H G Wells Omnibus, page 589
I chose twenty-six stories from the eighty-four collected in John Hammond’s massive and invaluable Complete Short Stories of H. G. Wells. I selected for excellence, of course, not as defined by the standards of realism, which have little use or application here, but generic excellence. Was the story outstanding in itself for intellectual urgency or moral passion, for some particular virtue or strangeness or beauty? Was the story outstanding of its kind, and was the kind an interesting one? Was it fruitful, vital, did it lead forward to other works of other writers? It makes no sense to me to define “great” art as inimitable, unique, a dead end, and to prize only such greatness. Seeing art as a community enterprise both in place and time, I think an art that leads to more art is more valuable than sterile excellence.
Certain stories I left out with regret; one is “A Story of the Days to Come,” full of interesting stuff, but so long it would have taken up half the book. I would have liked to include some of the satirical, joking tales that Wells was good at, such as “Aepyornis Island” and “The Pearl of Love”—but being light, they got pushed out of the boat.
Because almost all Wells’s stories are genre stories and because I value them as such, I arranged them, not chronologically, but in sections by kind. Each section has a brief introduction, discussing what kind of stories they are, where this kind of story came from and what it may have led to.
As for trying to sum up the stories as a whole, as a set, it’s difficult. Wells is an elusive writer. Certainly one sees his distinctive style throughout the book. Many of the stories are told in a journalistic tone, easy and breezy, extremely self-confident but unpretentious, clear, moving forward at a good clip—it all seems quite simple, quite artless, which is exactly what the author wanted. He distrusted the high aesthetic manner (a charming note to his friendship with Henry James is that each man confessed he often longed to rewrite the other’s stories). But he was a careful writer and tireless rewriter, keenly aware of what he was doing, sensitive and skilled in his craft. A modulation of his tone can be as effective as a key-change in music.
We are often told that, in stories written less to reveal individual experience or character than to entertain or inform or stimulate the imagination, plot is needed to provide structure, and action is all-important. Wells plotted cleverly, and his action scenes are vivid and suspenseful; but his true mastery, I think, was in that very difficult, underestimated, even maligned element of storytelling, visual description. Wells can make you see what he wants you to see. When this is something that does not in fact exist, a fantastic scene, a dream or prophecy, his power seems uncanny. He was—literally—a visionary. Perhaps the finest things he wrote are the wonderful description of a lunar morning in The First Men in the Moon and the glimpses of the dying world at the end of The Time Machine. In the short stories one comes again and again on a similarly vivid scene, a glimpse into another world, fearful or radiant or simply very strange. These visions have the authority, in memory, of something seen with one’s own eyes. A squadron of airplanes over Naples (two years before Kitty Hawk)— two men laughing and making faces at people who stand frozen in time—a dreaming garden behind a door in a wall—the faces of the townsfolk in the Country of the Blind… .
PART ONE
VISIONARY SCIENCE FICTION
INTRODUCTION
The first story in this book is the only one in it that obeys the rules of fictional realism. Nothing impossible happens, so it isn’t fantasy. Nothing “futuristic” or “predictive” or “speculative” happens, so most people wouldn’t call it science fiction. But it is about scientists. And about being young, and poor, and ambitious.
It certainly draws its setting from Wells’s experience at the Normal School of Science (now the Imperial College of Science and Technology) as a scholarship student among mostly middle-class students and professors. The competition in science to be first, get the top mark, the hot job, was fierce enough to drive students to cheating, already in the 1880s—a sad note. But what the story really is about is, to alter C. P. Snow’s title, “the conscience of the poor.” An insecure, angry, striving boy, a cobbler’s son among the sons (and daughters) of the professional classes, is tempted by pure chance to cheat. He knows all too well that lower social status is assumed to mean lower ethical standards. So what does he do? The moral question posed is complex; the outcome is subtle and disturbing.
It is significant that the crux of the story is what young Hill sees on a microscope slide: a field of vision. That’s why I put the story in this section, though it is “scientist fiction” rather than science fiction. In one way or another all the stories in this section have to do with what somebody sees. “I saw it with my own eyes”—that’s how we attest to the reality of the implausible. Imaginative literature takes us into other worlds, altered states of consciousness, alien perceptions, by making us see another reality or see through other eyes. H. G. Wells was singularly gifted at presenting such changed fields of vision with intense, vivid actuality.
“The Remarkable Case of Davidson’s Eyes” is a what-if: what if a man could see only what he’d see if he were someplace else? The premise is perfectly fantastic, but the setting is a laboratory, and Wells works out the implications elegantly, with science-fictional accuracy and aplomb.
“The Plattner Story” and “The Stolen Body” are two quite different approaches to a similar subject: a man disappears—one in an explosion, one in an experiment—out of ordinary life, sees some very strange things, and reappears… . The tale is like that of the Time Traveler, but instead of the future these men visit other worlds coexistent with ours, ominous and weird. These are ghost stories, reveling in the uncanny, playing with the theme of alternate realities, of a world that shadows, that tries to break through, into what we call the real world.
“Under the Knife” is a story of altered states of mind: the psychology of a man just before a major operation; an out-of-body experience, in which the disembodied patient sees the surgeon make a fatal mistake; and then a tremendous, headlong, visionary voyage through time and space and spirit… . I think this is one of the most extraordinary stories in this book, and I can’t imagine anyone but this author writing anything remotely like it. It is quintessential Wells.
In “The Crystal Egg,” the medium of vision, the way of seeing the other world, is through a crystal. A familiar idea, with ages of wishful thinking behind it. And the tale with its curiosity-shop setting seems to be of a familiar fantasy type. But when we see what is to be seen through the stone, and realize where it is, we’re reading classic science fiction. Yet, returning to the fantasy element, I cherish the notion that J. R. R. Tolkien may well have read this story, and that in the crystal egg lies the ancestor of the palantir.
“The New Accelerator” is a highly original time-travel story, with many descendants in fiction throughout the twentieth century. The idea of moving really, really fast, so fast nobody could even see you, so fast that time would seem to freeze—did we learn that notion from Wells, or is it something children have always imagined? Certainly Professor Gibberne is Superman’s great-grandfather… . Again, Wells works out with wonderful vividness what the (as far as we know) impossible experience would feel like, look like, sound like—and how it would affect those experiencing it. There are some fine throwaway lines, too. My favorite is “We ceased to smoulder almost at once.”
A SLIP UNDER
THE MICROSCOPE
Outside the laboratory windows was a watery-grey fog, and within a close warmth and the yellow light of the green-shaded gas lamps that stood two to each table down its narrow length. On each table stood a couple of glass jars containing the mangled vestiges of the crayfish, mussels, frogs, and guineapigs upon which the students had been working, and down the side of the room, facing the windows, were shelves bearing bleached dissections of spirits, surmounted by a row of beautifully executed anatomical drawings in whitewood frames and overhanging a row of cubical lockers. All the doors of the laboratory were panelled with blackboard, and on these were the half-erased diagrams of the previous day’s work. The laboratory was empty, save for the demonstrator, who sat near the preparation-room door, and silent, save for a low, continuous murmur, and the clicking of the rocker microtome at which he was working. But scattered about the room were traces of numerous students: hand-bags, polished boxes of instruments, in one place a large drawing covered by newspaper, and in another a prettily bound copy of News from Nowhere, a book oddly at variance with its surroundings. These things had been put down hastily as the students had arrived and hurried at once to secure their seats in the adjacent lecture theatre. Deadened by the closed door, the measured accents of the professor sounded as a featureless muttering.
Presently, faint through the closed windows came the sound of the Oratory clock striking the hour of eleven. The clicking of the microtome ceased, and the demonstrator looked at his watch, rose, thrust his hands into his pockets, and walked slowly down the laboratory towards the lecture theatre door. He stood listening for a moment, and then his eye fell on the little volume by William Morris. He picked it up, glanced at the title, smiled, opened it, looked at the name on the flyleaf, ran the leaves through with his hand, and put it down. Almost immediately the even murmur of the lecturer ceased, there was a sudden burst of pencils rattling on the desks in the lecture theatre, stirring, a scraping of feet, and a number of voices speaking together. Then a firm footfall approached the door, which began to open, and stood ajar as some indistinctly heard question arrested the newcomer.
The demonstrator turned, walked slowly back past the microtome, and left the laboratory by the preparation-room door. As he did so, first one, and then several students carrying notebooks entered the laboratory from the lecture theatre, and distributed themselves among the little tables, or stood in a group about the doorway. They were an exceptionally heterogeneous assembly, for while Oxford and Cambridge still recoil from the blushing prospect of mixed classes, the College of Science anticipated America in the matter years ago— mixed socially too, for the prestige of the College is high, and its scholarships, free of any age limit, dredge deeper even than do those of the Scotch universities. The class numbered one-and-twenty, but some remained in the theatre questioning the professor, copying the blackboard diagrams before they were washed off, or examining the special specimens he had produced to illustrate the day’s teaching. Of the nine who had come into the laboratory three were girls, one of whom, a little fair woman wearing spectacles and dressed in greyish-green, was peering out of the window at the fog, while the other two, both wholesome-looking, plain-faced schoolgirls, unrolled and put on the brown holland aprons they wore while dissecting. Of the men, two went down the laboratory to their places, one a pallid, dark-bearded man, who had once been a tailor; the other a pleasant-featured, ruddy young man of twenty, dressed in a well-fitting brown suit; young Wedderburn, the son of Wedderburn the eye specialist. The others formed a little knot near the theatre door. One of these, a dwarfed, spectacled figure with a hunch back, sat on a bent wood stool; two others, one a short, dark youngster and the other a flaxen-haired, reddishcomplexioned young man, stood leaning side by side against the slate sink, while the fourth stood facing them, and maintained the largest share of the conversation.
This last person was named Hill. He was a sturdily built young fellow, of the same age as Wedderburn; he had a white face, dark grey eyes, hair of an indeterminate colour, and prominent, irregular features. He talked rather louder than was needful, and thrust his hands deeply into his pockets. His collar was frayed and blue with the starch of a careless laundress, his clothes were evidently ready-made, and there was a patch on the side of his boot near the toe. And as he talked or listened to the others, he glanced now and again towards the lecture theatre door. They were discussing the depressing peroration of the lecture they had just heard, the last lecture it was in the introductory course in zoology. “From ovum to ovum is the goal of the higher vertebrata,” the lecturer had said in his melancholy tones, and so had neatly rounded off the sketch of comparative anatomy he had been developing. The spectacled hunchback had repeated it with noisy appreciation, had tossed it towards the fair-haired student with an evident provocation, and had started one of those vague, rambling discussions on generalities so unaccountably dear to the student mind all the world over.
“That is our goal, perhaps—I admit it, as far as science goes,” said the fair-haired student, rising to the challenge. “But there are things above science.”
“Science,” said Hill confidently, “is systematic knowledge. Ideas that don’t come into the system—must anyhow—be loose ideas.” He was not quite sure whether that was a clever saying or a fatuity until his hearers took it seriously.
“The thing I cannot understand,” said the hunchback, at large, “is whether Hill is a materialist or not.”
“There is one thing above matter,” said Hill promptly, feeling he made a better point this time, aware, too, of someone in the doorway behind him, and raising his voice a trifle for her benefit, “and that is, the delusion that there is something above matter.”
“So we have your gospel at last,” said the fair student. “It’s all a delusion, is it? All our aspirations to lead something more than dogs’ lives, all our work for anything beyond ourselves. But see how inconsistent you are. Your socialism, for instance. Why do you trouble about the interests of the race? Why do you concern yourself about the beggar in the gutter? Why are you bothering yourself to lend that book”—he indicated William Morris by a movement of the head—“to everyone in the lab?”
“Girl,” said the hunchback indistinctly, and glanced guiltily over his shoulder.
The girl in brown, with the brown eyes, had come into the laboratory, and stood on the other side of the table behind him, with her rolled-up apron in one hand, looking over her shoulder, listening to the discussion. She did not notice the hunchback, because she was glancing from Hill to his interlocutor. Hill’s consciousness of her presence betrayed itself to her only in his studious ignoring of the fact; but she understood that, and it pleased her. “I see no reason,” said he, “why a man should live like a brute because he knows of nothing beyond matter, and does not expect to exist a hundred years hence.”
“Why shouldn’t he?” said the fair-haired student.
“Why should he?” said Hill.
“What inducement has he?”
“That’s the way with all you religious people. It’s all a business of inducements. Cannot a man seek after righteousness for righteousness’ sake?”
There was a pause. The fair man answered, with a kind of vocal padding, “But—you see—inducement—when I said inducement,” to gain time. And then the hunchback came to his rescue and inserted a question. He was a terrible person in the debating society with his questions, and they invariably took one form—a demand for a definition. “What’s your definition of righteousness?” said the hunchback at this stage.
Hill experienced a sudden loss of complacency at this question, but even as it was asked, relief came in the person of Brooks, the laboratory attendant, who entered by the preparation-room door, carrying a number of freshly killed guineapigs by their hind legs. “This is the last batch of material this session,” said the youngster who had not previously spoken. Brooks advanced up the laboratory, smacking down a couple of guineapigs at each table. The rest of the class, scenting the prey from afar, came crowding in by the lecture theatre door, and the discussion perished abruptly as the students who were not already in their places hurried to them to secure the choice of a specimen. There was a noise of keys rattling on split rings as lockers were opened and dissecting instruments taken out. Hill was already standing by his table, and his box of scalpels was sticking out of his pocket. The girl in brown came a step towards him, and leaning over his table said softly, “Did you see that I returned your book, Mr. Hill?”
During the whole scene she and the book had been vividly present in his consciousness; but he made a clumsy pretence of looking at the book and seeing it for the first time. “Oh yes,” he said, taking it up. “I see. Did you like it?”
“I want to ask you some questions about it—some time.”
“Certainly,” said Hill. “I shall be glad.” He stopped awkwardly. “You liked it?” he said.
“It’s a wonderful book. Only some things I don’t understand.”
Then suddenly the laboratory was hushed by a curious braying noise. It was the demonstrator. He was at the blackboard ready to begin the day’s instruction, and it was his custom to demand silence by a sound midway between the “Er” of common intercourse and the blast of a trumpet. The girl in brown slipped back to her place: it was immediately in front of Hill’s, and Hill, forgetting her forthwith, took a notebook out of the drawer of his table, turned over its leaves hastily, drew a stumpy pencil from his pocket, and prepared to make a copious note of the coming demonstration. For demonstrations and lectures are the sacred text of the College students. Books, saving only the professor’s own, you may—it is even expedient to—ignore.
Hill was the son of a Landport cobbler, and had been hooked by a chance blue paper the authorities had thrown out to the Landport Technical College. He kept himself in London on his allowance of a guinea a week, and found that, with proper care, this also covered his clothing allowance, an occasional waterproof collar, that is; and ink and needles and cotton and such-like necessaries for a man about town. This was his first year and his first session, but the brown old man in Landport had already got himself detested in many public-houses by boasting of his son, “the Professor.” Hill was a vigorous youngster, with a serene contempt for the clergy of all denominations, and a fine ambition to reconstruct the world. He regarded his scholarship as a brilliant opportunity. He had begun to read at seven, and had read steadily whatever came in his way, good or bad, since then. His worldly experience had been limited to the island of Portsea, and acquired chiefly in the wholesale boot factory in which he had worked by day, after passing the seventh standard of the Board school. He had a considerable gift of speech, as the College Debating Society, which met amidst the crushing machines and mine models in the metallurgical theatre downstairs, already recognised—recognised by a violent battering of desks whenever he rose. And he was just at that fine emotional age when life opens at the end of a narrow pass like a broad valley at one’s feet, full of the promise of wonderful discoveries and tremendous achievements. And his own limitations, save that he knew that he knew neither Latin nor French, were all unknown to him.
