The Old Man Who Knows Everything

Early on in News from Nowhere Old Hammond declares to William Guest, 'I am old and perhaps disappointed' (ch IX). Nothing seems to me more important in the interpretation of Morris's text than establishing exactly what the 105-year-old Hammond means by this. If the Old Man Who Knows Everything (to borrow H.G. Wells's fine phrase for the utopian expositor), the figure who more than anyone else is the keeper of utopia's flame and conscience - if he is 'disappointed' with the way things have turned out, then you surely know you're in trouble!

So, what Hammond means is one key question; but what he might do about it is another. And here we might need to turn to contemporary utopian writing to give ourselves some possible narrative models. In Kim Stanley Robinson's fine ecological utopia, Pacific Edge (1990), the elderly Tom Barnard, who has retreated from the activism of his earlier years into a depressed, silent, detached existence on the top of Rattlesnake Hill after the death of his wife, will painfully have to descend that hill, reintegrate himself in society, return to the political struggle as capitalism begins to reassert its ugly head behind disputes about local zoning and water laws.

Can we write a future narrative for Old Hammond along such lines? Can we imagine him as having dispiritedly shut himself away from Nowhere in the dusty and claustrophobic vaults of the British Museum? Why is he worried, in chapter XV, about 'how ... you prevent the counter-revolution from setting in'? To what developments elsewhere in the text does this anxiety correspond? Will he accordingly need to sally forth again, imparting his long historical perspectives to a culture of younger Nowherians who seem dangerously oblivious to them? And in so doing will he, like Robinson's Tom Barnard, recapture the fire and fervour of his early political days, inspiring a younger generation of activists in the process?

News from Nowhere declares itself on its title page 'some chapters' from a utopian romance. Clearly, there are others to be written...

Ruskin, Morris and the Terraforming of Mars

Abstract of a paper to be delivered at the 'Persistent Ruskin' Conference, Lancaster University, 18th-19th July 2008:

This paper aims to construct a Ruskinian tradition in utopian writing around the issue of work practices. It sees William Morris's News from Nowhere as the first Ruskinian utopia, but one which is twisted awry in its very moment of conception by the impact upon Morris of Edward Bellamy's Looking Backward. That archetypal clash between utopias of sustainability and utopias of scientific advancement (going all the way back to Thomas More versus Francis Bacon) is then re-enacted, but also partly reconciled, in some of the great utopias of the second half of the twentieth century. Ernest Callenbach's Ecotopia, Ursula LeGuin's The Dispossessed and above all Kim Stanley Robinson's great Mars trilogy (Red Mars, Green Mars, Blue Mars) will be shown to provide a complex contemporary home for Ruskinian-Morrisian ideals of unalienated labour, as the Gothic craftsman unexpectedly mutates into Martian terraformer.