A VICTIM OF HIGHER SPACE (1)

By: Algernon Blackwood
May 29, 2022


Images from The Fourth Dimension, a 1904 book about the “tesseract” — a four-dimensional analog of the cube — by Charles Howard Hinton, the British proto-sf writer who coined the term in 1888.

HiLoBooks is pleased to serialize Algernon Blackwood’s 1914 proto-sf story “A Victim of Higher Space” — featuring the occult investigator, mystic, and clairvoyant John Silence, about whom Blackwood would write five other stories — for HILOBROW’s readers. Here, Blackwood grapples playfully with the notion of a spatial fourth dimension — asking us to imagine how humans might experience or imagine a space extended in an extra dimensions they could not see.

ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9.

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“There’s a hextraordinary gentleman to see you, sir,” said the new man.

“Why ‘extraordinary’?” asked Dr. Silence, drawing the tips of his thin fingers through his brown beard. His eyes twinkled pleasantly. “Why ‘extraordinary,’ Barker?” he repeated encouragingly, noticing the perplexed expression in the man’s eyes.

“He’s so — so thin, sir. I could hardly see ‘im at all — at first. He was inside the house before I could ask the name,” he added, remembering strict orders.

“And who brought him here?”

“He come alone, sir, in a closed cab. He pushed by me before I could say a word — making no noise, not what I could hear. He seemed to move so soft like —”

The man stopped short with obvious embarrassment, as though he had already said enough to jeopardise his new situation, but trying hard to show that he remembered the instructions and warnings he had received with regard to the admission of strangers not properly accredited.

“And where is the gentleman now?” asked Dr. Silence, turning away to conceal his amusement.

“I really couldn’t exactly say, sir. I left him standing in the ‘all —”

The doctor looked up sharply. “But why in the hall, Barker? Why not in the waiting-room?” He fixed his piercing though kindly eyes on the man’s face. “Did he frighten you?” he asked quickly.

“I think he did, sir, if I may say so. I seemed to lose sight of him, as it were —” The man stammered, evidently convinced by now that he had earned his dismissal. “He come in so funny, just like a cold wind,” he added boldly, setting his heels at attention and looking his master full in the face.

The doctor made an internal note of the man’s halting description; he was pleased that the slight signs of psychic intuition which had induced him to engage Barker had not entirely failed at the first trial. Dr. Silence sought this qualification in all his assistants, from secretary to serving man, and if it surrounded him with a somewhat singular crew, the drawbacks were more than compensated for on the whole by their occasional flashes of insight.

“So the gentleman made you feel queer, did he?”

“That was it, I think, sir,” repeated the man stolidly.

“And he brings no kind of introduction to me — no letter or anything?” asked the doctor, with feigned surprise, as though he knew what was coming.

The man fumbled, both in mind and pockets, and finally produced an envelope.

“I beg pardon, sir,” he said, greatly flustered; “the gentleman handed me this for you.”

It was a note from a discerning friend, who had never yet sent him a case that was not vitally interesting from one point or another.

“Please see the bearer of this note,” the brief message ran, “though I doubt if even you can do much to help him.”

John Silence paused a moment, so as to gather from the mind of the writer all that lay behind the brief words of the letter. Then he looked up at his servant with a graver expression than he had yet worn.

“Go back and find this gentleman,” he said, “and show him into the green study. Do not reply to his question, or speak more than actually necessary; but think kind, helpful, sympathetic thoughts as strongly as you can, Barker. You remember what I told you about the importance of thinking, when I engaged you. Put curiosity out of your mind, and think gently, sympathetically, affectionately, if you can.”

He smiled, and Barker, who had recovered his composure in the doctor’s presence, bowed silently and went out.

There were two different reception-rooms in Dr. Silence’s house. One (intended for persons who imagined they needed spiritual assistance when really they were only candidates for the asylum) had padded walls, and was well supplied with various concealed contrivances by means of which sudden violence could be instantly met and overcome. It was, however, rarely used. The other, intended for the reception of genuine cases of spiritual distress and out-of-the-way afflictions of a psychic nature, was entirely draped and furnished in a soothing deep green, calculated to induce calmness and repose of mind. And this room was the one in which Dr. Silence interviewed the majority of his “queer” cases, and the one into which he had directed Barker to show his present caller.

To begin with, the arm-chair in which the patient was always directed to sit, was nailed to the floor, since its immovability tended to impart this same excellent characteristic to the occupant. Patients invariably grew excited when talking about themselves, and their excitement tended to confuse their thoughts and to exaggerate their language. The inflexibility of the chair helped to counteract this. After repeated endeavours to drag it forward, or push it back, they ended by resigning themselves to sitting quietly. And with the futility of fidgeting there followed a calmer state of mind.

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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”.