Realism and Utopianism in Hegel's Political Thought

Total Page:16

File Type:pdf, Size:1020Kb

Realism and Utopianism in Hegel's Political Thought Working Paper Series Papers available in the Working Paper Series are works in progress. Please do not cite without permission. Any comments should be addressed directly to the author Reference WP006 Title Realism and Utopianism in Hegel’s Political Thought: National Sovereignty, International Relations and the Idea of a ‘World State’ Author Tony Burns Email: [email protected] Tony Burns Centre for the Study of Social and Global Justice School of Politics & International Relations University of Nottingham Realism and Utopianism in Hegel’s Political Thought: National Sovereignty, International Relations and the Idea of a ‘World State’ Introduction W. Warren Wagar, in a work devoted to H. G. Wells’s views on the idea of a ‘world state,’ has claimed that ‘Wells always considered Hegel a humbug, and Hegelianism a past-time for wool gathering dons.’1 This suggests that Wells’s attitude towards the philosophy of Hegel is one of contemptuous dismissal. The implication is that Wells owed very little to Hegel as a source for his own philosophical beliefs. At least he claimed not to do so. It is not clear to me, however, how seriously this claim is to be taken. After all, the title of one of Wells’s works is Science and the World Mind (1942) and Wells did undertake what might be considered to be essentially an ‘Hegelian’ project, the writing of a brief excursus into world history.’ With the title A Short History of the World (1922). Moreover, there is a distinct ‘Hegelian’ tone to what Wells says about the emerging ‘world state’ in his (1902) Anticipations.2 And there is also the way in which Wells’s employs the philosophical categories of ‘universal’ and ‘particular’ in his A Modern Utopia.3 If it were carried out comprehensively this would be a major project, as there are a number of issues which would need to be discussed. In order to make things more manageable I shall focus on Hegel’s views on world history, and the idea of the ‘end of history.’ This discussion will lead to an examination of the idea of a ‘world state,’ the precursor to that of H. G. Wells, an interest in which, as in the case of the idea of ‘cosmopolitanism,’ has been the subject of a revival of late, largely as a consequence of the phenomenon of ‘globalization.’ The structure of the argument is as follows. In Section I shall discuss utopianism and realism in Hegel’s political thought, in connection with what might be referred to as ‘domestic’ or ‘national’ affairs. In Section 2 I shall do the same thing in connection with questions of international relations. Whether one is talking about national or international politics, in both cases there are arguments for and against associating Hegel with both ‘realism’ and ‘utopianism.’ Sections 1 and 2 will, therefore, be structured accordingly. In Section 3 I relate a discussion of Hegel’s views on international relations in particular to the recent debate between ‘communitarians’ and ‘cosmopolitans’ within the discipline of political theory. I suggest that this debate is connected to the parallel debate between the advocates of the ‘realist’ and ‘utopian’ readings of Hegel. I argue that one possible way of reading what Hegel has to say about international relations in the final sections of his Philosophy of Right, would be to think of him as being neither a ‘strong’ cosmopolitan thinker, that is to say, in the present context, someone who would have been sympathetic to the idea of a ‘world state,’ nor on the other hand a strong ‘communitarian’ thinker, but rather as attempting to steer a via media between these two opposed extremes. This way of thinking suggests that the ‘logic’ of Hegel’s argument in the Philosophy of Right, if it is developed in a slightly different way from the way in which Hegel himself develops it, leads to the view that some kind of higher political community might be thought of as being brought into existence at the global level by the onward march of world history. The component elements of this political community would be individual nation-states. The framework of international relations which would exist between these states might be characterized as a condition of peace rather than a Hobbesian condition of war. However the idea of such a global political community falls far short of a commitment to the idea of a ‘world state’ in the sense in which H. G. Wells uses the term, that is to say a situation in which individual nation states, and national sovereignty, have disappeared altogether. I do not think that such a reading of the final sections of the Philosophy of Right could be plausibly be presented as an interpretation of Hegel’s own views. They are, rather, an appropriation of some of them. 4 It would, however, be legitimate to claim that they are in some sense ‘Hegelian’ in spirit. Section 1 Hegel and National Politics 1.1 Hegel as a ‘Realist’ Critic of Utopianism Argument 1: The Inherent Conservatism of Hegel’s Political Thought Let us begin by considering the evidence that Hegel was a ‘realist’ who rejected all forms of political ‘utopianism’ focusing specifically on the arena if national politics. On this reading, as is indicated by the Preface to the Philosophy of Right, Hegel had nothing but contempt for ‘utopian’ theorizing, which he considered to be ‘other worldly’ and ‘unhistorical.’ He did not consider his own ideas to be ‘utopian’ at all, in any sense. As Hegel puts it: 1 • ‘This book, then, containing as it does the science of the state, is to be nothing other than the endeavour to apprehend and portray the state as something inherently rational. As a work of philosophy, it must be poles apart from an attempt to construe a state as it ought to be.’5 • ‘It is just this placing of philosophy in the actual world which meets with misunderstandings, and so I revert to what I have said before, namely that, since philosophy is the exploration of the rational, it is for that very reason the apprehension of the present and the actual, not the erection of a beyond, supposed to exist, God knows where, or rather, which exists, and we can perfectly well say where, namely in the error of a one-sided, empty, ratiocination.’6 See also the following, similar passages from Hegel’s Science of Logic: • ‘Kant regards the Idea as a necessity and as the goal which, as the archetype, it must be our endeavour to set up for a maximum and to which we must strive to bring the condition of the actual world ever nearer.’7 • ‘But having reached the result that the Idea is the unity of the Notion and objectivity, is the true, it must not be regarded merely as a goal to which we have to approximate but which itself always remains a kind of beyond; on the contrary, we must recognise that everything actual is only in so far as it possesses the Idea and expresses it. It is not merely that the object, the objective and subjective world in general, ought to be congruous with the Idea, but they are themselves the congruence of Notion and reality; the reality that does not correspond to the Notion is mere Appearance, the subjective, contingent, capricious element that is not the truth.’8 • ‘When it is said that no object is to be found in experience that is perfectly congruous with the Idea, one is opposing the Idea as a subjective standard to the actual; but what anything actual is supposed in truth to be, if its Notion is not in it and if its objectivity docs not correspond to its Notion at all, it is impossible to say; for it would be nothing.’9 • ‘But if an object, for example the state, did not correspond at all to its Idea, that is, if in fact it was not the Idea of the state at all, if its reality, which is the self-conscious individuals, did not correspond at all to the Notion, its soul and its body would have parted; the former would escape into the solitary regions of thought, the latter would have broken up into the single individualities.’10 Hegel was critical of the ‘abstract rationalism’ which is usually associated with both the (liberal) political thought of the Enlightenment and with utopianism, a style of thinking which, as is clear from the passages above, he associates with the philosophy of Kant. He associated this attitude of mind with a tendency towards ‘civil disobedience’ on the part of individuals, who often appeal to ‘conscience’ or the ‘laws of reason’ as a higher court, or higher law, than that of the laws of the society in which they live. 11 A parallel tendency towards political ‘radicalism’ and a willingness to use violence as a means for achieving political ends: especially in the case of the Jacobins in France: such an attitude led to ‘the terror’ of 1793. Hegel’s views on this subject are similar to those of Edmund Burke.12 This amounts to saying that, again like Burke (and Montesquieu) Hegel had a strong sense of history, and of the importance of historical context when discussing political affairs. He was a ‘constitutionalist’ in the historical sense which is usually associated with Burke and traditional conservatism, rather than in the liberal, individualist sense which is associated with, for example, Tom Paine, or the French Revolutionaries, or Kant.13 Hegel attaches importance to history, both at the ‘local’/’national level and at the ‘global’ level, or the level of ‘world history.’ So far as the latter is concerned, the ‘historical reason’ which Hegel associates with ‘world history’ is one which does not call for the overthrow or complete destruction of existing constitutions.
Recommended publications
  • Download Course Outline in PDF Format
    POLS 3040.6 Modern Political Thought 2010/11 Course Website: http://moodle10.yorku.ca You will need your Passport York to sign in, then you will be directed to POLS 3040.6 course website. Class Time: Wednesday 11:30-14:30 Class Location: TEL 1005 Professor: Shannon Bell Office Location: S 634 Ross E-mail: [email protected] Website: www.arts.yorku.ca/politics/shanbell/index.html Telephone Office: 416 2100 ext. 22552 Office Hours: Tues 15:00-17:00 Mobile: 416 822 6831 Wed 15:00-17:00 Course Description POLS 3040.6 Modern Political Thought meshes political theory with digital imagery. The course operationalizes Gilles Deleuze claim that philosophical concepts are like sounds, images and colors. This will be accomplished through digital image/sound production of theoretical concepts. Film images, which I have videoed will accompany each lecture. Course requirements include two short film productions relating to a theoretical concept; the films accompany the two essays. I have scheduled extra office hours to assist with the film aspect of the course which is 15% of the grade. It is assumed that people do not have any film experience. The idea is to transpose Martin Heidegger’s claim regarding technology, ‘that you can’t think technology technologically,’ to the techne of political thought. The argument is that you can’t think political theory simply with language, that is, inside the sayable in which it is produced. Heidegger contended that the site from which to think technology is art. POLS 3040 uses visual images to supplement and enhance philosophical concepts.
    [Show full text]
  • Hegel's Introduction to Aesthetics
    Hegel’s Introduction to Aesthetics 1 Karsten Harries Hegel's Introduction to Aesthetics Fall Semester 2009 Yale University Copyright Karsten Harries Hegel’s Introduction to Aesthetics 2 Contents 1. Introduction: Hegel on the Death of Art 3 2. Danto on the End of Art 15 3. Art and Nature 37 4. Art and Theory 50 5. Towards a Science of Art 60 6. The Work of Art as an Artifact 78 7. The Sensuousness of Art 85 8. Art and Imitation 96 9. Why Art in a Needy Age? 104 10. Hegel and his Predecessors 119 11. Irony 128 12. The Division of the Arts 137 13. Conclusion: The History and End of Art 148 Hegel’s Introduction to Aesthetics 3 1. Introduction: Hegel on the Death of Art 1 In the Spring semester of 2008 I taught, for the last time, a seminar on Heidegger's The Origin of the Work of Art. A reworked version of my class notes has just been published as a book by Springer.1 In my mind that seminar and this seminar on Hegel, while they do not depend on each other, belong together. What joins them is most fundamentally the question of the place of art in the modern world. Both seminars are part of an attempt to work out in more detail the concluding chapter of my The Ethical Function of Architecture,2 which confronts Hegel with Heidegger. What is at issue in this confrontation is hinted at by some remarks Heidegger makes in the Epilogue to The Origin of the Work of Art.
    [Show full text]
  • Inhuman Power: Infrastructural Modernism and the Fiction of Social Form
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Inhuman Power: Infrastructural Modernism And The Fiction Of Social Form Natalie Amleshi University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Modern Literature Commons, and the Other History Commons Recommended Citation Amleshi, Natalie, "Inhuman Power: Infrastructural Modernism And The Fiction Of Social Form" (2019). Publicly Accessible Penn Dissertations. 3442. https://repository.upenn.edu/edissertations/3442 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3442 For more information, please contact [email protected]. Inhuman Power: Infrastructural Modernism And The Fiction Of Social Form Abstract E.M. Forster’s imperative to “only connect” has long been read as modernist slogan for the rarefied depth of authentic interpersonal intimacy. Reframing the historical co-emergence of literary modernism and modern social science, this project tells a different story—not of connections between exceptional humans, but of connections between persons and environments. The prevailing canons of modernism have not yet grasped the internal complexity of early-twentieth-century debates regarding the interdependence of human and nonhuman agency. Early-twentieth-century sociologists like Émile Durkheim grounded both the autonomy of human culture and the disciplinary authority of sociology on the premise of species exceptionalism—the independence
    [Show full text]
  • HG Wells and Dystopian Science Fiction by Gareth Davies-Morris
    The Sleeper Stories: H. G. Wells and Dystopian Science Fiction by Gareth Davies-Morris • Project (book) timeline, Fall 2017 • Wells biography • Definitions: SF, structuralism, dystopia • “Days to Come” (models phys. opps.) • “Dream of Arm.” (models int. opps.) • When the Sleeper Wakes • Intertextuality: Sleeper vs. Zemiatin’s We • Chapter excerpt Herbert George Wells (1866-1946) The legendary Frank R. Paul rendered several H. G. Wells narratives as covers for Hugo Gernsback’s influential pulp magazine Amazing Stories, which reprinted many of Wells’s early SF works. Clockwise from top: “The Crystal Egg” (1926), “In the Abyss” (1926), The War of the Worlds (1927), and When the Sleeper Wakes (1928) Frank R. Paul, cover paintings for Amazing Stories, 1926-1928. “Socialism & the Irrational” -- Wells-Shaw Conference, London School of Economics Fall 2017 Keynote: Michael Cox Sci-Fi artwork exhibit at the Royal Albert Hall! Fabian stained -glass window in LSE “Pray devoutly, hammer stoutly” Gareth with Professor Patrick Parrinder of England’s U. of Reading • Studied at the Normal School (now Imperial College London) with T.H. Huxley. • Schoolteacher, minor journalist until publication of The Time Machine (1895). • By 1910, known worldwide for his “scientific romances” and sociological forecasting. • By the 1920s, syndicated journalist moving in the highest social circles in England and USA. • Met Lenin, Stalin, and several US Presidents. • Outline of History (1920) a massive best-seller. • World State his philosophical goal; Sankey Declaration/UN
    [Show full text]
  • Marx and Art: Use, Value, Poetry
    CONTINENTAL THOUGHT & THEORY: A JOURNAL OF INTELLECTUAL FREEDOM Marx and Art: Use, Value, Poetry Volume 1 | Issue 4: 150 years of Capital 587-615 | ISSN: 2463-333X Marx and Art: Use, Value, Poetry Ali Alizadeh Abstract: Despite Karl Marx’s overwhelming focus on economics and politics – culminating in Capital: Critique of Political Economy – his philosophy has inspired an array of Marxist or Marxian theories regarding the arts. Yet, the key tenet of these theories has not been Marx’s radical emphasis on the foundational role of production in human subjectivity. Marxist theories of art have, generally speaking, either examined the arts’ capacity for signifying social relations and class struggle – as seen in many a Marxists’ penchant for realism – or they have seen the arts as little more than aesthetic legitimations of ruling class ideology, a view which, in its most positive manifestation, can be found in the experimental and modernist tendency to undermine the morals and mores of the bourgeoisie by committed artists. Neither of these approaches, at any rate, sees art as a form and outcome of production in itself. In this article, I wish to present a Marxian theory of art, based on Marx’s entire oeuvre, from his earliest journalistic writings to Capital, which presents art as neither an aesthetic mimesis nor an ideological alibi of production. I would like to propose that for Marx art was, first and foremost, a use-value produced by concrete human labour. Keywords: art, Marx, value, use, labour 587 CONTINENTAL THOUGHT & THEORY: A JOURNAL
    [Show full text]
  • Introduction to Hegel's Theory of Tragedy
    Introduction to Hegel’s Theory of Tragedy MARK W. ROCHE Next to Aristotle’s account of tragedy, the theory of tragedy developed by the German philosopher G. W. F. Hegel (1770-1831) has become the most studied and quoted in the West. Tragedy arises, according to Hegel, when a hero courageously asserts a substantial and just position, but in doing so simultaneously violates a contrary and likewise just position and so falls prey to a one-sidedness that is defined at one and the same time by greatness and by guilt. Tragedy surfaces as a topic in Hegel’s Phenomenology of Mind and his Lectures on the Philosophy of History, arguably his two best known works in the Anglo-American world. In chapter five of the Phenomenology Hegel discusses character, ethical action, and guilt partly by way of an analysis of Sophocles’ Antigone. In his introduction to the Lectures on the Philosophy of History Hegel analyzes the world-historical individual who shapes history often beyond her conscious intentions; such figures emerge ahead of their time, come into conflict with their ages, and prepare a new world. In his Lectures on the History of Philosophy Hegel offers a fascinating portrait of Socrates in the light of this tragic dialectic. Also in his Lectures on the Philosophy of Religion Hegel touches on tragedy, especially in the Greek world and in relation to reconciliation. Tragedy is most prominent in Hegel’s Lectures on Aesthetics, which is one of his most accessible texts. The Aesthetics, which was compiled and edited by Hegel’s student Heinrich PhaenEx 1, no.
    [Show full text]
  • Embodied Meaning and Art As Sense-Making: a Critique of Beiser’S Interpretation of the ‘End of Art Thesis’ 1
    Proceedings of the European Society for Aesthetics Volume 9, 2017 Edited by Dan-Eugen Ratiu and Connell Vaughan Published by the European Society for Aesthetics esa Proceedings of the European Society for Aesthetics Founded in 2009 by Fabian Dorsch Internet: http://proceedings.eurosa.org Email: [email protected] ISSN: 1664 – 5278 Editors Dan-Eugen Ratiu (Babes-Bolyai University of Cluj-Napoca) Connell Vaughan (Dublin Institute of Technology) Editorial Board Zsolt Bátori (Budapest University of Technology and Economics) Alessandro Bertinetto (University of Udine) Matilde Carrasco Barranco (University of Murcia) Daniel Martine Feige (Stuttgart State Academy of Fine Arts) Francisca Pérez Carreño (University of Murcia) Kalle Puolakka (University of Helsinki) Isabelle Rieusset-Lemarié (University of Paris 1 Panthéon-Sorbonne) Karen Simecek (University of Warwick) John Zeimbekis (University of Patras) Publisher The European Society for Aesthetics Department of Philosophy University of Fribourg Avenue de l’Europe 20 1700 Fribourg Switzerland Internet: http://www.eurosa.org Email: [email protected] Proceedings of the European Society f or Aesthetics Volume 9, 2017 Edit ed by D an - Eugen Ratiu and Connell Vaughan Table of Contents Claire Anscomb Does a Mechanistic Etiology Reduce Artistic Agency? ... 1 Emanuele Arielli Aesthetic Opacity ................................ ........................ 15 Zsolt Bátori The Ineffability of Musical Content : Is Verbalisation in Principle Impossible ? ................................ ...............................
    [Show full text]
  • English Literature in Past Times
    International Journal of Academic Multidisciplinary Research (IJAMR) ISSN: 2643-9670 Vol.5 Issue 5, May – 2021, Pages: 71-73 English literature in past times 1Gulmira Juraboyeva and 2Dinara Saydullayeva Lutfulla qizi 1Student of Samarkand state institute of foreign languages +998979214973 [email protected] 2Student of National University of Uzbekistan named after Mirzo Ulugbek +998935531901 Abstract: In general, literature can function as the mirror that reflects the society. The world has been a subject to a large number of wars and battles. Specifically, the Second World War was a major destructive conflict that has left its effects on the international level. Since war existed, there have been many writers trying creatively to explore it in a way of turning the battlegrounds into influential narratives. In this regard, numerous British authors of post- WWII era have been attracted to respond to the Second World War in their post-war fiction in order to portray its barbarism and devastation. Keywords: literature, Herbert George Wells, genres, works, affection. Introduction In fact, in the aftermath of World War the British society witnessed a series of social changes that dramatically lead to general feeling of disillusionment and uncertainty. Consequently, post-World War British writers took it upon themselves to create narratives that investigate in sometimes a philosophical manner the damages of war and its impact on individuals. Among the writers of post-World war era is Herbert George Wells who is one the greatest contemporary authors. Undoubtedly, war and literature are inseparable. Numerous literary texts were written in order to respond to the wars and to trace its impacts on the individual’s sense of existence.
    [Show full text]
  • Hegel and the Myth of the Accessibility of the Lectures on the Philosophy of History
    Hegel and the LPH Myth 1 Running head: HEGEL AND THE LPH MYTH Hegel and the Myth of the Accessibility of the Lectures on the Philosophy of History Adam Myers A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2008 Hegel and the LPH Myth 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Craig Q. Hinkson, Ph.D. Chairman of Thesis ______________________________ Thomas A. Provenzola, Ph.D. Committee Member ______________________________ Michael A. Babcock, Ph.D. Committee Member ______________________________ Brenda Ayres, Ph.D. Assistant Honors Director ______________________________ Date Hegel and the LPH Myth 3 Abstract Hegel's Lectures on the Philosophy of History (hereafter LPH) has been often hailed as his most accessible work. I wish to argue that, even if it were at one point in time the best entrée to Hegel's thought, it is no longer. More specifically, I argue that the claim that it is still his most accessible work needs retooling. To do this, I have set up three criteria for what it means for a work to be accessible: authenticity, self-containedness, and navigability. The criterion of authenticity simply states that the more authorial integrity a work has, the more accessible it is; that of self-containedness demands that a work be relatively understandable in itself; and that of navigability demands that an accessible work help the reader navigate in further studies of the same author.
    [Show full text]
  • Utopia: an Idea-Centered Activity for Accelerated
    UTOPIA: AN IDEA-CENTERED ACTIVITY FOR ACCELERATED TWELFTH GRADE STUEBNTS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER Of AITS By Mary F. Mull, B. S., M. E, if Denton, Texas January, 1970 TOCFIAl AH IEBA-CENTERED ACTIVITY FOR ACCELERATED TWELFTH GRACE STUDENTS APPROVED? <r.. ex. f Major Professor Director of th# Department of English Dean of the Graduate School TABLE OF CONTENTS Chapter Page I, INTRODUCTION 1 11. SIR THCMAS MQRB'S UTOPIA 9 III. THE UTOPIA OF B. F. SKimmM . 33 IV. EVALUATION. 62 BIBLIOGRAPHY 63 lii CHAPTER I INTR ODUCT ION Through the apis dissatisfaction with his environment has provoked man to envision th« ideal oar "Utopian" setting which would be more to his liking. The discontent of today's youth with the world it has inherited echoes the com- plaints of past generations and yet is of particular signifi- cance and relevance to the twelfth grade student soon to enter the college community where protests are becoming in- creasingly more articulate and effective. Established insti- tutions and behavior codes are challenged with impunity although critics charge that such dissent is irresponsible and unsupported by positive, alternative proposals for im- provement . English teachers have long suspected that the unsatis- factory mastery of language skills may be partially attributed to the fact that students quite simply have nothing to say. Language is, after all, a vehicle for the communication of thought rarely stimulated by the well-worn topics presented futilely though faithfully to students year after year.
    [Show full text]
  • Utopias and Dystopias in the Fiction of H. G. Wells and William Morris Emelyne Godfrey Editor Utopias and Dystopias in the Fiction of H
    Utopias and Dystopias in the Fiction of H. G. Wells and William Morris Emelyne Godfrey Editor Utopias and Dystopias in the Fiction of H. G. Wells and William Morris Landscape and Space Editor Emelyne Godfrey London, United Kingdom ISBN 978-1-137-52339-6 ISBN 978-1-137-52340-2 (eBook) DOI 10.1057/978-1-137-52340-2 Library of Congress Control Number: 2016958207 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
    [Show full text]
  • Sejarah Dunia Ringkas Wells, H.G., Author Deskripsi Lengkap: ------Abstrak
    Universitas Indonesia Library >> Buku Teks Sejarah dunia ringkas Wells, H.G., author Deskripsi Lengkap: http://lib.ui.ac.id/detail?id=20464770&lokasi=lokal ------------------------------------------------------------------------------------------ Abstrak Summary: Herbert George Wells was born on September 21st, 1866 at Atlas House, 46 High Street, Bromley, Kent. He was the youngest of four siblings and his family affectionately knew him as 'Bertie'. The first few years of his childhood were spent fairly quietly, and Wells didn't display much literary interest until, in 1874, he accidentally broke his leg and was left to recover in bed, largely entertained by the library books his father regularly brought him. Through these Wells found he could escape the boredom and misery of his bed and convalescence by exploring the new worlds he encountered in these books. From these humble beginnings began a career that was, after several delays, to be seen as one of the most brilliant of modern English writers. Able to write comfortably in a number of genres he was especially applauded for his science fiction works such as The Time Machine and War of the Worlds, but his forays into the social conditions of the times, with classics such as Kipps, were almost as commercially successful. His short stories are miniature masterpieces many of which bring new and incredible ideas of science fiction to the edge of present day science fact. Wells also received four nominations for the Nobel Prize in Literature. Despite a strong and lasting second marriage his affairs with other women also brought the complications of fathering other children. His writings and work against fascism, as well as the promotion of socialism, brought him into increasing doubts with and opposition to religion.
    [Show full text]