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Although some artists would like to think otherwise, few novels actually play any direct role in policy. Brave New World is an exception. Like Orwell's dystopian 1984, its vision has shaped our cultural consciousness, so that one only has to mention the phrases 'brave new world' or 'Big Brother' to set off a whole set of ideas and alarms that still shape current debates. Part of the utopia's power lies in its peculiar ontology. Because it is fictional, readers can imaginatively 'enter' it and believe they are witnessing it successfully working.

In the seventeenth century it was still possible to be widely read in both; as well as studying mechanics, Galileo wrote poetry and lectured on Dante (Kline 183). Not long after, such breadth was much less feasible. By the time of the Romantics, the marking of territories was unmistakable. It was in the mid-nineteenth century that the designation of professional'scientist' emerged;19 prior to this, a scientist could just as easily have been included under the general description of 'artist'. Poets such as Blake and (to a lesser extent) Keats were openly hostile to science, although the two sides were not always antagonistic; as Huxley reminds us, William Wordsworth studied mathematics and wrote admiringly of Newton (Literature 37).

Day Lewis's words, without 'that depth of soil, accumulated by long periods of sensuous and emotional reference, in which poetry 31 may strike roots' (Poet's Way 28). The View from Afar Still, scientific depersonalization might not always be such a bad thing. While most Modernists were psychologizing and looking . inward, Huxley's scientific perspective opened his literature up to the exterior world. His writing reminds us that there are things out there - some of our creation, some entirely strange and foreign to us (natural forces, other forms of life), and others of our own creation but also strange or foreign (technology).

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