The brave new world

Conclusion
In A. Huxley 's artistic world, the anti-utopian component deserves special attention, which is inseparable from the interconnected utopian and anti-utopian traditions. In this regard, the dystopian world from A. Huxley 's novel "Brave New World" cannot be considered without connection with the universe of J. Orwell's novel "1984", outside the context of A. Huxley 's polemic with G. Wells - the author of the utopian novel "People are like gods" and etc.
There is no doubt that the genre of dystopia in our time is becoming increasingly relevant. Many authors of anti-utopian works of the first half of the twentieth century tried to foresee exactly the time in which we live. Huxley himself, in turn, notes: “Brave New World is a book about the future, and, whatever its artistic or philosophical qualities, a book about the future can interest us only if the predictions contained in it tend to come true. From the current point in time in modern history—fifteen years later, our further slide down its inclined plane—do those predictions look justified? Are the predictions made in 1931 confirmed or refuted by the bitter events that have taken place since then ?” Thus, in this work, the novel "Brave New World" was considered as a unique anti-utopian work that can talk about the future not as something distant, but as inevitably approaching. And as already noted, on the example of dystopias of other English-speaking authors, in this work, the features of the novel by Aldous Huxley were highlighted. While Aldous Huxley is best known for his novels, he never thought of himself as simply a novelist. The grandson, son, and brother of scientists, he considered himself a modern philosopher and social scientist, the kind of thinker he once described as those “to whom ideas are as persons—moving and disquietingly alive.” In 1931, the year Huxley published two essays in VQR, “Boundaries of Utopia” and “Tragedy and the Whole Truth,” he was in the midst of furious writing. Having just come off the success of his novel, Point Counter Point, Huxley was feeling artistically exhausted and intellectually anxious about the mounting tensions across the continent that would lead to the Second World War. He turned from prose and poetry to nonfiction writing of social and literary criticism and, between 1929 and 1936, published five collections of essays and only one more novel.
In VQR’s mission to become a progressive journal of national and international discussion, it was natural that this controversial intellectual was a much sought-after writer to include in the magazine’s pages. In 1931 Huxley was only months away from the publication of Brave New World, a work that put him squarely on the modernist map and solidified his iconoclast position in the literary canon. When Stringfellow Barr assumed the reins from VQR founding editor James Southall Wilson that same year, he sought to continue the original goal of the magazine: to publish writing dealing with political and artistic concerns of a wide audience, by assuring diversity of content. Eric Pinker of the James B. Pinker & Son, Inc. literary agency sent Wilson two Huxley essays on October 10, 1930, but new editor Barr replied instead, just eight days later, indicating that VQR would take what was then called “Notes on Liberty and the Boundaries of the Promised Land” for the winter 1931 issue. The essay, in which Huxley sets out to define freedom as it relates to property and highlight the impossibility of the modern class structure, is exactly the sort of diverse and prescient intellectualism VQR had become known for.