SPACE (8)
By:
November 21, 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.
The pony, with a great eleven-pointer lurching athwart its back, was abreast of us, and from the autumn mist came the sound of soft Highland voices. Leithen and I got up to go, when we heard that the rifle had made direct for the Lodge by a short cut past the Sanctuary. In the wake of the gillies we descended the Correi road into a glen all swimming with dim purple shadows. The pony minced and boggled; the stag’s antlers stood out sharp on the rise against a patch of sky, looking like a skeleton tree. Then we dropped into a covert of birches and emerged on the white glen highway.
Leithen’s story had bored and puzzled me at the start, but now it had somehow gripped my fancy. Space a domain of endless corridors and Presences moving in them! The world was not quite the same as an hour ago. It was the hour, as the French say, “between dog and wolf,” when the mind is disposed to marvels. I thought of my stalking on the morrow, and was miserably conscious that I would miss my stag. Those airy forms would get in the way. Confound Leithen and his yarns!
“I want to hear the end of your story,” I told him, as the lights of the Lodge showed half a mile distant.
“The end was a tragedy,” he said slowly. “I don’t much care to talk about it. But how was I to know? I couldn’t see the nerve going. You see I couldn’t believe it was all nonsense. If I could I might have seen. But I still think there was something in it — up to a point. Oh, I agree he went mad in the end. It is the only explanation. Something must have snapped in that fine brain, and he saw the little bit more which we call madness. Thank God, you and I are prosaic fellows…
“I was going out to Chamonix myself a week later. But before I started I got a post-card from Hollond, the only word from him. He had printed my name and address, and on the other side had scribbled six words — ‘I know at last — God’s mercy. — H.G.H’ The handwriting was like a sick man of ninety. I knew that things must be pretty bad with my friend.
“I got to Chamonix in time for his funeral. An ordinary climbing accident—you probably read about it in the papers. The Press talked about the toll which the Alps took from intellectuals — the usual rot. There was an inquiry, but the facts were quite simple. The body was only recognised by the clothes. He had fallen several thousand feet.
“It seems that he had climbed for a few days with one of the Kronigs and Dupont, and they had done some hair-raising things on the Aiguilles. Dupont told me that they had found a new route up the Montanvert side of the Charmoz. He said that Hollond climbed like a ‘diable fou’ and if you know Dupont’s standard of madness you will see that the pace must have been pretty hot. ‘But monsieur was sick,’ he added; ‘his eyes were not good. And I and Franz, we were grieved for him and a little afraid. We were glad when he left us.’
“He dismissed the guides two days before his death. The next day he spent in the hotel, getting his affairs straight. He left everything in perfect order, but not a line to a soul, not even to his sister. The following day he set out alone about three in the morning for the Grepon. He took the road up the Nantillons glacier to the Col, and then he must have climbed the Mummery crack by himself. After that he left the ordinary route and tried a new traverse across the Mer de Glace face. Somewhere near the top he fell, and next day a party going to the Dent du Requin found him on the rocks thousands of feet below.
“He had slipped in attempting the most foolhardy course on earth, and there was a lot of talk about the dangers of guideless climbing. But I guessed the truth, and I am sure Dupont knew, though he held his tongue….”
We were now on the gravel of the drive, and I was feeling better. The thought of dinner warmed my heart and drove out the eeriness of the twilight glen. The hour between dog and wolf was passing. After all, there was a gross and jolly earth at hand for wise men who had a mind to comfort.
Leithen, I saw, did not share my mood. He looked glum and puzzled, as if his tale had aroused grim memories. He finished it at the Lodge door.
“… For, of course, he had gone out that day to die. He had seen the something more, the little bit too much, which plucks a man from his moorings. He had gone so far into the land of pure spirit that he must needs go further and shed the fleshly envelope that cumbered him. God send that he found rest! I believe that he chose the steepest cliff in the Alps for a purpose. He wanted to be unrecognisable. He was a brave man and a good citizen. I think he hoped that those who found him might not see the look in his eyes.”
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”.