OCTOBER 16. Today a book arrived: Kerner, Archaeology of the Skin. Immediately left library and walked upstairs to experimental rooms. Room 12 open, cot empty, the Wizard gone. On table an open notebook, a glass battery, and parts of a dissected phonograph scattered around a boxed motor: three wax cylinders, a recording stylus attached to its diaphragm, a voice horn, a cutting blade for shaving used cylinders. Notebook showed a rough drawing. Identified it at once: design for an automatic adjustment in recording mechanism, whereby stylus would engage cylinder automatically at correct depth. Wizard absolutely determined to crush Bell’s graphophone. From window, a view of courtyard and part of chemical lab.
Returned to corridor. Ran into Corbett, an experimental assistant. The Wizard had just left. Someone called out he thought Wizard heading to stockroom. I returned down the stairs. Passed through library, pushed open double door, and crossed corridor to stockroom.
Always exhilarating to enter Earnshaw’s domain. Those high walls, lined from floor to ceiling with long drawers — hides, bones, roots, textiles, teeth. Pigeonholes, hundreds of them, crammed with resins, waxes, twines. Is it that, like library itself, stockroom is an orderly and teeming universe — a world of worlds — a finitude with aspirations to allness? Earnshaw hadn’t seen him, thought he might be in basement. His hesitation when I held up Kerner and announced my mission. Told him the Wizard had insisted it be brought to him immediately. Earnshaw still hesitant as he took out ring of keys. Is loyal to Wizard, but more loyal to me. Opened door leading to basement storeroom and preceded me down into the maze.
Crates of feathers, sheet metal, pitch, plumbago, cork. Earnshaw hesitated again at locked door of Box. Do not disturb: Wizard’s strict orders. But Wizard had left strict orders with me: deliver book immediately. Two unambiguous commands, each contradicting the other. Earnshaw torn. A good man, earnest, but not strong. Unable to resist a sense of moral obligation to me, owing to a number of trifling services rendered to him in the ordinary course of work. In addition, ten years younger. In my presence instinctively assumes an attitude of deference. Rapped lightly on door. No answer. “Open it,” I said, not unkindly. He stood outside as I entered.
Analysis of motives. Desire to deliver book (good). Desire to see room (bad). Yielded to base desire. But ask yourself: was it only base? I revere the Wizard and desire his success. He is searching for something, for some piece of crucial knowledge. If I see experiment, may be able to find information he needs. Analyze later.
The small room well-lit by incandescent bulbs. Bare of furnishings except for central table, two armchairs against wall. On table a closed notebook, a copper-oxide battery, and two striking objects. One a long stiff blackish glove, about the length of a forearm, which rests horizontally on two Y-shaped supports about eight inches high. Glove made of some solid dark material, perhaps vulcanized rubber, and covered with a skein of wires emerging from small brass caps. The other: a wooden framework supporting a horizontal cylinder, whose upper surface is in contact with a row of short metal strips suspended from a crossbar. Next to cylinder a small electric motor. Two bundles of wire lead from glove to battery, which in turn is connected to cylinder mechanism by way of motor. On closer inspection I see that interior of glove is lined with black silky material, studded with tiny silver disks like heads of pins. “Sir!” whispers Earnshaw.
I switch off lights and step outside. Footsteps above our heads. I follow Earnshaw back upstairs into stockroom, where an experimental assistant awaits him with request for copper wire. Return to library. Am about to sit down at desk when Wizard enters from other door. Gray gabardine laboratory gown flowing around his legs, tie crooked, hair mussed. “Has that book—?” he says loudly. Deaf in his left ear. “I was just bringing it to you,” I shout. Holding out Kerner. Seizes it and throws himself down in an armchair, frowning as if angrily at the flung-open pages.
OCTOBER 17. A quiet day in library. Rain, scudding clouds. Arranged books on third-floor gallery, dusted mineral specimens in their glass-doored cabinets. Restless.
OCTOBER 18. That wired glove. Can it be a self-warming device, to replace a lady’s muff? Have heard that in Paris, on cold winter nights, vendors stand before the Opera House, selling hot potatoes for ladies to place in their muffs. But the pinheads? The cylinder? And why then such secrecy? Wizard in locked room again, for two hours, with Kistenmacher.
OCTOBER 20. This morning overheard a few words in courtyard. Immediately set off for stockroom in search of Earnshaw. E.’s passion — his weakness, one might say — is for idea of motion photography. Eager to get hold of any information about the closely guarded experiments in Photographic Building and Room 5. Words overheard were between two machinists, who’d heard an experimental assistant speaking to so-and-so from chemical lab about an experiment in Photographic Building conducted with the new Eastman film. Talk was of perforations along both edges of strip, as in the old telegraph tape. The film to be driven forward on sprockets that engage and release it. This of course the most roundabout hearsay. Nevertheless not first time there has been talk of modifying strip film by means of perforations, which some say the Wizard saw in Paris: studio of Monsieur Marey. Earnshaw thrives on such rumors.
Not in stockroom but down in storeroom, as I knew at once by partially open door. In basement reported my news. Excited him visibly. At that instant — suddenly — I became aware of darker motive underlying my impulse to inform Earnshaw of conversation in courtyard. Paused. Looked about. Asked him to admit me for a moment — only a moment — to the Box.
An expression of alarm invading his features. But Earnshaw particularly well qualified to understand a deep curiosity about experiments conducted in secret. Furthermore: could not refuse to satisfy an indebtedness he felt he’d incurred by listening eagerly to my report. Stationed himself outside door. Guardian of inner sanctum. I quickly entered.
The glove, the battery, the cylinder. I detected a single difference: notebook now open. Showed a hastily executed drawing of glove, surrounded by several smaller sketches of what appeared to be electromagnets, with coils of wire about a core. Under glove a single word: HAPTOGRAPH.
Did not hesitate to insert hand and arm in glove. Operation somewhat impeded by silken lining, evidently intended to prevent skin from directly touching any part of inner structure. When forearm was buried up to elbow, threw switch attached to wires at base of cylinder mechanism.
The excitement returns, even as I write these words. How to explain it? The activated current caused motor to turn cylinder on its shaft beneath the metal rods suspended from crossbar, which in turn caused silver points in lining of glove to move against my hand. Was aware at first of many small gentle pointed pressures. But — behold! — the merely mechanical sensation soon gave way to another, and I felt — distinctly — a sensation as of a hand grasping my own in a firm handshake. External glove had remained stiff and immobile. Switched off current, breathed deep. Repeated experiment. Again the motor turning the cylinder. Sensation unmistakable: I felt my hand gripped in a handshake, my fingers lightly squeezed. At that moment experienced a strange elation, as if standing on a dock listening to water lap against piles as I prepared to embark on a longed-for voyage. Switched off current, withdrew hand. Stood still for a moment before turning suddenly to leave room.
OCTOBER 21. Books borrowed by Kistenmacher, as recorded in library notebook, Oct. 7–Oct. 14: The Nervous System and the Mind, The Tactile Sphere, Leçons sur la Physiologie du Système Nerveux, Lezioni di Fisiologia Sperimentale, Sensation and Pain. The glove, the cylinder, the phantom handshake. Clear — is it clear? — that Wizard has turned his attention to sense of touch. To what end, exactly? Yet even as I ask, I seem to grasp principle of haptograph. “The kinetoscope will do for the eye what the phonograph does for the ear.” Is he not isolating each of the five senses? Creating for each a machine that records and plays back one sense alone? Voices disembodied, moving images without physical substance, immaterial touches. The phonograph, the kinetoscope, the haptograph. Voices preserved in cylinders of wax, moving bodies in strips of nitrocellulose, touches in pinheads and wires. A gallery of ghosts. Cylinder as it turns must transmit electrical impulses that activate the silver points. Ghosts? Consider: the skin is touched. A firm handshake. Hello, my name is. And yours? Strange thoughts on an October night.