A VICTIM OF HIGHER SPACE (6)
July 2, 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.
“You were not yourself able to enter this new world,” interrupted Dr. Silence.
“Not then. I was only able to conceive intuitively what it was like and how exactly it must look. Later, when I slipped in there and saw objects in their entirety, unlimited by the paucity of our poor three measurements, I very nearly lost my life. For, you see, space does not stop at a single new dimension, a fourth. It extends in all possible new ones, and we must conceive it as containing any number of new dimensions. In other words, there is no space at all, but only a spiritual condition. But, meanwhile, I had come to grasp the strange fact that the objects in our normal world appear to us only partially.”
Mr. Mudge moved farther forward till he was balanced dangerously on the very edge of the chair. “From this starting point,” he resumed, “I began my studies and experiments, and continued them for years. I had money, and I was without friends. I lived in solitude and experimented. My intellect, of course, had little part in the work, for intellectually it was all unthinkable. Never was the limitation of mere reason more plainly demonstrated. It was mystically, intuitively, spiritually that I began to advance. And what I learnt, and knew, and did is all impossible to put into language, since it all describes experiences transcending the experiences of men. It is only some of the results — what you would call the symptoms of my disease — that I can give you, and even these must often appear absurd contradictions and impossible paradoxes.
“I can only tell you, Dr. Silence” — his manner became exceedingly impressive —” that I reached sometimes a point of view whence all the great puzzle of the world became plain to me, and I understood what they call in the Yoga books ‘The Great Heresy of Separateness’; why all great teachers have urged the necessity of man loving his neighbour as himself; how men are all really one; and why the utter loss of self is necessary to salvation and the discovery of the true life of the soul.”
He paused a moment and drew breath.
“Your speculations have been my own long ago,” the doctor said quietly. “I fully realise the force of your words. Men are doubtless not separate at all — in the sense they imagine —”
“All this about the very much Higher Space I only dimly, very dimly, conceived, of course,” the other went on, raising his voice again by jerks; “but what did happen to me was the humbler accident of — the simpler disaster — oh, dear, how shall I put it —?”
He stammered and showed visible signs of distress.
“It was simply this,” he resumed with a sudden rush of words, “that, accidentally, as the result of my years of experiment, I one day slipped bodily into the next world, the world of four dimensions, yet without knowing precisely how I got there, or how I could get back again. I discovered, that is, that my ordinary three-dimensional body was but an expression — a projection — of my higher four-dimensional body!
“Now you understand what I meant much earlier in our talk when I spoke of chance. I cannot control my entrance or exit. Certain people, certain human atmospheres, certain wandering forces, thoughts, desires even — the radiations of certain combinations of colour, and above all, the vibrations of certain kinds of music, will suddenly throw me into a state of what I can only describe as an intense and terrific inner vibration — and behold I am off! Off in the direction at right angles to all our known directions! Off in the direction the cube takes when it begins to trace the outlines of the new figure! Off into my breathless and semi-divine Higher Space! Off, inside myself, into the world of four dimensions!”
He gasped and dropped back into the depths of the immovable chair.
“And there,” he whispered, his voice issuing from among the cushions, “there I have to stay until these vibrations subside, or until they do something which I cannot find words to describe properly or intelligibly to you — and then, behold, I am back again. First, that is, I disappear. Then I reappear.”
“Just so,” exclaimed Dr. Silence, “and that is why a few —”
“Why a few moments ago,” interrupted Mr. Mudge, taking the words out of his mouth, “you found me gone, and then saw me return. The music of that wretched German band sent me off. Your intense thinking about me brought me back — when the band had stopped its Wagner. I saw you approach the peep-hole and I saw Barker’s intention of doing so later. For me no interiors are hidden. I see inside. When in that state the content of your mind, as of your body, is open to me as the day. Oh, dear, oh, dear, oh, dear!”
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” | Max Brand’s The Untamed | Julian Huxley’s “The Tissue-Culture King” | Clare Winger Harris’s “A Runaway World” | Francis Stevens’s “Thomas Dunbar” | George Gurdjieff’s “Beelzebub’s Tales” | Robert W. Chambers’s “The Harbor-Master” | Mary E. Wilkins Freeman’s “The Hall Bedroom” | Clare Winger Harris’s “The Fifth Dimension” | Francis Stevens’s “Behind the Curtain” | more to come.