Short Fiction H. G. Wells (classic books for 7th graders TXT) 📖

interest even of the work that lay before them. “Whatever it is,” he said, “it can’t be so hateful as that hat shop. And after we have paid for Dings, we shall still have a whole penny a day between us even now. Afterwards⁠—we may improve⁠—get more money.”

Elizabeth was less inclined to speech. “I wonder why work should seem so hateful,” she said.

“It’s odd,” said Denton. “I suppose it wouldn’t be if it were not the thought of being ordered about⁠ ⁠… I hope we shall have decent managers.”

Elizabeth did not answer. She was not thinking of that. She was tracing out some thoughts of her own.

“Of course,” she said presently, “we have been using up work all our lives. It’s only fair⁠—”

She stopped. It was too intricate.

“We paid for it,” said Denton, for at that time he had not troubled himself about these complicated things.

“We did nothing⁠—and yet we paid for it. That’s what I cannot understand.”

“Perhaps we are paying,” said Elizabeth presently⁠—for her theology was old-fashioned and simple.

Presently it was time for them to part, and each went to the appointed work. Denton’s was to mind a complicated hydraulic press that seemed almost an intelligent thing. This press worked by the seawater that was destined finally to flush the city drains⁠—for the world had long since abandoned the folly of pouring drinkable water into its sewers. This water was brought close to the eastward edge of the city by a huge canal, and then raised by an enormous battery of pumps into reservoirs at a level of four hundred feet above the sea, from which it spread by a billion arterial branches over the city. Thence it poured down, cleansing, sluicing, working machinery of all sorts, through an infinite variety of capillary channels into the great drains, the cloacae maximae, and so carried the sewage out to the agricultural areas that surrounded London on every side.

The press was employed in one of the processes of the photographic manufacture, but the nature of the process it did not concern Denton to understand. The most salient fact to his mind was that it had to be conducted in ruby light, and as a consequence the room in which he worked was lit by one coloured globe that poured a lurid and painful illumination about the room. In the darkest corner stood the press whose servant Denton had now become: it was a huge, dim, glittering thing with a projecting hood that had a remote resemblance to a bowed head, and, squatting like some metal Buddha in this weird light that ministered to its needs, it seemed to Denton in certain moods almost as if this must needs be the obscure idol to which humanity in some strange aberration had offered up his life. His duties had a varied monotony. Such items as the following will convey an idea of the service of the press. The thing worked with a busy clicking so long as things went well; but if the paste that came pouring through a feeder from another room and which it was perpetually compressing into thin plates, changed in quality the rhythm of its click altered and Denton hastened to make certain adjustments. The slightest delay involved a waste of paste and the docking of one or more of his daily pence. If the supply of paste waned⁠—there were hand processes of a peculiar sort involved in its preparation, and sometimes the workers had convulsions which deranged their output⁠—Denton had to throw the press out of gear. In the painful vigilance a multitude of such trivial attentions entailed, painful because of the incessant effort its absence of natural interest required, Denton had now to pass one-third of his days. Save for an occasional visit from the manager, a kindly but singularly foul-mouthed man, Denton passed his working hours in solitude.

Elizabeth’s work was of a more social sort. There was a fashion for covering the private apartments of the very wealthy with metal plates beautifully embossed with repeated patterns. The taste of the time demanded, however, that the repetition of the patterns should not be exact⁠—not mechanical, but “natural”⁠—and it was found that the most pleasing arrangement of pattern irregularity was obtained by employing women of refinement and natural taste to punch out the patterns with small dies. So many square feet of plates was exacted from Elizabeth as a minimum, and for whatever square feet she did in excess she received a small payment. The room, like most rooms of women workers, was under a manageress: men had been found by the Labour Company not only less exacting but extremely liable to excuse favoured ladies from a proper share of their duties. The manageress was a not unkindly, taciturn person, with the hardened remains of beauty of the brunette type; and the other women workers, who of course hated her, associated her name scandalously with one of the metalwork directors in order to explain her position.

Only two or three of Elizabeth’s fellow-workers were born labour serfs; plain, morose girls, but most of them corresponded to what the nineteenth century would have called a “reduced” gentlewoman. But the ideal of what constituted a gentlewoman had altered: the faint, faded, negative virtue, the modulated voice and restrained gesture of the old-fashioned gentlewoman had vanished from the Earth. Most of her companions showed in discoloured hair, ruined complexions, and the texture of their reminiscent conversations, the vanished glories of a conquering youth. All of these artistic workers were much older than Elizabeth, and two openly expressed their surprise that anyone so young and pleasant should come to share their toil. But Elizabeth did not trouble them with her old-world moral conceptions.

They were permitted, and even encouraged to converse with each other, for the directors very properly judged that anything that conduced to variations of mood made for pleasing fluctuations in their patterning; and Elizabeth was almost forced to hear the stories of these lives with which her own interwove: