Tono-Bungay (Penguin Classics) [Paperback]

If you think concerns about materialism, rampant consumerism and waste are anything new you should read this. Wells was on to it more than a hundred years ago in this novel about the rise and fall of a business empire founded on the success of an ineffectual tonic, Tono-Bungay. A fortune is made by selling this 'mischievous trash'. Wells seems very pessimistic about the human condition but there is humour to be found throughout, The novel seems more relevant today than ever and it's surprising that it's not a more famous classic. I highly recommend it.

Critics like to categorise Wells' novels under neat headings like 'Social Comedy', 'Problem Novel' or 'Scientific Romance'. Wells himself often didn't give a hoot for such distinctions and 'Tono-Bungay' sees him trample splendidly all over the neat genre-boundaries critics love, since it's got social comedy, financial problems and even a smattering of science fiction in the mix too.
'Tono-Bungay' is notionally the autobiography of George Ponderevo, who describes a very Wellsian ascent from son of belowstairs servants to financial mastermind (and weapons-monger). The first part of the book, where George describes his early life as servant's child at Bladesover House, is one of Wells' best sustained pieces of writing and an unforgettable picture of England in his day.
George largely grows up under the erratically brilliant care of his Uncle Edward, inventor of the patent medicine that seals their fortunes and gives the book its title. Buoyed up by Uncle Edward's quackery, George rises to such heights that he can fund his own flying-machines and destroyers. (En route, he tries to corner the world market in a curious substance called 'quap', which seems to be radioactive, and which Wells uses as a symbol of some deep disorder in the physical world itself.)
Although notionally George's autobiography, 'Tono-Bungay' has its real centre in the irrepressible Uncle Edward, and the story flags a bit when he isn't on stage. 'Tono-Bungay' fizzes with ideas and situations but yields a deep feeling of sadness for its central character - who never quite translates all his plans into happiness or love. The range of genres Wells attempts is really impressive but also means the book doesn't always quite gel - sometimes Wells sticks his head out from behind the mask of Ponderevo and starts badgering the reader about the State of Things in his own person. (You suspect Mr. Wells and Mr. Ponderevo the younger shared not just a meteoric rise from obscurity but also similar romantic and social frustrations.) With that said, 'Tono-Bungay' is one of Wells' finest novels.
This edition, like all Penguin's recent Wells reprints, comes with a helpful introduction (in this case by Edward Mendelson) and notes.

Although the title Tono Bungay is the name of a fictitious and extremely profitable tonic, this novel is in fact the gripping autobiography of George Ponderevo, the nephew of Tono Bungay's inventor. We follow George from his humble beginnings through his doubting involvement in the marketing of a practically useless tonic medicine (actually based on Coca Cola) to his development of flying machines and modern warships.

George's doubts flow from his socialism (Wells himself was a Fabian) and his warm sense of humanity. Through the adventures of one of the most engaging characters in fiction, we are presented with a critical view of free-market Capital and the lengths it will go to seduce and persuade people into parting with their cash for the least return. Although published in Edwardian England (1909) its relevance and contemporary reference to our world today is startling: in a fast-moving narrative (blink and you miss it - don't be tempted to skip the odd paragraph) we find cash for honours, the rapid but fragile rise of the unprincipled entrepreneur, a subtle but significant allusion to drug addiction, exploitation of Africa...

The narrator himself is convivial company, and his observations and life-events kept grounded by his Aunt Susan who, although she too becomes vastly rich thanks to the financial success of her husband's business, remains down to earth throughout.

In short, this novel succeeds in giving an examination of Capitalism and the society it produces and feeds off, while being at all times an engaging account of warm, human characters.

My only reservations are about the notes to this Penguin edition. To be fair to Penguin, they head the notes with a statement that "...the notes explain many allusions for which British readers need no explanation". In other words, this is a 'one size fits all' edition for readers on both sides of the Atlantic. They were produced by an American Academic. Not only does this oxymoron patronise us with explanations of such obscure and confusing terms as 'gasworks' and 'William Morris' but he also informs us (note 19 to Book 3, Ch. 3) that Tristan & Isolde was the first of Wagner's operas, which it most certainly was not - Wagner had been writing operas for a good 25 years by the time he came to write Tristan. This seems to be part of a trend in current Penguins. For example, the notes to their edition of the Interesting Narrative of Olaudah Equiano appear to have been similarly prepared for a readership of ill-educated Americans. Read the novel and ignore the notes!