Crises and Futures in the twentieth and twenty-first century

E. M. FORSTER

Edward Morgan Forster, a luminary of English literature, stands

as a literary alchemist whose words transmute the mundane into

the extraordinary. Born on January 1, 1879, in London, Forster's

life spanned a transformative era, marked by societal upheavals

and technological leaps. His writing, a kaleidoscope of human

relationships and societal critiques, continues to

resonate(risonare,concordare), transcending temporal and

cultural boundaries. Forster's literary palette, known for its

nuanced strokes(tratti sfumati) and evocative hues(tonalità

evocative), unfolds against the backdrop(sfondo) of the late

Victorian and early Edwardian periods. These were times when

rigid class structures defined societal norms, and Britain grappled

with the aftershocks of industrialization. His major works,

including "A Room with a View," "Howards End," and "A Passage

to India," navigate the intricate interplay between individual

identity and the societal tapestry(tessuto sociale). At the core of

Forster's narrative architecture lies a fascination with human

connection and dissection of societal mores(dissezione dei

costume sociali). His exploration of the human psyche, intricate

and empathetic, unveils the complexities of love, friendship, and

the clash between personal desires and societal expectations.

Through meticulously crafted characters like Lucy Honeychurch

and Margaret Schlegel, Forster invites readers to peer into the

kaleidoscope of human emotions, urging them to question

societal norms and carve their own path. Forster's indelible mark

on literature extends beyond his narrative prowess(prodezza). He

emerges as a harbinger(araldo,foriero) of sociopolitical

commentary, unearthing(dissoterrando/portando alla luce) the

fault lines of a society undergoing seismic shifts. In "Howards

End," he dissects the clash between the aspirational middle class

and the aristocracy, forecasting the impending tumult of societal

change. Similarly, in "A Passage to India," Forster navigates the

complex landscape of British colonialism, exposing the tensions

between the colonizers and the colonized. The author's

distinctive voice is not confined to the temporal boundaries of his

era. His prescience(previsione) becomes particularly evident in

the dystopian masterpiece "The Machine Stops," where he

anticipates the dehumanizing impact of technology and the

erosion of face-to-face interactions—a theme

eerily(paurosamente) relevant in today's digitally dominated

world. Beyond the realm of literature, Forster's personal life and

beliefs add layers to his literary legacy. An openly gay man at a

time when societal attitudes towards homosexuality were far

from accepting, Forster grappled with the constraints imposed by

a conservative society. His private life, discreetly woven into the

fabric of his novels, reveals a man who sought to challenge

societal norms, advocating for personal freedom and authenticity.

In conclusion, Edward Morgan Forster emerges as a literary

luminary whose work transcends the confines of time and space.

His exploration of human relationships, societal dynamics, and

the eternal quest for personal authenticity renders his works

timeless. Through the lens of Forster's literary alchemy, readers

are invited to introspect, challenge societal norms, and embark

on a journey of self-discovery—an enduring legacy that solidifies

Forster's place in the pantheon of literary giants.

THE MACHINE STOPS: GENERAL SUMMARY AND

ANALYSIS

In an impending(imminente) era, humanity resides subterraneously,

dependent on an intricate Machine catering to their every

necessity. Each individual possesses a manual named 'the Book,'

not a religious text but a guide detailing the Machine's workings.

Public gatherings have become obsolete, replaced by isolated

interactions through technology, defining both educational and

social experiences. Only sleeping entails(comporta) disengagement

from the technological realm. Vashti, a mother and lecturer in the

southern hemisphere, communicates with her son, Kuno, in the

north through a circular plate, functioning as a videophone. Kuno

urges his mother to witness the stars on Earth's surface, a desire

conflicting with Vashti's reluctance to leave her secure room.

Despite initial hesitance, Vashti eventually embarks on an airship

journey to her son, a rarity in a world where everything is virtually

indistinguishable. Vashti's journey elicits (suscita) discomfort,

highlighting her aversion to direct experiences beyond the confines

of her room. Kuno discloses(rivela) a personal threat of

'Homelessness,' akin to death, for venturing onto the Earth's

surface independently. He challenges his mother's Machine-centric

beliefs, recounting a transformative encounter with nature and

people free from the Machine's dominion. As time unfolds,

respirators enabling surface visits are abolished, with academics

advocating for indirect experiences through recordings. Religion

resurfaces, venerating the Machine as a deity. Vashti, having lost

life's meaning, finds herself disconnected from her son until a

cryptic message suggests the Machine's impending breakdown.

Complaints about imperfections in Machine-provided music are

dismissed, and society gradually accepts flaws in various aspects of

life. The collapse of humanity commences when summoned beds

fail to materialize, leading to chaos, reassurances from lecturers,

and ultimately(infine), the shutdown of the communication system.

Panic ensues(ne consegue), prayers go unanswered, and humanity

succumbs to its self-woven(prodotta/tessuta) demise(fine). Vashti

reunites with Kuno in their final moments. Despite their impending

demise, Kuno shares his encounters with the Homeless, predicting

humanity's survival and lesson-learning even as he and his mother

face mortality. 'The Machine Stops' invites readers to

delve(indagare) into its depths much like Brave New World and

Nineteen Eighty-Four, cementing its status as a formidable and

prescient work in twentieth-century speculative fiction. In a post-

lockdown era where Zoom and Teams meetings dominate daily life,

and a reluctance to engage in close human contact prevails,

Forster's foresight in 'The Machine Stops' becomes

eerily(paurosamente) apparent. Initially perceived in 2019 as

speculative musings(riflessioni,credenze) on technology's

trajectory, the narrative transforms, post-2020, into a handbook for

the unsettling(inquietante,sconvolgente) and dystopian 'new

normal.' Surprisingly, the author of Howards End and A Passage to

India, known for his disdain for the modern in Howards End and

aversion to technology, crafts 'The Machine Stops' as a

quintessentially 'Forsterian' piece. In his 1908 diary, Forster

decries(denuncia) science's enslavement through new 'machines,'

revealing himself as, at the very least, a technosceptic if not a

technophobe. Forster's narrative unfolds as a nightmarish vision of

a future where his grim predictions materialize. The story presages

technological advancements like instant messaging and video

conferencing, highlighting humanity's acceptance of 'good enough'

as a standard. However, the tale, as Kuno asserts, underscores the

inadequacy of virtual interactions compared to face-to-face

encounters. In 'The Machine Stops,' parental duty concludes at

birth, with parent-child interactions relegated to intermittent video

plate exchanges. J. G. Ballard expands on this idea in 'The Intensive

Care Unit,' envisioning a world where all life events, including

marriage and children, occur remotely. Human contact is met with

suspicion and fear, with acts of kindness deemed(ritenuti)

'barbaric.' Vashti's journey to visit Kuno, though spanning the globe,

reflects her conditioned reluctance to engage in close contact. The

dystopian world depicted(raffigurato) by Forster remains

compelling(avvincente/convincente), with some technological

predictions outdated but others, like the culling(abbattimento) of

strong children and the suppression of physical activities, sending

shivers(brividi) down the spine. Kuno emerges as a threat not only

due to his physical strength but his mental fortitude(fermezza,forza

d’animo) an independent and questioning spirit. Breaking free from

societal conditioning, he walks a dangerous path, challenging the

Machine's ideology. Vashti's actions stem from a lifelong adherence

to an ideology that views physical contact and individuality with

suspicion and disdain. While critics often emphasize Forster's

foresight(pre visione,preveggenza) in predicting our tumultuous

relationship with technology, 'The Machine Stops' subtly anticipates

the contemporary obsession with 'safetyism'—the aversion to risk in

favor of mere existence. The story questions whether, in the

century since its creation, society has become so

ingrained(radicata) and dependent on technology that it's incapable

of learning the cautionary lesson it imparts.

“THE MACHINE STOPS”: ANALYSIS OF BOOK PARTS

READ.

Forster foresaw a world that was not there yet, it is the “yet” that

makes the difference, it is not yet there but it will be. This, of

course, Margaret Atwood made very clear, she said that utopias and

dystopias are not about a world that exists, but about a world that

does not exist… yet. But they might well do in the future. So, when

one reads Forster, one must assess the value of such text, which

talks about a world that was not there but then it was, and it has

been. Such a thing is made even more unique by his production,

one of much more realistic novels, and “The Machine Stops” is the

only science fiction novella that he wrote, even though in a way it is

still futuristic, realistic.

1. “Public gatherings have been long abandoned”: one should try

and compare what they are reading with the reality they are living,

in order to understand more. We have done precisely that, after

covid, the concept of the gathering has been abandoned and we

have gone back to gatherings only quite lately but not really,

because you can never really go back. Lots of meetings are still

held online.

2. Vashti is a scholar, she holds normal classes, and normal lectures

however it is not a real classroom, but rather a virtual classroom.

So, everything happens in the constrained space of her room.

3. The imagery of the spaceship is also a very interesting one

because many of the speculative fiction books that came out at the

end of the 19th century were about the world that would be

destroyed and people would have to live underground, under or

above the ocean, but al