Collected Essays. Brian Aldiss
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Park, where she worked as housekeeper, he saw something like a perfect garden, a place without stress. And his father had been a gardener.
Here is the descriptive passage from The Time Machine:
After all, the sanitation and the agriculture of today are still in the rudimentary stage. The science of our time has attacked but a little department of the field of human disease, but, even so, it spreads its operations very steadily and persistently. Our agriculture and horticulture destroy a weed just here and there and cultivate perhaps a score or so of wholesome plants, leaving the greater number to fight out a balance as they can. We improve our favourite plants and animals—and how few they are—gradually by selective breeding: now a new and better peach, now a seedless grape, now a sweeter and larger flower, now a more convenient breed of cattle. We improve them gradually, because Nature, too, is shy and slow in our clumsy hands. Some day all this will be better organized, and still better. That is the drift of the current in spite of the eddies. The whole world will be intelligent, educated, and co-operating: things will move faster and faster towards the subjugation of Nature. In the end, wisely and carefully we shall readjust the balance of animal and vegetable life to suit our human needs.
In summary, Wells says, ‘There were no hedges, no signs of proprietary rights, no evidence of agriculture; the whole earth had become a garden.’ It’s clever comment, wedding the evolutionary with the social.
The gardens reappear. Meanwhile, there was all of mankind to be reformed.
The promising thing about mankind, as Wells perceived, is its mutability. Yet that mutability is also perceived as threatening.
If we had prognathous jaws only two million years ago, why not grossly over-developed crania two million years from now? The leopards and the big cats are different. They were plain leopards two million years ago, not a spot different, and will presumably continue to be leopards two million years from now—unless we exterminate them next year. So the big cats in Wells’s books are free not merely in the ordinary sense in which big playful pussies always mean liberty, but in the way they appear to be apart from that dreadful evolutionary machine which so inspired and alarmed Wells.
This link between big cats and freedom appears in one of Wells’s best-known and most poignant short stories, ‘The Door in the Wall’. You recall that when Wallace the narrator was between five and six, that crucial age, he came upon the door somewhere in Kensington—that magical door through which he went to pass into ‘Immortal realities’, and, throughout the rest of his life, was never again able to enter.
Wallace found himself in a garden. ‘You see’, he said, with the doubtful inflection of a man who pauses at incredible things, ‘there were two great panthers there … Yes, spotted panthers. And I was not afraid. There was a long wide path with marble-edged flower borders on either side, and these two huge velvety beasts were playing there with a ball. One looked and came towards me, a little curious as it seemed. It came right up to me, rubbed its soft round ear very gently against the small hand I held out, and purred. It was, I tell you, an enchanted garden.’
Well, there are many enchanted gardens in fantasy writing, just as the symbol of the country house appears over and over in English fiction. None so poignant though as this one of Wells’s. If you wonder why there is no big cat in that first garden, in The Time Machine, well, of course, there is: that enigmatic cat, The Sphinx.
Exactly how Wells felt is stated simply in In the Days of the Comet, when Leadford’s mother is dying. ‘ “Heaven”, she said to me one day. ‘‘Heaven is a garden.” ’
The leopard in Men Like Gods also stands as a sort of sentinel to the magic which is to follow. It is about to allow itself to be stroked, when it sneezes and bounds away, and the cattle don’t stir a muscle as it runs past them. That’s another reversal of the natural order.
Later we learn more about this particular leopard. Like others of its kind, it has sworn off meat. ‘The larger carnivora, combed and cleaned, reduced to a milk dietary, emasculated in spirit, and altogether de-catted, were pets and ornaments in Utopia.’ In this Utopia, so we hear, ‘the dog had given up barking’. Wells was always dubious about dogs. They brought dirt into the house, and disease with the dirt. Perhaps that dreadful late-Victorian London had given him an especial loathing of dogs and horses, whose mess was everywhere to be seen. They certainly aren’t allowed in A Modern Utopia:
It is only reluctantly that I allow myself to be drawn from my secret musings into a discussion of Utopian pets.
I try to explain that a phase in the world’s development is inevitable when a systematic world-wide attempt will be made to destroy for ever a great number of contagious and infectious diseases, and that this will involve, for a time at any rate, a stringent suppression of the free movement of familiar animals. Utopian houses, streets, and drains will be planned to make rats, mice, and such-like house-parasites impossible: the race of cats and dogs—providing as it does, living fastnesses to which such diseases as plague, influenzas, catarrh and the like, can retreat to sally forth again—must pass for a time out of freedom, and the filth made by horses and the other brutes of the highway vanish from the face of the Earth.
No wonder the horsey classes objected to Wells. All the same, there is a whiff of crankiness about his attitude to pets. Science would vote against him now, claiming that pets are good for psychic health, stroking them helps people get over heart attacks, and so on.
Of course, all utopias fear dirt. I’ve yet to read of a utopia where dogs were encouraged. Maybe in dog utopias there are no men.
The utopia in Men Like Gods is also likened to a garden. We read of ‘the weeding and cultivation of the kingdom of nature by mankind’. Nowadays, as in so many other things, we would not trust ourselves with that same confidence to do a good job. The cultivation of Brazilian rainforest into timber is not an encouraging example.
In The Shape of Things to Come we find more gardens, termed ‘enclosures and reservations’, in which specially interesting floras and faunas flourish. ‘Undreamt-of fruits and blossoms may be summoned out of non-existence.’ Here sex is directly linked to big cats. The Puritanical Tyranny, in suppressing sex, thought they had ‘imprisoned a tiger that would otherwise consume all’. It was not so. Under the more relaxed dispensation following the Tyranny, people could now go naked and love as they like—the old Wells aspiration. ‘Instead of a tiger appeared a harmless, quiet, unobtrusive, and not unpleasing pussy-cat, which declined to be any way noticeable.’ As early as The Time Machine, free love-making is a feature of utopia, without emotional attachment.
Sex and big cats. Also sex and childhood. Consider a passing remark in that large rambling volume, The Shape of Things to Come which yokes such matters with the idea of utopia.
One must draw upon the naive materials of one’s own childhood to conceive, however remotely, the status of mind of those rare spirits who looked first towards human brotherhood. One must consider the life of some animal, one’s dog, one’s cheetah or one’s pony, to realize the bounded, definite existence of a human being in the early civilizations.
One’s cheetah indeed!
These strands of sexuality, utopia and escape play a large role in Wells’s work, both before and after that Himalaya in his career. Even ‘one’s cheetah’ turns up again. The Research Magnificent features the peculiar relationship between Mr Benham and a beautiful woman called Amanda, whom he marries. Amanda, to him, is ‘a spotless leopard’, while he, to her, is ‘Cheetah, big beast at heart’. So they address each other. The terms are transposed from real life. In Wells’s long involvement with Rebecca West, she, to him, was ‘Panther’, while he, to her, was ‘Jaguar’. They escaped into an animal world.
Not that there is a one-to-one relationship between the fictitious Amanda and Rebecca West. For after Benham and Amanda are married, he starts staying away from her, to her disgust, and Amanda shrinks into a Jane Wells role. Wells liked his freedom, and it is his voice we hear when Mr Benham says, evasively, to Amanda, ‘We should meet upon our ways as the great carnivores do’. He then proceeds to trot round the world, overlooking