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Propaganda is not only used in the media throughout Oceania, but is engraved directly into the language that the community has been taught to use.  “Don’t you see that the whole aim of Newspeak is to narrow the range of thought? In the end we shall make thoughtcrime literally impossible, because there will be no words in which to express it,” explains Syme who helped create the Newspeak dictionary (Orwell 55). Even if a person developed the ability to create original thought, he or she would not have the capability to express it. “Every concept that can ever be needed will be expressed by exactly one word, with its meaning rigidly defined and all its subsidiary meanings rubbed out and forgotten” (Orwell 55). The government makes it nearly impossible for citizens of Oceania to acquire unique ideas. Huxley and Orwell each established two very distinct government systems, but both had the same goal when it came to the people of the community. Members were to be loyal to the state, and blissfully ignorant. In 1949, Huxley wrote a letter to Orwell pertaining to the novel 1984. He criticized Orwell’s book, explaining that he did not think all of the torture was necessary to conquer a population, and he believed his own dystopia offered a better solution. He said that people just have to be taught to love their servitude. They must truly enjoy being subordinate to the authority of the state. Charles McGrath, a journalist for the New York Times compares these works: “The totalitarian rulers in Huxley’s book do this not by oppressing their citizens but by giving them exactly what they want, or what they think they want — which is basically sex, drugs and rock ‘n’ roll — and lulling them into complacency” (McGrath). Even though each author approached their fantasy a different way, they both succeed in generating a world where the government takes away freedom of speech and thought. Nonetheless, in Brave New World, it can be said that, “They don’t mourn their lost liberty, the way Orwell’s Winston Smith does; they don’t even know it’s gone” (McGrath).In Brave New World, Huxley uses the act of sex to further dehumanize the characters in his dystopian vision. The cinema is introduced near the beginning of the story, when the Assistant Director asks, “Going to the Feelies this evening Henry?” (Huxley 35). The feelies can be compared quite closely to modern day cinemas, but there are definitely a few major differences. In the novel, community members attend a movie that they experience not only through sight and sound, but also through touch. The sensation of touch is transmitted to the viewer through two metal knobs that they hold onto, located on the armrest. The Director continues to explain to Henry Foster that, “the new one at the Alhambra is first-rate. There’s a love scene on a bearskin rug; they say it’s marvellous. Every hair of the bear reproduced. The most amazing tactual effects” (Huxley 35). These films fit perfectly together in the society with the childrens erotic play, as well as the conversations between Lenina and Fanny about pregnancy substitutes and their many partners. The author has purposefully connected all these pieces to ultimately “characterize a world which reifies individuals and predetermines the satisfaction of sexual desires,” as expressed by Mario Varricchio, a PhD in English Studies from the University of Padua, Italy. In this utopia, desire is dead; the words they use in this Fordian world can especially help to define the values that are considered important. For example, feminine beauty can described as “pneumatic,” meaning something that contains air under pressure. To admit to the existence of desire in this time, would be a failure in the eyes of the ideal state. This is why all important core needs, specifically those related to sexual instinct, are promptly fulfilled. This is true with everything, except for the desire of freedom, which has unavoidably been abolished. When Lenina is advancing on the Savage, it really shows how much sexual craving is in the forefront of people’s minds: “And suddenly her arms were round his neck; he felt her lips soft against his own. So delicious soft, so warm and electric that inevitably he found himself thinking of the embraces in Three Weeks in a Helicopter” (Huxley 164). John associates these sensations with the feelies, so in his mind the entire encounter was very unnatural to him. This event “makes it clear how artificial and de-individualized life is in the fordian era and how relevant the role played by the cinema is in determining its nature” (Varricchio). The more that sex infuses into every aspect of the culture, the less important it becomes, and as a result less emotion is attached to it. The aim is to eliminate all emotion from the act so every time is the same and affection doesn’t change anything. Therefore, no one is experiencing anything unique compared to anyone else and each individual is the same.  

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