Quote 1
"But it's horrible," said Lenina, shrinking back from the window. She was appalled by the rushing emptiness of the night, by the black foam-flecked water heaving beneath them, by the pale face of the moon, so haggard and distracted among the hastening clouds. "Let's turn on the radio. Quick!" She reached for the dialling knob on the dash-board and turned it at random.
"… skies are blue inside of you," sang sixteen tremoloing falsettos, "the weather's always…"
Then a hiccough and silence. Bernard had switched off the current.
[…]
"It makes me feel as though…" he hesitated, searching for words with which to express himself, "as though I were more me, if you see what I mean. More on my own, not so completely a part of something else. Not just a cell in the social body. Doesn't it make you feel like that, Lenina?" (6.1.17-23)
It's no coincidence that the radio is singing about blue skies while Bernard is trying to get Lenina to face the elements. Technology paints over the ugly parts of reality, but the consequence is ignorance and weakness, as we see in Lenina's character.
Quote 2
"Dr. Wells says that a three months' Pregnancy Substitute now will make all the difference to my health for the next three or four years."
"Well, I hope he's right," said Lenina. "But, Fanny, do you really mean to say that for the next three months you're not supposed to…"
"Oh no, dear. Only for a week or two, that's all. I shall spend the evening at the Club playing Musical Bridge." (3.77-9)
Lenina is talking about sex here. The thought of going three months without it is shocking to her.
Quote 3
Nodding, "He patted me on the behind this afternoon," said Lenina.
"There, you see!" Fanny was triumphant. "That shows what he stands for. The strictest conventionality." (3.103-4)
This is the kind of shocking humor that pervades the novel—Huxley has directly reversed our own "strictest conventionalities." In this case, what is essentially sexual harassment is smiled upon. Also, we've been waiting since Chapter 1 to know just where he patted her. And now we know.
Quote 4
Lenina shook her head. "Somehow," she mused, "I hadn't been feeling very keen on promiscuity lately. There are times when one doesn't. Haven't you found that too, Fanny?"
Fanny nodded her sympathy and understanding. "But one's got to make the effort," she said, sententiously, "one's got to play the game. After all, every one belongs to every one else." (3.12-13)
Despite all their conditioning, Fanny and Lenina both admit to an innate inclination towards monogamy. In this way, all the sex conditioning in the world can't make up for the instinctive need to find a mate.
Quote 5
Then aloud, and more warmly than ever, "I'd simply love to come with you for a week in July," she went on. (Anyhow, she was publicly proving her unfaithfulness to Henry. Fanny ought to be pleased, even though it was Bernard.) "That is," Lenina gave him her most deliciously significant smile, "if you still want to have me."
Bernard's pale face flushed. "What on earth for?" she wondered, astonished, but at the same time touched by this strange tribute to her power. (4.1.4-5)
Lenina and John are similar in the sexual power they hold over others.
Quote 6
"It's wonderful, of course. And yet in a way," she had confessed to Fanny, "I feel as though I were getting something on false pretences. Because, of course, the first thing they all want to know is what it's like to make love to a Savage. And I have to say I don't know." She shook her head. "Most of the men don't believe me, of course. But it's true. I wish it weren't," she added sadly and sighed. "He's terribly good-looking; don't you think so?" (11.84)
For the first time, Lenina experiences the gap between desire and consummation. But is this the only reason she likes John—the fact that she can't have him?
Quote 7
"Have a gramme," suggested Lenina.
He refused, preferring his anger. (6.3.31-2)
Bernard's reaction is admirable—but it doesn't last long. He very quickly resorts to soma to escape his anger rather than facing it. What is the turning point for him, and why?
Quote 8
Astonishment made Lenina forget the deprivation of soma. She uncovered her face and, for the first time, looked at the stranger. "Do you mean to say that you wanted to be hit with that whip?"
Still averted from her, the young man made a sign of affirmation. "For the sake of the pueblo—to make the rain come and the corn grow. And to please Pookong and Jesus. And then to show that I can bear pain without crying out. Yes," and his voice suddenly took on a new resonance, he turned with a proud squaring of the shoulders, a proud, defiant lifting of the chin "to show that I'm a man…" (7.45-6)
John's constant desire to suffer is a product of his upbringing, just as Lenina's aversion to pain of any kind (mental, physical) is a product of hers. In this way, is John just as brainwashed as Lenina?
Quote 9
Lenina suddenly felt all the sensations normally experienced at the beginning of a Violent Passion Surrogate treatment—a sense of dreadful emptiness, a breathless apprehension, a nausea. Her heart seemed to stop beating.
"Perhaps it's because he doesn't like me," she said to herself. And at once this possibility became an established certainty: John had refused to come because he didn't like her. He didn't like her… (12.23-4)
It is unclear whether Lenina's suffers here because she can't have John, or because she actually has genuine feelings for him. Your thoughts?
Quote 10
"Then why on earth didn't you say so?" she cried, and so intense was her exasperation that she drove her sharp nails into the skin of his wrist. "Instead of drivelling away about knots and vacuum cleaners and lions, and making me miserable for weeks and weeks." (13.66)
This is a key moment in the sex-violence connection in Brave New World. Lenina, in her passion for John, hurts him physically—a lot like the scene at the end of the novel. Check out "Symbols, Imagery, Allegory" for more.
Quote 11
"You don't say so," said Lenina politely, not knowing in the least what the Warden had said, but taking her cue from his dramatic pause. When the Warden started booming, she had inconspicuously swallowed half a gramme of soma, with the result that she could now sit, serenely not listening, thinking of nothing at all, but with her large blue eyes fixed on the Warden's face in an expression of rapt attention. (6.3.19)
Incessant and unquestioning soma use seems to be a quality common to the female characters in Brave New World. For this and other reasons, there are a fair number of scholars who label the work misogynistic.
Quote 12
Lenina shook her head. "Was and will make me ill," she quoted, "I take a gramme and only am."
In the end she persuaded him to swallow four tablets of soma. Five minutes later roots and fruits were abolished; the flower of the present rosily blossomed. A message from the porter announced that, at the Warden's orders, a Reservation Guard had come round with a plane and was waiting on the roof of the hotel. They went up at once. An octoroon in Gamma-green uniform saluted and proceeded to recite the morning's programme. (6.3.38-9)
With the news of his deportation, Bernard is given the chance he always wanted—to feel threatened, to feel angry, to feel something. It is one of the great tragedies of his character that he chooses to block this moment out with soma.
Quote 13
The golden T lay shining on Lenina's bosom. Sportively, the Arch-Community-Songster caught hold of it, sportively he pulled, pulled. "I think," said Lenina suddenly, breaking a long silence, "I'd better take a couple of grammes of soma."
Bernard, by this time, was fast asleep and smiling at the private paradise of his dreams. Smiling, smiling. But inexorably, every thirty seconds, the minute hand of the electric clock above his bed jumped forward with an almost imperceptible click. Click, click, click, click… And it was morning. Bernard was back among the miseries of space and time. It was in the lowest spirits that he taxied across to his work at the Conditioning Centre. The intoxication of success had evaporated; he was soberly his old self; and by contrast with the temporary balloon of these last weeks, the old self seemed unprecedentedly heavier than the surrounding atmosphere. (12.42-3)
Now we can compare Lenina's interaction with the Arch-Community-Songster to Bernard's interaction with Lenina back in Chapter 6; she had to take soma to bring herself to have sex with the Songster, just as Bernard earlier had to do the same to have sex with her. Seeing Bernard off in a soma dream in the next paragraph shows us how both characters have changed over the course of the novel.
Quote 14
"Sweet!" said Lenina and, laying her hands on his shoulders, pressed herself against him. "Put your arms round me," she commanded. "Hug me till you drug me, honey." She too had poetry at her command, knew words that sang and were spells and beat drums. "Kiss me"; she closed her eyes, she let her voice sink to a sleepy murmur, "Kiss me till I'm in a coma. Hug me, honey, snuggly…" (13.81)
Lenina's song compares love to soma; of course, "love" refers primarily to sex, but still—what do these two have in common in this novel? It seems that both distract the citizens from reality and prevent them from ever contemplating too seriously the nature of their very controlled lives. But that's just one interpretation… what do you think?
Quote 15
"I suppose Epsilons don't really mind being Epsilons," she said aloud.
"Of course they don't. How can they? They don't know what it's like being anything else. We'd mind, of course. But then we've been differently conditioned. Besides, we start with a different heredity."
"I'm glad I'm not an Epsilon," said Lenina, with conviction.
"And if you were an Epsilon," said Henry, "your conditioning would have made you no less thankful that you weren't a Beta or an Alpha." (5.1.9-12)
What's interesting about this conversation is that Henry is completely conscious of the manipulations used to craft identity in the World State—and yet he still isn't bothered by them.
Quote 16
"What a marvellous switchback!" Lenina laughed delightedly.
But Henry's tone was almost, for a moment, melancholy. "Do you know what that switchback was?" he said. "It was some human being finally and definitely disappearing. Going up in a squirt of hot gas. It would be curious to know who it was—a man or a woman, an Alpha or an Epsilon.…" He sighed. (5.1.13-4)
Not only has individual identity been destroyed, but so has the very notion of what it means to be a human. This society has been dehumanized to the point where dead bodies are akin to a thrilling bump in the road. The interesting part of this passage is that Henry is momentarily bothered by this fact. Lenina, of course, isn't. Dissatisfaction and individuality are solely the realm of the males in the novel.
Quote 17
"Then why on earth didn't you say so?" she cried, and so intense was her exasperation that she drove her sharp nails into the skin of his wrist. "Instead of drivelling away about knots and vacuum cleaners and lions, and making me miserable for weeks and weeks." (13.66)
Not only is this quote a reflection of the increasing tie between sex and violence in the novel, but it's a clear hint that John is a big-time Christ-figure. The quote also suggests that Lenina drives this aspect of his character.
Quote 18
"And to tell the truth," said Lenina, "I'm beginning to get just a tiny bit bored with nothing but Henry every day." She pulled on her left stocking. "Do you know Bernard Marx?" she asked in a tone whose excessive casualness was evidently forced. (3.121)
For Lenina, monogamy leaves something to be desired. Is this the result of her conditioning or of a natural urge to have different sexual partners?