Highlights the rise of wearable medical devices as a key trend in mobile health.

Can do descriptors help not only EAL teachers but everyone who teach a student.

Great Colour Contrast: Eco Canada uses good colour contrast, making text readable even for users with low vision or colour blindness. This ensures that foreground content (black/green) stands out clearly against the (white) background, improving accessibility for all users. The bolded headings as well as pop of colour for links is also a good distinction that's easy to navigate.

for - Denis Noble - background - early work on ion channels and cell membranes

Small text is difficult to read. Instead to attach a link to addresses on maps

White background makes for easy distinguishing of text

for question - What is peace? - it is rediscovering our background of awareness - we lose it when we get lost in the content of experience

She talks about people's views of her in Japan.

She felt a sense of estrangement, acutely aware of her mother's "Japaneseness" and the feeling that "wherever I go, I'm always different."

Die Dürren der letzten 20 Jahre waren schlimmer als in den 2100 Jahren davor. Bericht über eine klimahistorische Studie, die von den Isotopen in den Jahresringen von Eichen ausgeht.

Studie: https://www.nature.com/articles/s41561-021-00698-0

• for: Marjorie Kelly - spiritual background in Christianity and Buddhism

• for: background, background - Michael Levin, Michael Levin - Buddhism
• background
  • Michael Levin has been interested in Eastern thought, philosophy of mind and compassion for a long time
  • the idea of care seems to have been stimulated by his child's project to build a robotic cat. He wanted the cat to have the attribute of caring.

Wildfires in Canada have burnt over 64,000 miles. Some estimates even say the fires could continue to burn through winter.

Source: https://www.reuters.com/business/environment/canadian-wildfires-could-keep-burning-through-winter-minister-2023-09-07/

자동으로 사진을 편집

Feature roadmap

• 3x faster Upscaling soon
• Infinity scrolling for camera tab, so you can go back in your history
• Face fix; when shooting wide angle photos the face is too low reso and stops resembling the model, I am building a face fix that restores it
• Zoom in or crop; zoom in and crop parts of the photo which you then get back in high resolution
• Video; shoot 150 variations of a photo for a 5 second video at 30fps
• Deleting models
• Trash auto deleting if >30 days old in trash
• Auto deleting photos/models if customer cancels

The background photo they chose for the website is ok. It shows what looks to be healthy individuals running through the grass. I think the photo could be better related to what they do at the clinic. It does not tell me anything about their business, and what their goals are as a business. It is nice to see healthy individuals on the front page but what if I am someone who is immobile or have mobility aids. This may not be achievable for everyone and may make someone think this clinic cannot help their injuries.

This is the most intriguing aspect of the article.

!- Jay Garfield : background - other areas of research - foundations of cognitive science - philosophy of mind - philosophy of logic - methodology of cross cultural interpretation

Frederic L. Paxson frequently advised that a historian should work fully through the background material.

This course is designed for absolute beginners who have a fundamental understanding of R and statistics. No worries, you will get it from the coursework if you do not have any prior knowledge. It starts with a basic understanding of data sets and processes and continues till advanced steps.

I think that the reason behind data's lack of context is the reluctance in making extra column for data's description and the inconsiderate and misleading vision that those in technologies hold when they put forth that data should be clean and concise.

I encountered the insufficient provision of data multiple times and I found it extremely inconvenient when trying to use downloaded online reports and attached them to my work experiences as a way to illustrate the efficient changes in driving audiences for a social media platform (Facebook). I used to help run an facebook page for a student organization. After being done with the role, I went to the "Insights" section of Facebook, hoping to download the report of increases in Page Likes, Visits, and Interactions during the period that I was an admin of the page. It took me several glitches to download the report (because it was a year-long term). When the pdf file was ready to be viewed, I was surprised, because they did not mention the years I was working, the name of the student organization, and other categorizations that should have been highlighted. Apparently, it's not hard to include the years or even the name because they were included in the filter when I wanted to extract certain part of the report and because it was the source where they took the data from, respectively. This laziness in showing competent data for analysis was desperate, and I had to add extra analysis to it. Even after I finished with the "extra work", I started to question to validity of the report I was downloading. Would it be trustworthy anymore, because without my clarification, no analysis could be made even by a person involved in data science field. Even if they could, it would take them a while to collect other external information before making clear of the data presented to them.

Understanding and constantly being bothered by this ongoing problem gives me justification to call for a more thorough data translation and presentation process. More questions should be raised and answered regarding what might a user wonder about this dataset when encountering it.

Perhaps I should be creating some beautiful visual noise myself?

James' (1907) background letter this letter. This is where is questions are formed from. As he has interest in Psychology, he understands that he must learn every aspect of an subject to be able to properly teach it.

The background

It's a clever reworking of Plato's cave allegory.

The lover is presented as the Ideal of Beauty, which all earthly beauty is but an imperfect reflection of it. The previous mistresses that the speaker had a relationship with were mere fantasy(dream) of the lady that he is now in love with. It's a quite common conceit in Renaissance lyrics. However, the expression 'desired and got' is an original line of John Donne to refresh this overused cliché.

Source:

1. Nassaar S., Plato in John Donne's 'The Good Morrow' (2003)
2. Book: John Donne, The Complete English Poet (1971)
3. https://faculty.washington.edu/smcohen/320/cave.htm

The imagery of exploration and sea travel was a popular subject in the literature of the Elizabethan-Jacobean era. It was the Age of Discovery, and John Donne himself also had experience in sea travel. The heroic adventure stories of the people who fulfilled the Renaissance curiosity through their expedition were fascinating enough to stir the imagination of the writers of the time.

Exploration is a process of understanding a wider world, but Speaker is no more interested in it since he has already found the perfect world in his little room with his lover.

In Galen's medicine, disease and death were the consequence of a disproportion in one's constituent elements, the 4 humors: black bile, yellow bile, blood, and phlegm.

chart of the heavens

In addition to sea and land exploration, astronomy was another interest of the intellectual of Donne's Era.

Source: Redpath, The Songs and Sonnets of John Donne (1956)

Donne is envisioning a small area as equivalent to a more enormous space. It's an example of microcosm that views human nature or a well balanced natural phenomena as an perfect example for understanding a bigger world and the order of the universe.

It's an allusion to a Christian legend about seven Christian youths who hid in a cave in hopes of avoiding the persecution of Decius in AD 249 in Ephesus. Eventually, they were caught, tortured and were walled up alive in the cave they once hid. However, miraculously, they did not die, slept for 187 years and were awaken in AD 479, a new world where Christianity became the major religion.

Same imagery with the poem of waking up in a new world.

Source : https://catholicsaints.info/seven-sleepers-of-ephesus/

The Good-Morrow is an aubade, a love poem sung at dawn that greets the morning by recalling the pleasant night spent with the lover and the togetherness they shared while also lamenting as they realize that they should soon be parted.

In The Good-Morrow the greeting aspect of aubade is particularly emphasized, celebrating the astonishing power of love that transcended them from individuals who dwelled on the unsophisticated pleasure to wholesome, perfectly balanced souls that are awakened in a new world.

To read other examples of John Donne's aubade, see The Sunrising.

Source: https://poets.org/glossary/aubade

In the 17th century, it was common to send infants of affluent families to the countryside to be wet-nursed. It is an unneglectable process necessary for the infant's growth, but also a sign of immaturity that the babies should once graduate to proceed to the next step of development.

Rustic and simple-minded pleasure compared to the ones enjoyed in the Court or City (probably London where John wrote many of his love poems in Lincoln's Inn).

背景：

2019年12月17日，陕西省考古研究院公布了一则消息轰动了全国，他们在咸阳空港新城发现了大唐第一驸马，太平公主的第一任丈夫薛绍的墓，并出土了墓志铭，弥补了正史中薛绍无传的遗憾。

Stephen Reicher. (2021, November 10). Look at this quite shameful graph (from Bob Hawkins) on Covid catch up spending per pupil. All four UK nations provide a few hundred pounds per pupil while others provide thousands. But to make things still worse... Https://t.co/Keprj2qzWN [Tweet]. @ReicherStephen. https://twitter.com/ReicherStephen/status/1458380613346541576

Through this paragraph, the author talks about the uniqueness of the moonstone as the only one escaped from the rapacity, and shows the spiritual myth behind the Moonstone. I feel it makes the moonstone more mysterious. The deity's prediction that disasters will happen to the ones who laid hands on the sacred gem lays a foundation for the rest of the story related to stealing the Moonstone. It also stimulates curiosity for the readers to test whether this sacred dream will be validated by the story or not.

Davies, Catherine, Alexandra Hendry, Shannon P. Gibson, Teodora Gliga, Michelle McGillion, and Nayeli Gonzalez-Gomez. ‘Early Childhood Education and Care (ECEC) during COVID-19 Boosts Growth in Language and Executive Function’. PsyArXiv, 10 March 2021. https://doi.org/10.31234/osf.io/74gkz.

Franklin came from parents with an ordinary background, and rose to become one of the greatest statesmen, scientist, inventors, and authors of his day.

This seems to be one of the easiest ways to obtain information from young children, as they are quick to lose focus when asked to do tasks.

This paragraph gives very clear and detailed background of the articularoty features of schwas.

Afrocen.= a philos. concept (1980)// Ppl knew this concept existed but it wasn't establish in some sort of caterogorical term until Asante wrote the book "Afrocentricity: The Theory of Social Change"

This battle, while less familiar to us, would have been familiar to Collins's original readers. Read more about it at the Wikipedia article, Siege of Seringapatam

Adams, R. C., Sumner, P., Vivian-Griffiths, S., Barrington, A., Williams, A., Boivin, J., Chambers, C. D., & Bott, L. (2017). How readers understand causal and correlational expressions used in news headlines. Journal of Experimental Psychology: Applied, 23(1), 1–14. https://doi.org/10.1037/xap0000100

Yamada, Y., Ćepulić, D.-B., Coll-Martín, T., Debove, S., Gautreau, G., Han, H., Rasmussen, J., Tran, T. P., Travaglino, G. A., & Lieberoth, A. (2020). COVIDiSTRESS Global Survey dataset on psychological and behavioural consequences of the COVID-19 outbreak [Preprint]. PsyArXiv. https://doi.org/10.31234/osf.io/v7cep

GANGNES: We now know for a certainty that bacteria are absolutely essential to digestion in human beings and many other organisms. See Sai Manasa Jandhyala, et al, "Role of the Normal Gut Microbiota" (2015).

GANGNES: The Germ Theory of Disease ("Germ Theory")--the understanding that diseases are caused by microorganisms (bacteria and viruses)--only came into British public consciousness toward the end of the nineteenth century. Prior to the rise of Germ Theory, "Miasma Theory" dominated scientific conceptions of the nature of disease. Gaining a better understanding of how diseases were caused and spread led to reforms in public health and sanitation.

More information:

• Jemima Hodkinson, "The History of Germ Theory" on Big Picture's website
• Marianna Karamanou, et al. "From Miasmas to Germs: a Historical Approach to Theories of Infectious Disease Transmission"

From HUGHES AND GEDULD 228: "a Victorian exhibition center constructed (in 1854 by Sir John Paxton) of glass and iron. It was originally used to showcase materials from the Great Exhibition of 1851. The Palace, which burned in the 1930s, was in Sydenham in southeast London, about eight miles from the city center."

GANGNES: The Crystal Palace was a massive glass structure constructed for the Great Exhibition of 1851. It stood in Hyde Park, London until it was moved to Sydenham Hill in 1852-4, where it remained until it was burned down in 1936. During the Exhibition, it housed exhibits on cultures, animals, and technologies from all over the world.

More information:

• "Crystal Palace" on Encyclopædia Britannica's website
• The Crystal Palace Museum website
• "The Crystal Palace: The Story of a Great Building | AmorSciendi" (YouTube)
• Footage of the Crystal Palace burning down in 1936 (YouTube, "Crystal Palace Burns Down - 1936 | Today in History | 30 Nov 16")

"View from the Knightsbridge Road of The Crystal Palace in Hyde Park for Grand International Exhibition of 1851":

GANGNES: Note here that HUGHES AND GEDULD disagree with MCCONNELL's identification of the reference.

From MCCONNELL 289-90: "A last, and very curious, invocation of the sub-theme of colonial warfare and exploitation. In 1877 Chief Joseph of the Nez Percé Indians had surrendered to the United States Army in a noble and widely-reported speech: 'I am tired of fighting. Our chiefs are killed. . . . Hear me, my chiefs, I am tired. My heart is sick and sad. From where the sun now stands I will fight no more for ever.' Wells, by associating the tragic dignity of Chief Joseph's language with the now-defeated Martian invader, achieves a striking reversal of emotion. For we now understand that it is the Martians, pathetically overspecialized prisoners of their own technology, who are the truly pitiable, foredoomed losers of this war of the worlds, of ecologies, of relationships to Nature."

From HUGHES AND GEDULD 224: MCCONNELL's comment is "farfetched. ... [T]he Nez Perce in Wells's day were unsung, and he would not deal in such an obscure allusion."

More information:

• The official website of the Nez Percé people
• The Encyclopædia Britannica article on the Nez Percé people

GANGNES: These are references to how human beings treat "lower animals"; for example, hunting them for fun, skinning them or cutting off their horns for clothing and jewelry, and so forth. The comparison would be especially appropriate during a time when "big game"/trophy/sport hunting in colonial locales (especially Africa) was popular among British men. A particularly tragic example is the ivory trade, which forms the backdrop of Joseph Conrad's Heart of Darkness (1899).

More information:

• Angela Thompsell, "Real Men/Savage Nature: The Rise of African Big Game Hunting, 1870–1914"
• R. W. Beachey, "The East African Ivory Trade in the Nineteenth Century"

GANGNES: Vivisection is "the action of cutting or dissecting some part of a living organism; spec. the action or practice of performing dissection, or other painful experiment, upon living animals as a method of physiological or pathological study" (Oxford English Dictionary).

Since Wells cut this section from the volume, no explicit reference to vivisection remains in a collected edition of the novel. However, the practice is central to Wells's 1896 novel The Island of Doctor Moreau.

More information:

• "A History of Antivivisection from the 1800s to the Present: Part I (mid-1800s to 1914)" on The Black Ewe
• Nuno Henrique Franco, "Animal Experiments in Biomedical Research: A Historical Perspective"
• Lewis Carroll, "Some Popular Fallacies About Vivisection"

From MCCONNELL 228: at the time, ~$180

From HUGHES AND GEDULD 215: at least ten times the usual amount

GANGNES: "a fleet of the Royal Navy detailed for service in the English Channel. ... In 1909 the Channel Fleet became the 2nd Division of the Home Fleet." (Oxford English Dictionary).

GANGNES: Blackfriars Bridge and Tower Bridge are two large bridges spanning the Thames from north to south in the eastern part of London. Today, the Millennium Bridge (a pedestrian bridge) and Southwark Bridge lie between them, but Southwark Bridge was not opened until 1921, and the Millennium Bridge 2000 (hence the name). These are four of the five Thames bridges overseen today by the London City Corporation. See the City of London site's page on bridges.

From HUGHES AND GEDULD 227: Blackfriars Bridge is "a bridge in central London between Waterloo Bridge and Southwark Bridge. It spans the Thames from Queen Victoria Street (on the north) to Southwark Street (on the south).

From HUGHES AND GEDULD 234: Tower Bridge is "London's most famous bridge. It opens periodically to admit the passage of shipping. It spans the Thames between the Tower of London (on the north) and the district of Bermondsey (on the south)."

GANGNES: The anti-Semitism embodied in this figure is clear even when "Jew" is changed to "man" in the 1898 volume and subsequent editions (see the text comparison page). As STOVER (111) observes, the caricature of a greedy "eagle-faced man" would have been recognizable to Victorian readers even with the explicit word "Jew" removed.

GANGNES: Note that MCCONNELL, HUGHES AND GEDULD, and STOVER do not completely agree on their explanations of this reference.

From MCCONNELL 218: In the Church of England, the Vestry is not just the room in a church where vestments are stored; it is also a committee of parishioners who arrange local matters like street cleaning.

From HUGHES AND GEDULD 214: "Vestry here is not used in its usual ecclesiastical sense but refers to a committee of citizens 'vested' with the task of arranging for such basic local services as health and food inspection and garbage disposal. St. Pancras (then a London borough) is located northwest of the City of London."

From STOVER 161: "A public-health committee of that city district responsible for its garbage removal--a task now beyond its capacity as all public services are overwhelmed."

GANGNES: As is evident by this point, the entirety of The War of the Worlds is specifically situated in actual locations in and around London. This rapid-fire naming of specific streets and neighborhoods can be overwhelming to readers who are not familiar with London, but to those who are (as many of Wells's readers would be), they underscore that this crisis is happening in a very real location. It also gives the narrative a breathless sense of momentum while maintaining the specificity of war reporting.

From HUGHES AND GEDULD 235: Westbourne Park is "a district in the London borough of Kensington, about two and a half miles from the city center."

From HUGHES AND GEDULD 233: St. Pancras is "a London borough north of the Thames, two miles form the city center. It is the site of Euston and St. Pancras [train] stations, main transit points for northern England and Scotland."

From HUGHES AND GEDULD 230: Kilburn is "a northwest London district between Hampstead (on the north) and Paddington (on the south), about three and a half miles northwest of central London."

From HUGHES AND GEDULD 233: St. John's Wood is "a middle-to-upper-class residential district northwest of Regent's Park, in north London."

From HUGHES AND GEDULD 229: Hampstead is "a hilly northeast London suburb, about five miles from the city center. From its highest point, on Hampstead Heath, it offers a magnificent vista of London."

From HUGHES AND GEDULD 233: Shoreditch is "a working-class district in east London, about a mile from the city center."

From HUGHES AND GEDULD 229: Haggerston is "a tough, working-class district in north London, north of Bethnal Green and east of Shoreditch."

From HUGHES AND GEDULD 230: Hoxton is "a tough, working-class district in north London, between Shoreditch and Haggerston, about two miles northeast of Charing Cross in central London."

From HUGHES AND GEDULD 229: Ealing is "a London borough in the county of Middlesex, some eight miles west of the city center."

From HUGHES AND GEDULD 229: East Ham is a "London district in the county of Essex, about seven miles east of the city center."

GANGNES: A large collection of orchids would, indeed, have been quite valuable. The craze surrounding "orchid hunting"--the search for rare and beautiful orchids to collect (and/or sell to collectors)--was at its height during the late nineteenth century, to the point where the fad had a name: "orchidelirium." Some varieties would fetch extremely high prices, and wealthy Victorians sank excessive amounts of money into their collections.

Sources and more information:

• Claire Cock-Starkey, "The Dangerous and Highly Competitive World of Victorian Orchid Hunting," MentalFloss, November 18, 2016.
• Andrew Amelinckx, "Old Time Farm Crime: The Cutthroat World of Victorian Orchid Hunters," Modern Farmer, August 1, 2014.
• Li Zhou, "Orchidelirium, an Obsession with Orchids, Has Lasted for Centuries," Smithsonian.com, January 29, 2015.

GANGNES: See earlier note in this installment from STOVER on "much as the parabolic mirror of a lighthouse projects a beam of light." As MCCONNELL (182) notes in Installment 4: "The first portable camera, the Kodak, had been patented by George Eastman in 1888. Wells himself was an ardent amateur photographer."

Even before the portable camera and the beginnings of amateur photography, the prevalence of photojournalism would have made most readers familiar with, and likely interested in, photography. References to cameras and photography, especially in relation to the heat ray, are prevalent throughout the novel.

More information:

• "Nineteenth-Century Photography: A Timeline" on The Victorian Web
• "Victorian photographic techniques" on the National Museum of Scotland's site

From STOVER 81: "The Heat-Ray is often taken as a prophecy of beam-focused lasers, but this is to miss the photographic metaphor Wells uses: 'the camera that fired the Heat-Ray,' 'the camera-like generator of the Heat-Ray.' The Martians' rayguns are in fact cameras in reverse, emitting light not receiving it, and they are in fact mounted on tripods as were the heavy old cameras of the day. What they see they zap. More, the photo-journalistic realism of the invasion recounted by the narrator recalls that of Roger Fenton, whose coverage of the Crimean War in 1855 is the first instance of a war photographer on the scene of action. His pictures were accompanied by sensational stories done by the famed William Howard Russell of the London Times, the first war correspondent in the modern sense. The narrator's account is modeled after both precedents, visually and journalistically."

GANGNES: Stover here gestures (though not by name) to MCCONNELL (145), whose note is quoted by HUGHES AND GEDULD in their edition. MCCONNELL'S note reads: "Though the details of the heat-ray are vague, they do anticipate in some remarkable ways the development of the laser beam in the 1950s."

That said, MCCONNELL and others rightly point to one of the numerous instances in which Wells's descriptions of technologies and events appear prescient. Indeed, many of the Martian technologies seem to anticipate military tech developed for use in the First and Second World Wars. For an analysis of The War of the Worlds and its early illustrations as they relate to early twentieth-century warfare, see Gangnes, "Wars of the Worlds: H.G. Wells’s Ekphrastic Style in Word and Image" in Art and Science in Word and Image: Exploration and Discovery (Brill, 2019), pp. 100-114.

GANGNES: Summaries like these are common in serialized fiction, as they are in comics and in television series--a kind of "previously on" bit of information. This not only reminds readers of what happened in the previous installment (which in this case would have been released a month prior), but also allows new readers to jump in at a later issue if they missed out. This was especially important in cases where an issue of a popular magazine or newspaper might have been sold out.

GANGNES: This term was relatively new when Wells wrote the novel; it first emerged in the mid-nineteenth century and was generally used in scientific journals.

Source:

• Oxford English Dictionary entry on prefix "extra-"

GANGNES: The kind of electrical telegraphy with which Wells's readers would have been familiar began development in the early-to-mid nineteenth century and was commonly used by the end of the Victorian period.

More information:

• Mary Bellis, "The History of the Electric Telegraph and Telegraphy" on ThoughtCo
• Clare D. McGillem, "Telegraph" on the Encyclopædia Britannica's site

GANGNES: The narrator's comment here underscores this novel's preoccupation with the Victorian press. The style of the narration evokes something of war journalism from this period, and the unreliability and mercenary practices of newspapers are a theme throughout the novel. Wells is not exaggerating; the Victorian period has been called the "Golden Age" of the British periodical because of the staggering number and quality of newspapers, journals, and magazines published during the time.

More information:

• Debora Wynne, "The Periodical Press" on the Oxford Bibliographies site
• "History of C19th British Newspapers" on the North Carolina State University site's page for Nineteenth Century Newspaper Analytics
• The Victorian Periodicals section of The Victorian Web
• The Research Society for Victorian Periodicals site

GANGNES: Punch (1841-2002) was a weekly satirical magazine that was first marketed toward the Victorian middle class. It included text, cartoons and illustrations, and other visual features. It was characterized by a "whimsical mode of comedy that focused on the trials and aspirations of the still emergent middle classes."

Source:

• Brake, Laurel, and Marysa Demoor, editors. Dictionary of Nineteenth-Century Journalism in Great Britain and Ireland. Academia Press and The British Library, 2009, pp. 517-519.

More information:

• The History of "Punch" (1895) by M. H. Spielmann on Project Gutenberg
• Punch issues on Project Gutenberg
• Punch facsimiles on HathiTrust's digital library
• Official Punch cartoon archives

GANGNES: Warwick Goble (1862-1943) was a Victorian and early-twentieth-century periodical and book illustrator. His watercolor book illustrations have strong Japanese and Chinese influences and themes. Simon Houfe refers to Goble as a "brilliant watercolour painter of the 1900s and 1920s" and writes that Goble's "filmy translucent watercolours, with their subtle tints and Japanese compositions ... are unique in British illustration, but are not noticed by the collectors of [Arthur] Rackham and [Edmund] Dulac" (210).

In his dictionary entry, Houfe only acknowledges Goble's early relationship with periodicals in his role as a staff illustrator for the Pall Mall Gazette and the Westminster Gazette; Pearson's Magazine is not mentioned, despite the fact that Goble illustrated not only The War of the Worlds, but also Arthur Conan Doyle's Tales of the High Seas (short series) and other pieces in 1897. He provided illustrations for volumes of two other major pieces of late-Victorian serialized fiction: Robert Louis Stevenson's Treasure Island and Kidnapped.

Biographical sources:

• Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists, 1800-1914 (Baron Publishing, 1981), pp. 210, 318.
• "Warwick Goble: A Biography of the Illustrator" on Pook Press's site.

From MCCONNELL 126: Nature is a scientific journal first edited by Sir Norman Lockyer, who was one of Wells's teachers at the Normal School of Science.

From STOVER 57: This is a reference to the article "A strange Light on Mars," which was published in Nature in 1894.

GANGNES: This is one of the many instances where Wells establishes the novel within a framework of real scientific discoveries and historical events. These connections enhance the realism and journalistic quality of the narrative.

More information:

• Facsimile of "A Strange Light on Mars" in Nature, August 2, 1894 on The Internet Archive

From HUGHES AND GEDULD 199: Nice Observatory was "France's most important nineteenth-century observatory." It was constructed in 1880 on Mt. Gros, northeast of Nice. It used a 30" refracting telescope.

From MCCONNELL 126: Henri Joseph Anastase Perrotin (1845-1904) was a French astronomer who worked at the Nice Observatory 1880-1904.

GANGNES: The 1898 edition adds a reference to Lick Observatory (in California), which the narrator says noticed the light before Perrotin did.

More information:

• "Perrotin, Henri Joseph Anastase" on Encyclopedia.com
• Official Côte d’Azur Observatory (Nice Observatory) site
• Official Lick Observatory site

From MCCONNELL 126: Giovanni Virginio Schiaparelli (1835-1910) was an Italian astronomer who claimed to have discovered "canals" on Mars. Schiaparelli called them canali ("channels" in Italian) but the (mis)translation of the word in to English caused speculation that the canali might have been made by intelligent life.

From STOVER 57: Schiaparelli mapped Mars during the opposition of 1877 and provided names for some surface features still used today.

More information:

• Walt Hickey, "A Mistranslated Word Led To Some Of The Best Fake News Of The 20th Century" on FiveThirtyEight
• Ephrat Livni, "When reporters accidentally wrote science fiction: A true story about Mars" on Quartz
• Richard Milner, "Tracing the Canals of Mars: An Astronomer's Obsession" on SPACE.com

From MCCONNELL 125: In the eighteenth century, England drove native Tasmanians from their land in order to turn Tasmania into a prison colony.

From STOVER 55-6: "The racially Australoid natives of Tasmania survived until 1876 in a state of upper paleolithic culture. To the island's Dutch and later British colonists, they were so many subhumans hunted down for dog meat."

More information:

• Richard Flanagan, "The lost tribe" on The Guardian's site
• "British colonisation of Tasmania" entry on Wikipedia

GANGNES: "Inferior" as it is used here reflects Victorian conceptions of racial hierarchies. There are, of course, many, many scholarly works on this subject, but here are a few good places to start:

• "Victorian Racism" on The Victorian Web
• Carolyn Burdett, "Post Darwin: social Darwinism, degeneration, eugenics" on the British Library's site
• "Race" on the Oxford Bibliographies site

From MCCONNELL 125 and 151: The dodo was a large, flightless bird from Mauritius that was hunted into extinction by the seventeenth century. North American bison were also thought to be on the verge of extinction during this time. This is the first of two comparisons between the extinction of the dodo and the potential extinction of humans by the Martians; the second is in Chapter VII.

From HUGHES AND GEDULD 205: "Later, the very idea of such a bird [as the dodo] was ridiculed ... until skeletal remains came to light in 1863 and 1889."

More information:

• "Dodo" on the Encyclopædia Britannica's site
• Cristen Conger, "What brought bison back from the brink of extinction?" on howstuffworks.com

From DANAHAY 41: Reference to a Victorian debate regarding the existence of intelligent life on Mars. See Wells's article "Intelligence on Mars" in the Saturday Review 8 (April 4, 1896), p. 345-46.

More information:

• Facsimile on HathiTrust of "Intelligence on Mars" in the Saturday Review (1896)

This gives insight into Langdons logic and reasoning resonating in his translation.

Ideas are getting more and more abstract. These mentions of place are perhaps symbolic of the memories she had of them, or of the relationships she once had there.

She misses them but it she is still okay and everything is fine.

Elizabeth BishopOne Art by Elizabeth Bishop

Elizabeth Bishop’s One Art is a poem whose apparent detached simplicity is undermined by its rigid villanelle structure and mounting emotional tension. Perhaps her most well-known poem, it centres around the theme of loss and the way in which the speaker – and, by extension, the reader – deals with it. Here, Bishop converts losing into an art form and explores how, by potentially mastering this skill, we may distance ourselves from the pain of loss. At eight months old, Elizabeth Bishop lost her father, her mother then succumbed to mental illness and she later lost her lover to suicide. Therefore, we may see this poem as in part autobiographical. In it, the poet presents a list of things we may lose in life, increasing in importance, until the final culmination in the loss of a loved one.

One Art Analysis

The title should not be overlooked. With these two small words, Elizabeth Bishop encompasses the poem’s entire purpose: to remove the pain of loss by first levelling out everything that we lose; from door keys to houses to people (One), and second by mastering the fact of losing through practise (Art).

The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster. In the first stanza, Bishop sets out her intentions. She seems to affirm that loss is part of the human condition: we lose both significant and insignificant things constantly and should thus accept this as a natural part of life, and even master this practice so as to remove any sensation of disaster we may take from it. These two points will be repeated throughout the poem so as to emphasise them.

Lose something every day.

In the second stanza, she invites the reader in by naming two extremely common things to lose: keys and time. The enjambment between the first and second lines causes us to pause and contemplate how ridiculous is this ‘fluster’ that occurs when we lose our keys. She eases us slowly into her idea: the universality of these two occurrences allows us to relate and thus agree that indeed, this is not too hard to master and is certainly not a disaster.

Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. The emotional tension begins to subtly build in the third stanza as Bishop incites us to further our practise, broadening the scope of our loss. Here, the things we lose are more related to thought and memory: people, places and plans that, with time, naturally escape our head and no longer form part of our lives. This is harder for the reader to accept and the familiar affirmation that this will not bring disaster becomes less comforting. House keys and an hour here and there seem commonplace and natural and to consciously lose these things to aid our mastering of losing does not seem too difficult. Places, names and plans require a larger effort and a degree of emotional distancing that the second stanza did not call for.

There is a subtle change from the third to the fourth stanza, a perfect split in keeping with the poem’s rigid structure. Almost imperceptibly, the speaker switches from addressing the reader to drawing on her own experience. It is here that Bishop begins to undermine her meticulous structural details and carefully impassive tone. “I lost my mother’s watch”, she states, an admission that seems to come from nowhere. However, the casual tone is disappearing; the inexplicable mention of this personal aspect of the speaker’s life has upped the emotional stakes. As the stanza continues, it becomes clear that this is a further attempt to demonstrate the universality of loss. The picture becomes bigger and the distance larger. The exclamation: “And look!” betrays yet more emotion, despite it’s apparent offhand tone. Now Bishop tells us to look at our losses on a bigger scale: the houses we lived in – not so disastrous except for the use of the word “loved” here. Indeed, these were just places we lived in, but we nonetheless also loved in them.

The first person speaker continues in the fifth stanza as the poet attempts to further distance herself from loss. She is stepping further and further back and the picture she is painting reaches a higher geographical level: to cities and continents. Nevertheless, this is undermined by a wistful tone: the cities she lost were “lovely ones” and, although she maintains that their loss was not a disaster, she does admit that she misses them. Faced with this unusual outlook, the reader is forced to ask at this point: if the loss of a continent is no disaster, what would thus constitute one?

Bishop is also a traveller and called a lot of places home

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This is a great example of the risks involved in using background paragraphs from incomplete coverage. George Simon will no doubt be over the moon that you've given him a plug, along with his courageous but failed efforts to kill off the event.

It's likely you found your re-used paragraph in the story previewing George Simon's courageous failure. Unfortunately, The Hasbeen was MIA when the motion was shot down in flames.

But your competitor - and also TWT competitor - News Ltd's (NDT) report on failed attempt to ban Queen Questl was there at the meeting in which the motion suffered a humiliating defeat.

Even a niche womens issues publication, Womens Agenda, noted George Simon was branded a wanker for his bungled efforts..

Nevermind, you're not expected to get everything right as a work experience student, but you'll be relieved to know someone in the former Fairfax - now Nine - publishing empire did.

Watch and learn how the pros like Peter Munro do it. In his 'Six Degrees' column he mentioned Simon was chastised for his fruitless cruisade by Yellow Wiggle Emma Watkins.

That was a report, of course, before Simon ended up with egg on his face, as was the earlier one selectively regurgitated.

But surely you could have also regurgitated these John Booth pearlers from the same story:

Mr Booth said contestants were judged on responses to questions about local knowledge, ambition and involvement in the community: "Beauty doesn't come into it - but we don't penalise them for being beautiful either.

"They're trying to make it out as disparaging to women but it's politically correct rubbish. There's no swimsuit competition and most judges are women," Mr Booth said. "Two women's libbers [councillors] tried to [cut support for the contest] a few years ago but they got voted down 10-2."

And on Simon's spectacular failure - one of many:

"That nitwit?" Mr Booth said. "I'm thinking about mocking him up in a dress and Orphan Annie wig in our next edition. I haven't decided yet".

And another thing, your ability to assemble background paragraphs is on par with others back at The Hasbeen's office who have made the regurgitation of mediocre content their specialty.

is a political philosophy and anarchist school of thought which advocates the abolition of the state, capitalism, wage labour and private property (while retaining respect for personal property, along with collectively-owned items, goods and services) in favor of common ownership of the means of production, direct democracy, and a horizontal network of workers' councils with production and consumption based on the guiding principle: "From each according to his ability, to each according to his needs".[

GANGNES: Passages such as these garnered praise for the novel in late-Victorian vegetarian publications such as The Herald of the Golden Age (1896-1918) and The Vegetarian Magazine (1890-1909).

More information:

• "Man under Martian Rule" in The Herald of the Golden Age, 15 August 1898, p. 94

GANGNES: The "robes of smoke" here refers to the "London fog" (also known as "pea soup fog," "black fog," and "killer fog"). This greasy, yellowish fog that hung around London in the nineteenth and early-twentieth centuries was a byproduct of coal burning. It caused respiratory problems and other illnesses for London residents, especially factory workers. Here, then, Wells offers a vision of a London whose pollution has, perhaps paradoxically, been temporarily swept away by the Martians' own Black Smoke, which has brought London's industry to a standstill.

More information:

• Major cultural references to pea soup fog
• Jesse O Taylor, The Sky of Our Manufacture: the London Fog in British Fiction from Dickens to Woolf (2016)
• Lee Jackson, Dirty Old London: The Victorian Fight Against Filth (2015)

GANGNES: Now better known as the London Zoo. The Zoological Society of London established the Zoological Gardens in 1828. For excerpts from primary and secondary accounts, see Lee Jackson, "Victorian London - Entertainment and Recreation - Zoo's and Menageries - London Zoo / Zoological Gardens."

From HUGHES AND GEDULD 233: "Sir Christopher Wren's great cathedral. In London, east of Ludgate Hill, one-eighth of a mile north of the Thames at Blackfriars."

GANGNES: St. Paul's Cathedral is a massive cathedral that traces its origins to the year 604. It lies in the Blackfriars region of London, near the London Stock Exchange, and is tall enough that it would have been visible to the narrator in most parts of the city.

More information:

• St. Paul's Cathedral official website

St. Paul's Cathedral in the late nineteenth century:

GANGNES: Knowledge: An Illustrated Magazine of Science, Plainly Worded -- Exactly Described (1881-1918) was founded as a weekly periodical with three-column pages by astronomer Richard Anthony Proctor in an effort to make scientific research more accessible. Advertisements allowed Knowledge to undercut the sales of Nature (see next note and Installment 1). It became a monthly periodical in 1885 and, under the editorship of Arthur Cowper, began to introduce reproductions of astronomical photographs, which allowed for the popular distribution of pictures of the stars. This structure of Knowledge at the time when Wells was writing The War of the Worlds is consistent with the idea that the journal might have published photographs of Mars and Venus.

Source:

• Brake, Laurel, and Marysa Demoor, editors. Dictionary of Nineteenth-Century Journalism in Great Britain and Ireland. Academia Press and The British Library, 2009, pp. 335-336.

GANGNES: The narrator believes the curate to be suffering from what we would now call Posttraumatic Stress Disorder (PTSD). Victorians might have referred to this condition as "male hysteria" in the curate's case; soon it would be called "Shell Shock" due to the PTSD experienced by soldiers during the First World War.

From DANAHAY 144: "The Martians are all brain, in keeping with Wells's theory that the bodies of 'advanced' creatures would atrophy through disuse."

GANGNES: Live pigeon shooting was at peak popularity in late-1800s Britain. It involved rounding up live pigeons and releasing them in such a way that participants could shoot them with rifles mid-flight. Clay pigeon shooting was introduced in 1880 as a more controlled, convenient, and humane sport.

The "systematic impalement of insects" refers to butterfly collecting and other sorts of insect collecting--a fad that was extremely popular during the Victorian period (it features in George Eliot's novel Middlemarch (1871-2)). Insects were displayed to their best advantage by driving a pin through their bodies to stick them into display boxes.

More information:

• Chris Batha, "A Tale of Three Hats" on Shooting Sportsman (history of live pigeon shooting)
• Franziska Kohlt, "Creepy Victorians: How nineteenth century Britain became obsessed with insects" on the Royal Entomological Society website
• Tara MacDonald, "Victorian Insect Bodies" on The Floating Academy

From DANAHAY 145: "Wells himself suffered from liver problems."

GANGNES: Ants do sleep, though not in the same way humans or many other animals do.

More information:

• Matt Walker, "The Secrets of Ant Sleep Revealed" on BBC Earth News

GANGNES: A new paragraph is added here for the 1898 volume. See text comparison page. This paragraph constitutes one of the most significant revisions to the novel in terms of the text's relationship with Pearson's and illustration. The new paragraph covertly criticizes Warwick Goble's illustrations of the novel:

"I recall particularly the illustration of one of the first pamphlets to give a consecutive account of the war. The artist had evidently made a hasty study of one of the Fighting Machines, and there his knowledge ended. He presented them as tilted, stiff tripods, without either flexibility or subtlety, and with an altogether misleading monotony of effect. The pamphlet containing these renderings had a considerable vogue, and I mention them here simply to warn the reader against the impression they may have created. They were no more like the Martians I saw in action than a Dutch doll is like a human being. To my mind, the pamphlet would have been much better without them."

Wells's friend English writer Arnold Bennett noticed the new passage and wrote to Wells: “I gathered … that you were not exactly enchanted with Warwick Goble’s efforts.” Wells admitted the intentional critique: Goble “made people think my tale was a wearisome repetition of kettles on camera stands. I really don’t think he put a fair quantity of brain into that enterprise or I wouldn’t have slanged him in the book.”

References:

• Wells, H. G. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Edited by Harry M. Geduld. Indiana UP, 1993, pp. 216-217.

From MCCONNELL 249: "Otto Lilienthal (1848-1896), German engineer, was the chief developer of glider flight."

From HUGHES AND GEDULD 219: "German engineer Otto Lilienthal (1848-1896) was one of the pioneers of man-bearing gliders."

From DANAHAY 148: "gliders invented by Otto Lilienthal (1849-1896), a German engineer"

GANGNES: Gladiolus are flowering plants, not vegetables. The flowers and greens are edible to humans, but eating the bulbs is not advised.

More information:

• Edible Flowers: Part Two on Eat the Weeds

GANGNES: Waltham Abbey is ~15 miles north of the London city center. This is where the Royal Gunpowder Mills are located. Gunpowder production began there in the 1660s, and by the nineteenth century the mill was taking advantage of steam power to supply explosives to the British Navy and Army. The destruction of this site, then, is a huge blow to the British defense against the Martians; in trying to destroy one of the fighting machines, the British destroy a valuable supply of explosives for their military.

More information:

• Official Waltham Abbey Gunpowder Mills website
• Rupert Baker, "Explosive tales from Waltham Abbey" on the Royal Society's website
• Article on Essex local history on the BBC's website

From HUGHES AND GEDULD 215: "The Midland Railway Company provided public transportation to such Midlands cities as Nottingham, Leicester, Manchester, and Leeds. Its London terminus was St. Pancras Station."

From STOVER 169: "A vigilante group whose name echoes that of the Committee of Public Safety formed under Robespierre during the French Revolution."

From DANAHAY 134: "Flight was still a dream when Wells wrote this, and so he is vague about how exactly the Martians' flying machines operate."

From MCCONNELL 240: "Popular newspapers frequently issued these supplements, cheap and crude reproductions, 'suitable for framing,' of famous works of art or stirring historical scenes; they decorated the homes of many lower middle class families."

From MCCONNELL 207: "A tall, dense, puffy cloud. Many readers during the First World War viewed this as a forecast of the use of poison gas."

GANGNES: Smoke suffocates wasps; this practice is still done today, often with smoke-like products that can be purchased for this purpose.

From MCCONNELL 210: "The first British destroyer, the Havoc, was commissioned in 1893. The development of steam power in the second half of the century had revolutionized the concept of naval warfare, and put in jeopardy Britain's traditional bulwark of defense, the Royal Navy. In the growing war-fever at the end of the century, much concern was generated around what seemed to be the increased power of European navies, especially the French, and the Naval Defense Act of 1889 laid down rules for the refurbishing of the Navy similar to those which had earlier attempted to reinvigorate the Army."

From STOVER 154-5: London's first motor exhibition was in 1895; legislation kept motorcars' speed slower than horses (and horse-drawn carts/carriages) and bicycles. In 1903 the maximum speed for motorcars was raised from two miles per hour to twenty.

From MCCONNELL 212: a one-horse, two-wheeled cab for two passengers with the driver seated above and behind the cab

From DANAHAY 116: "these were frequently for hire on the streets of London like taxis"

From STOVER 158: This heroic character is likely named after Montstuart Elphinstone (died 1859), who explored the dangerous wilds of Afghanistan on behalf of the British Raj. Wells's readers would have been familiar with his feats.

From MCCONNELL 216: "The East End of London, until well into the 1930s, was a notorious working-class slum."

From DANAHAY 122: "The Italian scientist Luigi Galvani (1737-98) passed electricity through dead animal tissue to make it move; this kind of involuntary movement became known as galvanism."

GANGNES: Note that MCCONNELL disagrees with HUGHES AND GEDULD and STOVER here about the importance of this title.

From MCCONNELL 220: "In England, the presiding judge of any court with several members."

From HUGHES AND GEDULD 215: "The nearest American equivalent [of "Chief Justice" here] (although there are many differences in the two offices) would be the Chief Justice of the Supreme Court."

From STOVER: "The Lord Chief Justice of England is equivalent to the Chief Justice of the United States."

From MCCONNELL 223: "[Hot-air] Ballooning began in the late eighteenth century. It was employed for military purposes in the American Civil War, and many prophecies of the late nineteenth century envisaged the wartime use of balloons for both reconnaissance and bombardment."

From MCCONNELL 224: "The Goths were a Teutonic people who invaded and settled in the Roman Empire between the third and fifth centuries A.D. The Huns, an Asiatic people, invaded and pillaged the Empire during the fifth century A.D."

From HUGHES AND GEDULD 215: "The Goths, a Germanic tribe, invaded Rome's Eastern and Western Empires during the third through the fifth century. The Huns, a nomadic Asian people, under their leader Atilla, invaded and ravaged much of Europe during the fifth century."

From HUGHES AND GEDULD 212: "In the 1890s, Sunday papers far outsold dailies.... Wells did not foresee the change and unwittingly 'dated' his narrative for future readers" when newspaper reading habits changed.

From HUGHES AND GEDULD 212: "The various routes and stations of the (now defunct) South-Western Railway Company. Its terminus is Waterloo Station, London. The network had three main branches: the Northern, serving locations in the direction of Staines and Reading; the Central, serving locations in the direction of Bournemouth and Southampton; and the Southern, serving locations in the direction of Guildford, Epsom, and Leatherhead."

From MCCONNELL 194: The first "tube"/underground railway was opened in London in 1890.

From HUGHES AND GEDULD 213: "Adjoining the Waterloo Station terminus of the South-Western Railway was another station belonging to the South-Eastern Railway (a separate company providing service to locations in the direction of Margate, Dover, Folkstone, and Hastings), whose terminus was Charing Cross. Normally there were barriers preventing passengers from moving directly from one railroad to another. These barriers had been lifted because of the emergency situation."

From MCCONNELL 195: "The Salvation Army was founded in 1878 by the Methodist minister and social worker William Booth, for the purpose of aiding the inhabitants of the terrible slums in the East End of London."

GANGNES: The Houses of Parliament are on the north bank of the Thames in Westminster, between Westminster Abbey and Westminster Bridge. The "Clock Tower" here is commonly referred to today as "Big Ben."

From MCCONNELL 195: "The reorganization of the British Army included an emphasis upon the reserve forces; but there was considerable doubt throughout the years before World War I whether a 'reserve' soldier would really be able to function in a battlefield situation."

From DANAHAY 102: "somebody in the army reserve force"

GANGNES: Fleet Street is a central London road on the north side of the Thames; it becomes (the) Strand (see below) to the west. During the Victorian period it was the home of most major London periodical publishers. It is associated with the story of Sweeney Todd: the "Demon Barber of Fleet Street," who appeared in the Victorian "penny dreadful" The String of Pearls: A Romance (1846-7).

From HUGHES AND GEDULD 229: Fleet Street is "a famous central London thoroughfare linking Ludgate Circus and The Strand. Until 1988 it was the home of many of London's most important newspapers. During Wells's lifetime 'Fleet Street' was a term synonymous with the British press."

More information:

• Wikipedia article on the character of Sweeney Todd
• "The String of Pearls" text on VictorianLondon.org
• Judith Flanders, "Penny Dreadfuls," on the British Library's website

From HUGHES AND GEDULD 213: "This is a slip. Until about 1870, paper was dampened to ensure a good printing impression and was then dried, but by the 1890s dry paper was used.... The anachronism disappears in the Heinemann edition (p. 127), which reads: 'type, so fresh that the paper was still wet.'"

GANGNES: It is unclear what HUGHES AND GEDULD mean when they write that the "anachronism disappears in the Heinemann edition"; the Heinemann edition also includes this line on page 124.

From HUGHES AND GEDULD 213: "Threepence a copy was three to six times the normal price."

From DANAHAY 102: "Wells is implying that newspapers were exploiting the situation by making their newspapers unusually expensive."

From MCCONNELL 196: "Field pieces with finely-wound wire, coiled under tension, inside their barrels. An early form of rifling (introduced in 1855), the wire coil made it possible to construct a much thinner and lighter barrel than previously, and also increased greatly the effective range of the projectile. Wire guns were used extensively during the period, and in the First World War."

From DANAHAY 103: "artillery with wire wound in the barrels that increased their power and range"

From MCCONNELL 197: these gloves were "highly fashionable, even somewhat dandified," in the late 1890s

From MCCONNELL 198: "the 'Coventry' tricycle, two wheels with a much larger supporting wheel to one side, current around 1876"

From HUGHES AND GEDULD 213: sometimes nicknamed "Tuppence-farthing bikes" (because of their appearance)

From MCCONNELL 199: "The first practical electric light had been developed by Thomas Edison in 1879, but the cities of Europe and America were still lit by gas at the time of the story."

From STOVER 141: "Army barracks in central London. In the event, soldiers quartered there are useless in facing unconventional Martian forces."

From MCCONNELL 201: "This was nearly fifty times the normal price of a newspaper."

From DANAHAY 107: "The price of a newspaper [since earlier in the installment] has now risen from threepence to a shilling, or twelve pence."

From MCCONNELL 202: "equivalent of fifty dollars at the time"

From STOVER 148: "Small hills of South African locution made familiar to English readers in accounts of the Boer War, from behind which Boer guerrillas sniped on English troops. Although the war did not officially break out until 1899, the landscape of the coming conflict was reported by [Rudyard] Kipling."

GANGNES: In the serialized version of the novel, Chapter V was divided in half between installments 5 and 6. This imposed a kind of "false cliffhanger" that was often seen in Victorian serialized fiction because periodicals had a set number of pages per issue (sometimes with a little wiggle room) to devote to an installment of a serialized work.

This "false cliffhanger" would have affected a Victorian reader's sense of pacing and the feeling of suspense caused by the abrupt end of the installment in the middle of an intense battle. This a "to be continued" moment that was created by serialization rather than an author's intended pacing.

GANGNES: short for "aluminium" (British; American aluminum)

From MCCONNELL 176: "First isolated in 1825, aluminum ... began to be produced in massive quantities only after the discovery, in 1866, of a cheap method of production by electrolysis."

From MCCONNELL 177: "Guns capable of firing a twelve-pound ball. Heavy artillery, like every other aspect of warfare, underwent a gigantic growth in the late nineteenth century--especially after the German munitions maker, Alfred Krupp, developed the first all-steel gun in 1851."

From DANAHAY 86: "artillery, heavier than field guns described previously"

STOVER: "It is the inequality of combat, magnified, between French and German forces in the Franco-Prussian War."

GANGNES: In addition to STOVER's note, consider the larger scope of nineteenth-century European imperialism; the 1890s were a time when the British empire was nearing its decline, and The War of the Worlds was one of many well-known novels written at the end of the century that addressed imperialism. Joseph Conrad's Heart of Darkness (serialized in Blackwood's Edinburgh Magazine in 1899 before being collected) tells of a real-life imperial experience, but Bram Stoker's Dracula, which was, like The War of the Worlds, published in 1897, is a very different kind of novel that nonetheless explores the idea of Britain being invaded by a superior entity in the way the British invaded colonial lands.

Numerous Wells scholars have written on the "reverse colonization" and "Empire comes home" nature of The War of the Worlds. As Robert Silverberg writes, "[Humans] simply don’t matter at all [to the Martians], any more than the natives of the Congo or Mexico or the Spice Islands mattered to the European invaders who descended upon them to take their lands and their treasures from them during the great age of colonialism.” Likewise, Robert Crossley observes, "The Martians do to England what the Victorians had done to Africa, Asia, and the South Pacific--and Wells intended that his fellow English imperialists taste a dose of their own medicine.”

Sources:

• Robert Crossley, "The Grandeur of H.G. Wells," A Companion to Science Fiction, ed. David Seed (Blackwell Publishing, 2005), p. 357.
• Robert Silverberg, The War of the Worlds: Fresh Perspectives on the H. G. Wells Classic, ed. Glenn Yeffeth (Benbella Books, 2005), p. 8.

More information:

• Facsimile of "The Heart of Darkness" in Blackwood's Edinburgh Magazine
• Article on the first edition of Dracula on the British Library's site

From MCCONNELL 178: "The insignia, then as now, of the Red Cross, founded in 1864 as a result of the Geneva Convention on international warfare."

From MCCONNELL 178: "Originally, grenadiers were especially tall soldiers in a regiment employed to throw grenades. This practice was discontinued by the end of the eighteenth century, though the tallest and finest soldiers of their regiments continued to be called 'grenadiers.' After 1858, the only regiment officially referred to by the name was the Grenadier Guards, the First Regiment of the Household Cavalry."

From DANAHAY 88: "originally 'grenade throwers,' but by this time an elite army regiment"

From DANAHAY 89: "Inns and pubs were allowed to sell alcohol only during particular hours specified by law."

From MCCONNELL 182: "The first portable camera, the Kodak, had been patented by George Eastman in 1888. Wells himself was an ardent amateur photographer."

From DANAHAY 91: "These were very large, box-like cameras."

From MCCONNELL 183: "The word [used in this way] was still new at the time, and referred primarily to factory whistles."

From MCCONNELL 185: "The Lisbon earthquake, on November 1, 1775, produced tremors felt throughout Europe, destroyed almost the entire city, and killed thirty thousand people."

From DANAHAY 94: "Lisbon, the capital of Portugal, was almost completely destroyed by a devastating earthquake in 1755."

From MCCONNELL 160: "The period from 1890 to the First World War has been called the 'golden age' of the machine gun, and was an era of intensive development of new weapons of all sorts. ... [B]y 1898 technology had produced an amazingly wide range of designs."

From STOVER 102: "an allusion to the Wimshurst electrostatic induction generator invented in 1880 by James Wimshurst"

From MCCONNELL 163: "Any three-legged support, although the most common instance of the 'tripod' for Wells's readers would probably have been the tripod on which older cameras were mounted."

From MCCONNELL 164: "This is a remarkable anticipation of the 'strobe effect' of rapid flashes of light, which we have come to associate (through films as much as through real experience of warfare) with modern battle scenes."

From MCCONNELL 154: "The Inkerman Barracks were named for the Battle of Inkerman, where in 1854, English and French troops defeated an attacking Prussian Army. Throughout the late nineteenth century, the armies of Europe were in the process of massive and ominous expansion and reorganization. But the British had a long-standing aversion to the idea of a standing army. Their reorganization, beginning in 1870, emphasized the localization of garrisons and short enlistment terms for civilian volunteers. In 1881 the infantry of the line was remodeled into two-battalion regiments with territorial names."

From HUGHES AND GEDULD 206: located ~2.5 miles southwest of the Horsell sand pits; ~2 miles west of Woking Station