5th Dimension: A collection of short stories

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To ask other readers questions about The Fifth-Dimension Catapult , please sign up. Be the first to ask a question about The Fifth-Dimension Catapult. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Highly creaky sci-fi novella from way back when, first published in a edition of Astounding Stories magazine. A scientist invents a machine that can travel through the 5th dimension, only to find himself and his beautiful daughter stranded on a hostile planet amongst nasty creatures and a bunch of hairy Luddites with a taste for torture.

Enter Tommy Reames, the dashing young theorist whose ideas inspired the machine. He has to find a way to get them back, whilst fending off the attentions of Highly creaky sci-fi novella from way back when, first published in a edition of Astounding Stories magazine. He has to find a way to get them back, whilst fending off the attentions of a shifty German and a ruthless Chicago gangster. Murray Leinster wrote hundreds of such stories, as well as hundreds of pretty much every other genre of story. He had written science fiction for a dozen years before he knocked this out, yet it's still a pretty feeble effort by any standards.

The contraption itself is the most interesting feature, a concoction of coils, mirrors, dynamos and an uncanny substance called mettalic ammonium, which actually exists and has been much speculated about. Jun 06, Lila Diller rated it really liked it Shelves: sci-fi-fantasy , speculative-challenge. This was a fascinating idea about how to travel to different dimensions, which I wasn't aware that the theory of further dimensions even existed already in the 30s.

This had almost the perfect pacing, with a smattering of romance to keep me interested. I borrowed this book from a friend. The decision to write a review, as well as the opinions expressed in it, are all my own. I was not compensated for this review. Anastasia Geffe rated it liked it Mar 12, Joachim Ahlbeck rated it liked it Dec 04, Katrina McCollough rated it really liked it Sep 02, There is a tradition that the Brothers Quay- in being successors to the work of Jan Svankmajer- that also in my mind, reaches back to a cinematic and literary tradition of the fantastic in Eastern Europe.

The idea of the cinema imbuing inanimate objects with life and animation. There is this interesting transition from the literary fantastic to the cinematic one in this particular, vacuum-like, but highly charged and mystically electrical, stop motion space. I kind of wanted to play with that, and also have the mannequin take on some of the facsimilied characteristics, or lack thereof, that we encounter in the repetitive, militaristic machine-like, banal consistency of military dictatorships.

However these mannequins have momentary notable differences in gender, and they are not always completely indestructible, and do suffer from the wounds of both war and time. It was also important I guess, to have the Supreme Chancellor very much surrounded by a puppet cabinet, quickly exchanged, quickly discarded wax mannequins.

I had a whole scene of a puppet show trial in the novel that I removed before publication.

CLASSIC TRACKS: Fifth Dimension 'Aquarius/Let The Sunshine In'

These so-called indestructible texts, imbued perhaps with a kind of supernatural resilience, are often then, created by extremely vulnerable individuals, writers surrounded by violence, war, oppression etc. I think there is a relationship there, the idea of a very vulnerable vessel being able to access some power or ability, through the fire of invention, to create something ethereal and powerful, divorced, but intimately still, a profound part of themselves.

The text being a document, literally of an indestructible mythic voice of fire. It is evident that the allegorical burden of this conception goes beyond the more obvious dimensions. In that sense, you could comment on the origin, development and political and aesthetic sense of this idea of the disappearance of an entire country, and the importance of such a conception in your plots.

I think the fantastic often operates in that twilight space, in a moment of transition between light and darkness, where our perception of things become uncertain. Having then, something missing altogether from a reality we are usually familiar with, also operates and creates interesting spaces to explore.

List of fiction employing parallel universes - Wikipedia

Sometimes a mere inversion of things can profoundly shift our understanding of things and form fresh perspectives. Sometimes creating those absurd inversions, from situations that are already absurd, well, both farce and satire inevitably arises, sometimes in a necessarily rather shrill and unpleasant dimension.

I think travel is its own country. There is a particular space that you occupy when you are in transition, or know that your time in a particular new space might be finite. I think the manner in which your mind operates might in part, be quite particular to that experience as well.

5TH Dimension Reincarnation Documentary YouTube

I feel very fortunate to have benefited from the marriage of cultures that have made up my immediate family life and from having lived on three different continents. I think my life has been enriched by the immersion into other cultures in my private, social and professional life. I am grateful for gaining a wider perspective into other cultures and trying to understand better what makes us all human beings, while respecting the deep, historical roots that make cultures unique and wonderfully idiosyncratic.

One side to this however, is also identifying which is really your home, where you feel that you are least a stranger- or why you feel particularly, that a particular place is your home. Writing and thinking in different languages I think also affects your thought processes. Perhaps then, to attempt to answer your question, a marriage of some of these preoccupations I think form part of the background I guess. I am also suspect of those forces then, that try and separate us from each other, or that absurdly suggest that one group of people from a particular culture is inferior to another, and the great, just as absurd lengths they go to, to forward that agenda.

Has the Blakean universe, in this context, come as a reasonable option because William Blake himself created very complex mythology involving continents, territories, countries? What is the relation of the Blakean visions and of this perception of totalitarian politics in his book? Blake has created a complex mythology, one that develops throughout his life, and was continuing to do so until his death.

While Blake loved his homeland, and even envisioned a new sort of central spiritual nexus in England, his Albion, his new city Golgonooza, he was very much au courant with the political and social situations in his country and in the wider world. He was fascinated with the swell and power of ideas traveling across vast distances, literally revolutionary ideas moving on the great currents of history. He may have been disillusioned by some of those outcomes, but he was certainly acutely aware of them, and was moved to address them in his work.

This aspect again links the fourth spatial dimension to ghosts, this time in the form of channeling. The mental connection between Tom and Hatty can also be linked to telepathy. Again, similar to channelling and the life beam in the fourth dimension, telepathy can be apprehended as a phenomenon of the fourth spatial dimension. Given that everything of a two-dimensional sheet of paper can be seen from the third dimension, a three-dimensional being would be able to perceive everything on this sheet at once.

This happens in Edwin A. Square is visited by a three-dimensional sphere. Being in the position to perceive the insides as well as the outsides of the two-dimensional world, the sphere is able to touch the very inside of A. Taking this argument one step further, it seems only logical that someone from a higher dimension can also intrude into the thoughts and dreams of a creature from a lower dimension.

This feature of the fourth spatial dimension supports the idea of telepathy or mind reading and explains special connections between people who have never met before, but feel as if they have known each other for years. Marianne is confined to her bed after a serious illness and starts to draw a house. While she sleeps, she finds herself within her picture and meets a boy called Mark. She soon realises that Mark is a real person and that he suffers from polio.

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  • Shortly after, she learns that Mark is in hospital because he caught a cold and his life is truly at risk Storr Thirdly, since Mark suffers from polio, he cannot walk and is unwilling to exercise his muscles on a daily basis in real life. She encourages him to practice riding it and even though he is reluctant at first, he starts to enjoy the exercise. Being a qualified doctor and psychiatrist Eccleshare , Catherine Storr was acquainted with the power of the mind and its importance during the process of recovery. One such scientific explanation is the fourth spatial dimension.

    Only by invading his mind can Marianne help Mark to find the courage to struggle on and defeat his illness. Therefore, the fourth spatial dimension employed in the story combines the scientific with the magical side of the narrative. One of the earliest philosophers giving thought to the latter problem was Immanuel Kant — Certainly, he did not talk about a possible fourth dimension, but his deliberations about the impossibility of mirror images were taken up by numerous authors.

    More of the Story

    Kant argues that the right and left hand are never exactly the same because their surfaces cannot be identical. The paper man can rotate on the surface of his world but he cannot produce his symmetrical twin. In order to do this he would have to lift himself off the sheet into the three-dimensional space, flip himself over, and return to the paper.

    The same holds true for humans: a person would have to travel to the fourth spatial dimension to create a mirror image of himself. Wells and Arthur C. Both stories deal with the effects of an involuntarily adventure of their protagonist in the fourth spatial dimension. His tale is a remarkable one and bears many elements of a ghost story. Secondly, he himself becomes a ghost which haunts others in their dreams Wells , — but is unable to communicate in real life Wells , — As Guy explains:.

    Ghosts may not be the spirits of dead people from this world. Perhaps they are beings from a parallel world. They are not normally visible to our human senses but occasionally we may catch a glimpse of them. It also extensively uses the metaphor of the paper man and its rotation in the third dimension. In the novella, a character named Laura finds out that the new student Omar can travel to the fourth dimension but often reverses himself in the process.

    She tricks him into taking her along. The whole story is based not only on the possibility of another spatial dimension, but it furthermore plays with its many attributes and peculiarities. Sleater thus creates a fantastical world with strange creatures and many dangers which are scientifically plausible and fully explainable but still unimaginable and uncanny. Hinton was one of the first scientists who not only studied the possibility of a fourth dimension but who also tried to establish a visualisation of such objects.

    He explains that four lines create a square which is a two-dimensional figure 1. Six squares in turn generate a three-dimensional cube 2. He calls this object in the fourth dimension a tesseract. As mesmerizing as the tesseract is for scientists, it also bewitches artists, philosophers and authors alike and inspires them to explore the possibilities of such a dazzling object.

    The Grande Arche in Paris resembles another form of representation of the tesseract. The little woman sighed. If we have to frighten anybody away Whatsit thought we ought to do it appropriately. Whatsit, Mrs.

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    Who and Mrs. In contrast to C. This scientific take on her novels, however, would be just as interesting and rewarding. For example, she freely adjusts the idea of the tesseract to suit her purpose:. I guess maybe you could call the fourth dimension Time. You add that to the other four dimensions and you can travel through space without having to go the long way around.

    Her descriptions of the fourth dimension in the story are in the tradition of Fechner, Hinton and other specialists of the fourth dimension. The assertion that time is the fourth dimension is also plausible, considering that since H. Wells this is the generally accepted interpretation in literature.

    In addition, the introduction of the fifth dimension for the purpose of travelling through space, although not necessary, is an understandable way to explain space travel within her novel:.