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H.G. Wells apparently hated Fritz Lang and Thea von Harbou's science fiction epic, Metropolis (1927), and considered it an attack on science. When he was given control of the production of Things to Come by producer Alexander Korda, he told director William Cameron Menzies that he wanted to make the anti-Metropolis. Whatever Menzies thought of Metropolis, what resulted was something that shared both the visual sophistication and message-heavy narrative clumsiness of the movie that Wells wanted to refute.

This modern world is full of voices ... )
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Things to Come (1936)

"The brotherhood of efficiency. The freemasonry of science."
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I've been reading the Modern Library collection of Selected Stories of H.G. Wells, edited by Ursula K Le Guin. (With an amazingly inappropriate cover.) "The Star" was first published in 1897. It is a disaster story. A planetoid is detected just before it collides with Neptune, causing both bodies to head sunward in a flaming mass ... and directly toward Earth! The viewpoint of the story is omniscient, and it only briefly notes particular points of view, staying the longest with a mathematician who calculates that the Earth will be struck by the object. The description of the destruction wrought on the surface of the Earth by the gravitational forces of the approaching mass are grave and terrible. The denouement describing the aftermath is a brief series of ever remoter observations, with a bit of a satiric sting in the final view.

It's a great story, and I'm guessing it was one of the influences on Homer Eon Flint's "The Planeteer," which tosses in a similar scenario (involving Saturn instead of Neptune) as one part of its perhaps overly-complicated dramatic apparatus. The contrast between the two stories might be an effective example of the difference between scientific romance and science fiction. Wells is dispassionate and philosophical, while Flint's story is character-driven and solution-focused. Wells' story is a far more effective literary construction. Flint's story is perhaps aimed at a different social class entirely -- one that doesn't care so much about literary values.
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Reading H.G. Wells, you quickly realize why he is one of the most famous and respected science fiction writers of all time. He's very good, and brimming with subtle observations, droll wit, and exuberant humor. I have just read a scene in The First Men in the Moon (1901) in which Bedford and Cavor, lost and starving on the surface of the moon, try the local fungus and start tripping: "Then our blood began to run warmer, and we tingled at the lips and fingers, and then new and slightly irrelevant ideas came bubbling up in our minds."

There follows a hilariously idiotic "argument" between the two about the discovery and colonization of the moon in which Wells gets in several smart cracks at imperialism (including a mention of the White Man's Burden, which had just been published in 1899), and then comes a slapstick episode in which they are spotted for the first time by the Selenites (the insectoid lunar aliens), causing the deranged Cavor to make a furious running leap at them. "He leapt badly; he made a series of somersaults in the air, whirled right over them, and vanished with an enormous splash amidst the cactus bladders. What the Selenites made of this amazing, and to my mind undignified, irruption from another planet, I have no means of guessing."

The notion of first contact with the aliens while under the influence of mushrooms seems to be torn from a New Wave story of the 1960s. The grinning way in which Wells plays with the perception of unreal reality is damned literate. He's really very good.

Update: Corrected "lost and starving on the surface of the mood," although that's a pretty interesting typo!
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Imagine it! Imagine that dawn! The resurrection of the frozen air, the stirring and quickening of the soil, and then this silent uprising of vegetation, this unearthly ascent of fleshliness and spikes. Conceive it all lit by a blaze that would make the intensest sunlight of earth seem watery and weak. And still amidst this stirring jungle wherever there was shadow lingered banks of bluish snow. And to have the picture of our impression complete you must bear in mind that we saw it all through a thick bent glass, distorting it as things are distorted by a lens, acute only in the centre of the picture and very bright there, and towards the edges magnified and unreal.

-- H.G. Wells, The First Men in the Moon (1901)
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H.G. Wells' short story "The Land Ironclads" is famous for "predicting" the tank (cough, ahem). However, what strikes me about it is the characterization of the two sides of the war, which seem to be two different classes, although they are referred to as townsmen and, uh, people who live in the open air. Very strange. Who are these open air people who oppose the townsmen and their civilisation? Here's some description:

[The war correspondent] was depressed. He believed that there were other things in life better worth having than proficiency in war; he believed that in the heart of civilisation, for all its stresses, its crushing concentrations of forces, its injustice and suffering, there lay something that might be the hope of the world; and the idea that any people, by living in the open air, hunting perpetually, losing touch with books and art and all the things that intensify life, might hope to resist and break that great development to the end of time, jarred on his civilised soul.

Apt to this thought came a file of the defender soldiers, and passed him in the gleam of a swinging lamp that marked the way.

He glanced at their red-lit faces, and one shone out for a moment, a common type of face in the defender's ranks: ill-shaped nose, sensuous lips, bright clear eyes of alert cunning, slouch hat cocked on one side and adorned with the peacock's plume of the rustic Don Juan turned soldier, a hard brown skin, a sinewy frame, and open, tireless stride, and a master's grip on the rifle."

The war correspondent returned their salutations and went on his way.

"Louts," he whispered. "Cunning, elementary louts. And they are going to beat the townsmen at the game of war!"


But who are these people? They are opposed to city folk, so I suppose they are country folk, but it's quite a caricature. Ill-shaped nose and sensuous lips? Bertie, what are you on about? I thought city folk were the ones with sensuous lips!
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He was a young man, healthy enough but by no means sun-tanned, and of a type of feature and expression that prevails in His Majesty's Navy: alert, intelligent, quiet. He and his engineers and riflemen all went about their work, calm and reasonable men. They had none of that flapping strenuousness of the half-wit in a hurry, that excessive strain upon the blood-vessels, that hysteria of effort which is so frequently regarded as the proper state of mind for heroic deeds.

For the enemy these young engineers were defeating they felt a certain qualified pity and a quite unqualified contempt. They regarded these big, healthy men they were shooting down precisely as these same big, healthy men might regard some inferior kind of nigger. They despised them for making war; despised their bawling patriotisms and their emotionality profoundly; despised them, above all, for the petty cunning and the almost brutish want of imagination their method of fighting displayed. "If they
must make war," these young ment thought, "why in thunder don't they do it like sensible men?" They resented the assumption that their own side was too stupid to do anything more than play their enemy's game, that they were going to play this costly folly according to the rules of unimaginative men. They resented being forced to the trouble of making man-killing machinery; resented the alternative of having to massacre these people or endure their truculent yappings, resented the whole unfathomable imbecility of war.

Meanwhile, with something of the mechanical precision of a good clerk posting a ledger, the riflemen moved their knobs and pressed their buttons ...


--H.G. Wells, "The Land Ironclads" (1904)

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