe their experiences in and impact on Hollywood

Walking Shadows dramatically dissects the wild, high-profile battle between newspaper tycoon William Randolph Hearst and famous young actor, director, and filmmaker Orson Welles over Welles's groundbreaking film Citizen Kane. In 1940 and 1941 it became the center of public controversy and scandal, especially in Hollywood where Welles's own stark honesty and blatant self-confidence heightened the drama. Citizen Kane portrayed the ruthless career of an all-powerful magnate bearing (not accidentally) a striking resemblance to Hearst, who immediately tried to kill the picture. John Evangelist Walsh here illuminates the conflict between these two outsize personalities and for the first time brings Hearst's vengeful anti-Kane campaign to the fore. Walsh provides thorough documentation, supplemental notes, and an extended bibliography.

Changes in the routines of domestic life were among the most striking social phenomena of the period between the two World Wars, when the home came into focus as a problem to be solved: re-imagined, streamlined, electrified, and generally cleaned up. Modernist writers understood themselves to be living in an epochal moment when the design and meaning of home life were reconceived. Moving among literature, architecture, design, science, and technology, Machines for Living shows how the modernization of the home led to profound changes in domestic life and relied on a set of emergent concepts, including standardization, scientific method, functionalism, efficiency science, and others, that form the basis of literary modernism and stand at the confluence of modernism and modernity. Even as modernist writers criticized the expanding reach of modernization into the home, they drew on its conceptual vocabulary to develop both the thematic and formal commitments of literary modernism. Rosner's work develops a new methodology for interdisciplinary modernist studies and shows how the reinvention of domestic life is central to modernist literature.

Until now, the study of literary allusion has focused on allusions made by poets to other poets. In Tennyson Among the Novelists, John Morton presents the first book-length account of the presence of a poet's work in works of prose fiction. As well as shedding new light on the poems of Tennyson and their reception history, Morton covers a wide variety of novelists including Thomas Hardy, James Joyce, Evelyn Waugh, and Andrew O'Hagan, offering a fresh look at their approach to writing. Morton shows how Tennyson's poetry, despite its frequent depreciation by critics, has survived as a vivifying presence in the novel from the Victorian period to the present day.