The Essential Colin Wilson

  The last published work of H. G. Wells gives us an insight into such an awakening. Mind at the End of Its Tether seems to have been written to record some revelation:

  The writer finds very considerable reason for believing that within a period to be estimated by weeks and months rather than by aeons, there has been a fundamental change in the conditions under which life—and not simply human life but all self-conscious existence—has been going on since its beginning. If his thinking has been sound . . . the end of everything we call life is close at hand and cannot be evaded. He is telling you the conclusions to which reality has driven his own mind, and he thinks you may be interested enough to consider them, but he is not attempting to impose them on you.

  This last sentence is noteworthy for its curious logic. Wells's conviction that life is at an end is, as he says, a 'stupendous proposition'. If it is true, then it negates the whole pamphlet; obviously, since it negates all life and its phenomena. Vaguely aware of the contradiction, Wells explains that he is writing 'under the urgency of a scientific training that obliged him to clarify the world and his ideas to the limits of his capacity'.

  His renascent intelligence finds itself confronted with strange, convincing realities so overwhelming that, were he indeed one of those logical, consistent people we incline to claim we are, he would think day and night in a passion of concentration, dismay and mental struggle upon the ultimate disaster that confronts our species. We are nothing of the sort. We live with reference to past experience, not to future events, however inevitable.

  In commenting on an earlier book called The Conquest of Time, Wells comments: 'Such conquest as that book admits is done by time rather than man.'

  Time like an ever rolling stream bears all its sons away

  They fly forgotten as a dream dies at the opening day.

  This is the authentic Shakespearian pessimism, straight out of Macbeth or Timon. It is a surprising note from the man who had spent his life preaching the credo: If you don't like your life you can change it: the optimist of Men Like Gods and A Modern Utopia. Wells declares that, if the reader will follow him closely, he will give the reason for this change of outlook:

  The reality glares coldly and harshly upon any of those who can wrench their minds free . . . to face the unsparing question that has overwhelmed the writer. They discover that a frightful queerness has come into life . . . The habitual interest of the writer is his critical anticipation. Of everything he asks: To what will this lead? And it was natural for him to assume that there was a limit set to change, that new things and events would appear, but that they would appear consistently, preserving the natural sequence of life. So that in the present vast confusion of our world, there was always the assumption of an ultimate restoration of rationality . . . It was merely the fascinating question of what forms the new rational phase would assume, what over-man, Erewhon or what not would break through the transitory clouds and turmoil. To this the writer set his mind.

  He did his utmost to pursue that upward spiral . . . towards their convergence in a new phase in the story of life, and the more he weighed the realities before him, the less he was able to detect any convergence whatever. Changes had ceased to be systematic, and the further he estimated the course they seemed to be taking, the greater the divergence. Hitherto, events had been held together by a certain logical consistency, as the heavenly bodies have been held together by gravitation. Now it is as if that cord had vanished, and everything was driving anyhow to anywhere at a steadily increasing velocity . . . The pattern of things to come faded away.[1]

  In the pages that follow, these ideas are enlarged on and repeated, without showing us how they were arrived at. 'A harsh queerness is coming into things', and a paragraph later: 'We pass into the harsh glare of hitherto incredible novelty . . . The more strenuous the analysis, the more inescapable the sense of mental defeat.' 'The cinema sheet stares us in the face. That sheet is the actual fabric of our being. Our loves, our hates, our wars and battles, are no more than phantasmagoria dancing on that fabric, themselves as insubstantial as a dream.' There are obviously immense differences between the attitudes of Wells and Barbusse's hero, but they have in common the Outsider's fundamental attitude: non-acceptance of life, of human life lived by human beings in a human society. Both would say: Such a life is a dream; it is not real. Wells goes further than Barbusse in the direction of complete negation. He ends his first chapter with the words: 'There is no way out or round or through.' There can be no doubt that as far as Wells is concerned, he certainly sees 'too deep and too much'. Such knowledge is an impasse, the dead end of Eliot's Gerontion: 'After such knowledge, what forgiveness?'

  Wells had promised to give his reasons for arriving at such a stupendous proposition. In the remainder of the pamphlet (nineteen pages) he does nothing of the sort; he repeats his assertion. 'Our doomed formicary', 'harsh implacable hostility to our universe', 'no pattern of any kind'. He talks vaguely of Einstein's paradox of the speed of light, of the 'radium clock' (a method geologists use to date the earth). He even contradicts his original statement that all life is at an end; it is only the species Homo sapiens that is played out. 'The stars in their courses have turned against him and he has to give place to some other animal better adapted to face the fate that closes in on mankind.' In the final pages of the pamphlet, his trump of the last judgement has changed into the question: Can civilization be saved?

  'But my own temperament makes it unavoidable for me to doubt that there will not be that small minority who will see life out to its inevitable end.'

  All the same, the pamphlet must be considered the most pessimistic single utterance in modern literature, together with T. S. Eliot's Hollow Men. And Eliot's despair was essentially religious; we should be tempted to assume that Wells's despair is religious too, if it were not for his insistence that he is speaking of a scientific fact, an objective reality.

  It is not surprising that the work received scant attention from Wells's contemporaries: to make its conclusions credible it would need the formidable dialectical apparatus of Schopenhauer's Welt als Wille und Vorstellung or Spengler's Decline of the West. I have heard it described by a writer-contemporary of Wells as 'an outburst of peevishness at a world that refused to accept him as its Messiah'. Certainly, if we accept it on the level on which he wrote it—acquiescing to every sentence—we feel the stirring of problems that seem to return into themselves. Why did he write it if he can hold out no hope of salvation? If the conclusions he has reached negate his own past life, and the possible futures of all the human race, where do we go from there? Wells's thesis is that we have never been going anywhere—we have been carried along by our delusions, believing that any movement is better than none. Whereas the truth is that the reverse, no movement, is the final answer, the answer to the question: What will men do when they see things as they are?

  It is a long way from Mr Polly's discovery (If you don't like your life you can change it) to: There is no way out or round or through. Barbusse has gone half-way, with his, Truth, what do they mean by it?, which has as a corollary, Change, what difference does it make? Wells has gone the whole distance, and landed us on the doorstep of the Existentialist problem: Must thought negate life?

  Before we pass on to this new aspect of the Outsider's problem, there is a further point of comparison between Barbusse and Wells that deserves comment. Barbusse's hero is an Outsider when we meet him; probably he was always an Outsider. Wells was very definitely an Insider most of his life. Tirelessly he performed his duty to society, gave it good advice upon how to better itself. He was the scientific spirit incarnate: reviewing the history of the life and drawing conclusions, reviewing economics and social history, political and religious history; a descendant of the French Encyclopedists who never ceased to compile and summarize. From him: Truth, what do they mean by it? would have elicited a compendious review of all the ideas of truth in the history of the seven civilizations.

  There is somethi
ng so shocking in such a man's becoming an Outsider that we feel inclined to look for physical causes for the change: Wells was a sick, a tired man, when he wrote Mind at the End of Its Tether. May we not accept this as the whole cause and moving force behind the pamphlet?

  Unfortunately, no. Wells declared his conclusions to be objective; if that is so, then to say he was sick when he wrote them down means no more than to say he was wearing a dressing-gown and slippers. It is our business to judge whether the world can be seen in such a way that Wells's conclusions are inevitable; if so, to decide whether such a way of looking at things is truer, more valid, more objective, than our usual way of seeing. Even if we decide in advance that the answer is No, there may be much to learn from the exercise of changing our viewpoint.

  The Outsider's claim amounts to the same thing as Wells's hero's in The Country of the Blind: that he is the one man able to see. To the objection that he is unhealthy and neurotic, he replies: 'In the country of the blind, the one-eyed man is king.' His case, in fact, is that he is the one man who knows he is sick in a civilization that doesn't know it is sick. Certain Outsiders we shall consider later would go even further and declare that it is human nature that is sick, and the Outsider is the man who faces that unpleasant fact. These need not concern us yet; for the moment we have a negative position which the Outsider declares to be the essence of the world as he sees it. 'Truth, what do they mean by it.' 'There is no way out, or round, or through.' And it is to this we must turn our attention.

  When Barbusse made his hero ask the first question, he was almost certainly unaware that he was paraphrasing the central problem of a Danish philosopher who had died in 1855 in Copenhagen. Søren Kierkegaard had also decided that philosophic discussion was altogether meaningless, and his reason was Wells's reason: Reality negates it. Or, as Kierkegaard put it, existence negates it. Kierkegaard's attack was directed in particular against the German metaphysician Hegel, who had (rather like Wells) been trying to 'justify the ways of God to man' by talking about the goal of history and man's place in space and time. Kierkegaard was a deeply religious soul for whom all this was unutterably shallow. He declared: Put me in a system and you negate me—I am not just a mathematical symbol—I am.

  Now obviously, such a denial that logic and scientific analysis can lead to truth has curious consequences. Our science is built on the assumption that a statement like 'All bodies fall at thirty-two feet per second in the earth's gravitational field' has a definite meaning. But if you deny the ultimate validity of logic, it becomes nonsensical. And if you don't deny logic, it is difficult, thinking along these lines, to pull up short of Wells and John Stuart Milt. That is why Kierkegaard phrases it: Is an Existentialist System possible; or, to put it in another way, Can one live a philosophy without negating either the life or the philosophy? Kierkegaard's conclusion was No, but one can live a religion without negating life or religion. We need not pause here over the reasoning that led him to this conclusion (readers interested enough can consult the Unscientific Postscript). What is worth noticing at this point is that his affirmation of Christian values did not prevent him from violently attacking the Christian Church on the grounds that it had solved the problem of living its religion by cutting off its arms and legs to make it fit life. It is also an amusing point that the other great Existentialist philosopher of the nineteenth century, Frederick Nietzsche, attacked the Christian Church on the opposite grounds of its having solved the problem by chopping down life to fit the Christian religion. Now, both Kierkegaard and Nietzsche were trained thinkers, and both took a certain pride in stating that they were Outsiders. It follows that we should find in their works a skilled defence of the Outsider and his position. And this in fact is what we do find.

  Nietzsche and Kierkegaard evolved a philosophy that started from the Outsider; nowadays, we use Kierkegaard's phrase in speaking of it, and call it Existentialism. When, in the nineteen-twenties, Kierkegaard was re-published in German, he was taken up by the professors, who discarded his religious conclusions, and used his methods of analysis to construct the so-called Existenzphilosophie. In doing so, they removed the emphasis from the Outsider and threw it back again on to Hegelian metaphysics. Later, in France, Existentialism was popularized by the work of Jean-Paul Sartre and Albert Camus, who once more restored emphasis to the Outsider, and finally arrived at their own conclusions upon the question of how to live a philosophy: Sartre in his 'doctrine of commitment' (which we shall touch upon later) and Camus with the belief: Remain an Outsider. We must examine each of these in turn.

  In his early novel, La Nausée, Sartre skilfully synthesizes all the points we have already considered in connection with Wells and Barbusse: the unreality, the rejection of people and civilized standards, and, finally, the 'cinema sheet' of naked existence, with 'no way out or round or through'.

  La Nausée purports to be the journal of an historian named Roquentin: not a full-fledged scientific historian like Wells, but a literary historian who is engaged in unearthing the life of a shifty diplomat-politician named Rollebon. Roquentin lives alone in a Hotel in Le Havre. His life would be a quiet record of research, conversations in the library, sexual intercourse with the café patronne: 'I live alone, entirely alone; I never speak to anyone, never; I receive nothing, I give nothing . . . '

  But a series of revelations disturb him. He stands on the beach and picks up a flat stone to skim on the sea, and suddenly . . . 'I saw something which disgusted me; I no longer know whether it was the stone or the sea.' He drops the stone and walks off.

  Roquentin's journal is an attempt to objectify what is happening to him. He searches his memory, examines his past. There was something that happened in Indo-China; a colleague had asked him to join an archaeological mission to Bengal; he was about to accept—

  . . . when suddenly I woke up from a six-year slumber . . . I couldn't understand why I was in Indo-China. What was I doing there? Why was I talking to these people? Why was I dressed so oddly? . . . Before me, posed with a sort of indolence, was a voluminous, insipid idea. I did not see clearly what it was, but it sickened me so much I couldn't look at it.

  Certainly something is happening. There is his ordinary life, with its assumptions of meaning, purpose, usefulness. And there are these revelations, or, rather, these attacks of nausea, that knock the bottom out of his ordinary life. The reason is not far to seek. He is too acute and honest an observer. Like Wells, he asks of everything: to what will this lead? He never ceases to notice things. Of the café patron, he comments: 'When his place empties, his head empties too.' The lives of these people are contingent on events. If things stopped happening to them, they would stop being. Worse still are the salauds whose pictures he can look at in the town's art gallery, these eminent public men, so sure of themselves, so sure that life is theirs and their existence is necessary to it. And Roquentin's criticism is turning back on himself; he too has accepted meanings where he now recognizes there were none. He too is dependent on events.

  In a crowded cafe, he is afraid to look at a glass of beer. 'But I can't explain what I see. To anyone. There: I am quietly slipping into the water's depths, towards fear.'

  A few days later, again, he describes in detail the circumstances of an attack of the nausea. This time it is the braces of the café patron that become the focus of the sickness. Now we observe that the nausea seems to emphasize the sordidness of Roquentin's surroundings. (Sartre has gone further than any previous writer in emphasizing 'darkness and dirt'; neither Joyce nor Dostoevsky give the same sensation of the mind being trapped in physical filth.) Roquentin is overwhelmed by it, a spiritual counterpart of violent physical retching.

  . . . the nausea is not inside me; I feel it out there, in the wall, in the suspenders; everywhere around me. It makes itself one, with the café; I am the one who is within it.

  Like Wells, Roquentin insists on the objective nature of the revelation.

  Somebody puts on a record; it is the voice of a Negro woman si
nging Some of These Days. The nausea disappears as he listens:

  When the voice was heard in the silence I felt my body harden and the nausea vanish; suddenly it was almost unbearable to become so hard, so brilliant . . . I am in the music. Globes of fire turn in themirrors, encircled by rings of smoke.

  There is no need to analyse this experience; it is the old, familiar aesthetic experience; art giving order and logic to chaos.

  I am touched; I feel my body at rest like a precision machine. I have had real adventures. I can recapture no detail, but I perceive the rigorous succession of events. I have crossed seas, left cities behind me, followed the course of rivers or plunged into forests, always making my way towards other cities. I have had women; I have fought with men, and never was I able to turn back any more than a record can be reversed.

  Works of art cannot affect him. Art is thought, and thought only gives the world an appearance of order to anyone weak enough to be convinced by its show. Only something as instinctively rhythmic as the blues can give him a sense of order that doesn't seem false. But even that may be only a temporary refuge; deeper nervous exhaustion would cause the collapse of the sense of order, even in Some of These Days.

  In the Journal, we watch the breaking-down of all Roquentin's values. Exhaustion limits him more and more to the present, the here-now. The work of memory, which gives events sequence and coherence, is failing, leaving him more and more dependent for meaning on what he can see and touch. It is Hume's scepticism becoming instinctive, all-destroying. All he can see and touch is unrecognizable, unaided by memory; like a photograph of a familiar object taken from an unfamiliar angle. He looks at a seat, and fails to recognize it: 'I murmur: It's a seat, but the word stays on my lips. It refuses to go and put itself on the thing . . . Things are divorced from their names. They are there, grotesque, stubborn, huge, and it seems ridiculous to call them seats, or to say anything at all about them. I am in the midst of things—nameless things.'