A collection of critical essays on Huxley, his satires, and fiction works with a chronology of events in the author's life.

Although the title of this volume is Aldous Huxley between East and West, the order of the articles found within goes from West to East, which naturally imitates Huxley's own progress, especially since he went to the trouble of stepping out as far West as possible before starting for the East. Indeed one could argue that he was already on his way there before he left for California, a continuous journey, perhaps, since from the Californian shores of the Pacific the East is the further West. After the Introduction which places Huxley between East and West, the book starts with a consideration of Huxley's family connections, then goes onto his earliest fictions, his interest in science and the issue of modernity, and his experiments with drama and their inherent philosophical concerns. The poetry with which he began his writing career is then viewed as a link between his earlier Western self and his later Oriental interests, suggesting that the latter was always inherent in the former. A number of considerations of the Utopian themes in Huxley's middle and later fiction leads the volume to a climax with four articles surveying the foibles and the wisdom of Huxley's encounter with Eastern religious thought and philosophy, his misunderstandings, as well as ours, of what actually he had learned and wished to pass on to the Western world.

Aldous Huxley Annual is the official organ of the Aldous Huxley Society at the Centre for Aldous Huxley Studies in Munster, Germany. It publishes essays on the life, times, and interests of Aldous Huxley and his circle. It aspires to be the sort of periodical that Huxley would have wanted to read and to which he might have contributed. This issue is dedicated to Prof Peter Edgerly Firchow (18 October 2008) in appreciation of his merits as an outstanding Huxley scholar and as a Founding Member and Curator of the Aldous Huxley Society. It opens with Prof Firchow's keynote lecture at the Fourth International Aldous Huxley Symposium in Los Angeles in July 2008 and then presents a rich anthology of Huxley's uncollected prose from 1919 to 1963, edited by James Sexton. Two more lectures from the Los Angeles Symposium close this issue, one on death in Lawrence's and Huxley's fiction, and the other on Erwin Schrodinger's and Huxley's views on the final end of human life.

This set comprises forty volumes covering nineteenth and twentieth century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set compliments the first sixty-eight volume set of Critical Heritage published by Routledge in October 1995.

An inspired gathering of religious writings that reveals the "divine reality" common to all faiths, collected by Aldous Huxley "The Perennial Philosophy," Aldous Huxley writes, "may be found among the traditional lore of peoples in every region of the world, and in its fully developed forms it has a place in every one of the higher religions." With great wit and stunning intellect—drawing on a diverse array of faiths, including Zen Buddhism, Hinduism, Taoism, Christian mysticism, and Islam—Huxley examines the spiritual beliefs of various religious traditions and explains how they are united by a common human yearning to experience the divine. The Perennial Philosophy includes selections from Meister Eckhart, Rumi, and Lao Tzu, as well as the Bhagavad Gita, Tibetan Book of the Dead, Diamond Sutra, and Upanishads, among many others.

The Genius of Aldous Huxley is an attempt to make a critical analysis of Aldous Huxley’s novels, essays and plays. The significant results of his stance in terms of his critical heritage were threefold: the explicit message of the later fiction struck most readers as being detrimental to its artistry; criticism of Huxley’s craft often became indistinguishable from criticism of his ideas; the popular response to Huxley’s work continued to grow, but the critical reception declined. While they were looking to him for guidance, practically none of Huxley’s readers were prepared for the directions he took in the coming books. His critics had so consistently overlooked the deeper import of the earlier work that the new outspoken idealism seemed an abrupt reversal, if not a contradiction of attitudes. The shift of emphasis in Huxley’s work introduced during the war years a period of new ferment and trial for his critical reputation. The volume of response never slackened; if anything, it increased. He has revealed himself as one of the few capable makers of cultural synthesis in our time. His concern for mankind is so obvious that one can only think readers who see nothing in his later fiction but obsessions and bitterness are incapable of appreciating his intentions or his powers.

Contributed papers presented at a national seminar.