What We Are Reading Today: ‘Those Barren Leaves’

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Updated 05 January 2025
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What We Are Reading Today: ‘Those Barren Leaves’

Author: Aldous Huxley

Aldous Huxley’s “Those Barren Leaves,” first published in 1925, is a sharp and satirical novel that dissects the pretensions, disillusionments and spiritual emptiness of Europe’s post-First World War intelligentsia.

Set in a luxurious villa in Italy, the novel brings together an eclectic group of characters whose philosophical musings and existential crises form the basis of Huxley’s incisive critique of modernity and culture.

The story revolves around a gathering of wealthy, educated and self-absorbed individuals, including Mrs. Aldwinkle, the owner of the villa and a patron of the arts; Calamy, a romantic aristocrat; and Chelifer, an idealistic poet grappling with his disillusionment. Each character represents a different facet of the intellectual elite, embodying both their allure and their absurdity.

Through their interactions, Huxley exposes the hollowness behind their intellectual posturing and their struggles to find meaning in a world that seems increasingly fragmented and purposeless.

Huxley’s prose is elegant and often biting, filled with sharp observations and wit that make his satire entertaining and thought-provoking. The dialogue crackles with intellectual energy, as the characters debate art, love, philosophy, and the meaning of life.

However, their conversations often reveal more about their own insecurities and contradictions than they do about the subjects they discuss. This duality — the brilliance of their intellects contrasted with the emptiness of their souls — is at the heart of Huxley’s critique.

Beneath the satire, “Those Barren Leaves” grapples with serious themes, including the decline of traditional values, the search for spiritual fulfillment, and the tension between individuality and conformity.

These themes, although specific to the post-war context of the 1920s, remain relevant today, offering a timeless exploration of humanity’s quest for meaning in an increasingly materialistic and secular world.

Yet, the novel is not without its challenges. Its focus on intellectual discourse and philosophical reflection can make it feel dense at times, and the characters, while vividly drawn, are often unsympathetic.

The author’s portrayal of their flaws is so unflinching that it may alienate readers looking for emotional resonance or traditional storytelling. However, for those who appreciate incisive social commentary and richly layered prose, “Those Barren Leaves” is a rewarding read.

Huxley’s ability to combine satire with profound philosophical inquiry elevates the novel, making it a fascinating study of the human condition. While it may not carry the dystopian weight of his later work, “Brave New World,” it offers a glimpse into the evolution of his thought and the concerns that would shape his career.

In “Those Barren Leaves,” Huxley holds up a mirror to his era’s intellectual elite, revealing their triumphs, failures, and unrelenting search for purpose. It is a novel that challenges, provokes and ultimately compels readers to reflect on the complexities of modern existence, offering critique and insight with a mastery that is uniquely Huxley.

 


What We Are Reading Today: ‘Rituals of War’

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Updated 29 December 2025
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What We Are Reading Today: ‘Rituals of War’

  • Bahrani brings together and analyzes facets of war and sovereign power that fall under the categories of representation and display, the aesthetic, the ritualistic, and the supernatural

Author: Zainab Bahrani

“Rituals of War” is an investigation into the earliest historical records of violence and biopolitics. In Mesopotamia, ancient Iraq (ca. 3000–500 BC) rituals of war and images of violence constituted part of the magical technologies of warfare that formed the underlying irrational processes of war. In the book, three lines of inquiry are converged into one historical domain of violence, namely, war, the body, and representation.

Building on Foucault’s argument in “Discipline and Punish” that the art of punishing must rest on a whole technology of representation, Zainab Bahrani investigates the ancient Mesopotamian record to reveal how that culture relied on the portrayal of violence and control as part of the mechanics of warfare. Moreover she takes up the more recent arguments of Giorgio Agamben on sovereign power and biopolitic to focus on the relationship of power, the body and violence in Assyro-Babylonian texts and monuments of war.

Bahrani brings together and analyzes facets of war and sovereign power that fall under the categories of representation and display, the aesthetic, the ritualistic, and the supernatural.