by Simon Ings
Three days later I recovered consciousness in a hospital. As the memory of that tragic night slowly evolved in my ailing brain I recognized in my attendant Moxon’s confidential workman, Haley. Responding to a look he approached, smiling.
“Tell me about it,” I managed to say, faintly—“all about it.”
“Certainly,” he said; “you were carried unconscious from a burning house—Moxon’s. Nobody knows how you came to be there. You may have to do a little explaining. The origin of the fire is a bit mysterious, too. My own notion is that the house was struck by lightning.”
“And Moxon?”
“Buried yesterday—what was left of him.”
Apparently this reticent person could unfold himself on occasion. When imparting shocking intelligence to the sick he was affable enough. After some moments of the keenest mental suffering I ventured to ask another question:
“Who rescued me?”
“Well, if that interests you—I did.”
“Thank you, Mr. Haley, and may God bless you for it. Did you rescue, also, that charming product of your skill, the automaton chess-player that murdered its inventor?”
The man was silent a long time, looking away from me. Presently he turned and gravely said:
“Do you know that?”
“I do,” I replied; “I saw it done.”
That was many years ago. If asked to-day I should answer less confidently.
(1899)
THE LAND IRONCLADS
H. G. Wells
Herbert George Wells (1866–1946) affected not to care too much about the quality of his writing. “I would rather,” he wrote, “be called a journalist than an artist.” And it was as a far-sighted and trenchant social critic that he made his name. He was a radical, a Darwinist and a socialist, and yet in some ways Wells’s thought was absolutely typical of his time. He held to the rather morbid and pessimistic view of human progress that was typical of writers of the 1890s. (World War 2 finished the job: Mind at the End of Its Tether (1945) decribes a world in which nature is hell-bent on wiping out a wholly alienated mankind.) Joseph Conrad called Wells a “realist of the fantastic”, and it’s Wells’s fusion of magic and speculation with sharp social and personal observation that led him to found the science fiction genre, and become a global influence in the process, four times nominated for the Nobel Prize for literature.
I.
The young lieutenant lay beside the war correspondent and admired the idyllic calm of the enemy’s lines through his field-glass.
“So far as I can see,” he said, at last, “one man.”
“What’s he doing?” asked the war correspondent.
“Field-glass at us,” said the young lieutenant.
“And this is war!”
“No,” said the young lieutenant; “it’s Bloch.”
“The game’s a draw.”
“No! They’ve got to win or else they lose. A draw’s a win for our side.”
They had discussed the political situation fifty times or so, and the war correspondent was weary of it. He stretched out his limbs. “Aaai s’pose it is!” he yawned.
“Flut!”
“What was that?”
“Shot at us.”
The war correspondent shifted to a slightly lower position. “No one shot at him,” he complained.
“I wonder if they think we shall get so bored we shall go home?”
The war correspondent made no reply.
“There’s the harvest, of course…”
They had been there a month. Since the first brisk movements after the declaration of war things had gone slower and slower, until it seemed as though the whole machine of events must have run down. To begin with, they had had almost a scampering time; the invader had come across the frontier on the very dawn of the war in half-a-dozen parallel columns behind a cloud of cyclists and cavalry, with a general air of coming straight on the capital, and the defender horsemen had held him up, and peppered him and forced him to open out to outflank, and had then bolted to the next position in the most approved style, for a couple of days, until in the afternoon, bump! they had the invader against their prepared lines of defense. He did not suffer so much as had been hoped and expected: he was coming on, it seemed with his eyes open, his scouts winded the guns, and down he sat at once without the shadow of an attack and began grubbing trenches for himself, as though he meant to sit down there to the very end of time. He was slow, but much more wary than the world had been led to expect, and he kept convoys tucked in and shielded his slow marching infantry sufficiently well to prevent any heavy adverse scoring.
“But he ought to attack,” the young lieutenant had insisted.
“He’ll attack us at dawn, somewhere along the lines. You’ll get the bayonets coming into the trenches just about when you can see,” the war correspondent had held until a week ago.
The young lieutenant winked when he said that.
When one early morning the men the defenders sent to lie out five hundred yards before the trenches, with a view to the unexpected emptying of magazines into any night attack, gave way to causeless panic and blazed away at nothing for ten minutes, the war correspondent understood the meaning of that wink.
“What would you do if you were the enemy?” said the war correspondent, suddenly.
“If I had men like I’ve got now?”
“Yes.”
“Take those trenches.”
“How?”
“Oh—dodges! Crawl out half-way at night before moonrise and get into touch with the chaps we send out. Blaze at ’em if they tried to shift, and so bag some of ’em in the daylight. Learn that patch of ground by heart, lie all day in squatty holes, and come on nearer next night. There’s a bit over there, lumpy ground, where they could get across to rushing distance—easy. In a night or so. It would be a mere game for our fellows; it’s what they’re made for… Guns? Shrapnel and stuff wouldn’t stop good men who meant business.”
“Why don’t they do that?”
“Their men aren’t brutes enough: that’s the trouble. They’re a crowd of devitalized townsmen, and that’s the truth of the matter’ They’re clerks, they’re factory hands, they’re students, they’re civilized men. They can write, they can talk, they can make and do all sorts of things, but they’re poor amateurs at war. They’ve got no physical staying power, and that’s the whole thing. They’ve never slept in the open one night in their lives; they’ve never drunk anything but the purest water-company water; they’ve never gone short of three meals a day since they left their feeding-bottles. Half their cavalry never cocked leg over horse till it enlisted six months ago. They ride their horses as though they were bicycles—you watch ’em! They’re fools at the game, and they know it. Our boys of fourteen can give their grown men points… Very well——”
The war correspondent mused on his face with his nose between his knuckles.
“If a decent civilization,” he said, “cannot produce better men for war than——”
He stopped with belated politeness.
“I mean——”
“Than our open-air life,” said the young lieutenant, politely.
“Exactly,” said the war correspondent. “Then civilization has to stop.”
“It looks like it,” the young lieutenant admitted.
“Civilization has science, you know,” said the war correspondent. “It invented and it makes the rifles and guns and things you use.”
“Which our nice healthy hunters and stockmen and so on, rowdy-dowdy cowpunchers and negro-whackers, can use ten times better than——What’s that?”
“What?” said the war correspondent, and then seeing his companion busy with his field-glass he produced his own: “Where?” said the war correspondent, sweeping the enemy’s lines.
“It’s nothing,” said the young lieutenant, still looking.
“What’s nothing?”
The young lieutenant put down his glass and pointed. “I thought I saw some
thing there, behind the stems of those trees. Something black. What it was I don’t know.”
The war correspondent tried to get even by intense scrutiny.
“It wasn’t anything,” said the young lieutenant, rolling over to regard the darkling evening sky, and generalized: “There never will be anything any more for ever. Unless——”
The war correspondent looked inquiringly.
“They may get their stomachs wrong, or something—living without proper drains.”
A sound of bugles came from the tents behind. The war correspondent slid backward down the sand and stood up. “Boom!” came from somewhere far away to the left. “Halloa!” he said, hesitated, and crawled back to peer again. “Firing at this time is jolly bad manners.”
The young lieutenant was incommunicative again for a space.
Then he pointed to the distant clump of trees again. “One of our big guns. They were firing at that,” he said.
“The thing that wasn’t anything?”
“Something over there, anyhow.”
Both men were silent, peering through their glasses for a space. “Just when it’s twilight,” the lieutenant complained. He stood up.
“I might stay here a bit,” said the war correspondent.
The lieutenant shook his head. “There is nothing to see,” he apologized, and then went down to where his little squad of sun-brown, loose-limbed men had been yarning in the trench. The war correspondent stood up also, glanced for a moment at the business-like bustle below him, gave perhaps twenty seconds to those enigmatical trees again, then turned his face toward the camp.
He found himself wondering whether his editor would consider the story of how somebody thought he saw something black behind a clump of trees, and how a gun was fired at this illusion by somebody else, too trivial for public consultation.
“It’s the only gleam of a shadow of interest,” said the war correspondent, “for ten whole days.”
“No,” he said, presently; “I’ll write that other article, ‘Is War Played Out?’”
He surveyed the darkling lines in perspective, the tangle of trenches one behind another, one commanding another, which the defender had made ready. The shadows and mists swallowed up their receding contours, and here and there a lantern gleamed, and here and there knots of men were busy about small fires.
“No troops on earth could do it,” he said…
He 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 civilization, 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 civilized soul.
Apt to his thought came a file of 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 full 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, an 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!”
From the red glow among the nearer tents came first one and then half-a-dozen hearty voices, bawling in a drawling unison the words of a particularly sad and sentimental patriotic song.
“Oh, go it!” muttered the war correspondent, bitterly.
II.
It was opposite the trenches called after Hackbone’s Hut that the battle began. There the ground stretched broad and level between the lines, with scarcely shelter for a lizard, and it seemed to the startled, just awakened men who came crowding into the trenches that this was one more proof of that green inexperience of the enemy of which they had heard so much. The war correspondent would not believe his ears at first, and swore that he and the war artist, who, still imperfectly roused, was trying to put on his boots by the light of a match held in his hand, were the victims of a common illusion. Then, after putting his head in a bucket of cold water, his intelligence came back as he towelled. He listened. “Gollys!” he said, “that’s something more than scare firing this time. It’s like ten thousand carts on a bridge of tin.”
There came a sort of enrichment to that steady uproar. “Machine-guns!”
Then, “Guns!”
The artist, with one boot on, thought to look at his watch, and went to it hopping.
“Half an hour from dawn,” he said. “You were right about their attacking, after all…”
The war correspondent came out of the tent, verifying the presence of chocolate in his pocket as he did so. He had to halt for a moment or so until his eyes were toned down to the night a little. “Pitch!” he said. He stood for a space to season his eyes before he felt justified in striking out for a black gap among the adjacent tents. The artist coming out behind him fell over a tent-rope. It was half-past two o’clock in the morning of the darkest night in time, and against a sky of dull black silk the enemy was talking searchlights, a wild jabber of searchlights. “He’s trying to blind our riflemen,” said the war correspondent with a flash, and waited for the artist and then set off with a sort of discreet haste again. “Whoa!” he said, presently. “Ditches!”
They stopped.
“It’s the confounded searchlights,” said the war correspondent.
They saw lanterns going to and fro, near by, and men falling in to march down to the trenches. They were for following them, and then the artist began to feel his night eyes. “If we scramble this,” he said, “and it’s only a drain, there’s a clear run up to the ridge.” And that way they took. Lights came and went in the tents behind, as the men turned out, and ever and again they came to broken ground and staggered and stumbled. But in a little while they drew near the crest. Something that sounded like the impact of a very important railway accident happened in the air above them, and the shrapnel bullets seethed about them like a sudden handful of hail. “Right-ho!” said the war correspondent, and soon they judged they had come to the crest and stood in the midst of a world of great darkness and frantic glares, whose principal fact was sound.
Right and left of them and all about them was the uproar, an army-full of magazine fire, at first chaotic and monstrous and then, eked out by little flashes and gleams and suggestions, taking the beginnings of a shape. It looked to the war correspondent as though the enemy must have attacked in line and with his whole force—in which case he was either being or was already annihilated.
“Dawn and the dead,” he said, with his instinct for headlines. He said this to himself, but afterwards, by means of shouting, he conveyed an idea to the artist.
“They must have meant it for a surprise,” he said.
It was remarkable how the firing kept on. After a time he began to perceive a sort of rhythm in this inferno of noise. It would decline—decline perceptibly, droop towards something that was comparatively a pause—a pause of inquiry. “Aren’t you all dead yet?” this pause seemed to say. The flickering fringe of rifle-flashes would become attenuated and broken, and the whack-bang of the enemy’s big guns two miles away there would come up out of the deeps. Then suddenly, east or west of them, something would startle the rifles to a frantic outbreak again.
The war correspondent taxed his brain for some theory of conflict that would account for this, and was suddenly aware that the artist and he were vividly illuminated. He could see the ridge on which they stood and before them in black outline a file of riflemen hurrying down towards the nearer trenches. It became visible t
hat a light rain was falling, and farther away towards the enemy was a clear space with men—“our men?”—running across it in disorder. He saw one of those men throw up his hands and drop. And something else black and shining loomed up on the edge of the beam-coruscating flashes; and behind it and far away a calm, white eye regarded the world. “Whit, whit, whit,” sang something in the air, and then the artist was running for cover, with the war correspondent behind him. Bang came shrapnel, bursting close at hand as it seemed, and our two men were lying flat in a dip in the ground, and the light and everything had gone again, leaving a vast note of interrogation upon the night.
