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Life & Times
About the Author

When we think of H. G. Wells, we think of ground-breaking science fiction, alien life forms, prophetic man-made contraptions and intergalactic warfare. His was a mind capable not only of imagining things that were literally out of this world, but also of prophesying how mankind’s flaws might turn these apocalyptic visions into everyday reality. Most remarkable of all, it was a mind that had grown from notably ordinary beginnings.

Herbert George Wells was born in 1866 in the London suburb of Bromley, where his father, a part-time professional cricketer, owned an unsuccessful sporting-goods shop. The family struggled financially, particularly after a leg injury terminated Wells’ father’s cricketing career, and at the age of fourteen Herbert had to leave school in order to earn his keep.

For four years, Wells moved from one fruitless apprenticeship to the next, before being offered the lifeline of a return to education. He had developed a love of literature during his youth, but now, thanks to a scholarship to the Royal College of Science in London, he was able to indulge his other passion: biology. One of his teachers there was the eminent anatomist T. H. Huxley, nicknamed ‘Darwin’s Bulldog’ for his outspoken support for Charles Darwin’s controversial theory of evolution. (Perhaps coincidentally, Huxley’s grandson Aldous would also go on to become an acclaimed science-fiction writer.)

Interesting Times

Alongside Huxley’s influence, Wells developed an interest in divisive topics as a member of the student debating society. And, without doubt, he was living in interesting times. By the 1880s, the notorious rigidity of Victorian society was giving way to contentious questions about evolution, religion and equality, and Wells soon became an outspoken critic of the social status quo. He felt society could be better and stronger – essentially, more evolved. He took an early interest in the newly established Fabian Society, a socialist organisation that was subsequently instrumental in founding the British Labour Party, and which included among its members satirical dramatist G. B. Shaw and suffragette Emmeline Pankhurst.

In the early years of the twentieth century, Wells fell out very publicly with the Fabians, accusing them of being an ineffectual ‘drawing-room society’ with ‘scattered members’. He wanted them to take a more gung-ho attitude to social reform, and thereby to rally new members to the cause. They in turn were embarrassed by his unconventional private life: he was twice-married and promiscuous, and had both legitimate and illegitimate children. Wells ultimately left the group in frustration, but in the meantime his mind had been awoken to the possibility that life on earth could quite easily become either immeasurably better or immeasurably worse, visions he elaborated upon in his fictional output during these early years of his political engagement.

Scientific Romance

H. G. Wells’ first book was his 1893 Textbook of Biology, which drew on his time as a science teacher, but just two years later he produced a debut novel that made him a household name and popularised a whole new genre of fiction. The Time Machine (1895) is the story of a scientist who travels to the very distant future, where he discovers that the division between rich and poor that was entrenched in nineteenth-century society has led to mankind splitting into two distinct species. The novel was a thinly veiled warning based on Wells’ political views, but its remarkable claim to fame is that it popularised the concept of ‘time travel’ by ‘time machine’: both terms coined by Wells, and now considered staples of science fiction.

Nineteenth-century literature, propelled in part by the swift technological advances of the Industrial Revolution, had seen a gradual shift from Gothic horror – with its ghost stories and vampires – to novels that dealt with man-made futuristic inventions. Mary Shelley’s Frankenstein (1818) is now considered an early work of science fiction, but the genre came into its own in 1864 with the publication of Jules Verne’s Journey to the Centre of the Earth. Verne dominated the genre for the next two decades, but the 1890s belong firmly to H. G. Wells. Following his success with The Time Machine, Wells published, in quick succession, bestsellers including The Island of Doctor Moreau (1896), The Invisible Man (1897) and The War of the Worlds (1898). Both he and Jules Verne have subsequently been declared ‘The Father of Science Fiction’, even if, in their day, the genre was more commonly known as scientific romance.

Wells’ novels of the 1890s pushed the boundaries of scientific imagination, making fantastical notions such as genetic engineering, invisibility and extraterrestrial life forms seem alarmingly real. The War of the Worlds boasts some of the earliest fictional ‘Martians’ and describes the as-yet-uninvented laser, cornerstones too of modern science fiction. But beneath the surface, these novels continued to present nightmarish visions of a future defined by selfishness, inequality and conflict: qualities Wells hoped humankind might yet do away with.

The Island of Doctor Moreau

While many of Wells’ novels deal in the fantastical or extraterrestrial, the power of The Island of Doctor Moreau lies in its horrible realism. It may be set on an unknown island in the middle of nowhere, but its characters are very much beasts of this world, albeit grotesquely altered by the most beastly character of them all: a scientist hell-bent on fashioning humans out of animals.

Wells’ antihero, the evil genius Doctor Moreau, was not conjured from thin air. At the time of the novel’s publication, vivisection was a highly contentious topic in Britain. A series of laws had come into force during the nineteenth century aimed at regulating animal experimentation and reducing animal cruelty, but campaigners remained dissatisfied – to the extent that, even a decade later, London was gripped by a series of running battles between protesters and medical students over the issue of vivisection.

Meanwhile, inspired in part by the work of Charles Darwin, there was also much intellectual debate about the possibility of human devolution – a slide backwards into brutishness rather than towards perfection – which was fast becoming a subject of particular interest to H. G. Wells. His first novel, The Time Machine, had imagined a future in which mankind had split into two separate but equally despicable species. Now, in a wry nod to his own position as an observer of human degeneration, Wells imbued The Island’s helpless narrator, Edward Prendick, with certain autobiographical details. Upon meeting Dr Moreau, Prendick announces that he ‘had spent some years at the Royal College of Science, and had done some researches in biology under Huxley’.

The great problem for both Prendick and Wells, however, is that human devolution, once seen for what it is, cannot be unseen. Prendick returns to so-called civilisation in ‘well-nigh insupportable’ horror at his fellow men, whom he can no longer view as anything other than animals in temporary disguise. ‘It seemed that I too was not a reasonable creature,’ Prendick mourns, ‘but only an animal tormented with some strange disorder in its brain which sent it to wander alone.’

Paradise Lost

For all the dystopian horror of his most famous novels, Wells was, in his predictions for mankind’s future, an optimist – initially, at least. He felt at heart that humanity was on the brink of something wonderful. His 1901 work Anticipations of the Reaction of Mechanical and Scientific Progress upon Human Life and Thought set out a vision of the future in which warfare was obsolete, nations having synthesised into large peaceful blocs that treated one another with ‘intelligent sympathy’. He predicted that, by the end of the twentieth century, this social revolution would have forever assured ‘the final peace of the world’.

The First World War shook his belief, although Wells remained convinced that the reality of all-out warfare might yet sober mankind into long-term peace. In his Outline of History (1920), he defined human history as ‘more and more a race between education and catastrophe’, but predicted that progress would prevail, be it ‘clumsily or smoothly’.

By the outbreak of the Second World War – which he had predicted with eerie accuracy in his 1933 novel The Shape of Things to Come – Wells was less optimistic. It is apt that his final work, composed in 1945 and foreseeing the collapse and destruction of humanity, was entitled Mind at the End of Its Tether. He felt he had given ample warnings that had gone unheeded. Indeed, reflecting in 1941 on predictions he had made that had come horribly true, Wells suggested that his epitaph should simply read: ‘I told you so. You damned fools.’ When the end came, in 1946, his ashes were scattered at sea.