SPACE (4)
By:
October 22, 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.
“His point was that the constituents of Space moved according to these new mathematical figures of his. They were always changing, but the principles of their change were as fixed as the law of gravitation. Therefore, if you once grasped these principles you knew the contents of the void. What do you make of that?”
I said that it seemed to me a reasonable enough argument, but that it got one very little way forward. “A man,” I said, “might know the contents of Space and the laws of their arrangement and yet be unable to see anything more than his fellows. It is a purely academic knowledge. His mind knows it as the result of many deductions, but his senses perceive nothing.”
Leithen laughed. “Just what I said to Hollond. He asked the opinion of my legal mind. I said I could not pronounce on his argument but that I could point out that he had established no trait d’union between the intellect which understood and the senses which perceived. It was like a blind man with immense knowledge but no eyes, and therefore no peg to hang his knowledge on and make it useful. He had not explained his savage or his cat. ‘Hang it, man,’ I said, ‘before you can appreciate the existence of your Spacial forms you have to go through elaborate experiments and deductions. You can’t be doing that every minute. Therefore you don’t get any nearer to the use of the sense you say that man once possessed, though you can explain it a bit.'”
“What did he say?” I asked.
“The funny thing was that he never seemed to see my difficulty. When I kept bringing him back to it he shied off with a new wild theory of perception. He argued that the mind can live in a world of realities without any sensuous stimulus to connect them with the world of our ordinary life. Of course that wasn’t my point. I supposed that this world of Space was real enough to him, but I wanted to know how he got there. He never answered me. He was the typical Cambridge man, you know — dogmatic about uncertainties, but curiously diffident about the obvious. He laboured to get me to understand the notion of his mathematical forms, which I was quite willing to take on trust from him. Some queer things he said, too. He took our feeling about Left and Right as an example of our instinct for the quality of Space. But when I objected that Left and Right varied with each object, and only existed in connection with some definite material thing, he said that that was exactly what he meant. It was an example of the mobility of the Spacial forms. Do you see any sense in that?”
I shook my head. It seemed to me pure craziness.
“And then he tried to show me what he called the ‘involution of Space,’ by taking two points on a piece of paper. The points were a foot away when the paper was flat, they coincided when it was doubled up. He said that there were no gaps between the figures, for the medium was continuous, and he took as an illustration the loops on a cord. You are to think of a cord always looping and unlooping itself according to certain mathematical laws. Oh, I tell you, I gave up trying to follow him. And he was so desperately in earnest all the time. By his account Space was a sort of mathematical pandemonium.”
Leithen stopped to refill his pipe, and I mused upon the ironic fate which had compelled a mathematical genius to make his sole confidant of a philistine lawyer, and induced that lawyer to repeat it confusedly to an ignoramus at twilight on a Scotch hill. As told by Leithen it was a very halting tale.
“But there was one thing I could see very clearly,” Leithen went on, “and that was Hollond’s own case. This crowded world of Space was perfectly real to him. How he had got to it I do not know. Perhaps his mind, dwelling constantly on the problem, had unsealed some atrophied cell and restored the old instinct. Anyhow, he was living his daily life with a foot in each world.
“He often came to see me, and after the first hectic discussions he didn’t talk much. There was no noticeable change in him — a little more abstracted perhaps. He would walk in the street or come into a room with a quick look round him, and sometimes for no earthly reason he would swerve. Did you ever watch a cat crossing a room? It sidles along by the furniture and walks over an open space of carpet as if it were picking its way among obstacles. Well, Hollond behaved like that, but he had always been counted a little odd, and nobody noticed it but me.
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”.