A VICTIM OF HIGHER SPACE (8)
July 16, 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.
“It almost seems a pity,” he said at length, “to cure you, Mr. Mudge. You are on the way to discovery of great things. Though you may lose your life in the process — that is, your life here in the world of three dimensions — you would lose thereby nothing of great value — you will pardon my apparent rudeness, I know — and you might gain what is infinitely greater. Your suffering, of course, lies in the fact that you alternate between the two worlds and are never wholly in one or the other. Also, I rather imagine, though I cannot be certain of this from any personal experiments, that you have here and there penetrated even into space of more than four dimensions, and have hence experienced the terror you speak of.”
The perspiring son of the Essex bargeman and the woman of Normandy bent his head several times in assent, but uttered no word in reply.
“Some strange psychic predisposition, dating no doubt from one of your former lives, has favoured the development of your ‘disease’; and the fact that you had no normal training at school or college, no leading by the poor intellect into the culs-de-sac falsely called knowledge, has further caused your exceedingly rapid movement along the lines of direct inner experience. None of the knowledge you have foreshadowed has come to you through the senses, of course.”
Mr. Mudge, sitting in his immovable chair, began to tremble slightly. A wind again seemed to pass over his surface and again to set it curiously in motion like a field of grass.
“You are merely talking to gain time,” he said hurriedly, in a shaking voice. “This thinking aloud delays us. I see ahead what you are coming to, only please be quick, for something is going to happen. A band is again coming down the street, and if it plays — if it plays Wagner — I shall be off in a twinkling.”
“Precisely. I will be quick. I was leading up to the point of how to effect your cure. The way is this: You must simply learn to block the entrances.”
“True, true, utterly true!” exclaimed the little man, dodging about nervously in the depths of the chair. “But how, in the name of space, is that to be done?”
“By concentration. They are all within you, these entrances, although outer cases such as colour, music and other things lead you towards them. These external things you cannot hope to destroy, but once the entrances are blocked, they will lead you only to bricked walls and closed channels. You will no longer be able to find the way.”
“Quick, quick!” cried the bobbing figure in the chair. “How is this concentration to be effected?”
“This little book,” continued Dr. Silence calmly, “will explain to you the way.” He tapped the cover. “Let me now read out to you certain simple instructions, composed, as I see you divine, entirely from my own personal experiences in the same direction. Follow these instructions and you will no longer enter the state of Higher Space. The entrances will be blocked effectively.”
Mr. Mudge sat bolt upright in his chair to listen, and John Silence cleared his throat and began to read slowly in a very distinct voice.
But before he had uttered a dozen words, something happened. A sound of street music entered the room through the open ventilators, for a band had begun to play in the stable mews at the back of the house — the March from Tannhäuser. Odd as it may seem that a German band should twice within the space of an hour enter the same mews and play Wagner, it was nevertheless the fact.
Mr. Racine Mudge heard it. He uttered a sharp, squeaking cry and twisted his arms with nervous energy round the chair. A piteous look that was not far from tears spread over his white face. Grey shadows followed it — the grey of fear. He began to struggle convulsively.
“Hold me fast! Catch me! For God’s sake, keep me here! I’m on the rush already. Oh, it’s frightful!” he cried in tones of anguish, his voice as thin as a reed.
Dr. Silence made a plunge forward to seize him, but in a flash, before he could cover the space between them, Mr. Racine Mudge, screaming and struggling, seemed to shoot past him into invisibility. He disappeared like an arrow from a bow propelled at infinite speed, and his voice no longer sounded in the external air, but seemed in some curious way to make itself heard somewhere within the depths of the doctor’s own being. It was almost like a faint singing cry in his head, like a voice of dream, a voice of vision and unreality.
“Alcohol, alcohol!” it cried, “give me alcohol! It’s the quickest way. Alcohol, before I’m out of reach!”
The doctor, accustomed to rapid decisions and even more rapid action, remembered that a brandy flask stood upon the mantelpiece, and in less than a second he had seized it and was holding it out towards the space above the chair recently occupied by the visible Mudge. Then, before his very eyes, and long ere he could unscrew the metal stopper, he saw the contents of the closed glass phial sink and lessen as though some one were drinking violently and greedily of the liquor within.
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”.