In this critically acclaimed and bestselling novel, Ronald Wright has fashioned a story for our times, an unforgettable chronicle of love, plague and time travel in the tradition of Nineteen Eighty-Four and The Handmaid's Tale.
Romance can refer to an affair of the heart; it can also describe a heroic tale of extraordinary events. In A Scientific Romance, Wright plays on both possible meanings as he weaves a tragic story of betrayal and lost love into a larger narrative of time travel. Lambert, having lost the woman he loved, is reckless enough to test Wells's machine himself, catapulting 500 years into the future, where he finds London--indeed, all of England--a deserted, semitropical landscape. As David explores the future, he also sifts through his own past, creating in this Möbius strip of time and relationship a chilling cautionary tale about the limits of science and human ambition. --This text refers to an out of print or unavailable edition of this title.
Taking a page from H.G. Wells's classic THE TIME MACHINE, Wright has fashioned a fiction based on the 'reality' of a fiction. Wright's protagonist David Lambert, archaeologist and devotee of Victorian machinery, discovers that Wells based his novel upon a factual incident. Lambert subsequently discovers the time machine, intact but riderless, and decides to travel to 2500 A.D.. What he discovers raises more questions than answers about the fate of humanity, but it also raises questions as to what events led Lambert to this point in his life. As he travels the futuristic England countryside, he retraces his past with his friend Bird, and the woman they both love, Anita. The farther Lambert treks through England, the farther his despair over past actions becomes.
Not having perused Wells's classic, I am unable to compare his and Wright's styles. I can reveal that there is a deeply pleasing antiquated feel to Wright's tale; something in his style evokes the nostalgic prose style of Jules Verne. The font also seems charmingly old-fashioned (and for anyone who doesn't believe a font can affect a story, please discover Chip Kidd's terrific novel THE CHEESE MONKEYS, which covers just such a format consideration).Read more ›
In 1999 David Lambert, really a rather wandering soul, is a museum curator who has lost the love of his life to Mad Cow disease and his best friend in a falling out over a nasty love triangle involving the same woman. Unbelievably a letter falls into his hands that purports to be from H.G. Wells informing the reader of the return of the time machine to London-a fiction that turns out not to be fiction. So off he goes on his jaunt into the future.
This is a poor attempt at using the time travel concept as a plot device. There are just way too many coincidences and way too many convenient plot devices to move the story along. And it drags on unrelentlessly in the middle with some very tedious slogging as the author gets carried away over describing the future he finds.
At times, the novel is very good and it does have some merit. But frankly, the plot devices used, especially in the end, undermine the novel.
Unfortunately the writing style to this book was excrutiatingly boring, written in the first person. The narrator (the man with the incurable disease) jumps from concept to concept, without anything interesting to say. There is virtually no action. When he gets to the future, everything is destroyed and you keep waiting for him to encounter people, which never seems to happen. I found H.G. Wells Time Machine to be vastly more interesting and that was written over 100 years ago.
Many other readers have given this book very high marks for writing and I wonder how they can? I know I kept finding myself skipping over a lot of paragraphs throughout the book and had to fight with myself to keep from just jumping to the back of the book and reading the end so I could get on with it.