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The Time Machine is a science fiction novella by H. G. Wells, published in 1895 for the first time and later adapted into at least two feature films of the same name, as well as two television versions, and a large number of comic book adaptations. It indirectly inspired many more works of fiction in many media. This 32,000 word story is generally credited with the popularisation of the concept of time travel using a vehicle that allows an operator to travel purposefully and selectively. The term "time machine", coined by Wells, is now universally used to refer to such a vehicle. Wells introduces an early example of the Dying Earth subgenre as well. History Wells had considered the notion of time travel before, in an earlier (but less well-known) work titled The Chronic Argonauts. He had thought of using some of this material in a series of articles in the Pall Mall Gazette, until the publisher asked him if he could instead write a serial novel on the same theme; Wells readily agreed, and was paid £100 on its publication by Heinemann in 1895. The story was first published in serial form in the January to May numbers of William Ernest Henley's new venture New Review.[1] The first book edition (possibly prepared from a different manuscript)[2] was published in New York by Henry Holt and Company on May 7, 1895; an English edition was published by Heinemann on May 29.[1] These two editions are completely different textually, and are commonly referred to as the "Holt text" and "Heinemann text" respectively. Nearly all modern reprints reproduce the Heinemann text. The story reflects Wells's own socialist political views and the contemporary angst about industrial relations. It is also influenced by Ray Lankester's theories about social degeneration[3]. Other science fiction works of the period, including Edward Bellamy's Looking Backward, and the later Metropolis, dealt with similar themes. Plot summary The book's protagonist is an English scientist and gentleman inventor living in Richmond, Surrey, identified by a narrator simply as the Time Traveller. The narrator recounts the Traveller's lecture to his weekly dinner guests that time is simply a fourth dimension, and his demonstration of a tabletop model machine for travelling through it. He reveals that he has built a machine capable of carrying a person, and returns at dinner the following week to recount a remarkable tale, becoming the new narrator: The Time Traveller tests his device with a journey that takes him to the year 802,701 A.D., where he meets the Eloi, a society of small, elegant, androgynous, and childlike people. They live in small communities within large and futuristic yet slowly deteriorating buildings, doing no work and having a frugivorous diet. His efforts to communicate with them are hampered by their lack of curiosity or discipline, and he speculates that they are a peaceful communist society, the result of humanity conquering nature with technology, and subsequently evolving to adapt to an environment in which strength and intellect are no longer advantageous to survival. Returning to the site where he arrived, the Time Traveller finds his time machine missing, and eventually works out that it has been dragged by some unknown party into a nearby structure with heavy doors, locked from the inside. Later in the dark, he is approached menacingly by the Morlocks, pale, apelike people who live in darkness underground, where he discovers the machinery and industry that makes the above-ground paradise possible. He alters his theory, speculating that the human race has evolved into two species: the leisured classes have become the ineffectual Eloi, and the downtrodden working classes have become the brutish light-fearing Morlocks. Deducing that the Morlocks have taken his time machine, he explores the Morlock tunnels, learning that they feed on the Eloi. His revised analysis is that their relationship is not one of lords and servants but of livestock and ranchers, and with no real challenges facing either species. They have both lost the intelligence and character of Man at its peak. Meanwhile, he saves an Eloi named Weena from drowning as none of the other Eloi take any notice of her, and they develop an innocently affectionate relationship over the course of several days. He takes Weena with him on an expedition to a distant structure that turns out to be the remains of a museum, where he finds a fresh supply of matches and fashions a crude weapon against Morlocks, whom he fears he must fight to get back his machine. He plans to take Weena back to his own time. But the long and tiring journey back to Weena's home is too much for them, they are overcome by Morlocks in the night, and Weena fainted. The Traveller escapes only when a small fire he had left behind them to distract the Morlocks catches up to them as a forest fire; Weena is lost to the fire and the Morlocks are possibly killed by it. The Morlocks use the time machine as bait to ensnare the Traveller, not understanding that he will use it to escape. He travels further ahead to roughly 30 million years from his own time. There he sees some of the last living things on a dying Earth, menacing reddish crab-like creatures slowly wandering the blood-red beaches of a world covered in simple vegetation. He continues to make short jumps through time, seeing Earth's rotation gradually cease and the sun grow dimmer, and the world falling silent and freezing as the last degenerate living things die out. Overwhelmed, he returns to his laboratory, at just three hours after he originally left. Interrupting dinner, he relates his adventures to his disbelieving visitors, producing as evidence two strange flowers Weena had put in his pocket. The original narrator takes over and relates that he returned to the Time Traveller's house the next day, finding him in final preparations for another journey. The Traveller promises to return in half an hour, but three years later, the narrator despairs of ever learning what became of him, although just before he left the lab he saw a glimpse of him. Deleted text A section from the 11th chapter of the serial published in New Review (May, 1895) was deleted from the book. It was drafted at the suggestion of Wells's editor, William Ernest Henley, who wanted Wells to "oblige your editor" by lengthening out the text with, among other things, an illustration of "the ultimate degeneracy" of man. "There was a slight struggle," Wells later recalled, "between the writer and W. E. Henley who wanted, he said, to put a little 'writing' into the tale. But the writer was in reaction from that sort of thing, the Henley interpolations were cut out again, and he had his own way with his text." [4] This portion of the story was published elsewhere as The Grey Man. This deleted text was also published by Forrest J. Ackerman in an issue of the American edition of Perry Rhodan. The deleted text recounts an incident immediately after the Traveller's escape from the Morlocks. He finds himself in the distant future of an unrecognisable Earth, populated with furry, hopping herbivores. He stuns or kills one with a rock, and upon closer examination realises they are probably the descendants of humans/Eloi/Morlocks. A gigantic, centipede-like arthropod approaches and the Traveller flees into the next day, finding that the creature has apparently eaten the tiny humanoid. Wells also rejected sections from his drafts in which at the end of the novel he has the Time Traveller go back in time to visit the Puritan era, where he is attacked by a Puritan preacher and then by Cromwell's Ironsides, and has the narrator speculate on the ultimate origin of the Eloi/Morlock split as being rooted in that ancient division of the English people into Puritans and Cavaliers. (see: Nation & novel: the English novel from its origins to the present day, by Patrick Parrinder, page 293) Scholarship Significant scholarly commentary on The Time Machine began from the early 1960s, initially contained in various broad studies of Wells's early novels (such as Bernard Bergonzi's The Early H.G. Wells: A Study of the Scientific Romances) and studies of utopias/dystopias in science fiction (such as Mark R. Hillegas's The Future as Nightmare: H.G. Wells and the Anti-Utopians). Much important critical and textual work was done in the 1970s, including the tracing of the very complex publication history of the text, its drafts and unpublished fragments. A further resurgence in scholarship came around the time of the novel's centenary in 1995, and a major outcome of this was the 1995 conference and substantial anthology of academic papers, which is collected in print as H.G. Wells’s Perennial Time Machine: Selected Essays from the Centenary Conference, "The Time Machine: Past, Present, and Future" (University of Georgia Press, 2001). This publication then allowed the development of a study guide book (meant for advanced academics at Masters and PhD level), H.G. Wells's The Time Machine: A Reference Guide (Praeger, 2004). The scholarly journal The Wellsian has published around twenty articles on The Time Machine, and the new US academic journal devoted to H.G. Wells, The Undying Fire has published three since its inception in 2002. Film, TV or theatrical adaptations First adaptation The first visual adaptation of the book was a live teleplay broadcast from Alexandra Palace on 25 January 1949 by the BBC, which starred Russell Napier as the Time Traveller and Mary Donn as Weena. No recording of this live broadcast was made; the only record of the production is the script and a few black and white still photographs. A reading of the script, however, suggests that this teleplay remained fairly faithful to the book.[citation needed] Escape Radio broadcasts The CBS radio anthology Escape adapted The Time Machine twice, in 1948 starring Jeff Corey, and again in 1950 starring John Dehner. In both episodes a script adapted by Irving Ravetch was used. The Time Traveller was named Dudley and was accompanied by his sceptical friend Fowler as they travelled to the year 100,080. 1960 film Main article: The Time Machine (1960 film) George Pal (who also made a famous 1953 "modernised" version of Wells's The War of the Worlds) filmed The Time Machine in 1960. Rod Taylor (The Birds) starred, along with Yvette Mimieux as the young Eloi, Weena, Alan Young as his closest friend David Filby (and, in 1917 and 1966, his son James Filby), Sebastian Cabot as Dr Hillyer, Whit Bissell as Walter Kemp and Doris Lloyd as his housekeeper Mrs Watchett. The Time Traveller is addressed as George. The plate on the Time Machine which he builds, is inscribed 'Manufactured by H. George Wells'. This is clearly visible and easily read whenever the date indicator panel is shown in the film. The location is not stated any more precisely than in the South of England, but is near a sharp bend of the River Thames, so is presumably still Richmond, Surrey. This is more of an adventure tale than the book was; The story begins with the Time Traveller returning from his trip, unkempt and in disarray. He relates to his friends of what he has witnessed: wars' horrors first-hand in June, 1940 over London and a Cold War-nuclear bomb in August, 1966. Travelling to 802,701 A.D., he finds the world has settled into a vast garden. He meets the pacifist, illiterate and servile Eloi, who speak broken English, and have little interest in technology or the past. Their brethren from long ago, the Morlocks, however, although technologically competent, have devolved into cannibalistic underground workers. He deduces the division of mankind resulted from mutations induced by nuclear war - periodic air-raid sirens cause Weena and many Eloi to instinctively report to underground shelters run by the Morlocks. The Time Traveller goes down to rescue them, and encourages a leader among them to help them escape. Having escaped, and after throwing dead wood into the holes on the surface to feed a growing underground fire, they retreat to the river as underground explosions cause a cave-in. After getting to his machine, he is trapped behind a closed door with several Morlocks, whom he has to fight in order to escape. Battered, he makes it back to his scheduled dinner the next Friday January 5, 1900. After relating his story, the Time Traveller leaves for a second journey, but Filby and Mrs Watchett note that he had taken three books from the shelves in his drawing room. Filby comments that George must've had a plan for a new Eloi civilisation. "Which three books would you have taken?" Filby inquires to Mrs. Watchett, adding " ... he has all the time in the world." The film is noted for its then-novel use of time lapse photographic effects to show the world around the Time Traveller changing at breakneck speed as he travels through time. (Pal's earliest films had been works of stop-motion animation.) Thirty-three years later, a combination sequel/documentary Time Machine: The Journey Back (1993 film), directed by Clyde Lucas, was produced. Rod Taylor hosted, with Bob Burns (also Ex Producer), Gene Warren Sr. and Wah Chang as guests. Michael J. Fox (who had himself portrayed a time traveller in the Back to the Future trilogy) spoke about time travelling in general. In the second half, written by original screenwriter David Duncan, the movie's original actors Rod Taylor, Alan Young and Whit Bissell reprise their roles. The Time Traveller returns to his laboratory in 1916, finding Filby, now an officer during the First World War just like his son James who was about to face his impending death during that year (according to his son James in the original film), there, and encourages his friend to join him in the far future — but Filby has doubts. (Time Machine: The Journey Back is featured as an extra on the DVD release of the 1960 film). 1978 TV film A TV version made in 1978, featuring time-lapse images of building walls being de-constructed and locations shifting from Los Angeles to Plymouth, Massachusetts, and inland California. It's mostly forgotten, as it resembled an episode of the NBC series Fantasic Journey. John Beck starred as scientist Neil Perry, with Whit Bissell (from the original 1960 movie and also one of the stars of the 1966 television series The Time Tunnel) appearing as one of Perry's superiors. Neil is building a machine that will enable him to travel back and forth in time. This version of The Time Mechine set the modern era, and is similar to the 1960s version, in that it has a seat and the machine has a triangle shape behind the driver. Lights rotated about the edge of the bottom triangle . Though only going a few thousand years into the future, Perry finds the world of the Eloi and Morlocks, and learns the world he left will be destroyed by another of his own inventions.The Morlocks were small grey alien-like creatures, who carried light sticks that resembled mini-light sabers. The character Weena was played by Priscilla Barnes, later of Three's Company fame. While for the most part this version is faitful to the spirit of the original, it changes some of Neil's first trips, including some rather silly trips to the past (the time traveler almost gets burned as a witch; he gets jailed in western times and escapes when the Younger brothers rob the bank), but retains Wells' anti-war messages into the mix, however adds the element of the apocalypse that resulted in the world of the Eloi and the Morlock occurring due to war that employed the anti-matter bomb the traveler was assigned to work on in his own time. Granted, the George Pal version did a bit of that as well, but it did with more wit and finesse; here, it's thuddingly obvious and utterly predictable. A weak script, cliched dialogue, and unimaginitive direction all sink this one; if it did anything, it really made you appreciate more the good job Pal did with his version. In particular, the way the Eloi were portrayed in the Pal version; they really felt like an alien culture and a race apart, while here they're just ordinary humans in togas and blonde hair. You can give the movie some credit in coming up with a fairly cool-looking time machine, but even at that, it's not as cool as the one in Pal's version. Beck is no Rod Taylor, not even close. Still, it does feature a few familiar faces such as Andrew Duggan and Whit Bissell. Collier & Heins Financial Consultants in SLC, Utah was used for some of the current era scenes.James Collier (now deceased) was president of the company. His office was used for the movie-President's (John Duggan) office. The Morlock scenes were shot up in Park City, Utah in and around one of the mines.