H.G. Wells, The Invisible Man (1897)

H.G. Wells, The Invisible Man (1897), Introduction by Christopher Priest

Strangely enough, Penguin didn’t elect H.G. Wells to the status of “classics” until 2005, when most of his novels entered the fold, including the four early classics, The Time Machine, The Island of Dr. Moreau, The Invisible Man, and The War of the Worlds.  The reason for this is the lasting stigma of “science fiction,” which is still seen as somewhat sensational, genre-specific, and of little literary value.  In the same way, the great science fiction novels of Pierre Boulle (Planet of the Apes, etc.) and Asimov (I, Robot, etc.) remain stapes of fantasy and science fiction imprints rather than mainstream classics.  So I was delighted to see Wells get the treatment his novels so richly deserve, particularly with the cool, somewhat retro designs which grace each Penguin volume.  Of all of his books, perhaps The Invisible Man is my favorite, as it is not simply a “science fiction” book, but a book that heralds in a completely new genre of literature in general: the superhero/villain narrative.  Every superhero comic owes something to The Invisible Man, and in every supervillain’s DNA we recognize the familiar pattern of Griffin, the infamous “Invisible Man.”  Of course, the book is not entirely original, as it develops a familiar theme found both in Frankenstein (1818) and the more recent Dr. Jekyll and Mr. Hyde (1886)—that we all have something within us that can be unleashed, call it our “id” or our primal self, which can do deeds of unspeakable good or evil.  The sense of a dark other haunts all of 19^th century literature, but Wells adds a crucial ingredient to lift it out of the realm of Gothic literature: science.  The veneer of scientific possibility that hovers over the book, along with its by-the-minute, journalistic detail, makes us believe in the work in a way that Mary Shelley could neither accomplish or cared to attempt.  In short, it’s hard to read this book and not imagine the terror which its original audience most have experienced when first cutting open its pages (a sense that Orson Wells famously captured in his radio broadcast of The War of the Worlds).