THE THING FROM — ‘OUTSIDE’ (8)
December 6, 2021
HiLoBooks is pleased to serialize George Allan England’s 1923 proto-sf story “The Thing from — ‘Outside'” for HILOBROW’s readers. The story first appeared in Hugo Gernsback’s magazine Science and Invention.
He could have wept for the pity of her, the love of her. On her red tam, her tangle of rebel hair, her sweater, the snow came steadily drifting; yet there she stood before him and prated of summer. Jandron heaved himself out of a very slough of down-dragging lassitudes. He whipped himself into action.
“Summer, winter — no matter!” he flung at her. “You’re coming along with me!” He seized her arm with the brutality of desperation that must hurt, to save. And murder, too, lay in his soul. He knew that he would strangle her with his naked hands, if need were, before he would ever leave her there, for It to work Its horrible will upon.
“You come with me,” he mouthed, “or by the Almighty —!”
Marr’s scream in the camp, whirled him toward the door. That scream rose higher, higher, even more and more piercing, just like the screams of the runaway Indian guides in what now appeared the infinitely long ago. It seemed to last hours; and always it rose, rose, as if being wrung out of a human body by some kind of agony not conceivable in this world. Higher, higher —
Then it stopped.
Jandron hurled himself against the plank door. The bar smashed; the door shivered inward.
With a cry, Jandron recoiled. He covered his eyes with a hand that quivered, claw-like.
“Go away, Vivian! Don’t come here — don’t look —”
He stumbled away, babbling.
Out of the door crept something like a man. A queer, broken, bent over thing; a thing crippled, shrunken and flabby, that whined.
This thing — yes, it was still Marr — crouched down at one side, quivering, whimpering. It moved its hands as a crushed ant moves its antennæ, jerkily, without significance.
All at once Jandron no longer felt afraid. He walked quite steadily to Marr, who was breathing in little gasps. From the camp issued an odor unlike anything terrestrial. A thin, grayish grease covered the sill.
Jandron caught hold of the crumpling journalist’s arm. Marr’s eyes leered, filmed, unseeing. He gave the impression of a creature whose back has been broken, whose whole essence and energy have been wrenched asunder, yet in which life somehow clings, palpitant. A creature vivisected.
Away through the snow Jandron dragged him. Marr made no resistance; just let himself be led, whining a little, palsied, rickety, shattered. The girl, her face whitely cold as the snow that fell on it, came after.
Thus they reached the landing at the river.
“Come, now, let’s get away!” Jandron made shift to articulate. Marr said nothing. But when Jandron tried to bundle him into a canoe, something in the journalist revived with swift, mad hatefulness. That something lashed him into a spasm of wiry, incredibly venomous resistance. Slavers of blood and foam streaked Marr’s lips. He made horrid noises, like an animal. He howled dismally, and bit, clawed, writhed and grovelled! he tried to sink his teeth into Jandron’s leg. He fought appallingly, as men must have fought in the inconceivably remote days even before the Stone Age. And Vivian helped him. Her fury was a tiger-cat’s.
Between the pair of them, they almost did him in. They almost dragged Jandron down — and themselves, too — into the black river that ran swiftly sucking under the ice. Not till Jandron had quite flung off all vague notions and restraints of gallantry; not until he struck from the shoulder — to kill, if need were — did he best them.
He beat the pair of them unconscious, trussed them hand and foot with the painters of the canoes, rolled them into the larger canoe, and shoved off. After that, the blankness of a measureless oblivion descended.
Only from what he was told, weeks after, in the Royal Victoria Hospital at Montreal, did Jandron ever learn how and when a field-squad of Dominion Foresters had found them drifting in Lake Moosawamkeag. And that knowledge filtered slowly into his brain during a period inchoate as Iceland fogs.
That Marr was dead and the girl alive — that much, at all events, was solid. He could hold to that; he could climb back, with that, to the real world again.
Jandron climbed back, came back. Time healed him, as it healed the girl. After a long, long while, they had speech together. Cautiously he sounded her wells of memory. He saw that she recalled nothing. So he told her white lies about capsized canoes and the sad death — in realistically-described rapids — of all the party except herself and him.
Vivian believed. Fate, Jandron knew, was being very kind to both of them.
But Vivian could never understand in the least why her husband, not very long after marriage, asked her not to wear a wedding-ring or any ring whatever.
“Men are so queer!” covers a multitude of psychic agonies.
Life, for Jandron — life, softened by Vivian — knit itself up into some reasonable semblance of a normal pattern. But when, at lengthening intervals, memories even now awake — memories crawling amid the slime of cosmic mysteries that it is madness to approach — or when at certain times Jandron sees a ring of any sort, his heart chills with a cold that reeks of the horrors of Infinity.
And from shadows past the boundaries of our universe seem to beckon Things that, God grant, can never till the end of time be known on earth.
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”.