We Others (57 page)

“I’m quite certain we can find it without difficulty,” I said. Rising immediately. “Sometimes the new assistants—”

“Giesinger,” he said.
“Musculo-Cutaneous Feeling.”

A slight heat in my neck. Wondered whether a flush was visible.

“You see,” I said with a smile. “The mystery solved.” Lifted from my desk
Musculo-Cutaneous Feeling
by Otto Giesinger and handed it to Kistenmacher. He glanced at spine, to make certain I hadn’t made a mistake, then looked at me with interest.

“This is a highly specialized study,” said he.

“Yes, a little too specialized for me,” I replied.

“But the subject interests you?”

Hesitation. “I try to keep abreast of … developments.”

“Excellent,” he said, and suddenly smiled—a disconcerting smile, of startling charm. “I will be sure to consult with you.” Held up book, tightly clasped in one big hand, gave a little wave with it, and took his leave.

The whole incident rich with possibility. My responsibility in library is to keep up with scientific and technical literature, so that I may order books I deem essential. Most of my professional reading confined to scientific journals, technical periodicals, and institutional proceedings, but peruse many books as well, in a broad range of subjects, from psychology of hysteria to structure of the constant-pressure dynamo; my interests are wide. Still, it cannot have failed to strike Kistenmacher that I had removed from shelves a study directly related to his investigations in Box. Kistenmacher perfectly well aware that everyone knows of his secretive experiments, about which many rumors. Is said to enjoy such rumors and even to contribute to them by enigmatic hints of his own. Once told Earnshaw, who reported it to me, that there would soon be no human sensation that could not be replicated mechanically. At time I imagined a machine for production of odors, a machine of tastes. Knows of course that I keep a record of books borrowed by staff, each with name of borrower. Now knows I have been reading Giesinger on musculo-cutaneous feeling.

What else does he know? Can Earnshaw have said something?

OCTOBER 26.
A slow day. Reading. From my desk in alcove I can see Wizard’s rolltop desk with its scattering of books and papers, the railed galleries of second and third levels, high up a flash of sun on a glass-fronted cabinet holding mineral specimens. The pine-paneled ceiling. Beyond Wizard’s desk, the white marble statue brought back from Paris Exposition. Winged youth seated on ruins of a gas streetlamp, holding high in one hand an incandescent lamp. The Genius of Light. In my feet a rumble of dynamos from machine shop beyond stockroom.

OCTOBER 28.
In courtyard, gossip about secret experiments in Photographic Building, Room 8, the Box. A machine for extracting nutrients from seaweed? A speaking photograph? Rumors of hidden workrooms, secret assistants. In courtyard one night, an experimental assistant seen with cylinders under each arm, heading in direction of basement.

OCTOBER 29.
For the Wizard, there is always a practical consideration. The incandescent lamp, the electric pen, the magnetic ore-separator. The quadruplex telegraph. Origin of moving photographs in study of animal motion: Muybridge’s horses, Marey’s birds. Even the phonograph: concedes its secondary use as instrument of entertainment, but insists on primary value as business machine for use in dictation. And the haptograph? A possible use in hospitals? A young mother dies. Bereft child comforted by simulated caresses. Old people, lingering out their lives alone, untouched. Shake of a friendly hand. It might work.

NOVEMBER 3.
A momentous day. Even now it seems unlikely. And yet, looked at calmly, a day like any other: experimenters in their rooms, visitors walking in courtyard, a group of schoolchildren with their teacher, assistants passing up and down corridors and stairways, men working on grounds. After a long morning decided to take walk in courtyard, as I sometimes do. Warmish day, touch of autumn chill in the shade. Walked length of courtyard, between electrical lab and chemical lab, nodding to several men who stood talking in groups. At end of yard, took a long look at buildings of Phonograph Works. Started back. Nearly halfway to main building when aware of sharp footsteps not far behind me. Drawing closer. Turned and saw Kistenmacher.

“A fine day for a walk,” he said. Falling into step beside me.

Hidden significance of Kistenmacher’s apparently guileless salutation
. His voice addressed to the air—to the universe—but with a ripple of the confidential meant for me. Instantly alert. Common enough of course to meet an experimenter or machinist in courtyard. Courtyard after all serves as informal meeting place, where members of staff freely mingle. Have encountered Kistenmacher himself innumerable times, striding along with great arms swinging. No, what struck me, on this occasion, was one indisputable fact: instead of passing me with habitual brisk nod, Kistenmacher attached himself to me with tremendous decisiveness. So apparent he had something to say to me that I suspected he’d been watching for me from a window.

“My sentiment exactly,” I replied.

“I wonder whether you might accompany me to Room 8,” he then said.

An invitation meant to startle me. I confess it did. Kistenmacher knows I am curious about experimental rooms on second floor, just up stairs from library. These rooms always kept open—except Room 5, where photographic experiments continue to be conducted secretly, in addition to those in new Photographic Building—but there is general understanding that rooms are domain of experimenters and assistants, and of course of the Wizard himself, who visits each room daily in order to observe progress of every experiment. Kistenmacher’s invitation therefore highly unusual. At same time, had about it a deliberate air of mystery, which Kistenmacher clearly enjoying as he took immense energetic strides and pulled himself forward with great swings of his absurd arms.

Room 8: Kistenmacher’s room on second floor. On a table: parts of a storage battery and samples of what I supposed to be nickel hydrate. No sign of haptograph. This in itself not remarkable, for experimenters are engaged in many projects. Watched him close door and turn to me.

“Our interests coincide,” he said, speaking in manner characteristic of him, at once direct and sly.

I said nothing.

“I invite you to take part in an experiment,” he next remarked. An air of suppressed energy. Had sense that he was studying my face for signs of excitement.

His invitation, part entreaty and part command, shocked and thrilled me. Also exasperated me by terrible ease with which he was able to create inner turmoil.

“What kind of experiment?” I asked: sharply, almost rudely.

He laughed—I had not expected Kistenmacher to laugh. A boyish and disarming laugh. Surprised to see a dimple in his left cheek. Kistenmacher’s teeth straight and white, though upper-left incisor is missing.

“That,” he said, “remains to be seen. Nine o’clock tomorrow night? I will come to the library.”

Noticed that, while his body remained politely immobile, his muscles had grown tense in preparation for leaving. Already absolutely sure of my acceptance.

When I returned to library, found Wizard seated at his desk, in stained laboratory gown, gesturing vigorously with both hands as he spoke with a reporter from the
New York World
.

NOVEMBER 5.
I will do my utmost to describe objectively the extraordinary event in which I participated on the evening of November 4.

Kistenmacher appeared in library with a punctuality that even in my state of excitement I found faintly ludicrous: over fireplace the big clock-hands showed nine o’clock so precisely that I had momentary grotesque sense they were the false hands of a painted clock. Led me into stockroom, where Earnshaw had been relieved for night shift by young Benson, who was up on a ladder examining contents of a drawer. Looked down at us intently over his shoulder, bending neck and gripping ladder-rails, as if we were very small and very far away. Kistenmacher removed from pocket a circle of keys. Held them up to inform Benson of our purpose. Opened door that led down to basement. I followed him through dim-lit cellar rooms piled high with wooden crates until we reached door of Box. Kistenmacher inserted key, stepped inside to activate electrical switch. Then turned to usher me in with a sweep of his hand and a barely perceptible little bow, all the while watching me closely.

The room had changed. No glove: next to table an object that made me think of a dressmaker’s dummy, or top half of a suit of armor, complete with helmet. Supported on stand clamped to table edge. The dark half-figure studded with small brass caps connected by a skein of wires that covered entire surface. Beside it the cylinder machine and the copper-oxide battery. Half a dozen additional cylinders standing upright on table, beside machine. In one corner, an object draped in a sheet.

“Welcome to the haptograph,” Kistenmacher said. “Permit me to demonstrate.”

He stepped over to figure, disconnected a cable, and unfastened clasps that held head to torso. Lifted off head with both hands. Placed head carefully on table. Next unhooked or unhinged torso so that back opened in two wings. Hollow center lined with the same dark silky material and glittery silver points I had seen in glove.

Thereupon asked me to remove jacket, vest, necktie, shirt. My hesitation. Looked at me harshly. “Modesty is for schoolgirls.” Turning around. “I will turn my back. You may leave, if you prefer.”

Removed my upper clothing piece by piece and placed each article on back of a chair. Kistenmacher turned to face me. “So! You are still here?” Immediately gestured toward interior of winged torso, into which I inserted my arms. Against my skin felt silken lining. He closed wings and hooked in place. Set helmet over my head, refastened clasps and cable. An opening at mouth enabled me to breathe. At level of my eyes a strip of wire mesh. The arms, though stiff, movable at wrists and shoulders. I stood beside table, awaiting instructions.

“Tell me what you feel,” Kistenmacher said. “It helps in the beginning if you close your eyes.”

He threw switch at base of machine. The cylinder began to turn.

At first felt a series of very faint pin-pricks in region of scalp. Gradually impression of separate prickings faded away and I became aware of a more familiar sensation.

“It feels,” I said, “exactly as if—yes, it’s uncanny—but as though I were putting a hat on my head.”

“Very good,” Kistenmacher said. “And this?” Opened my eyes long enough to watch him slip cylinder from its shaft and replace with new one.

This time felt a series of pin-pricks in region of right shoulder. Quickly resolved into a distinct sensation: a hand resting on shoulder, then giving a little squeeze.

“And this?” Removed cylinder and added another. “Hold out your left hand. Palm up.”

Was able to turn my armored hand at wrist. In palm became aware of a sudden sensation: a roundish smooth object—ball? egg?—seemed to be resting there.

In this manner—cylinder by cylinder—Kistenmacher tested three additional sensations. A fly or other small insect walking on right forearm. A ring or rope tightening over left biceps. Sudden burst of uncontrollable laughter: the haptograph had re-created sensation of fingers tickling my ribs.

“And now one more. Please pay close attention. Report exactly what you feel.” Slipped a new cylinder onto shaft and switched on current.

After initial pin-pricks, felt a series of pressures that began at waist and rose along chest and face. A clear tactile sensation, rather pleasant, yet one I could not recall having experienced before. Kistenmacher listened intently as I attempted to describe. A kind of upward-flowing ripple, which moved rapidly from waist to top of scalp, encompassing entire portion of body enclosed in haptograph. Like being repeatedly stroked by a soft encircling feather. Or better: repeatedly submerged in some new and soothing substance, like unwet water. As cylinder turned, same sensation—same series of pressures—recurred again and again. Kistenmacher’s detailed questions before switching off current and announcing experiment had ended.

At once he removed headpiece and set it on table. Unfastened back of torso and turned away as I extracted myself and quickly began to put on shirt.

“We are still in the very early stages,” he said, back still turned to me as I threw my necktie around collar. “We know far less about the tactile properties of the skin than we do about the visual properties of the eye. And yet it might be said that, of all the senses”—here a raised hand, an extended forefinger—“touch is the most important. The good Bishop Berkeley, in his
Theory of Vision
, maintains that the visual sense serves to anticipate the tangible. The same may be said of the other senses as well. Look here.”

Turned around, ignoring me as I buttoned my vest. From his pocket removed an object and held it up for my inspection. Surprised to see a common fountain pen.

“If I touch this pen to your hand—hand, please!—what do you feel?”

Extended hand, palm up. He pressed end of pen lightly into skin of my palm.

“I feel a pressure—the pressure of the pen. The pressure of an object.”

“Very good. And you would say, would you not, that the skin is adapted to feel things in that way—to identify objects by the sense of touch. But this pen of ours is a rather large, coarse object. Consider a finer object—this, for example.”

From another pocket: a single dark bristle. Might have come from a paintbrush.

“Your hand, please. Concentrate your attention. I press here—yes?—and here—yes?—and here—no? No? Precisely. And this is a somewhat coarse bristle. If we took a very fine bristle, you would discover even more clearly that only certain spots on the skin give the sensation of touch. We have mapped out these centers of touch and are now able to replicate several combinations with some success.”

He reached over to cylinders and picked one up, looking at it as he continued. “It is a long and difficult process. We are at the very beginning.” Turning cylinder slowly in his hand. “The key lies here, in this hollow beechwood tube—the haptogram. You see? The surface is covered with hard wax. Look. You can see the ridges and grooves. They control the flow of current. As the haptogram rotates, the wax pushes against this row of nickel rods: up here. Yes? This is clear? Each rod in turn operates a small rheostat—here—which controls the current. You understand? The current drives the corresponding coil in the glove, thereby moving the pin against the skin. Come here.”