The Time Machine And The War Of The Worlds Summary
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The War of the Worlds
When a meteorite lands in Surrey, the locals don't know what to make of it. But as Martians emerge and begin killing bystanders, it quickly becomes clear—England is under attack. Armed soldiers converge on the scene to ward off the invaders, but meanwhile, more Martian cylinders land on Earth, bringing reinforcements. As war breaks out across England, the locals must fight for their lives, but life on Earth will never be the same. This is an unabridged version of one of the first fictional accounts of extraterrestrial invasion. H. G. Wells's military science fiction novel was first published in book form in 1898, and is considered a classic of English literature.
The Time Machine illustrated
The Time Machine by H. G. Wells is a science fiction classic, which lends itself well to visualization. This version, illustrated by Yoann Laurent-Rouault, an illustrator master who graduated from the Beaux-Arts, and published in the international literary collection Memoria Books, is a reference on the time travel theme. Wells transports us in the year 802 701, in a society made up of the “Elois”, who live peacefully in a kind of big Garden of Eden, eating fruits and sleeping high up, while underground lives another species, also descending from men, the “Morlocks”, who do not stand the light anymore, living in the dark for too long now. At night, they return to the surface, going back up by the wells, in order to kidnap some Elois that they eat ; these last became livestock unknowingly. In The Time Machine, made into a movie several times, the last of them in 2002 by Simon Wells, the great-grandson of H. G. Wells, time is both a pretext to move the class struggle and warn... and also, in a way, a full character, who fascinates, arbitrates, transcends... The illustrations come to reinforce the time travel and provide a new experience to the reader.
The Time Machine and the War of the Worlds
Contents:The Time MachineWar of the WorldsThe Time Traveller (for so it will be convenient to speak of him) was expounding a recondite matter to us. His grey eyes shone and twinkled, and his usually pale face was flushed and animated. The fire burned brightly, and the soft radiance of the incandescent lights in the lilies of silver caught the bubbles that flashed and passed in our glasses. Our chairs, being his patents, embraced and caressed us rather than submitted to be sat upon, and there was that luxurious after-dinner atmosphere when thought roams gracefully free of the trammels of precision. And he put it to us in this way—marking the points with a lean forefinger—as we sat and lazily admired his earnestness over this new paradox (as we thought it) and his fecundity.