Published in 1932, Huxley took his title from Shakespeare’s heroic epic The Tempest. Huxley's reflected world is quite barren of the heroic. The masses are genetically engineered, bottled and ultimately decanted from The Hatchery, to be locked into their, for the most part, acceptable lives. Lives which are "enriched" by access to entertainments attracting the lowest aspirations of man ~ easy drugs; the ubiquitous Soma ~easy sex and easy happiness, through acceptance of one's predetermined role in the society.
A truly "tabloid" world painted to portray Huxley's fascination yet revulsion of the coarse excesses of human sexuality and depravity.
Doubts as to the conditioning of his lessers in the social/intellectual order are raised by Bernard Marx. The fact that Marx himself is dissatisfied re-enforces the idea that all is not perfect in this scientifically modelled state.
A journey to a reservation away from the conditioned clinical world sees Marx return with the Savage. The Savage is a romantic, whose existence in the wilds of the Reservation should’ve done nothing to engender Romanticism. But neither has the savage undergone any moulding by the hatchery, he is not Alpha, Epsilon or a product of Social Predestination. He is the product of the womb, an outcast, as was his mother Linda, an earlier product of the system failing. The savage is doomed, there is no niche for him, an abomination with ideals polished by the beauty of words he has heard and read but never experienced and can never hope to find in the decadence of the Post-Ford world of the controllers.
A world governed by community, identity and stability, where individuality and freedom are an anathema.