The Adventures of Langdon St. Ives

saw that has stayed my pen these past months as what I did. This, then, is a confessional as much as anything else, and if it’s wrath such a thing provokes, I’m your man to suffer it.

St. Ives, in a word, had cast upon a way to travel through time, quite independent of the methods of Wells’s hero. The professor had been studying iridium traces in fossil bone, and had developed theories about the decline of the prehistoric monsters. But it wasn’t entirely the scientific data that put him in the way of a method to leap through time, it was something other than that. I won’t say more than that, for there is no room here to drag in questions of a spiritual or mythologic nature.

Let it suffice that there is something in a fossil — in the stony little trilobite which, five hundred million years ago, crept along Devonian seabottoms; or, say the femur of a great toothed whale that shared Focene seas with fish lizards and plesiosaurs. St. Ives possessed, I remember, the complete skeletal remains of a pterodactyl, which reposed in mid-flight twelve feet above the floor of his vast library in Harrogate, as if the books and busts and scattered furniture of the room below were the inhabitants of a Cretaceous jungle clearing, and the thunder of the train rattling past toward Stoke Newington were the ebb and flow of prehistoric tides on a trackless beach.

There is enchantment in a fossil, is what I mean to say. St. Ives saw that straightaway. It might well be enchantment that scientists of the graph-and-caliper variety would wave into nonexistence if they had a chance at it. But Haitian islanders, in their ignorance of modern science, can dissolve a man’s nose by splashing chicken blood into the face of a doll. I’ve seen it done. Hand the chicken blood and the doll — made of sticks and rags — to the president of the Royal Academy, and ask him to have a go at it. Your man’s nose will be safe as a baby.

There are forces at work, you see, that haven’t yet been quantified. They hover roundabout us in the air, like wraiths, and you and I are blind to them. But a man like St. Ives — that man carries with him a pair of spectacles, which, in a fit of sudden inspiration, he claps over his eyes. He frowns and squints. And there, winging it across the misty, cloud-drift sky, is — what? In this case it was a device which would enable him to travel through time. I don’t mean to say that the device itself could be seen winging it through the clouds. I was speaking figuratively there. I’m afraid, now that I’m pressed, that my discussion of his device must remain in that vague and nebulous level, for I’m no scientist, and I hadn’t a foggy notion on that morning when I stepped into the device and clutched the copper grips, whither the day’s adventure might take me. It was enough, entirely enough, that I had St. Ives’s word on the matter.

It wasn’t electricity, despite the copper, nor was it explosives that hurtled us backward through time. There was a shudder and a gust of faint wind that smelled like the first fall of rain on paving stones. The little collection of fossils that were heaped on a copper plate on the floor between us shook and seemed for the moment to levitate. I had the frightening sensation of falling a great distance, of tumbling head over heels through a black void. At the same time it seemed as if I were watching myself fall, as if somehow I were having one of those out-of-body experiences that the spiritualists rely upon. In short, I was both falling and hovering above my falling self at one and the same time. Then, after an immeasurable passage through the darkness, an orange and murky light began to dawn, and without so much as a sigh, the fossils settled and the falling rush abated. I was whole once more, and together we stepped out into the interior of that cavern on Salisbury Plain.

I’d seen the cavern before, of course, any number of times in a distant age, and so I was understandably surprised that the painting of the cave man was missing. On the wall were sketches of Paleolithic animals, freshly drawn, the oily paint still soft. I remembered them as a sort of background for the more intricately drawn human in the foreground. St. Ives immediately pointed out what I should have understood — that the artist had only begun his work, and that he would doubtless finish it in the days that followed.

If we had arrived an hour earlier or later, we might well have caught him at it. St. Ives was relieved that such a thing hadn’t happened. The cave artist mustn’t see us, said the Professor. And so adamant was he on the issue that he hinted, to my immense surprise, that if he had been there, laboring over the tail of an elephant, turning around in wonder to see us appear out of the mists of time, we mightn’t have any choice but to kill the man then and there — and not with the pistol in St. Ives’s bag, but we must crush his head with a stone and, God help us, finish his cave painting ourselves. St. Ives produced a sketch of it, accurate to the last hair of the man’s unkempt beard.

Traveling in time, it was to turn out, was a vastly more complicated business than I could have guessed. The curious talk of beaning the cave man with a stone was only the beginning of it. St. Ives had unearthed his fossils in that very grotto, and, in the years that followed, he had stumbled across two immeasurably sensible ideas: first, that the use of fossil forces as a means of time travel would impel one not just anywhere in prehistory, but to that time in prehistory from whence came the fossil. Second, one had to make very sure, when he disappeared from one age and appeared abruptly in another, that he didn’t, say, spring into reexistence in the middle of a tree or a hillside or, heaven help him, in the space occupied by some poor cave painter bent over his work. This last we had had to take our chances on.

St. Ives determined that by launching from the interior of the cave itself, utilizing fossils discovered at that precise spot — perhaps the gnawed bones of a Cro-Magnon feast — we would be guaranteed a landing, so to speak, in the very same cave thirty-five thousand years past, and not in an adjacent tree-thick forest. The reasoning was sound. It would have been much more convenient, of course, to have launched from the laboratory in Harrogate, and so have dispensed with the arduous task of secretly transporting the device and the fossils nearly three hundred kilometers across central England. But that wouldn’t have done at all. St. Ives assures me that a very grand and destructive explosion might have been the result, and the three of us reduced to atoms.

So there we were, three men from 1902, carrying Gladstone bags, scrutinizing a cave painting on which a real live Neanderthal man had been daubing paint a half hour earlier, utterly unaware that hurtling toward him through the depths of time was a machine full of spectacled men from the future. It would almost have been worth it to see his face when we winked into existence behind him. Well, not entirely worth it, I suppose; not if we’d had to beat him with a stone.

The morning was fast declining, and although we had, as I said, Ruhmkorff lamps, and had brought along food in our bags, and so could have passed a comfortable enough night there on the plain, St. Ives was in a hurry to finish his research and be off. The lamps were an emergency precaution, he said. If all went according to plan, we’d while away the afternoon and launch at dusk. We mustn’t be seen, he reminded us again. We had accomplished a third of our mission by having arrived at all — the half-completed painting was proof enough that we’d effectively disposed of several hundred centuries. We would accomplish another third when we found ourselves safe at home at last, or at least once again in our own century, where we could spend the night on the plain if we chose to. The final third was simple enough, it seemed to me: we’d observe, is what we’d do. A “field study” St. Ives called it, although it seemed to him to be the most ticklish business of the lot. We would lounge about, keeping ourselves hidden behind a tumble of rock a hundred meters above the cave, and every now and again we’d pop up and snap a photograph of a wandering bison or cave bear, and haul the evidence back to London, where the Royal Academy would be toppled onto their collective ear.

I hefted my bag and slung a tripod over my shoulder and made as if to set out. St. Ives nearly throttled himself stopping me. “Your footprints” he said, pointing to the soft silt of the cave floor. And there, sure enough, were the prints of a pair of boots bought in Bond Street, London, either three weeks or thirty-five centuries earlier, I couldn’t have said for certain at the time. St. Ives yanked a feather duster out of his bag and went to work on the prints. He was a man possessed. There mustn’t be a trace, he said, of our coming and going. It took us the better part of an hour, sneaking and skulking and breaking our backs with the hurry of it, to transport the machine, which, thank heaven, was remarkably light and could be partially dismantled, up to our aerie in the rocks. Then we were at it for another hour in the gloom of evening, dusting away tracks, replacing pebbles kicked aside in haste, grafting the snapped limb of a scrub plant back onto itself — taking frightful care, in other words, that no sentient being could remark our passing, and all the time Hasbro keeping watch above, whistling us into hiding at the approach of so much as a rodent.

We daren’t, said St. Ives, meddle with anything. The slightest alteration in the natural state of the landscape might have ungovernable consequences in ages to come. The universe, it seems, is but a tenuous, delicate composition, rather like the reflected jumble of tinted jewels in a kaleidoscope. If one holds still while gazing into the end of the thing, the jewels sit there perfectly at ease, as if the reflected pattern isn’t a clever ruse after all, but is a church window fixed into a wall of cut stone. But the slightest jiggling — the blink of an eye or the tremor of a