By: H.G. Wells
March 13, 2022

1904 illustration of “The Land Ironclads.”

HiLoBooks is pleased to serialize H.G. Wells’s “The Land Ironclads” for HILOBROW’s readers. Published in The Strand in 1903, this proto-sf tale contributed to Wells’s reputation as a “prophet of the future” when tanks first appeared in 1916.

ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10.


The captain, of course, saw both sides of the battle. When he raised his head into his conning-tower there were the dewy sunrise, the amazed and disordered trenches, the flying and falling soldiers, the depressed-looking groups of prisoners, the beaten guns; when he bent down again to signal “half speed,” “quarter speed,” “half circle round towards the right,” or what not, he was in the oil-smelling twilight of the ill-lit engine room. Close beside him on either side was the mouthpiece of a speaking-tube, and ever and again he would direct one side or other of his strange craft to “Concentrate fire forward on gunners,” or to “clear out trench about a hundred yards on our right front.”

He was a young man, healthy enough but by no means sun-tanned, and of a type of feature and expression that prevails in His Majesty’s Navy: alert, intelligent, quiet. He and his engineers and his riflemen all went about their work, calm and reasonable men. They had none of that flapping strenuousness of the half-wit in a hurry, that excessive strain upon the blood-vessels, that hysteria of effort which is so frequently regarded as the proper state of mind for heroic deeds.

For the enemy these young engineers were defeating they felt a certain qualified pity and a quite unqualified contempt. They regarded these big, healthy men they were shooting down precisely as these same big, healthy men might regard some inferior kind of native. They despised them for making war; despised their bawling patriotisms and their emotionality profoundly; despised them, above all, for the petty cunning and the almost brutish want of imagination their method of fighting displayed. “If they must make war,” these young men thought, “why in thunder don’t they do it like sensible men?” They resented the assumption that their own side was too stupid to do anything more than play their enemy’s game, that they were going to play this costly folly according to the rules of unimaginative men. They resented being forced to the trouble of making man-killing machinery; resented the alternative of having to massacre these people or endure their truculent yappings; resented the whole unfathomable imbecility of war.

Meanwhile, with something of the mechanical precision of a good clerk posting a ledger, the riflemen moved their knobs and pressed their buttons….

The captain of Land Ironclad Number Three had halted on the crest close to his captured half-battery. His lined-up prisoners stood hard by and waited for the cyclists behind to come for them. He surveyed the victorious morning through his conning-tower.

He read the general’s signals. “Five and Four are to keep among the guns to the left and prevent any attempt to recover them. Seven and Eleven and Twelve, stick to the guns you have got; Seven, get into position to command the guns taken by Three. Then, we’re to do something else, are we? Six and One, quicken up to about ten miles an hour and walk round behind that camp to the levels near the river — we shall bag the whole crowd of them,” interjected the young man. “Ah, here we are! Two and Three, Eight and Nine, Thirteen and Fourteen, space out to a thousand yards, wait for the word, and then go slowly to cover the advance of the cyclist infantry against any charge of mounted troops. That’s all right. But where’s Ten? Halloa! Ten to repair and get movable as soon as possible. They’ve broken up Ten!”

The discipline of the new war machines was business-like rather than pedantic, and the head of the captain came down out of the conning-tower to tell his men. “I say, you chaps there. They’ve broken up Ten. Not badly, I think; but anyhow, he’s stuck.”

But that still left thirteen of the monsters in action to finish up the broken army.

The war correspondent stealing down his gully looked back and saw them all lying along the crest and talking fluttering congratulatory flags to one another. Their iron sides were shining golden in the light of the rising sun.


RADIUM AGE PROTO-SF: “Radium Age” is Josh Glenn’s name for the nascent sf genre’s c. 1900–1935 era, a period which saw the discovery of radioactivity, i.e., the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. More info here.

SERIALIZED BY HILOBOOKS: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”) | Arthur Conan Doyle’s The Poison Belt | H. Rider Haggard’s When the World Shook | Edward Shanks’ The People of the Ruins | William Hope Hodgson’s The Night Land | J.D. Beresford’s Goslings | E.V. Odle’s The Clockwork Man | Cicely Hamilton’s Theodore Savage | Muriel Jaeger’s The Man With Six Senses | Jack London’s “The Red One” | Philip Francis Nowlan’s Armageddon 2419 A.D. | Homer Eon Flint’s The Devolutionist | W.E.B. DuBois’s “The Comet” | Edgar Rice Burroughs’s The Moon Men | Charlotte Perkins Gilman’s Herland | Sax Rohmer’s “The Zayat Kiss” | Eimar O’Duffy’s King Goshawk and the Birds | Frances Hodgson Burnett’s The Lost Prince | Morley Roberts’s The Fugitives | Helen MacInnes’s The Unconquerable | Geoffrey Household’s Watcher in the Shadows | William Haggard’s The High Wire | Hammond Innes’s Air Bridge | James Branch Cabell’s Jurgen | John Buchan’s “No Man’s Land” | John Russell’s “The Fourth Man” | E.M. Forster’s “The Machine Stops” | John Buchan’s Huntingtower | Arthur Conan Doyle’s When the World Screamed | Victor Bridges’ A Rogue By Compulsion | Jack London’s The Iron Heel | H. De Vere Stacpoole’s The Man Who Lost Himself | P.G. Wodehouse’s Leave It to Psmith | Richard Connell’s “The Most Dangerous Game” | Houdini and Lovecraft’s “Imprisoned with the Pharaohs” | Arthur Conan Doyle’s “The Sussex Vampire” | Francis Stevens’s “Friend Island” | George C. Wallis’s “The Last Days of Earth” | Frank L. Pollock’s “Finis” | A. Merritt’s The Moon Pool | E. Nesbit’s “The Third Drug” | George Allan England’s “The Thing from — ‘Outside'” | Booth Tarkington’s “The Veiled Feminists of Atlantis” | H.G. Wells’s “The Land Ironclads” | J.D. Beresford’s The Hampdenshire Wonder | Valery Bryusov’s “The Republic of the Southern Cross” | Algernon Blackwood’s “A Victim of Higher Space” | A. Merritt’s “The People of the Pit”.