SPACE (3)
By:
October 15, 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.
“He said that he had come to me because we were old friends. He proposed to tell me a tremendous secret. ‘I must get another mind to work on it or I’ll go crazy. I don’t want a scientist. I want a plain man.’
“Then he fixed me with a look like a tragic actor’s. ‘Do you remember that talk we had in August at Chamonix — about Space? I daresay you thought I was playing the fool. So I was in a sense, but I was feeling my way towards something which has been in my mind for ten years. Now I have got it, and you must hear about it. You may take my word that it’s a pretty startling discovery.’
“I lit a pipe and told him to go ahead, warning him that I knew about as much science as the dustman.
“I am bound to say that it took me a long time to understand what he meant. He began by saying that everybody thought of Space as an ’empty homogeneous medium.’ ‘Never mind at present what the ultimate constituents of that medium are. We take it as a finished product, and we think of it as mere extension, something without any quality at all. That is the view of civilised man. You will find all the philosophers taking it for granted. Yes, but every living thing does not take that view. An animal, for instance. It feels a kind of quality in Space. It can find its way over new country, because it perceives certain landmarks, not necessarily material, but perceptible, or if you like intelligible. Take an Australian savage. He has the same power, and, I believe, for the same reason. He is conscious of intelligible landmarks.’
“‘You mean what people call a sense of direction,’ I put in.
“‘Yes, but what in Heaven’s name is a sense of direction? The phrase explains nothing. However incoherent the mind of the animal or the savage may be, it is there somewhere, working on some data. I’ve been all through the psychological and anthropological side of the business, and after you eliminate the clues from sight and hearing and smell and half-conscious memory there remains a solid lump of the inexplicable.’
“Hollond’s eye had kindled, and he sat doubled up in his chair, dominating me with a finger.
“‘Here, then is a power which man is civilising himself out of. Call it anything you like, but you must admit that it is a power. Don’t you see that it is a perception of another kind of reality that we are leaving behind us?… Well, you know the way nature works. The wheel comes full circle, and what we think we have lost we regain in a higher form. So for a long time I have been wondering whether the civilised mind could not recreate for itself this lost gift, the gift of seeing the quality of Space. I mean that I wondered whether the scientific modern brain could not get to the stage of realising that Space is not an empty homogeneous medium, but full of intricate differences, intelligible and real, though not with our common reality.’
“I found all this very puzzling and he had to repeat it several times before I got a glimpse of what he was talking about.
“‘I’ve wondered for a long time,’ he went on, ‘but now quite suddenly, I have begun to know.’ He stopped and asked me abruptly if I knew much about mathematics.
“‘It’s a pity,’ he said,’but the main point is not technical, though I wish you could appreciate the beauty of some of my proofs. Then he began to tell me about his last six months’ work. I should have mentioned that he was a brilliant physicist besides other things. All Hollond’s tastes were on the borderlands of sciences, where mathematics fades into metaphysics and physics merges in the abstrusest kind of mathematics. Well, it seems he had been working for years at the ultimate problem of matter, and especially of that rarefied matter we call aether or space. I forget what his view was — atoms or molecules or electric waves. If he ever told me I have forgotten, but I’m not certain that I ever knew. However, the point was that these ultimate constituents were dynamic and mobile, not a mere passive medium but a medium in constant movement and change. He claimed to have discovered — by ordinary inductive experiment — that the constituents of aether possessed certain functions, and moved in certain figures obedient to certain mathematical laws. Space, I gathered, was perpetually ‘forming fours’ in some fancy way.
“Here he left his physics and became the mathematician. Among his mathematical discoveries had been certain curves or figures or something whose behaviour involved a new dimension. I gathered that this wasn’t the ordinary Fourth Dimension that people talk of, but that fourth-dimensional inwardness or involution was part of it. The explanation lay in the pile of manuscripts he left with me, but though I tried honestly I couldn’t get the hang of it. My mathematics stopped with desperate finality just as he got into his subject.
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”.