The War of the Worlds (1898), although written in the first person, is in some ways the most detached of all these fantasies; and it is in this book that Mr Wells frankly confesses his own occasional sense of separation.  “At times,” says the narrator of the history, “I suffer from the strangest sense of detachment from myself and the world about me, I seem to watch it all from the outside, from somewhere inconceivably remote, out of time, out of space, out of the stress and tragedy of it all.”  That sense must have remained with him as he wrote the account of the invading Martians, so little passion does the book contain.  The vision, however, is clear enough and there is more invention than in many of the other romances.  The picture of the Martians themselves develops in one direction the theory of human evolution expressed in The Man of the Year Million.  The expansion of the brain case, and the apotheosis of pure intellect, devoid, so far as we can judge, of any emotional expression, are the steadily biological deductions that we should expect from the Wells of this period.  The fighting machines of these incomprehensible entities, the heat ray and the black smoke, are all excellent conceptions; and the narrative is splendidly graphic.  But only in the scenes with the curate, when the narrator is stirred to passionate anger, and in his later passages with the sapper, do we catch any glimpses of the novelist intrigued with the intimate affairs of humanity.  Even the narrator’s brother, in his account of the escape with two women in a pony-carriage, has become infected with that sense of detachment.  The two women are strongly differentiated but leave little impression of personality.

The fact that I have made this comment on lack of passion in describing one of these earlier romances is indicative of a particular difference between Mr Wells’ method in this sort and the method of the lesser writer of fantasias.  The latter, whatever his idea, and it may be a brilliant idea, is always intent on elaborating the wonder of his theme by direct description.  Mr Wells is far more subtle and more effective.  He takes an average individual, identifies him with the world as we know it, and then proceeds gradually to bring his marvel within the range of this individual’s apprehension.  We see the improbable, not too definitely, through the eyes of one who is prepared with the same incredulity as the reader of the story, and as a result the strange phenomenon, whether fallen angel, invisible man, converted beast or invading Martian, takes all the shape of reality.  That this shape is convincing is due to the brilliance of Mr Wells’ imagination and his power of graphic expression; the lesser writer might adopt the method and fail utterly to attain the effect; but it is this conception of the means to reach the intelligence and senses of the average reader that chiefly distinguishes these romances from those of such writers as Jules Verne.  Our approach to the wonderful is so gradual and so natural that when we are finally confronted with it the incredible thing has become inevitable and expected.  Finally, it has become so identified with human surprise, anger or dismay that any failure of humanity in the chief person of the story reacts upon our conception of the wonderful intrusion among familiar phenomena.