THOMAS DUNBAR (4)

By: Francis Stevens
January 23, 2023

LOC 1910–1915

Gertrude M. Barrows, who would later write under the pen name Francis Stevens, published “The Curious Experience of Thomas Dunbar” in The Argosy in 1904. She was nineteen; this was her first proto-sf story. It’s one of the earliest tales of a lab-created superman — and most likely the first such story by a female author. HiLoBooks is pleased to serialize it here for HILOBROW’s readers.

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

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The grinding motion was quite swift, but the lateral movement was comparatively slow. I should say that it must have taken about four minutes for the two stamps to pass from one end of the fifteen-foot vat to the other.

In the vat floated a plank. On the surface of the slide, almost in the middle, sprawled a man, his arms spread out on either side, not daring to move an inch on the slippery paste, for the slightest motion meant a slip downward into the hissing acid.

Worst of all, there seemed to be no means of getting across to him. The great engine occupied one side entirely to the wall — on the other the second vat barred passage.

Beyond the vats the room extended some little distance, and there was a door there, open, through which one could see a fenced yard piled high with ashes and cinders.

And the great stamps, twenty cubic feet of solid metal in each, were making their inevitable way toward the man. When they reached him — well, their smooth surface would afford him no finger hold, even if their rapid movement allowed him to clutch them. They must push him down — they might stun him first, but most certainly they would push him down.

I need hardly say that I did not take in the full significance of all this at the time — it was only afterward that I fully understood the details.

Even as Lawrence ran he shouted:

“Stop that engine! Quick, men!”

I saw two stalwart workmen spring at the levers of the stamp machine — saw them twisting at a wheel — heard another crash, and a deep groan from all! The guiding mechanism had slipped a cog, or broken a rod, or something.

In my excitement, shaking so from weakness that I could hardly stand, I had half fallen against a piece of machinery that seemed to be at a standstill. Unconsciously my fingers grasped at a sort of handle.

I heard a whirring noise, felt something like a tremendous shock, and a burning pain. I let go the handle in a hurry, just as Lawrence wheeled on me with the cry, “For God’s sake, you fool——”

But I could give no heed either to what I had done or to him. My eyes were still fixed on the unfortunate man on the slide.

The stamps were not more than five feet from his body now, and their low rattle and swish sounded in my ears loud as the tread of an army.

“A rope! ” cried Lawrence in despair.

And then, in my horror, and in the sheer impossibility of standing by quiescent and seeing a fellow-being done to death in this manner, I did a mad thing.

Wild with resentment, as if it were a living thing I could have fought, I flung myself on the great, swiftly revolving fly-wheel of the engine, seized its rim in my fingers, and braced back with all the force in my arms and shoulders.

***

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”.