A Modern Utopia
A Modern Utopia
A Modern Utopia
H. G. Wells
Published: 1905
Categorie(s): Fiction, Non-Fiction, Human Science, Philosophy, Science Fiction
Source: http://www.gutenberg.org/etext/6424
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:
T here are works, and this is one of them, that are best
begun with a portrait of the author. And here, indeed,
because of a very natural misunderstanding this is the only
course to take. Throughout these papers sounds a note, a
distinctive and personal note, a note that tends at times
towards stridency; and all that is not, as these words are, in
Italics, is in one Voice. Now, this Voice, and this is the
peculiarity of the matter, is not to be taken as the Voice of the
ostensible author who fathers these pages. You have to clear
your mind of any preconceptions in that respect. The Owner of
the Voice you must figure to yourself as a whitish plump man,
a little under the middle size and age, with such blue eyes as
many Irishmen have, and agile in his movements and with a
slight tonsorial baldness—a penny might cover it—of the
crown. His front is convex. He droops at times like most of us,
but for the greater part he bears himself as valiantly as a
sparrow. Occasionally his hand flies out with a fluttering
gesture of illustration. And his Voice (which is our medium
henceforth) is an unattractive tenor that becomes at times
aggressive. Him you must imagine as sitting at a table reading
a manuscript about Utopias, a manuscript he holds in two
hands that are just a little fat at the wrist. The curtain rises
upon him so. But afterwards, if the devices of this declining art
of literature prevail, you will go with him through curious and
interesting experiences. Yet, ever and again, you will find him
back at that little table, the manuscript in his hand, and the
expansion of his ratiocinations about Utopia conscientiously
resumed. The entertainment before you is neither the set
drama of the work of fiction you are accustomed to read, nor
the set lecturing of the essay you are accustomed to evade, but
a hybrid of these two. If you figure this owner of the Voice as
sitting, a little nervously, a little modestly, on a stage, with
table, glass of water and all complete, and myself as the
intrusive chairman insisting with a bland ruthlessness upon
his “few words” of introduction before he recedes into the
wings, and if furthermore you figure a sheet behind our friend
on which moving pictures intermittently appear, and if finally
you suppose his subject to be the story of the adventure of his
soul among Utopian inquiries, you will be prepared for some
at least of the difficulties of this unworthy but unusual work.
But over against this writer here presented, there is also
another earthly person in the book, who gathers himself
together into a distinct personality only after a preliminary
complication with the reader. This person is spoken of as the
botanist, and he is a leaner, rather taller, graver and much less
garrulous man. His face is weakly handsome and done in
tones of grey, he is fairish and grey-eyed, and you would
suspect him of dyspepsia. It is a justifiable suspicion. Men of
this type, the chairman remarks with a sudden intrusion of
exposition, are romantic with a shadow of meanness, they seek
at once to conceal and shape their sensuous cravings beneath
egregious sentimentalities, they get into mighty tangles and
troubles with women, and he has had his troubles. You will
hear of them, for that is the quality of his type. He gets no
personal expression in this book, the Voice is always that
other’s, but you gather much of the matter and something of
the manner of his interpolations from the asides and the tenour
of the Voice.
So much by way of portraiture is necessary to present the
explorers of the Modern Utopia, which will unfold itself as a
background to these two enquiring figures. The image of a
cinematograph entertainment is the one to grasp. There will be
an effect of these two people going to and fro in front of the
circle of a rather defective lantern, which sometimes jams and
sometimes gets out of focus, but which does occasionally
succeed in displaying on a screen a momentary moving picture
of Utopian conditions. Occasionally the picture goes out
altogether, the Voice argues and argues, and the footlights
return, and then you find yourself listening again to the rather
too plump little man at his table laboriously enunciating
propositions, upon whom the curtain rises now.
Chapter
Topographical
1
1.
A fter we have paid for our lunch in the little inn that
corresponds to Wassen, the botanist and I would no
doubt spend the rest of the forenoon in the discussion of
various aspects and possibilities of Utopian labour laws. We
should examine our remaining change, copper coins of an
appearance ornamental rather than reassuring, and we should
decide that after what we had gathered from the man with the
blond hair, it would, on the whole, be advisable to come to the
point with the labour question forthwith. At last we should
draw the deep breath of resolution and arise and ask for the
Public Office. We should know by this time that the labour
bureau sheltered with the post-office and other public services
in one building.
The public office of Utopia would of course contain a few
surprises for two men from terrestrial England. You imagine
us entering, the botanist lagging a little behind me, and my
first attempts to be offhand and commonplace in a demand for
work.
The office is in charge of a quick-eyed little woman of six
and thirty perhaps, and she regards us with a certain keenness
of scrutiny.
“Where are your papers?” she asks.
I think for a moment of the documents in my pocket, my
passport chequered with visas and addressed in my
commendation and in the name of her late Majesty by We,
Robert Arthur Talbot Gascoigne Cecil, Marquess of Salisbury,
Earl of Salisbury, Viscount Cranborne, Baron Cecil, and so
forth, to all whom it may concern, my Carte d’Identité (useful
on minor occasions) of the Touring Club de France, my green
ticket to the Reading Room of the British Museum, and my
Lettre d’Indication from the London and County Bank. A
foolish humour prompts me to unfold all these, hand them to
her and take the consequences, but I resist.
“Lost,” I say, briefly.
“Both lost?” she asks, looking at my friend.
“Both,” I answer.
“How?”
I astonish myself by the readiness of my answer.
“I fell down a snow slope and they came out of my pocket.”
“And exactly the same thing happened to both of you?”
“No. He’d given me his to put with my own.” She raised her
eyebrows. “His pocket is defective,” I add, a little hastily.
Her manners are too Utopian for her to follow that up. She
seems to reflect on procedure.
“What are your numbers?” she asks, abruptly.
A vision of that confounded visitors’ book at the inn above
comes into my mind. “Let me see,” I say, and pat my forehead
and reflect, refraining from the official eye before me. “Let me
see.”
“What is yours?” she asks the botanist.
“A. B.,” he says, slowly, “little a, nine four seven, I
think―”
“Don’t you know?”
“Not exactly,” says the botanist, very agreeably. “No.”
“Do you mean to say neither of you know your own
numbers?” says the little post-mistress, with a rising note.
“Yes,” I say, with an engaging smile and trying to keep up a
good social tone. “It’s queer, isn’t it? We’ve both forgotten.”
“You’re joking,” she suggests.
“Well,” I temporise.
“I suppose you’ve got your thumbs?”
“The fact is―” I say and hesitate. “We’ve got our thumbs,
of course.”
“Then I shall have to send a thumb-print down to the office
and get your number from that. But are you sure you haven’t
your papers or numbers? It’s very queer.”
We admit rather sheepishly that it’s queer, and question one
another silently.
She turns thoughtfully for the thumb-marking slab, and as
she does so, a man enters the office. At the sight of him she
asks with a note of relief, “What am I to do, sir, here?”
He looks from her to us gravely, and his eye lights to
curiosity at our dress. “What is the matter, madam?” he asks,
in a courteous voice.
She explains.
So far the impression we have had of our Utopia is one of a
quite unearthly sanity, of good management and
comprehensive design in every material thing, and it has
seemed to us a little incongruous that all the Utopians we have
talked to, our host of last night, the post-mistress and our
garrulous tramp, have been of the most commonplace type.
But suddenly there looks out from this man’s pose and regard
a different quality, a quality altogether nearer that of the
beautiful tramway and of the gracious order of the mountain
houses. He is a well-built man of perhaps five and thirty, with
the easy movement that comes with perfect physical condition,
his face is clean shaven and shows the firm mouth of a
disciplined man, and his grey eyes are clear and steady. His
legs are clad in some woven stuff deep-red in colour, and over
this he wears a white shirt fitting pretty closely, and with a
woven purple hem. His general effect reminds me somehow of
the Knights Templars. On his head is a cap of thin leather and
still thinner steel, and with the vestiges of ear-guards—rather
like an attenuated version of the caps that were worn by
Cromwell’s Ironsides.
He looks at us and we interpolate a word or so as she
explains and feel a good deal of embarrassment at the foolish
position we have made for ourselves. I determine to cut my
way out of this entanglement before it complicates itself
further.
“The fact is―” I say.
“Yes?” he says, with a faint smile.
“We’ve perhaps been disingenuous. Our position is so
entirely exceptional, so difficult to explain―”
“What have you been doing?”
“No,” I say, with decision; “it can’t be explained like that.”
He looks down at his feet. “Go on,” he says.
I try to give the thing a quiet, matter-of-fact air. “You see,” I
say, in the tone one adopts for really lucid explanations, “we
come from another world. Consequently, whatever thumb-
mark registration or numbering you have in this planet doesn’t
apply to us, and we don’t know our numbers because we
haven’t got any. We are really, you know, explorers,
strangers―”
“But what world do you mean?”
“It’s a different planet—a long way away. Practically at an
infinite distance.”
He looks up in my face with the patient expression of a man
who listens to nonsense.
“I know it sounds impossible,” I say, “but here is the simple
fact—we appear in your world. We appeared suddenly upon
the neck of Lucendro—the Passo Lucendro—yesterday
afternoon, and I defy you to discover the faintest trace of us
before that time. Down we marched into the San Gotthard road
and here we are! That’s our fact. And as for papers―! Where
in your world have you seen papers like this?”
I produce my pocket-book, extract my passport, and present
it to him.
His expression has changed. He takes the document and
examines it, turns it over, looks at me, and smiles that faint
smile of his again.
“Have some more,” I say, and proffer the card of the T.C.F.
I follow up that blow with my green British Museum ticket,
as tattered as a flag in a knight’s chapel.
“You’ll get found out,” he says, with my documents in his
hand. “You’ve got your thumbs. You’ll be measured. They’ll
refer to the central registers, and there you’ll be!”
“That’s just it,” I say, “we sha’n’t be.”
He reflects. “It’s a queer sort of joke for you two men to
play,” he decides, handing me back my documents.
“It’s no joke at all,” I say, replacing them in my pocket-
book.
The post-mistress intervenes. “What would you advise me
to do?”
“No money?” he asks.
“No.”
He makes some suggestions. “Frankly,” he says, “I think
you have escaped from some island. How you got so far as
here I can’t imagine, or what you think you’ll do… . But
anyhow, there’s the stuff for your thumbs.”
He points to the thumb-marking apparatus and turns to
attend to his own business.
Presently we emerge from the office in a state between
discomfiture and amusement, each with a tramway ticket for
Lucerne in his hand and with sufficient money to pay our
expenses until the morrow. We are to go to Lucerne because
there there is a demand for comparatively unskilled labour in
carving wood, which seems to us a sort of work within our
range and a sort that will not compel our separation.
6.
“We have that here. All good earthly things are in Utopia
also. We put that in the Canon almost as soon as he died,” said
my double.
5.