“The Hall of Machines” was first published in New Worlds 180 (1968) and later appeared in The Eye of the Lens as part of the titular triptych. In the introduction to that collection, Jones writes that the set of three stories “caused [me] more difficulty than anything [I] had written before” and took fifteen months to complete. “This set was the first work of mine to abandon the conventional narrative and structure, and working on it was like trying to force a path through a jungle that was almost impenetrable…The initial idea came when I was sitting on a District Line underground train on its way to Ealing Broadway…during the part of the journey that was, in fact, above ground, the train passed something I had never noticed before—a little brick building with a notice on its door which said: INTERLOCKING MACHINE ROOM. It seems unlikely that the mental picture this evoked corresponds in any way to the reality.”
“The Hall of Machines” (1968) finds parallels between common human acts and processes and the mysterious machines of the title. It is one of those rare works that is formally experimental and, also, touches in an almost indefinable way on strong emotions. Although Jones published only about a dozen short stories, his work made an impact on, and was made possible by, the New Wave movement.
THE HALL OF MACHINES
Langdon Jones
Many great thinkers have attempted to analyze the nature of the hall. However, all their different approaches have been characterized by a lack of agreement and often blatant contradiction of fact. The appearance of the hall is generally well-known, but as soon as we try to unearth specific detail we realize that all is conjecture.
The hall is vast. We would expect the descriptions of its contents to vary—one person could not be expected to cover the whole area of its interior. However, there has been a great deal of superstitious rumor concerning its contents, and it is often difficult to separate the true from the wholly fallacious.
There has been much conjecture concerning the size of the hall, but no results have actually been confirmed by any kind of measurement. It has been postulated by at least one writer that the hall is in fact infinite in extent. Others, no doubt influenced by exaggerated reports, have maintained that the hall covers a variable area, its size altering by a factor of at least fifty. Other evidence, however, suggests that both of these ideas bear, in all probability, little relationship to the facts.
During the last few years I have found it a rewarding task to research all the material I could find that related in any way to the hall. The task has been difficult, but illuminating. I have now in my files a vast amount of information in the form of books, articles, newspaper cuttings, recorded tapes, and movie film as well as a large number of transcribed interviews, on a subject which I have found to become daily more fascinating. My research has become, to a degree, obsessional. I now find that my normal routine has been disturbed to quite a large extent over the last three years. I have devoted a complete room to this work, my ultimate intention being to shape the material into a comprehensive book. All over the wall are pinned the relevant newspaper cuttings, their arrangement depending on whichever aspect of the hall I am currently researching; set in the middle of the room is my movie projector (frequently I watch the five hours of film I have accumulated at one sitting), and beside it is the tape recorder. On tape I have, apart from interviews and commentaries, at least an hour of the recorded sounds of some of the machines actually in operation. I have taken these sounds down, as accurately as possible, into musical notation. I have permutated the resultant patterns of notes and have found interesting relationships between the basic shapes, but, as yet, nothing more concrete.
I now spend a large proportion of my day in carrying out this research. I sit for hours, cutting out newspaper articles or developing film in the darkroom I have constructed. And so, with scissors, photographic chemicals, music paper, paste, tape recorder, and projector, I have built up a picture that is far from complete, but which is remarkable in its specific detail.
I now present some of the more striking of the descriptions I have unearthed. They are not delivered in a planned order, but have been assembled to give, rather than a dry academic account, a series of interesting impressions. I believe that one of the most fascinating aspects of the hall is in the diverse impressions it creates within the minds of the observers.
When my book is complete (which will not be for some years—it will run to at least five large volumes) I shall have sufficient confidence in the correctness of my results, and also the scope, to present them in detail. Until then, these extracts are intended only to communicate the atmosphere of the hall as it appeared to some people.
THE WATER MACHINE
The troughs and gulleys of the Water Machine extend over a very large area of this section of the hall, and although it is enclosed by false “walls” of board, it still gives a sprawling impression. All about are convex metal surfaces; the floor is intersected by runnels and gulleys. The Water Machine is constructed primarily of cast iron, but certain of its parts are made of a lighter metal; probably an alloy, such as aluminum. The machine consists of a complexity of large components which stretch probably twenty feet in height, and the whole mass is supported by a surprisingly small number of slim metal struts.
Water is being pumped in from a large pipe at the very top of the machine. It is conducted by a series of ingenious mechanical movements through a series of gulleys and out of this part of the hall. I thought it likely that the water was moving in a large enclosed cycle, and dropped into a nearby channel a small piece of white paper. As I suspected, within about three minutes, the paper came floating past my feet again.
The noise of the water is almost deafening at times.
Constantly there is the hissing of the jet at the top of the machine and a rushing of the liquid as it bubbles its way through its course; also there is the loud creaking of the metal parts as they operate. Every few seconds there is an enormous crash as a metal part is activated, and the water momentarily redoubles its volume.
Water drips constantly from the supporting members, gathers on the floor, and runs down the slope toward the many drains: concrete channels sweep in graceful lines about my feet: cast-iron conduits curve in black roundness, globules of condensation running along their undersides.
Situated at the top of the machine is the vast silver belly of the top water container, spatulate and curved, like a vast silver spoon. The lead-in pipe, about six inches in diameter, is pointing into this tank, and a great jet of water, like a column of glass, is sluicing into its interior.
After a while, the container begins to groan, loudly. Suddenly the critical balance is attained. The groaning reaches a climax under the enormous weight of water, and the tank begins to shudder under a volume of liquid that it is incapable of supporting. Overspill slops to the floor and runs down to the square drains. Slowly, inch by inch, the tank begins to tip its vast bulk. Water spills over its thick pouring lip and falls in a glistening ribbon into a reservoir a couple of yards below. The tank begins to accelerate its rate of movement, and more water gushes down. Faster moves the container, and then, with a crash, it inverts itself. A solid mass of water falls into the reservoir, and the ground shudders with the impact. The container, meanwhile, is pulled back to a creaking vertical by a counterweight.
Water leaks from the reservoir, jetting out with great force from a circle of six holes at its convex base. These six separate streams are all conducted by diverse methods to the ground. One of the streams gushes into a smaller version of the water-barrel. Another enters one of the hinged containers set between the double rim of a large wheel, its weight causing the wheel to rotate slowly; after a quarter-revolution the container will snag on a projection and tip up, letting the water escape into one of the channels. Another stream strikes a sprung flange which bounces constantly in and out of the flow, the other end of the flange operating a mechanism like the escapement of a clock.
All the streams eventually reach the dark channels of wet
concrete set in the floor, and are then conducted away from sight through holes set in the surrounding “walls.”
Behind the wall can be heard the sound of great pumps.
Up above, I know, a fountain is playing.
MACHINES OF MOVEMENT
I was passing through a rather enclosed part of the hall, its spaciousness not apparent owing to the large bulk of the partitions enclosing various machines, when I passed a small wooden doorway set into one of the partitions. On the door was a plaque, printed black on white. It said:
INTERLOCKING MACHINE ROOM
On entering the room I found it to be full of giant metal crabs.
Great struts of thin metal rod crisscross from ceiling to floor, making it impossible to see very far into the room. The very air shudders with the vibration of these machines. Although the constructions vary considerably, one from the other, a large number of them have the same basic shape. Their nucleus is a mass of rods and other interlocking members, and they stand about ten feet high. The arrangement of these rods is infinitely complex. At their apex they are thickly composed, and are surrounded by other parts which join them and permit their motion. They branch out, and at floor level each machine covers a considerable area.
All of the legs of these machines are connected by free-moving joints to the legs of the other units, and a movement of one causes an adjustment to the position of the other. The whole room is in motion, and the machines twitch each other with an action that appears almost lascivious in nature.
A rod near me is moved by the action of a neighbor’s leg. This movement is communicated at the top of the unit to another of the legs, and it, in turn, imparts motion to a machine further away. As these machines work, a constant metallic clattering fills the air, as if the room is filled with typewriters.
The machines are slick and oiled; their movement is smooth, but gives an impression of great nervousness. All over this chamber are various other parts, all of which seem affected in some way by the movement of the rods. On the wall, near me, is fixed a plaque with a jointed arm extending from it. Taut wires radiate from either extremity into the skeletal gray. One end is angled up, the other down. As the wire of the higher end is pulled by some motion in the mass of interlocking parts, the arm reverses its position jerkily.
Perhaps, a million years ago, these machines were constructed in a delicate static balance, a frozen wave; and with the locking of the final link in the circuit, the fixing of the last jointed leg against leg, the balance was tripped. A motion would have run its path, twisting and turning about the machines, splitting itself, dividing again, until today this movement still ran about the constructions, diffused and unpredictable. A million strands of current, still splitting. And perhaps the machines had been so carefully designed that in another million years all the currents would begin to amalgamate, becoming less and less complex, until they finally became two, meeting in opposition and deadlock, all movement ceasing.
The mind drowns among the interlocking machines. Perhaps the reason is in the similarity of this abstract maze to that pattern formed by the neural current. Perhaps these patterns of motion parallel too closely the patterns of electricity that we call personality, and the one is disturbed by the other. Conversely, perhaps the very existence of a human mind in the room causes little eddies and whirls in the motion of the machines.
I was unable to stay in the interlocking machine room for more than a minute or two before the psychological effects became more than I could bear.
THE CLOCK
A large number of the machines in the hall are partitioned off by boards, so that one often feels that one is walking in a constricted space, and loses completely the feeling of immensity that one often experiences in the hall. It was in such a place that I found, set against one “wall,” the mechanism of an enormous clock. It was all of shining brass, and it stood no less than ten feet high. It was facing the wall, the dial and hands (if, in fact, any such existed) being completely invisible. The clock was triangular in shape, and was supported by a framework of sturdy brass, front and back, that curved down to provide four feet. There was no plate at the back of the clock, its arbors being seated in strips of brass that curved in beautiful shapes from the main framework.
Despite the largeness of the clock, it was built to delicate proportions. The wheels were all narrow-rimmed, and the pallets that engaged the escape wheel were long and curved, like the fingernails of a woman. It was as if the mechanism of an ordinary domestic clock had been magnified to a great degree; there was none of the solidity and cumbersomeness of the turret clock here. I discovered to my surprise that this clock was powered, as most domestic clocks, by a spring. However, this spring was immense, and must have exerted a tremendous pressure to operate the mechanism.
Although the whole movement was surmounted by the escape wheel and anchor, which perched on the apex of the triangle, the pendulum was disproportionately short, stretching down little more than six feet. The slow tick of this enormous clock was lacking in the lower partials, and as a consequence was not disturbing.
As the clock was so large, motion could be seen among the wheels, which moved, each to a varying degree, with each tick of the clock. This was a fascinating sight, and I stayed watching the clock for a considerable period of time.
I wish that I could have seen the clock illuminated by strong morning sunlight from a window.
MACHINES OF DEATH—1
There is darkness in this part of the hall. Stray light illuminates black, pitted metal. I can see little of the machine of death; it is to my right, and is a bleak high wall of metal. The end of a thick chain extrudes here, turns, and plunges back into the metal wall. The chain is a foot wide and four inches thick. The only other feature of this machine is a waste pipe which is sticking out from the wall. Underneath this pipe is a channel set into the floor, which conducts the waste to a nearby drain. The all-pervasive stink of this drain makes breathing difficult. The pipe is pouring blood into the channel.
MACHINES OF DEATH—2
This machine is very large, sprawling, and complicated. It appears to be completely functionless. It is possible that it was constructed to be entirely symbolic in nature, or alternatively that the things—creatures—upon which it operated are here no longer.
It consists of a vast network of girders, all of which are vibrating with a strange jogging motion. The only parts of the machine not affected by this movement are the two great supports at either end. The supports are each a framework of girders, and they contain various driving chains and gearing devices. At the top of each of these frames is a long jointed arm, of tremendous proportion. These arms also carry chains and gears. At the end of each arm is an enormous blade, made of a silver metal that catches the small amount of light. The blades have complete mobility, and appear to be fixed on the arms by some kind of ball joint.
The motion of the arms and the blades is difficult to observe in detail and even more difficult to describe. Analyzing the action in words tends to give an impression of slowness, when in fact, considering the bulk of the parts, it is very swift indeed.
The arms rest close to their supports, their joints extending downward like elbows, the blades upright. Keeping the blades in the same position, they move together across the thirty-yard space. When they are only about a yard apart, the arms are almost fully extended, and the motion stops for an instant. Then abruptly the blades begin to move independently. They execute, in the space of only a few seconds, a complicated system of movements—thrusts, parries, arabesques—the motion of each blade being the mirror of the other. Then again comes the pause, and the arms bend again, carrying the blades back to the supports.
The action of these blades certainly suggests physical mutilation, and I found, as I watched, that I was wondering whether in fact the machine was still complete. Was there once a feeding mechanism that carried the bodies over to the knives to be sculptured within a few seconds to a raw, twitching mass?
D
espite the unpleasant feelings that the machine arouses, I found it a fascinating experience to watch the blades, and also the complex system of vibrating girders beneath them. It is strange to see such large objects in such rapid motion; the throbbing of the floor testified to the weight of the mechanism, which must have been in the hundreds of tons.
On the occasion that I observed the machine, there were two other people there as well; a man and a woman. At first I thought that they were part of the machine, but my attention was caught by the fact that their own vibrating motion was slightly lagging behind that of the machine as their soft bodies absorbed their impetus.
They were both naked, and they were on one of the girders directly below the high knives. The man was lying on his back, stretched along the girder, and the woman was squatting astride his hips. The jogging of the girder was throwing their bodies up and down in a mechanical travesty of copulation. The man was grasping the woman’s thighs tightly, and her face, turned toward me, with her bottom lip between her teeth, was florid and beaded with sweat. I could see her nostrils contracting with each gasped breath she took.
A drop of oil fell from the knives as they clashed above, and dropped unnoticed onto her shoulder. As it ran down the pale flesh of her arm, it looked like a single drop of ancient blood.
MACHINES OF DEATH—3*
The machine sits in distance unheard. I walk on dry sin, on the shit of us all, a man by my side who points out all his bones. The well has now dried and all that remains is a glowing, radioactive silt. The universe is shaped like a whirlpool, and the vortex is here. Here is the end of all time, the end of all space. The ultimate nil. I have eaten my fill; here is my place; there is no single way left to climb, and the rest is just fear. This cul-de-sac is arid and death-cool. It is bleakness, a focus-point built by man and his pains. The door must be tried; I pull and it groans, and opens up wide. The chamber is small, but light is let in to show me a word—
The Big Book of Science Fiction Page 104