like gods because we can do things ordinary people cannot do, we run the risk of regarding our neighbors with contempt. Wells transfers the role of outsider, which Romanticism had created for the artist, to the scientist in order to show that the truly innovative force in modern society would derive not from humanists but from those trained in science. The retrograde force in society, as Wells preached throughout his life—the mockery of Greek studies in chapter I (p. 7) of The Time Machine is a gentle harbinger of this notion—is the diligent but useless study of dead languages that have no bearing on modern culture. The gap between scientists and humanists persists in our own age, as evidenced by C.P. Snow’s 1959 pamphlet “The Two Cultures,” which shows scientists to be second-class citizens in a society dominated by humanists.

Wells’s ideas about society and the relationship between the scientist and the community remain constant throughout his career, but his literary style does not. The style of The Time Machine is essayistic: Wells leaves his characters and setting so abstract that there is little chance his readers will feel any genuine affinities or antipathies for them. Even his vocabulary is limited, with the word “incontinent” (in its various forms) repeated so often we begin to wonder if it might be some sort of obsession.

The Invisible Man appeared in 1897, only two years after The Time Machine, but the thirty-three-year-old author had become a vastly different man. In the two years between these two novels, Wells produced a prodigious quantity of work: The Wonderful Visit, Select Conversations with an Uncle, and The Stolen Bacillus in 1895, then The Island of Doctor Moreau and The Wheels of Chance in 1896—three novels and two collections of shorter works. The important change here is Wells’s decision to write other kinds of works and not limit himself to fantasy. The Wheels of Chance capitalizes on the bicycling craze and allows the author to recreate oral speech patterns, especially his own Cockney accent. This would cause reviewers to link him to Charles Dickens (1812-1870), who turned lower-class Londoners into picturesque types.

We see the effect of so much writing experience the moment we open The Invisible Man. Mrs. Hall, the landlady of the Coach and Horses Inn in Iping, where Griffin, the Invisible Man, sets up his makeshift laboratory, comes alive as a human presence when she muses on her nephew’s accident:

There was my sister’s son, Tom, jest cut his arm with a scythe, tumbled on it in the ‘ayfield, and bless me! he was three months tied up, sir. You’d hardly believe it. It’s regular given me a dread of a scythe, sir (p.95).

Mrs. Hall’s comic fretting is only marginally related to the story of the Invisible Man, but her language in its sheer ordinariness renders the fiction much more terrifying. That is, we have the linguistic reality of late-nineteenth-century London invaded by the bizarre: The real world is now Wells’s setting, and he invades it with all the violence of the Martians in The War of the Worlds, which he would publish in 1898. This is one of Wells’s most important innovations: The reader need not be transported to the future or to Dr. Moreau’s island laboratory, where evolution is accelerated by science. Now the fantastic strides through the front door of the reader’s house in the form of the Invisible Man.

This technique of making the real world strange also reappears in Wells’s narrator. Unlike Hillyer, the witness-narrator in The Time Machine, the narrator here shifts ambiguously from being an omniscient third-person narrator in true novelistic style to being a reporter. For example, chapter XI (p.136) begins in an explanatory mode: “Now in order clearly to understand what had happened in the inn, it is necessary to go back to the moment when Mr. Marvel first came into view of Mr. Huxter’s window.” The narrator here is in full command of the facts and uses his knowledge to inform the reader. At other times, the narrator leaves much to our imagination:

The Invisible Man seems to have rushed out of Kemp’s house in a state of blind fury. A little child playing near Kemp’s gateway was violently caught up and thrown aside, so that its ankle was broken, and thereafter for some hours the Invisible Man passed out of human perceptions. No one knows where he went nor what he did. But one can imagine him.... (opening of chapter XXVI, p. 207).

This change of focus reflects the