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But he differs from Huxley in two ways that make “The Machine Stops” a work particularly relevant to contemporary science fiction. As Huxley does, Forster critiques the growing reliance of his contemporaries on technology. (37)įorster’s dystopian vision may remind readers of other Western science fiction/dystopian works of the period, in particular Aldous Huxley’s somewhat later Brave New World (1932).
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For a moment they saw the nations of the dead, and, before they joined them, scraps of the untainted sky. It crashed downwards, exploding as it went, rending gallery after gallery with its wings of steel. An airship had sailed in through the vomitory into a ruined wharf. The whole city was broken like a honeycomb.
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Abandoned and helpless, the humans begin to die in a scene that interlaces apocalyptic imagery with an extremely tenuous note of hope-the assertion by Kuno, the narrative’s single rebel character, that the Machine will never be restarted because “Humanity has learned its lesson.” As he speaks, however, All human life is organized by an entity known simply as the “Machine.” At the story’s end the Machine malfunctions and finally stops. Forster published the short story “The Machine Stops,” a bleak vision of the far future in which what is left of humanity lives below the earth, connected through a world-wide communication system that allows them never to leave their rooms or engage in direct contact with anyone else. “I am real!” said Alice, and began to cry. Why you’re only a sort of thing in his dream!”. “Not you!” Tweedledee retorted contemptuously. “Why, about you!” Tweedledee exclaimed … “And if he left off dreaming about you, where do you suppose you’d be?” “He’s dreaming now,” said Tweedledee, “and what do you suppose he’s dreaming about?” You mustn’t say anything against the Machine.” (Forster 4) “Oh hush!” said his mother, vaguely shocked. “I want to speak to you not through the wearisome Machine.” “I want to see you not through the Machine,” said Kuno.
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Napier When the Machines Stop: Fantasy, Reality, and Terminal Identity in Neon Genesis Evangelion and Serial Experiments Lain
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