An Englishman Looks at the World Being a Series of Unrestrained Remarks upon Contemporary Matters — Edition Insights

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Wells, H. G. (Herbert George), 1866-1946 Project Gutenberg 2004 Not confirmed
United States -- Social conditions; Social problems; Great Britain -- Social conditions Readers of public-domain and historical texts
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Words 104,566
Reading time 455 min
Text sections 11

This digital edition of An Englishman Looks at the World Being a Series of Unrestrained Remarks upon Contemporary Matters — Edition Insights is described by source-level measurements including 104,566 words, 7 hr 35 min estimated reading time, and 11 detected text sections.

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Wells's 1914 essay collection moves from Blériot's Channel flight to urban planning, socialism, and the novel, using concrete scenes—a telephone call, a garden view, a bookstall find—to anchor broad arguments in specific moments and objects.
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nly sixteen years ago, and it is amusing to recall how cautiously even we out-and-out believers did our prophesying. I was quite a desperate fellow; I said outright that in my lifetime we should see men flying. But I qualified that by repeating that for many years to come it would be an enterprise only for quite fantastic daring and skill. We conjured up stupendous difficulties and risks. I was deeply impressed and greatly discouraged by a paper a distinguished Cambridge mathematician produced to show that a flying machine was bound to pitch fearfully, that as it flew on its pitching _must_ increase until up went its nose, down went its tail, and it fell like a knife. We exaggerated every possibility of instability. We imagined that when the aeroplane wasn't "kicking up ahind and afore" it would be heeling over to the lightest side wind. A sneeze might upset it. We contrasted our poor human equipment with the instinctive balance of a bird, which has had ten million years of evolution by way of a start....

The waterplane in which I soared over Eastbourne this morning with Mr. Grahame-White was as steady as a motor-car running on asphalt.

Then we went on from those anticipations of swaying insecurity to speculations about the psychological and physiological effects of flying. Most people who look down from the top of a cliff or high tower feel some slight qualms of dread, many feel a quite sickening dread. Even if men struggled high into the air, we asked, wouldn't they be smitten up there by such a lonely and reeling dismay as to lose all self-control? And, above all, wouldn't the pitching and tossing make them quite horribly sea-sick?

I have always been a little haunted by that last dread. It gave a little undertow of funk to the mood of lively curiosity with which I got aboard the waterplane this morning--that sort of faint, thin funk that so readily invades one on the verge of any new experience; when one tries one's first dive, for example, or pushes off for the first time down an ice run. I thought I should very probably be sea-sick--or, to be more precise, air-sick; I thought also that I might be very giddy, and that I might get thoroughly cold and uncomfortable None of those things happened.

I am still in a state of amazement at the smooth steadfastness of the motion. There is nothing on earth to compare with that, unless--and that I can't judge--it is an ice yacht travelling on perfect ice. The finest motor-car in the world on the best road would be a joggling, quivering thing beside it.

To begin with, we went out to sea before the wind, and the plane would not readily rise. We went with an undulating movement, leaping with a light splashing pat upon the water, from wave to wave. Then we came about into the wind and rose, and looking over I saw that there were no longer those periodic flashes of white foam. I was flying. And it was as still and steady as dreaming. I watched the widening distance between our floats and the waves. It wasn't by any means a windless day; there was a brisk, fluctuating breeze blowing out of the north over the downs. It seemed hardly to affect our flight at all.

And as for the giddiness of looking down, one does not feel it at all. It is difficult to explain why this should be so, but it is so. I suppose in such matters I am neither exceptionally steady-headed nor is my head exceptionally given to swimming. I can stand on the edge of cliffs of a thousand feet or so and look down, but I can never bring myself right up to the edge nor crane over to look to the very bottom. I should want to lie down to do that. And the other day I was on that Belvedere place at the top of the Rotterdam sky-scraper, a rather high wind was blowing, and one looks down through the chinks between the boards one stands on upon the heads of the people in the streets below; I didn't like it. But this morning I looked directly down on a little fleet of fishing boats over which we passed, and on the crowds assembling on the beach, and on the bathers who stared up at us from the breaking surf, with an entirely agreeable exaltation. And Eastbourne, in the early morning sunshine, had all the brightly detailed littleness of a town viewed from high up on the side of a great mountain.

The collection opens not with a manifesto but with a telephone call: the news of Blériot's Channel crossing interrupts Wells's "ineffectual gymnastics on the lawn." This domestic intrusion sets the pattern for the book—a series of essays that pivot from a particular incident or object into wide-ranging social analysis. The garden, with its view of the Channel and its swaying iris and tamarisk, becomes a recurring vantage point from which Wells observes the world. He notes that the flight arrived "five years before my reckoning," grounding his argument about technological acceleration in a personal miscalculation. This blend of the intimate and the epochal characterizes the volume's method.

The Telephone and the Channel View

The opening essay, "The Coming of Blériot," establishes a structural device Wells uses throughout: a concrete sensory trigger—a ringing telephone, a view of whitecaps—launches a chain of reflection. The telephone's "petulant persistence" and the difficulty of connecting the call mirror the disruptive arrival of aviation itself. Wells then steps outside to see the same wind that hindered Latham, linking his domestic space to the international event. This movement between interior and exterior, between the personal and the public, recurs across the collection. In later essays, a bookstall purchase or a dinner-party conversation serves the same function, grounding abstract debates in tangible encounters.

Objects as Arguments

Wells frequently anchors his arguments in physical objects. In the essay on Chesterton and Belloc, he mentions buying "a pamphlet full of misrepresentation and bad argument against Socialism by an Australian Jew" from a bookstall. This pamphlet becomes a prop for discussing the fragmentation of reform movements. Similarly, the garden view of the Channel in the first essay is not mere scene-setting; it is a spatial marker of England's insularity, soon to be breached by the aeroplane. These objects are not decorative—they are evidence. Wells treats them as material facts that demand interpretation, a method that gives his social criticism a concrete, almost forensic quality.

Movement Between Scales

The essays shift rapidly between the microscopic and the macroscopic. A single flight leads to a reconsideration of warfare, empire, and the pace of invention. A pamphlet on socialism opens into a critique of sectarianism among reformers. Wells moves from the individual—his own miscalculation, Chesterton's personality—to the structural: the "harsh predominance of dull, persistent, energetic, unscrupulous grabbers." This constant zooming in and out creates a dynamic rhythm, but it also risks abruptness. The reader is expected to follow Wells's mental leaps without transitional padding, a feature that rewards attentive reading but can disorient those expecting a linear argument.

The Utopian Thread

Wells repeatedly returns to the idea of utopia, not as a blueprint but as a critical tool. In the essay on Sir Thomas More, he notes that More "happened to be the first man of affairs in England to imitate the 'Republic' of Plato," giving the world the word "Utopian" as an insult. Wells uses this history to frame his own project: he wants a utopia that reconciles "a free and generous style of personal living" with social organisation. He chides Chesterton for offering "purely unhelpful criticism" and sitting on other people's utopias. This thread ties the collection together, suggesting that the diverse topics—flight, labour, divorce, traffic—are all facets of a single question: how to design a society that is both just and livable.

Readers approaching this collection should expect a restless intelligence at work. Wells does not build a systematic treatise; he assembles a series of provocations, each sparked by a specific moment or object. The essays reward those who attend to the concrete details—the telephone, the pamphlet, the garden—as much as to the arguments they introduce. Because the excerpts are incomplete, the full arc of Wells's thinking on any given topic remains unclear, but his method is consistent: start with something seen or heard, then follow where it leads.

I remember how Wells could anchor a whole argument in a single telephone call or a garden view, grounding grand ideas in ordinary things. That patient attention to detail stays with you, much like lingering over the precise, quiet streets of Moscow in The Census in Moscow — A Closer Reading. Both share a tenderness for the particular, a way of seeing worlds within small moments.

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