SPACE (2)
By:
October 9, 2023
John Buchan’s story “Space,” which first appeared in Blackwood’s Edinburgh Magazine (May 1911), and which was collected the following year in the author’s The Moon Endureth, presents the concept that the “corridors of space” shift constantly according to arcane and terrifying mathematical principles. HiLoBooks is pleased to serialize it here for HILOBROW’s readers.
ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8.
“It was at Chamonix, I remember, that I first got a hint of the matter that was filling his mind. We had been taking an off-day, and were sitting in the hotel garden, watching the Aiguilles getting purple in the twilight. Chamonix always makes me choke a little — it is so crushed in by those great snow masses. I said something about it — said I liked the open spaces like the Gornegrat or the Bel Alp better. He asked me why: if it was the difference of the air, or merely the wider horizon? I said it was the sense of not being crowded, of living in an empty world. He repeated the word ’empty’ and laughed.
“‘By “empty” you mean,’ he said, ‘where things don’t knock up against you?'”
I told him No. I mean just empty, void, nothing but blank aether.
“You don’t knock up against things here, and the air is as good as you want. It can’t be the lack of ordinary emptiness you feel.”
“I agreed that the word needed explaining. ‘I suppose it is mental restlessness,’ I said. ‘I like to feel that for a tremendous distance there is nothing round me. Why, I don’t know. Some men are built the other way and have a terror of space.’
“He said that that was better. ‘It is a personal fancy, and depends on your knowing that there is nothing between you and the top of the Dent Blanche. And you know because your eyes tell you there is nothing. Even if you were blind, you might have a sort of sense about adjacent matter. Blind men often have it. But in any case, whether got from instinct or sight, the knowledge is what matters.’
“Hollond was embarking on a Socratic dialogue in which I could see little point. I told him so, and he laughed. ‘I am not sure that I am very clear myself. But yes — there is a point. Supposing you knew — not by sight or by instinct, but by sheer intellectual knowledge, as I know the truth of a mathematical proposition — that what we call empty space was full, crammed. Not with lumps of what we call matter like hills and houses, but with things as real — as real to the mind. Would you still feel crowded?’
“‘No,’ I said, ‘I don’t think so. It is only what we call matter that signifies. It would be just as well not to feel crowded by the other thing, for there would be no escape from it. But what are you getting at? Do you mean atoms or electric currents or what?’
“He said he wasn’t thinking about that sort of thing, and began to talk of another subject.
“Next night, when we were pigging it at the Geant cabane, he started again on the same tack. He asked me how I accounted for the fact that animals could find their way back over great tracts of unknown country. I said I supposed it was the homing instinct.
“‘Rubbish, man,’ he said. ‘That’s only another name for the puzzle, not an explanation. There must be some reason for it. They must know something that we cannot understand. Tie a cat in a bag and take it fifty miles by train and it will make its way home. That cat has some clue that we haven’t.’
“I was tired and sleepy, and told him that I did not care a rush about the psychology of cats. But he was not to be snubbed, and went on talking.
“‘How if Space is really full of things we cannot see and as yet do not know? How if all animals and some savages have a cell in their brain or a nerve which responds to the invisible world? How if all Space be full of these landmarks, not material in our sense, but quite real? A dog barks at nothing, a wild beast makes an aimless circuit. Why? Perhaps because Space is made up of corridors and alleys, ways to travel and things to shun? For all we know, to a greater intelligence than ours the top of Mont Blanc may be as crowded as Piccadilly Circus.’
“But at that point I fell asleep and left Hollond to repeat his questions to a guide who knew no English and a snoring porter.
“Six months later, one foggy January afternoon, Hollond rang me up at the Temple and proposed to come to see me that night after dinner. I thought he wanted to talk Alpine shop, but he turned up in Duke Street about nine with a kit-bag full of papers. He was an odd fellow to look at — a yellowish face with the skin stretched tight on the cheek-bones, clean-shaven, a sharp chin which he kept poking forward, and deep-set, greyish eyes. He was a hard fellow, too, always in pretty good condition, which was remarkable considering how he slaved for nine months out of the twelve. He had a quiet, slow-spoken manner, but that night I saw that he was considerably excited.
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”.