By H. E. Bates
Teetotal!' Ma stated. 'It's a libel. He'll by no means stay it down. He'll by no means have the ability to carry his head up back. no matter what will humans imagine? What's he going to claim whilst anyone asks him to have one?' ' 'No,' 'said Dr Conner. 'You'll need to strap him down,' Ma acknowledged. 'You'll need to positioned on.' And so after a gentle heart-attack - brought on by quite an excessive amount of of what you fancy - Pop Larkin unearths himself off the booze, off the nice foodstuff and rancid the nice lifestyles often, a lot to his personal and everyone's else's horror and disappointed. And whereas Ma attempts to discover methods round 'doctor's orders', younger Primrose is discovering her personal means around a slightly flustered - to not say flushed - Mr Candy...
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Additional resources for A Little of What You Fancy (The Pop Larkin Chronicles, Book 5)
Go away, little boy! Can’t you see that his fordship’s busy? ” “His Fordship” Mustapha Mond responds by whispering to himself, “Suffer little children,” alluding to the passage from The Gospel of Mark: “And they brought young children to him, that he should touch them: and his disciples rebuked those that brought them. ” With this suggestive yet distorted biblical allusion, the chapter, and the tour, concludes. The reader’s last impression of Mond recalls the Director’s earlier fears that he keeps a secret stash of forbidden books in his office, and hints that perhaps there are cracks in the World State’s seemingly flawless map of social stability.
Bernard’s individuality, coupled with the suggestion of Mond’s eccentricities, begins to illuminate a major query of the 33 novel. In this society, which is based wholly upon conformity, what happens to those who are unique? How do they behave toward society? And of course, how does their society deal with them? These questions are more clearly explored later in the novel. Henry comments on how glum Marx looks, and offers him a gramme of soma. ” They persist until Bernard yells at them, cursing, in response to which the two men laugh and exit the elevator.
On this flight back to London, Bernard cuts the engines and hovers the helicopter low above the storming waters of the English Channel, ordering Lenina to look down. She is terrified of the darkness and the silence, and urges Bernard to continue flying. He tries to make her understand why he loves looking into the dark water: “It makes me feel as though ... as though I were more me, if you see what I mean. More on my own, not so completely a part of something else. ” Lenina becomes more and more upset, refusing to listen to Bernard as he goes on to talk of his desire to be “free” from his conditioning.