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"What television does is rent us friends and relatives who are quite satisfactory. This is quite something, to rent artificial friends and relatives right inside the house."
- Kurt Vonnegut, Jr.
 |
| The Machine | ||
| A single vast contrivance that supplied all the needs of the world's millions of solitary inhabitants. |
The people of the future live isolation; all of their needs are supplied to them in the single room that they inhabit.
Vashti contemplates leaving her room. ("Advanced thinkers, like Vashti, had always held it foolish to visit the surface of the earth.")
| Of course she knew all about the communication-system. There was nothing mysterious in it. She would summon a car and it would fly with her down the tunnel until it reached the lift that communicated with the air-ship station: the system had been in use for many, many years, long before the universal establishment of the Machine. And of course she had studied the civilization that had immediately preceded her own - the civilization that had mistaken the functions of the system, and had used it for bringing people to things, instead of for bringing things to people. Those funny old days, when men went for change of air instead of changing the air in their rooms! And yet-she was frightened of the tunnel: she had not seen it since her last child was born. It curved-but not quite as she remembered; it was brilliant-but not quite as brilliant as a lecturer had suggested. Vashti was seized with the terrors of direct experience. She shrank back into the room, and the wall closed up again. |
| From The Machine Stops,
by E.M. Forster. Published by Oxford and Cambridge Review in 1909 Additional resources -
|
Here's what it looked like from the outside of the rooms; this view was obtained when Vashti leaves her room to go on an air-ship.
And again:
...As I climbed, the rough edges cut through my gloves so that my hands bled. The light helped me for a little, and then came darkness and, worse still, silence which pierced my ears like a sword. The Machine hums! Did you know that? Its hum penetrates our blood, and may even guide our thoughts. Who knows! I was getting beyond its power.
Finally:
Compare to the government machine from Mechanocracy (1932) by Miles J. Breuer, the machine city from Twilight (1934) by John Campbell, the games machine from The World of Null-A (1945) by AE van Vogt, central computer from The City and the Stars (1956) by Arthur C. Clarke, the Vulcan 3 computer from Vulcan's Hammer (1960) by Philip K. Dick and the WatchdØg from WatchdØg (1972) by Jack C. Haldeman.
The glass valves had closed, she could not go back. She saw, at the end of the vestibule, the lift in which she had ascended going quietly up and down, empty. Beneath those corridors of shining tiles were rooms, tier below tier, reaching far into the earth, and in each room there sat a human being, eating, or sleeping, or producing ideas. And buried deep in the hive was her own room.
'This city, as you know, is built deep beneath the surface of the earth, with only the vomitories protruding... it occurred to me that our cities had been built in the days when men still breathed the outer air, and that there had been ventilation shafts for the workmen. I could think of nothing but these ventilation shafts. Had they been destroyed by all the food-tubes and medicine-tubes and music-tubes that the Machine has evolved lately?
"Cannot you see, cannot all you lecturers see, that it is we that are dying, and that down here the only thing that really lives is the Machine? We created the Machine, to do our will, but we cannot make it do our will now. It has robbed us of the sense of space and of the sense of touch, it has blurred every human relation and narrowed down love to a carnal act, it has paralysed our bodies and our wills, and now it compels us to worship it. The Machine develops - but not on our lies. The Machine proceeds - but not to our goal. We only exist as the blood corpuscles that course through its arteries, and if it could work without us, it would let us die."
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