Looked at me. “You think you’re the only one?”
“I think our friend likes secrets.” I reached for brass letter-opener. Slipped it under flap.
“I’ll be going,” Earnshaw said, nodding sharply and turning away. Halfway to door when I slit open envelope with a sound of tearing cloth.
“Oh there you are, Earnshaw.” A voice at the door.
Message read: “Eight o’clock tomorrow night. Kmacher.”
It was only young Peters, an experimental assistant, in need of some zinc.
NOVEMBER 20, LATER. Much to think about. Kistenmacher asks Earnshaw to deliver note. Why? Might easily have contrived to deliver it himself, or speak to me in person. By this action therefore wishes to let Earnshaw know that I am assisting in experiment. Very good. But: Kistenmacher has already told Earnshaw about my presence in room. Which means? His intention must be directed not at Earnshaw but at me: must wish me to know that he has spoken to Earnshaw about me. But why? To bind us together in a brotherhood of secrecy? Perhaps a deeper intention: wants me to know that Earnshaw has been in room, that he too assists in experiment.
NOVEMBER 21, 3:00. Waiting. A walk in the courtyard. Sunny but cold: breath-puffs. A figure approaches. Bareheaded, no coat, a pair of fur-lined gloves: one of the experimenters, protecting his fingers.
NOVEMBER 21, 5:00. It is possible that every touch remains present in skin. These buried hapto-memories capable of being reawakened through mechanical stimulation. Forgotten caresses: mother, lover. Feel of a shell on a beach, forty years ago. Memory-cylinders: a history of touches. Why not?
NOVEMBER 21, 10:06 P.M. At two minutes before eight, Earnshaw enters library. I rise without a word and follow him into stockroom. Down stairway, into basement. Unlocks door of experimental room and leaves without once looking at me. His dislike of Box is clear. But what is it exactly that he dislikes?
“Welcome!” Kistenmacher watchful, expectant.
Standing against table: the dark figure of a human being, covered with wires and small brass caps. On table: a wooden frame holding what appears to be a horizontal roll of perforated paper, perhaps a yard wide, partially unwound onto a second reel. Both geared to a chain-drive motor.
A folding screen near one wall.
“In ten years,” Kistenmacher remarks, “in twenty years, it may be possible to create tactile sensations by stimulating the corresponding centers of the brain. Until then, we must conquer the skin directly.”
A nod toward screen. “Your modesty will be respected. Please remove your clothes behind the screen and put on the cloth.”
Behind screen: a high stool on which lies a folded piece of cloth. Quickly remove my clothes and unfold cloth, which proves to be a kind of loincloth with drawstring. Put it on without hesitation. As I emerge from behind screen, have distinct feeling that I am a patient in a hospital, in presence of a powerful physician.
Kistenmacher opens a series of hinged panels in back of figure: head, torso, legs. Hollow form with silken lining, dimpled by miniature electromagnets fastened to silver points. Notice figure is clamped to table. Can now admit a man.
Soon shut up in haptograph. Through wire mesh covering eyeholes, watch Kistenmacher walk over to machine. Briskly turns to face me. With one hand resting on wooden frame, clears throat, stands very still, points suddenly to paper roll.
“You see? An improvement in design. The key lies in the series of perforations punched in the roll. As the motor drives the reel—here—it passes over a nickel-steel roller: here. The roller is set against a row of small metallic brushes, like our earlier rods. The brushes make contact with the nickel-steel roller only through the perforations. This is clear? The current is carried to the coils in the haptograph. Each pin corresponds to a single track—or circular section—of the perforated roll. Tell me exactly what you feel.” Throws switch.
Unmistakable sensation of a sock being drawn on over my left foot and halfway up calf. As paper continues to unwind, experience a similar but less exact sensation, mixed with prickles, on right foot and calf. Kistenmacher switches off current and gives source reel a few turns by hand, rewinding perforated paper roll. Switches on current. Repeats sensation of drawn-on socks, making small adjustment that very slightly improves accuracy in right foot and calf.
Next proceeds to test three additional tactile sensations. A rope or belt fastened around my waist. A hand: pressing its spread fingers against my back. Some soft object, perhaps a brush or cloth, moving along upper arm.
Switches off current, seems to grow thoughtful. Asks me to close eyes and pay extremely close attention to next series of haptographic tests, each of which will go beyond simple mimicry of a familiar sensation.
Close my eyes and feel an initial scattering of prickles on both elbows. Then under arms—at hips—at chin. Transformed gradually into multiple sensation of steady upward pushes, as if I’ve been gripped by a force trying to lift me from ground. Briefly feel that I am hovering in air, some three feet above floor. Open my eyes, see that I haven’t moved. Upward-tugging sensation remains, but illusion of suspension has been so weakened that I cannot recapture it while eyes remain open.
Kistenmacher asks me to close eyes again, concentrate my attention. At once the distinct sensation of something pressing down on shoulders and scalp, as well as sideways against rib cage. A feeling as if I were being shut up in a container. Gradually becomes uncomfortable, oppressive. Am about to cry out when suddenly a sensation of release, accompanied by feeling of something pouring down along my body—as though pieces of crockery were breaking up and falling upon me.
“Very good,” says Kistenmacher. “And now one more?”
Again a series of prickles, this time applied simultaneously all over body. Prickles gradually resolve themselves into the sensation—pleasurable enough—of being lightly pressed by something large and soft. Like being squeezed by an enormous hand—as if a fraternal handshake were being applied to entire surface of my skin. Enveloped in that gentle pressure, that soft caress, I feel soothed, I feel more than soothed, I feel exhilarated, I feel an odd and unaccountable joy—a jolt of well-being—a stream of bliss—which fills me to such bursting that tears of pleasure burn in my eyes.
When sensation stops, ask for it to be repeated, but Kistenmacher has learned whatever it was he wanted to know.
Decisively moves toward me. Disappears behind machine. Unlatches panels and pulls them apart.
I emerge backward, in loincloth. Carefully withdraw arms from torso. Across room see Kistenmacher standing with back to me. Yellowish large hands clasped against black suit-jacket.
Behind screen begin changing. Kistenmacher clears his throat.
“The sense of sight is concentrated in a single place—two places, if you like. We know a great deal about the structure of the eye. By contrast, the sense of touch is dispersed over the entire body. The skin is by far the largest organ of sense. And yet we know almost nothing about it.”
I step out from behind screen. Surprised to see Kistenmacher still standing with back to me, large hands clasped behind.
“Good night,” he says: motionless. Suddenly raises one hand to height of his shoulder. Moves it back and forth at wrist.
“Night,” I reply. Walk to door: turn. And raising my own hand, give first to Kistenmacher, and then to haptograph, an absurd wave.
NOVEMBER 22. Mimicry and invention. Splendor of the haptograph. Not just the replication of familiar tactile sensations, but capacity to explore new combinations—pressures, touches, never experienced before. Adventures of feeling. Who can say what new sensations will be awakened, what unknown desires? Unexplored realms of the tangible. The frontiers of touch.
NOVEMBER 23. Conversation with Earnshaw, who fails to share my excitement. His unmistakable dislike of haptograph. Irritable shrug: “Leave well enough alone.” A motto that negates with masterful exactitude everything the Wizard represents. And yet: his passion for the slightest advance in motion photography. Instinct
ive shrinking of an eye-man from the tangible? Safe distance of sight. Noli me tangere. The intimacy, the intrusiveness, of touch.
NOVEMBER 24. Another session in Box. Began with several familiar sensations, very accurate: ball in palm, sock, handshake, the belt. One new one, less satisfactory: sensation of being stroked by a feather on right forearm. Felt at first like bits of sand being sprinkled on my arm; then somewhat like a brush; finally like a piece of smooth wood. Evidently much easier for pins to evoke precise sensations by stimulating touch-spots in limited area than by stimulating them in sequence along a length. Kistenmacher took notes, fiddled with metallic brushes, adjusted a screw. Soon passed on to sensations of uncommon or unknown kind. A miscellaneous assortment of ripples, flutters, obscure thrusts and pushes. Kistenmacher questioned me closely. My struggle to describe. Bizarre sensation of a pressure that seemed to come from inside my skin and press outward, as if I were going to burst apart. At times a sense of disconnection from skin, which seemed to be slipping from my body like clothes removed at night. Once: a variation of constriction and release, accompanied by impression that I was leaving my old body, that I was being reborn. Immediately followed by sensation, lasting no more than a few seconds, that I was flying through the air.
NOVEMBER 26. Walking in courtyard. Clear and cold. Suddenly aware of my overcoat on my shoulders, the grip of shoe leather, clasp of hat about my head. Throughout day, increased awareness of tactile sensations: the edges of pages against my fingers, door handle in palm. Alone in library, a peculiar sharp impression of individual hairs in my scalp, of fingernails set in their places at ends of my fingers. These sensations vivid, though lasting but a short time.
NOVEMBER 27. The Wizard’s attention increasingly consumed by his ore-separating machinery and miniature mechanisms of speaking doll. The toy phonograph—concealed within tin torso—repeatedly malfunctions: the little wax cylinders break, stylus becomes detached from diaphragm or slips from its groove. Meanwhile, flying visits to the Box, where he adjusts metallic brushes, studies take-up reel, unhinges back panels, sketches furiously. Leaves abruptly, with necktie bunched up over top of vest. Kistenmacher says Wizard is dissatisfied with design of haptograph and has proposed a different model: a pine cabinet in which subject is enclosed, except for head, which is provided with a separate covering. The Wizard predicts haptograph parlor: a room of cabinet haptographs, operated by nickel-in-slot mechanism. Cabinet haptograph to be controlled by subject himself, by means of a panel of buttons.
NOVEMBER 28. Another encounter with Earnshaw. Distant. Won’t talk about machine. So: talked about weather. Cold today. Mm-hmm. But not too cold. Uh-huh. Can’t tell what makes him more uncomfortable: that I know he takes part in experiment, or that he knows I do. Talked about frames per second. No heart in it. Relieved to see me go.
NOVEMBER 29. Fourth session in Box. Kistenmacher meticulous, intense. Ran through familiar simulations. Stopped machine, removed roll, inserted new one. Presented theory of oscillations: the new roll perforated in such a way as to cause rapid oscillation of pins. Oscillations should affect kinesthetic sense. At first an unpleasant feeling of many insects attacking skin. Then: sensation of left arm floating away from body. Head floating. Body falling. Once: sensation of flying through air, as in previous session, but much sharper and longer lasting. My whole body tingling. Returned to first roll. Skin as if rubbed new. Heightened receptivity. Seemed to be picking up minuscule touches hidden from old skin. Glorious.
NOVEMBER 29, LATER. Can’t sleep for excitement. Confused thoughts, sudden lucidities. Can sense a new world just out of reach. Obscured by old body. What if a stone is not a stone, a tree not a tree? Fire not fire? Face not face? What then? New shapes, new touches: a world concealed. The haptograph pointing the way. Oh, what are you talking about? Shut up. Go to bed.
NOVEMBER 30. Kistenmacher says Earnshaw has asked to be released from experiment—the Wizard refuses. Always the demand for unconditional loyalty. In it together. The boys. “Every man jack of you!”
Saw Earnshaw in courtyard. Avoiding me.
DECEMBER 1. This morning the Wizard filed a caveat with Patents Office, setting forth design of haptograph and enumerating essential features. A familiar stratagem. The caveat protects his invention, while acknowledging its incompleteness. In the afternoon, interviews in library with the Herald, the Sun, and the Newark News. “The haptograph,” the Wizard says, “is not yet ready to be placed before the public. I hope to have it in operation within six months.” As always, prepares the ground, whets the public appetite. Speaks of future replications: riding a roller coaster, sledding down a hill. Sensations of warmth and cold. The “amusement haptograph”: thrilling adventures in complete safety of the machine. The cabinet haptograph, the haptograph parlor. Shifts to speaking doll, the small wax cylinders with their nursery rhymes. In future, a doll that responds to a child’s touch. The Wizard’s hands cut through the air, his eyes are blue fire.
The reporters write furiously.
Kistenmacher says that if three more men are put on job, and ten times current funds diverted to research, haptograph might be ready for public in three years.
DECEMBER 2. Lively talk in courtyard about haptograph, the machine that records touch. Confusion about exactly what it is, what it does. One man under impression it operates like phonograph: you record a series of touches by pressing a recording mechanism and then play back touches by grasping machine. Someone makes a coarse joke: with a machine like that, who needs a woman? Laughter, some of it anxious. The Wizard can make anything. Why not a woman?
DECEMBER 3. Arrived early this morning. Heard voices coming from library. Entered to find Wizard standing at desk, facing Earnshaw. Wizard leaning forward, knuckles on desk. Nostrils flared. Cheek-ridges brick-red. Earnshaw pale, erect—turns at sound of door.
I, hat in hand: “Morning, gentlemen!”
DECEMBER 5. Fifth session in Box. Kistenmacher at work day and night to improve chain-drive mechanism and smooth turning of reels. New arrangement responsible for miracles of simulation: ball in palm, handshake, the sock, the hat. Haptograph can now mimic perfectly the complex sensation of having a heavy robe placed on shoulders, slipped over each arm in turn, tied at waist. Possible the Wizard’s predictions may one day be fulfilled.
But Kistenmacher once again eager to investigate the unknown. Change of paper rolls: the new oscillations. “Please. Pay very close attention.” Again I enter exotic realms of the tactile, where words become clumsy, obtuse. A feeling—wondrous—of stretching out to tremendous length. A sensation of passing through walls that crumble before me, of hurtling through space, of shouting with my skin. Once: the impression—how to say it?—of being stroked by the wing of an angel. Awkward approximations, dull stammerings which cannot convey my sense of exhilaration as I seemed to burst impediments, to exceed bounds of the possible, to experience, in the ruins of the human, the birth of something utterly new.
DECEMBER 6. Is it an illusion, a trick played by haptograph? Or is it the revelation of a world that is actually there, a world from which we have been excluded because of the limitations of our bodies?
DECEMBER 6, LATER. Unaccustomed thoughts. For example. Might we be surrounded by immaterial presences that move against us but do not impress themselves upon the touch-spots of our skin? Our vision sharpened by microscopes. Haptograph as the microscope of touch.
DECEMBER 7. Ever since interview, the Wizard not once in Box. His attention taken up by other matters: plans for mining low-grade magnetite, manufacture of speaking dolls in Phonograph Works, testing of a safe alternating current. The rivalry with Westinghouse. Secret experiments in Photographic Building.
DECEMBER 8. My life consumed by waiting. Strong need to talk about haptograph. In this mood, paid visit to stockroom. Earnshaw constrained, uneasy. Hasn’t spoken to me in ten days. I pass on some photographic gossip. Won’t look me in the eye. Decide to take bull by horns. So! How’s the experiment going? Turns to me fiercely. “I h
ate it in there!” His eyes stern, unforgiving. In the center of each pupil: a bright point of fear.
DECEMBER 9. There are documented cases in which a blind person experiences return of sight. Stunned with vision: sunlight on leaves, the blue air. Now imagine a man who has been wrapped in cotton for forty-five years. One day cotton is removed. Suddenly man feels sensations of which he can have had no inkling. The world pours into his skin. The fingers of objects seize him, shake him. Touch of a stone, push of a leaf. The knife-thrust of things. What is the world? Where is it? Where? We are covered in cotton, we walk through a world hidden away. Blind skin. Let me see!
DECEMBER 10. This afternoon, in courtyard, looked up and saw a hawk in flight. High overhead: wings out, body slowly dipping. The power of its calm. A sign. But of what? Tried to imagine hawkness. Failed.
DECEMBER 11. Long morning, longer afternoon. Picked up six books, read two pages in each. Looked out window four hundred times. Earnshaw’s face the other day. Imprint of his ancestors: pale clerics, clean-cheeked, sharp-chinned, a flush of fervor in the white skin. Condemning sinners to everlasting hellfire.
DECEMBER 12. A night of terrors and wonders. Where will it end?
Kistenmacher tense, abrupt, feverish-tired. Proceeded in his meticulous way through familiar mimicries. Repeated each one several times, entered results in notebook. Something perfunctory in his manner. Or was it only me? But no: his excitement evident as he changed rolls. “Please. Tell me exactly.” How to describe it? My skin, delicately thrummed by haptograph, gave birth to buried powers. Felt again that blissful expansion of being—that sense of having thrown off old body and assumed a new. I was beyond myself, more than myself, un-me. In old body, could hold out my hand and grasp a pencil, a paperweight. In new body, could hold out my hand and grasp an entire room with all its furniture, an entire town with its chimneys and saltshakers and streets and oak trees. But more than that—more than that. In new skin I was able to touch directly—at every point on my body—any object that presented itself to my mind: a stuffed bear from childhood, wing of a hawk in flight, grass in a remembered field. As though my skin were chockfull of touches, like memories in the brain, waiting for a chance to leap forth.
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