Historicizing the Future

… I must acquiesce, and be content with the Honour and Misfortune, of being the first among Historians (if a mere Publisher of Memoirs may deserve that Name) who leaving the beaten Tracts of writing with Malice or Flattery, the accounts of past Actions and Times, have dar’d to enter by the help of an infallible Guide, into the dark Caverns of Futurity, and discover the Secrets of Ages yet to come.

Samuel Madden,  Memoirs of the Twentieth Century (London: Printed for Messieurs Osborn and Longman, Davis, and Batley …, 1733) vol. 1, 3.

Contemporary historiography has highlighted the role played by a spatial dimension in the birth of a speculative imagination which, in modern-age Europe, exploited fantastic and philosophical motives, and was rich in theological and spiritual interests.1 The Copernican revolution opened up cosmic space as a possible home to other planets and civilisations. From Francis Godwin’s The Man in the Moon (1638) to Cyrano de Bergerac’s The Other World (1657), up to Fontenelle’s Entretiens sur la pluralités des mondes (1686), the seventeenth century reflected on the possibility of extra-terrestrial life and saw the flourishing of interplanetary voyages, explorations of the moon and more remote celestial bodies, close encounters with distant civilizations, including the possibility of being visited by extra-terrestrials beings on Earth (e.g. Charles Sorel’sL’Histoire comique de Francion, 1623, progenitor of the imaginary visits of alien humans in Europe).2

Cultural historians and scholars of speculative fiction usually locate in a late-modern period the appearance of a temporal dimension exploited as a means of dislocation from the writer’s reality, and thus as a source of cognitive estrangement.3 However, while some see in the consequences of the same Copernican revolution the crucial condition thanks to which the imagination first became able to work outside the temporal horizon of Biblical time,4 others place the shift from a spatial-based to a temporal-based speculation as late as the eighteenth century,5 or take the year 1800 as a conventional watershed.6 In his comprehensive anthology of British future fiction, I. F. Clarke identifies a turning point during the nineteenth century, but traces from the seventeenth century onwards the first developments of a temporal imagination, in consequence of which “the geographies of utopian fiction evolved into the historiographies of a new literature.”7

The conceptualization of a future intimately linked to the present and shapeable by human action can in fact be traced back to the emergence of new ideas and sensibilities towards historical time, which matured gradually during the modern age.8 Anglophone and francophone literatures offer extrapolations of near-future scenarios as early as the beginning of the seventeenth century. 

A play such as A Larum for London (published anonymously in 1602) implicitly suggests that a Spanish sack of London might replicate the horrors of 1576 Antwerp,9 John Dryden’s Annus Mirabilis (1667) imagines London reborn after the Great Fire, political prophetism nourishes works such as Aulicus his Dream of the King’s Sudden Comming to London (anonymous, 1644)10 and Jacques Guttin’s Épigone, Histoire du siècle futur (1659). The future is home to a model society towards which the English Parliament is invited to work in A Description of the Famous Kingdome of Macaria (1642) attributed to Samuel Hartlib.11 These narrations offer possible and counter-factual histories used to make a point about the politics of the day, whether through ominous predictions, practical indications, or – in the case of Guttin – as the backdrop to adventurous plots.12 Squibs, satires, or exotic romances, these texts represent a step towards a secularized history13 and conceptualizations of the future that their late-modern and early-contemporary descendants will come to embody, without yet constituting a genre, nor focusing their inventions and extrapolations on those techno-scientific wonders that would only later take centre-stage.14

As Bronisław Baczko has argued,15 the topographical dislocation exploited in early-modern imaginary voyages may serve the purpose of constructing an ideal society untouched by the same historical processes experienced by the reader’s, so that history as known by the writer and the reader constantly informs the invention as a negative presence, by its absence. Utopian societies may consequently be described as a result of different histories, and characterized by alternate calendars and time-computing methods, such as in L’histoire des Sevarambes; peuples qui habitent une partie du troisième continent, communément appelé la Terre australe by Denis Veiras (1677-1679).16 Baczko discusses also what he calls utopia-proposals, such as Étienne-Gabriel Morelly’s Code de la Nature (1755), in which the utopian project may serve the purpose of showing a different yet possible continuation of history, freeing society from its past to offer a new beginning.17

A fantastic voyage: a ship has left the sea below and is sailing among the clouds, in a nocturnal sky. The caption below reads "The ship is caught up into the skies". Illustration from Lucian's wonderland: being a translation of the 'Vera historia' by Lucian, by St J. Basil Wynne Willson; with numerous illustrations by A. Payne Garnett (Edinburgh and London: William Blackwood and Sons, 1899), p. 47. Copy via InternetArchive.
“The ship is caught up into the skies”. Lucian’s wonderland: being a translation of the ‘Vera historia’ by Lucian, by St J. Basil Wynne Willson; with numerous illustrations by A. Payne Garnett (Edinburgh and London: William Blackwood and Sons, 1899), p. 47. Copy via InternetArchive. Non known restriction for scholarly use.

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The Illustrator and the Global Wars to Come

Fantastic narratives and illustrations as part of a broader social history of ideas of space and time

Ne soyez point en peine de ce Heros inconnu qui se presente à vos yeux. Encore qu’il ne soit pas ny de ce Monde ny de ce Siecle, il n’est pas si farouche ny si barbare, qu’il ne soit capable de faire un beau choix, & qu’il n’ait jugé aussi juste de vostre merite, que l’auroient pû faire tous ceux qui ont l’honneur de vous mieux connoistre.

JACQUES GUTTIN [MICHEL DE PURE], Épigone, histoire du siècle futur (A Paris: Chez Pierre Lamy, 1659), aij-p.nn.

My latest work on the conceptualisation of historical time in late modern and early contemporary European culture is now on Cromohs: Cyber Review of Modern Historiography.

Late modern and early contemporary imageries related to techno-driven globalization processes are to be found, in some of their most popular and graphic expressions, in visual and literary works of fiction. Made possible by the emergence of new ideas of a secularized historical time, early speculative fiction is an exceptional vantage point from which to observe the birth and development of popular themes and tropes related to those compressions of time and space, which increasingly characterized the world system between the late nineteenth and the early twentieth century.

Louis-Sébastien Mercier, L’an deux mille quatre cent quarante (1774; nouvelle edition, Paris, an X [1801-1802]) vol. I, 12. Looking at the public notices posted on a wall, the protagonist realizes he has slept for 672 years. Source: gallica.bnf.fr / Bibliothèque nationale de France.

In the European cultural space, and especially in mature publishing markets such as the French one, speculative fiction set in the future became an apt expression of new imageries related to techno-science, including new communication and transportation systems and the astonishing speed of their development. Narratives and illustrations interpreted the appearance of new forms of awareness of globalization processes, becoming part of a communicative circuit, which was expanding its audience at a fast rate, thanks to the increasing presence of the popular press.

In this phase of techno-scientific acceleration and tumultuous changes in cultural habits, speculative fiction began to depict a major shift that had been occurring in the European mind-set during the late modern era: the emergence of a plastic future. New ideas of the future were a consequence of new, secularized temporalizations of history. The conception of historical time as home to linear processes of development was in turn deeply influenced by a close encounter with “others,” by explorations, voyages and the availability of written, figurative and material sources regarding remote parts of the world, which documented Western forms of ethnocentric hierarchization and, at the same time, began the task of problematizing them.

Fantastic narratives and illustrations can be read as part of a broader social history of ideas of space and time, and work as litmus tests of the complex reconfigurations they underwent in the Western mind, as global interconnectedness brought new subjects and issues onto the stage.

Continue reading “The Illustrator and the Global Wars to Come”