THE HALL BEDROOM (5)
By:
May 5, 2023
“The Hall Bedroom” (Collier’s, March 28, 1903) is an early example of the potentials offered to fantastic fiction by the idea of an extended dimensional space. Of the author, in “Supernatural Horror in Literature,” Lovecraft would write: “Horror material of authentic force may be found in [her] work.” HiLoBooks is pleased to serialize the story for HILOBROW’s readers.
ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7.
The Startled Neighbor (cont.)
“January 27. I shall write in my journal every day until this draws to some definite issue. Last night my strange experience deepened, as something tells me it will continue to do. I retired quite early, at half-past ten. I took the precaution, on retiring, to place beside my bed, on a chair, a box of safety matches, that I might not be in the dilemma of the night before. I took my medicine on retiring; that made me due to wake at half-past two. I had not fallen asleep directly, but had had certainly three hours of sound, dreamless slumber when I awoke. I lay a few minutes hesitating whether or not to strike a safety match and light my way to the dresser, whereon stood my medicine-bottle. I hesitated, not because I had the least sensation of fear, but because of the same shrinking from a nerve shock that leads one at times to dread the plunge into an icy bath. It seemed much easier to me to strike that match and cross my hall bedroom to my dresser, take my dose, then return quietly to my bed, than to risk the chance of floundering about in some unknown limbo either of fancy or reality.
Further Nocturnal Experiences
“At last, however, the spirit of adventure, which has always been such a ruling one for me, conquered. I rose. I took the box of safety matches in my hand, and started on, as I conceived, the straight course for my dresser, about five feet across from my bed. As before, I traveled and traveled and did not reach it. I advanced with groping hands extended, setting one foot cautiously before the other, but I touched nothing except the indefinite, unnameable surface which my feet pressed. All of a sudden, though, I became aware of something. One of my senses was saluted, nay, more than that, hailed, with imperiousness, and that was, strangely enough, my sense of smell, but in a hitherto unknown fashion. It seemed as if the odor reached my mentality first. I reversed the usual process, which is, as I understand it, like this: the odor when encountered strikes first the olfactory nerve, which transmits the intelligence to the brain. It is as if, to put it rudely, my nose met a rose, and then the nerve belonging to the sense said to my brain, ‘Here is a rose.’ This time my brain said, ‘Here is a rose,’ and my sense then recognized it. I say rose, but it was not a rose, that is, not the fragrance of any rose which I had ever known. It was undoubtedly a flower-odor, and rose came perhaps the nearest to it. My mind realized it first with what seemed a leap of rapture. ‘What is this delight?’ I asked myself. And then the ravishing fragrance smote my sense. I breathed it in and it seemed to feed my thoughts, satisfying some hitherto unknown hunger. Then I took a step further and another fragrance appeared, which I liken to lilies for lack of something better, and then came violets, then mignonette. I can not describe the experience, but it was a sheer delight, a rapture of sublimated sense. I groped further and further, and always into new waves of fragrance. I seemed to be wading breast-high through flower-beds of Paradise, but all the time I touched nothing with my groping hands. At last a sudden giddiness as of surfeit overcame me. I realized that I might be in some unknown peril. I was distinctly afraid. I struck one of my safety matches, and I was in my hall bedroom, midway between my bed and my dresser. I took my dose of medicine and went to bed, and after a while fell asleep and did not wake till morning.
“January 28. Last night I did not take my usual dose of medicine. In these days of new remedies and mysterious results upon certain organizations, it occurred to me to wonder if possibly the drug might have, after all, something to do with my strange experience.
“I did not take my medicine. I put the bottle as usual on my dresser, since I feared if I interrupted further the customary sequence of affairs I might fail to wake. I placed my box of matches on the chair beside the bed. I fell asleep about quarter past eleven o’clock, and I waked when the clock was striking two — a little earlier than my wont. I did not hesitate this time. I rose at once, took my box of matches and proceeded as formerly. I walked what seemed a great space without coming into collision with anything. I kept sniffing for the wonderful fragrances of the night before, but they did not recur. Instead, I was suddenly aware that I was tasting something, some morsel of sweetness hitherto unknown, and, as in the case of the odor, the usual order seemed reversed, and it was as if I tasted it first in my mental consciousness. Then the sweetness rolled under my tongue. I thought involuntarily of ‘Sweeter than honey or the honeycomb’ of the Scripture. I thought of the Old Testament manna. An ineffable content as of satisfied hunger seized me. I stepped further, and a new savor was upon my palate. And so on. It was never cloying, though of such sharp sweetness that it fairly stung. It was the merging of a material sense into a spiritual one. I said to myself, ‘I have lived my life and always have I gone hungry until now.’ I could feel my brain act swiftly under the influence of this heavenly food as under a stimulant. Then suddenly I repeated the experience of the night before. I grew dizzy, and an indefinite fear and shrinking were upon me. I struck my safety match and was back in my hall bedroom. I returned to bed, and soon fell asleep. I did not take my medicine. I am resolved not to do so longer. I am feeling much better.
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”..