Time Travel: A History Read Online Free PDF Page B

centuries through an invisible portal. By the end of the play they have gathered on a table: the geometrical solids, the computer, decanter, glasses, tea mug, Hannah’s research books, Septimus’s books, the two portfolios, Thomasina’s candlestick, the oil lamp, the dahlia, the Sunday papers… On Stoppard’s stage these objects are the time travelers.

    We have achieved a temporal sentience that our ancestors lacked. It was long in coming. The year 1900 brought a blaze of self-consciousness about times and dates. The twentieth century was rising like a new sun. “No century has ever issued from the womb of time whose advent has aroused the high expectation, the universal hope, as that which the midnight litanies and the secular festivals but eight days hence will usher in,” wrote the editorialist of the Philadelphia Press. The Hearst-owned New York Morning Journal declared itself “The Twentieth Century Newspaper” and organized an electrical publicity stunt: “The Journal Asks All Citizens of New York to Illuminate Their Homes Monday Midnight as a Welcome to the Twentieth Century.” New York festooned City Hall with two thousand lightbulbs in red, white, and blue, and the president of the city council addressed a throng: “Tonight when the clock strikes twelve the present century will have come to an end. We look back upon it as a cycle of time within which the achievements in science and in civilization are not less than marvelous.” In London the Fortnightly Review invited its now famous futurist, the thirty-three-year-old H. G. Wells, to write a series of prophetic essays: “Anticipations of the Reaction of Mechanical and Scientific Progress upon Human Life and Thought.” In Paris they were already calling it fin de siècle, emphasis on fin: decadence and ennui were all the rage. But when the time came, the French, too, looked forward.
    An English writer could not hope to have an international literary reputation until he had been published in France, and Wells did not have to wait long. The Time Machine was translated by Henry Davray, who recognized an heir to the visionary Jules Verne, and the venerable Mercure de France printed it in 1898 with a title that lost something in translation: La machine à explorer le temps. *3 Naturally the avant-garde loved the idea of time travel: Avant! Alfred Jarry, a symbolist playwright and prankster—also an enthusiastic bicyclist—using the pseudonym “Dr. Faustroll,” immediately produced a mock-serious construction manual, “Commentaire pour servir à la construction pratique de la machine à explorer le temps.” Jarry’s time machine is a bicycle with an ebony frame and three “gyrostats” with rapidly rotating flywheels, chain drives, and ratchet boxes. A lever with an ivory handle controls the speed. Mumbo-jumbo ensues. “It is worth noting that the Machine has two Pasts: the past anterior to our own present, what we might call the real past; and the past created by the Machine when it returns to our Present and which is in effect the reversibility of the Future.” Time is the fourth dimension, of course. *4 Jarry later said he admired Wells’s “admirable sang-froid” in managing to make his mumbo-jumbo so scientific.

    The fin de siècle was at hand. Preparing for Year 1900 festivities in Lyon, Armand Gervais, a toy manufacturer who liked novelties and automata, commissioned a set of fifty color engravings from a freelance artist named Jean-Marc Côté. These images conjure a world of marvels that might exist en l’an 2000: people sporting in their tiny personal aircraft, warring in dirigibles, playing underwater croquet at the bottom of the sea. Perhaps the best is the schoolroom, where children in knee breeches sit with hands clasped at wooden desks while their teacher feeds books into a grinding machine, powered by a hand crank. Evidently the books are pulverized into a residue of pure information, which is then conveyed by wires up the wall