Abstract
H. G. Wells was the enfant terrible of English letters. He refused to conform to any of the established canons of literature, preferring to call himself a journalist and insisting that his work was only of transitory value.
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References
Introduction to H. G. Wells: A Sketch for a Portrait by Geoffrey West (Howe, 1930).
Tono-Bungay, 6, 8.
The Book of Catherine Wells, 2 5.
Experiment in Autobiography, 737–41.
The New Machiavelli, 157.
Marriage, 191.
Experiment in A utobiography, 627.
An Englishman Looks at the World, Chapter 9.
This is not meant to imply that Wells’s later works are lacking in literary merit. Indeed, many of the later novels—as will be demonstrated—possess considerable literary and imaginative power. Cf. Robert Bloom, op. cit.
Henry James and H. G. Wells, Hart-Davis, 1958.
Experiment in A utobiography, 493.
The World of William Clissold, 84.
Tono-Bungay, 250.
Preface, The Sleeper Awakes (1910 edition). Cf. Experiment in Autobiography, 499.
You Can’t Be Too Careful, 113–14.
Amber Pember Reeves and Odette Keun respectively.
The New Machiavelli, 335.
The Betterave Papers’, Cornhill Magazine, July 1945.
Margaret Cole, Growing Up Into Revolution, 147 (Longmans, Green, 1949).
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© 1979 J. R. Hammond
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Hammond, J.R. (1979). Wells’s Literary Reputation. In: An H. G. Wells Companion. Literary Companions. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-04146-6_2
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