The Country of the Blind, and Other Stories — Context and Discussion
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illiam was worked out and exhausted altogether, then William all over again. The engagement lasted altogether three years; yet how she got introduced to William, and so became thus saturated with him, was always a secret. For my part, I believe it was at the street corner where the Rev. Barnabas Baux used to hold an open-air service after evensong on Sundays. Young Cupids were wont to flit like moths round the paraffin flare of that centre of High Church hymn-singing. I fancy she stood singing hymns there, out of memory and her imagination, instead of coming home to get supper, and William came up beside her and said, "Hello!" "Hello yourself!" she said; and etiquette being satisfied, they proceeded to talk together.
As Euphemia has a reprehensible way of letting her servants talk to her, she soon heard of him. "He is _such_ a respectable young man, ma'am," said Jane, "you don't know." Ignoring the slur cast on her acquaintance, my wife inquired further about this William.
"He is second porter at Maynard's, the draper's," said Jane, "and gets eighteen shillings--nearly a pound--a week, m'm; and when the head porter leaves he will be head porter. His relatives are quite superior people, m'm. Not labouring people at all. His father was a greengrosher, m'm, and had a churnor, and he was bankrup' twice. And one of his sisters is in a Home for the Dying. It will be a very good match for me, m'm," said Jane, "me being an orphan girl."
"Then you are engaged to him?" asked my wife.
"Not engaged, ma'am; but he is saving money to buy a ring--hammyfist."
"Well, Jane, when you are properly engaged to him you may ask him round here on Sunday afternoons, and have tea with him in the kitchen;" for my Euphemia has a motherly conception of her duty towards her maid-servants. And presently the amethystine ring was being worn about the house, even with ostentation, and Jane developed a new way of bringing in the joint so that this gage was evident. The elder Miss Maitland was aggrieved by it, and told my wife that servants ought not to wear rings. But my wife looked it up in _Enquire Within_ and _Mrs. Motherly's Book of Household Management_, and found no prohibition. So Jane remained with this happiness added to her love.
The treasure of Jane's heart appeared to me to be what respectable people call a very deserving young man. "William, ma'am," said Jane one day suddenly, with ill-concealed complacency, as she counted out the beer bottles, "William, ma'am, is a teetotaller. Yes, m'm; and he don't smoke. Smoking, ma'am," said Jane, as one who reads the heart, "_do_ make such a dust about. Beside the waste of money. _And_ the smell. However, I suppose they got to do it--some of them..."
William was at first a rather shabby young man of the ready-made black coat school of costume. He had watery gray eyes, and a complexion appropriate to the brother of one in a Home for the Dying. Euphemia did not fancy him very much, even at the beginning. His eminent respectability was vouched for by an alpaca umbrella, from which he never allowed himself to be parted.
"He goes to chapel," said Jane. "His papa, ma'am----"
"His papa, ma'am, was Church: but Mr. Maynard is a Plymouth Brother, and William thinks it Policy, ma'am, to go there too. Mr. Maynard comes and talks to him quite friendly when they ain't busy, about using up all the ends of string, and about his soul. He takes a lot of notice, do Mr. Maynard, of William, and the way he saves his soul, ma'am."
Presently we heard that the head porter at Maynard's had left, and that William was head porter at twenty-three shillings a week. "He is really kind of over the man who drives the van," said Jane, "and him married, with three children." And she promised in the pride of her heart to make interest for us with William to favour us so that we might get our parcels of drapery from Maynard's with exceptional promptitude.
After this promotion a rapidly-increasing prosperity came upon Jane's young man. One day we learned that Mr. Maynard had given William a book. "'Smiles' 'Elp Yourself,' it's called," said Jane; "but it ain't comic. It tells you how to get on in the world, and some what William read to me was _lovely_, ma'am."
Euphemia told me of this, laughing, and then she became suddenly grave. "Do you know, dear," she said, "Jane said one thing I did not like. She had been quiet for a minute, and then she suddenly remarked, 'William is a lot above me, ma'am, ain't he?'"
Wells's own introduction to this 1911 collection frames the volume as a definitive gathering: 'all the short stories by me that I care for any one to read again.' He notes that the bulk of the tales date from the 1890s, and that he has 'not written one now for quite a long time.' This retrospective tone—'an almost obituary manner'—sets the stage for a collection that is both inclusive and self-critical, with 'many of very questionable merit' included. The reader encounters a writer looking back on a prolific period, not a young author launching new experiments.
The Crystal Egg and the Limits of Vision
The excerpt from 'The Crystal Egg' offers a concentrated example of Wells's method: a mundane object—a paperweight in a curiosity shop—becomes a window onto another world. The narrative proceeds through careful, almost clinical observation: the egg remains luminous even when removed from light, and the vision appears only at a specific angle of about 137 degrees. Wells grounds the fantastic in precise detail, noting that the phenomenon is 'not equally visible to all eyes' and that Mr. Cave's vision is 'most vivid during states of extreme weakness and fatigue.' The story's power lies not in the alien landscape itself, but in the lonely, secretive process of discovery—Cave tells no one, living 'in such an atmosphere of petty spite that to admit the existence of a pleasure would have been to risk the loss of it.'
The Author's Own Frame: An Inclusive Gathering
Wells's introduction is more than a preface; it is a literary document in its own right. He describes the collection as 'an inclusive and not an exclusive gathering,' and credits his friend C.L. Hind with setting the spring of short-story writing going. The tone is reflective and slightly elegiac, as Wells notes the 'ebb and cessation' of his production. He attributes the decline to 'a diversion of attention to more sustained and more exacting forms'—a hint that the reader should expect variety rather than uniformity. The introduction also reveals that the stories were originally published in venues like the Pall Mall Budget, placing them in the context of late-Victorian periodical culture.
Recurring Patterns: The Scientist as Observer
Across the excerpts, a consistent figure emerges: the solitary observer who stumbles upon a phenomenon. Mr. Cave in 'The Crystal Egg' is a shopkeeper with 'a transient revival of scientific curiosity'; the narrator of 'The Country of the Blind' (not excerpted here) is a sighted man in a valley of the blind. Wells's protagonists are rarely heroic adventurers—they are often passive, curious, and isolated. The scientific detail—the angle of 137 degrees, the use of a velvet cloth to create darkness—serves to authenticate the impossible. This pattern suggests that the collection rewards attention to the framing of discovery: how characters react to the uncanny matters as much as the uncanny itself.
The Collection's Structure: A Journey Through Genres
The table of contents reveals a deliberate ordering that moves from domestic realism ('The Jilting of Jane') to horror ('The Cone'), satire ('The Man Who Could Work Miracles'), and philosophical fantasy ('The Door in the Wall'). Wells does not group stories by theme or tone; instead, he juxtaposes them, creating a rhythm of expectation and surprise. The reader moving through the collection will encounter a range of narrative voices—from the colloquial to the clinical. The presence of stories like 'A Vision of Judgment' and 'Jimmy Goggles the God' suggests that Wells is as interested in human folly as in scientific possibility. This variety is the collection's strength, but it also means that no single story defines the whole.
Approach this collection as a series of experiments rather than a unified work. Wells's own ambivalence—including stories of 'questionable merit'—invites the reader to judge each tale on its own terms. Pay attention to the moments where the fantastic intrudes on the ordinary, and to the quiet, often flawed observers who mediate that intrusion. The stories reward rereading, as the scientific and psychological details gain resonance with familiarity.
That rainy Saturday, Wells’s The Country of the Blind made me ache for stories where a single choice reshapes a whole life. I lingered on the thwarted lovers and stubborn escapes. Later, drifting through old catalogs, I landed on a medieval tale that whispers the same, quieter obsession with fate’s narrow doors — Grisly Grisell; Or, The Laidly Lady of Whitburn: A Tale of the Wars of the Roses — Story, Setting & Ideas. The afternoon dissolved into its strange, sad turns.
Amelia Smith
2 weeks ago-
Brian Martin - 1 month ago
This anthology contains some of Wells' most famous stories, including the classic 'The Country of the Blind.' The writing is engaging, but the collection is uneven, with some tales feeling dated and less impactful. A good introduction to his work, though readers may want to pick and choose the strongest stories. -
Monique Leonard - 4 weeks ago
A brilliant collection of H.G. Wells' short stories, showcasing his extraordinary imagination and visionary ideas. The title story, 'The Country of the Blind,' is a masterpiece of speculative fiction, exploring themes of perception and society. Each tale is thought-provoking and entertaining, making this a must-have for any science fiction lover. -
Victoria Jensen - 3 weeks ago
While Wells is a pioneer of science fiction, many of these stories are disappointing. They suffer from weak plotting and underdeveloped ideas, with the exception of the title story. The prose feels outdated, and the twists are predictable. For modern readers, this collection may seem quaint and unremarkable, lacking the depth found in his novels.
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Lucas King
1 month ago