H G Wells Omnibus, page 698
The sudden return of movement and familiar noises, and our natural anxiety about ourselves (our clothes were still dreadfully hot, and the fronts of the thighs of Gibberne’s white trousers were scorched a drabbish brown), prevented the minute observations I should have liked to make on all these things. Indeed, I really made no observations of any scientific value on that return. The bee, of course, had gone. I looked for that cyclist, but he was already out of sight as we came into the Upper Sandgate Road or hidden from us by traffic; the char-à-banc, however, with its people now all alive and stirring, was clattering along at a spanking pace almost abreast of the nearer church.
We noted, however, that the window-sill on which we had stepped in getting out of the house was slightly singed, and that the impressions of our feet on the gravel of the path were unusually deep.
So it was I had my first experience of the New Accelerator. Practically we had been running about and saying and doing all sorts of things in the space of a second or so of time. We had lived half an hour while the band had played, perhaps, two bars. But the effect it had upon us was that the whole world had stopped for our convenient inspection. Considering all things, and particularly considering our rashness in venturing out of the house, the experience might certainly have been much more disagreeable than it was. It showed, no doubt, that Gibberne has still much to learn before his preparation is a manageable convenience, but its practicability it certainly demonstrated beyond all cavil.
Since that adventure he has been steadily bringing its use under control, and I have several times, and without the slightest bad result, taken measured doses under his direction; though I must confess I have not yet ventured abroad again while under its influence. I may mention, for example, that this story has been written at one sitting and without interruption, except for the nibbling of some chocolate, by its means. I began at 6.25, and my watch is now very nearly at the minute past the half-hour. The convenience of securing a long, uninterrupted spell of work in the midst of a day full of engagements cannot be exaggerated. Gibberne is now working at the quantitative handling of his preparation, with especial reference to its distinctive effects upon different types of constitution. He then hopes to find a Retarder, with which to dilute its present rather excessive potency. The Retarder will, of course, have the reverse effect to the Accelerator; used alone it should enable the patient to spread a few seconds over many hours of ordinary time, and so to maintain an apathetic inaction, a glacier-like absence of alacrity, amidst the most animated or irritating surroundings. The two things together must necessarily work an entire revolution in civilised existence. It is the beginning of our escape from that Time Garment of which Carlyle speaks. While this Accelerator will enable us to concentrate ourselves with tremendous impact upon any moment or occasion that demands our utmost sense and vigour, the Retarder will enable us to pass in passive tranquillity through infinite hardship and tedium. Perhaps I am a little optimistic about the Retarder, which has indeed still to be discovered, but about the Accelerator there is no possible sort of doubt whatever. Its appearance upon the market in a convenient, controllable, and assimilable form is a matter of the next few months. It will be obtainable of all chemists and druggists, in small green bottles, at a high but, considering its extraordinary qualities, by no means excessive price. Gibberne’s Nervous Accelerator it will be called, and he hopes to be able to supply it in three strengths: one in 200, one in 900, and one in 2000, distinguished by yellow, pink, and white labels respectively.
No doubt its use renders a great number of very extraordinary things possible; for, of course, the most remarkable and, possibly, even criminal proceedings may be effected with impunity by thus dodging, as it were, into the interstices of time. Like all potent preparations, it will be liable to abuse. We have, however, discussed this aspect of the question very thoroughly, and we have decided that this is purely a matter of medical jurisprudence and altogether outside our province. We shall manufacture and sell the Accelerator, and as for the consequences—we shall see.
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Food for the mind
The Obliterated Man
H. G. Wells
Published: 1913
Categorie(s): Fiction, Short Stories
Source: http://en.wikisource.org
About Wells:
Herbert George Wells, better known as H. G. Wells, was an English writer best known for such science fiction novels as The Time Machine, The War of the Worlds, The Invisible Man and The Island of Doctor Moreau. He was a prolific writer of both fiction and non-fiction, and produced works in many different genres, including contemporary novels, history, and social commentary. He was also an outspoken socialist. His later works become increasingly political and didactic, and only his early science fiction novels are widely read today. Wells, along with Hugo Gernsback and Jules Verne, is sometimes referred to as “The Father of Science Fiction”. Source: Wikipedia
Also available on Feedbooks Wells: The War of the Worlds (1898)
The Time Machine (1895)
A Modern Utopia (1905)
The Invisible Man (1897)
The Island of Dr. Moreau (1896)
Tales of Space and Time (1900)
The Sleeper Awakes (1910)
The Food of the Gods and How It Came to Earth (1904)
The Story of the Inexperienced Ghost (1902)
The First Men in the Moon (1901)
Copyright: This work is available for countries where copyright is Life+50 or in the USA (published before 1923).
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I was—you shall hear immediately why I am not now—Egbert Craddock Cummins. The name remains. I am still (Heaven help me!) Dramatic Critic to the Fiery Cross. What I shall be in a little while I do not know. I write in great trouble and confusion of mind. I will do what I can to make myself clear in the face of terrible difficulties. You must bear with me a little. When a man is rapidly losing his own identity, he naturally finds a difficulty in expressing himself. I will make it perfectly plain in a minute, when once I get my grip upon the story. Let me see—where am I? I wish I knew. Ah, I have it! Dead self! Egbert Craddock Cummins!
In the past I should have disliked writing anything quite so full of “I” as this story must be. It is full of “I’s” before and behind, like the beast in Revelation—the one with a head like a calf, I am afraid. But my tastes have changed since I became a Dramatic Critic and studied the masters—G.A.S., G.B.S., G.R.S., and the others. Everything has changed since then. At least the story is about myself—so that there is some excuse for me. And it is really not egotism, because, as I say, since those days my identity has undergone an entire alteration.
That past!… I was—in those days—rather a nice fellow, rather shy— taste for grey in my clothes, weedy little moustache, face “interesting,” slight stutter which I had caught in my early life from a schoolfellow. Engaged to a very nice girl, named Delia. Fairly new, she was— cigarettes—liked me because I was human and original. Considered I was like Lamb—on the strength of the stutter, I believe. Father, an eminent authority on postage stamps. She read a great deal in the British Museum. (A perfect pairing ground for literary people, that British Museum—you should read George Egerton and Justin Huntly M’Carthy and Gissing and the rest of them.) We loved in our intellectual way, and shared the brightest hopes. (All gone now.) And her father liked me because I seemed honestly eager to hear about stamps. She had no mother. Indeed, I had the happiest prospects a young man could have. I never went to theatres in those days. My Aunt Charlotte before she died had told me not to.
Then Barnaby, the editor of the Fiery Cross, made me—in spite of my spasmodic efforts to escape—Dramatic Critic. He is a fine, healthy man, Barnaby, with an enormous head of frizzy black hair and a convincing manner, and he caught me on the staircase going to see Wembly. He had been dining, and was more than usually buoyant. “Hullo, Cummins!” he said. “The very man I want!” He caught me by the shoulder or the collar or something, ran me up the little passage, and flung me over the waste-paper basket into the arm-chair in his office. “Pray be seated,” he said, as he did so. Then he ran across the room and came back with some pink and yellow tickets and pushed them into my hand. “Opera Comique,” he said, “Thursday; Friday, the Surrey; Saturday, the Frivolity. That’s all, I think.”
“But—” I began.
“Glad you’re free,” he said, snatching some proofs off the desk and beginning to read.
“I don’t quite understand,” I said.
“Eigh?” he said, at the top of his voice, as though he thought I had gone and was startled at my remark.
“Do you want me to criticise these plays?”
“Do something with ‘em… Did you think it was a treat?”
“But I can’t.”
“Did you call me a fool?”
“Well, I’ve never been to a theatre in my life.”
“Virgin soil.”
“But I don’t know anything about it, you know.”
“That’s just it. New view. No habits. No clichés in stock. Ours is a live paper, not a bag of tricks. None of your clockwork professional journalism in this office. And I can rely on your integrity——”
“But I’ve conscientious scruples——”
He caught me up suddenly and put me outside his door. “Go and talk to Wembly about that,” he said. “He’ll explain.”
As I stood perplexed, he opened the door again, said, “I forgot this,” thrust a fourth ticket into my hand (it was for that night—in twenty minutes’ time) and slammed the door upon me. His expression was quite calm, but I caught his eye.
I hate arguments. I decided that I would take his hint and become (to my own destruction) a Dramatic Critic. I walked slowly down the passage to Wembly. That Barnaby has a remarkable persuasive way. He has made few suggestions during our very pleasant intercourse of four years that he has not ultimately won me round to adopting. It may be, of course, that I am of a yielding disposition; certainly I am too apt to take my colour from my circumstances. It is, indeed, to my unfortunate susceptibility to vivid impressions that all my misfortunes are due. I have already alluded to the slight stammer I had acquired from a schoolfellow in my youth. However, this is a digression… I went home in a cab to dress.
I will not trouble the reader with my thoughts about the first-night audience, strange assembly as it is,—those I reserve for my Memoirs,—nor the humiliating story of how I got lost during the entr’acte in a lot of red plush passages, and saw the third act from the gallery. The only point upon which I wish to lay stress was the remarkable effect of the acting upon me. You must remember I had lived a quiet and retired life, and had never been to the theatre before, and that I am extremely sensitive to vivid impressions. At the risk of repetition I must insist upon these points.
The first effect was a profound amazement, not untinctured by alarm. The phenomenal unnaturalness of acting is a thing discounted in the minds of most people by early visits to the theatre. They get used to the fantastic gestures, the flamboyant emotions, the weird mouthings, melodious snortings, agonising yelps, lip-gnawings, glaring horrors, and other emotional symbolism of the stage. It becomes at last a mere deaf-and-dumb language to them, which they read intelligently pari passu with the hearing of the dialogue. But all this was new to me. The thing was called a modern comedy, the people were supposed to be English and were dressed like fashionable Americans of the current epoch, and I fell into the natural error of supposing that the actors were trying to represent human beings. I looked round on my first-night audience with a kind of wonder, discovered—as all new Dramatic Critics do—that it rested with me to reform the Drama, and, after a supper choked with emotion, went off to the office to write a column, piebald with “new paragraphs” (as all my stuff is—it fills out so) and purple with indignation. Barnaby was delighted.
But I could not sleep that night. I dreamt of actors—actors glaring, actors smiting their chests, actors flinging out a handful of extended fingers, actors smiling bitterly, laughing despairingly, falling hopelessly, dying idiotically. I got up at eleven with a slight headache, read my notice in the Fiery Cross, breakfasted, and went back to my room to shave, (It’s my habit to do so.) Then an odd thing happened. I could not find my razor. Suddenly it occurred to me that I had not unpacked it the day before.
“Ah!” said I, in front of the looking-glass. Then “Hullo!”
Quite involuntarily, when I had thought of my portmanteau, I had flung up the left arm (fingers fully extended) and clutched at my diaphragm with my right hand. I am an acutely self-conscious man at all times. The gesture struck me as absolutely novel for me. I repeated it, for my own satisfaction. “Odd!” Then (rather puzzled) I turned to my portmanteau.
After shaving, my mind reverted to the acting I had seen, and I entertained myself before the cheval glass with some imitations of Jafferay’s more exaggerated gestures. “Really, one might think it a disease,” I said—“Stage-Walkitis!” (There’s many a truth spoken in jest.) Then, if I remember rightly, I went off to see Wembly, and afterwards lunched at the British Museum with Delia. We actually spoke about our prospects, in the light of my new appointment.
But that appointment was the beginning of my downfall. From that day I necessarily became a persistent theatre-goer, and almost insensibly I began to change. The next thing I noticed after the gesture about the razor was to catch myself bowing ineffably when I met Delia, and stooping in an old-fashioned, courtly way over her hand. Directly I caught myself, I straightened myself up and became very uncomfortable. I remember she looked at me curiously. Then, in the office, I found myself doing “nervous business,” fingers on teeth, when Barnaby asked me a question I could not very well answer. Then, in some trifling difference with Delia, I clasped my hand to my brow. And I pranced through my social transactions at times singularly like an actor! I tried not to—no one could be more keenly alive to the arrant absurdity of the histrionic bearing. And I did!
It began to dawn on me what it all meant. The acting, I saw, was too much for my delicately-strung nervous system. I have always, I know, been too amenable to the suggestions of my circumstances. Night after night of concentrated attention to the conventional attitudes and intonation of the English stage was gradually affecting my speech and carriage. I was giving way to the infection of sympathetic imitation. Night after night my plastic nervous system took the print of some new amazing gesture, some new emotional exaggeration—and retained it. A kind of theatrical veneer threatened to plate over and obliterate my private individuality altogether. I saw myself in a kind of vision. Sitting by myself one night, my new self seemed to me to glide, posing and gesticulating, across the room. He clutched his throat, he opened his fingers, he opened his legs in walking like a high-class marionette. He went from attitude to attitude. He might have been clockwork. Directly after this I made an ineffectual attempt to resign my theatrical work. But Barnaby persisted in talking about the Polywhiddle Divorce all the time I was with him, and I could get no opportunity of saying what I wished.
And then Delia’s manner began to change towards me. The ease of our intercourse vanished. I felt she was learning to dislike me. I grinned, and capered, and scowled, and posed at her in a thousand ways, and knew—with what a voiceless agony!—that I did it all the time. I tried to resign again, and Barnaby talked about “X” and “Z” and “Y” in the New Review, and gave me a strong cigar to smoke, and so routed me. And then I walked up the Assyrian Gallery in the manner of Irving to meet Delia, and so precipitated the crisis.
