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From the acclaimed author of The Information and Chaos, here is a mind-bending exploration of time travel: its subversive origins, its evolution in literature and science, and its influence on our understanding of time itself.
The story begins at the turn of the previous century, with the young H. G. Wells writing and rewriting the fantastic tale that became his first book and an international sensation: The Time Machine. It was an era when a host of forces was converging to transmute the human understanding of time, some philosophical and some technological: the electric telegraph, the steam railroad, the discovery of buried civilizations, and the perfection of clocks. James Gleick tracks the evolution of time travel as an idea that becomes part of contemporary culture—from Marcel Proust to Doctor Who, from Jorge Luis Borges to Woody Allen. He investigates the inevitable looping paradoxes and examines the porous boundary between pulp fiction and modern physics. Finally, he delves into a temporal shift that is unsettling our own moment: the instantaneous wired world, with its all-consuming present and vanishing future.
(With a color frontispiece and black-and-white illustrations throughout)�
- Sales Rank: #567 in Books
- Published on: 2016-09-27
- Released on: 2016-09-27
- Original language: English
- Number of items: 1
- Dimensions: 7.80" h x 1.27" w x 6.29" l, 1.25 pounds
- Binding: Hardcover
- 352 pages
Review
“A fascinating mash-up of philosophy, literary criticism, physics and cultural observation. It’s witty . . . pithy . . . and regularly manages to twist its reader’s mind . . . . Throughout the book [Gleick] displays an acute and playful sensitivity to how quickly language gets slippery when we talk about time . . . a wonderful reminder that the most potent time-traveling technology we have is also the oldest technology we have: storytelling.” —Anthony Doerr, The New York Times Book Review (cover)
“Exhilarating . . . Time travel has become a veritable theme park of playful attractions, which Mr. Gleick explores with infectious gusto.” —Michael Saler, The Wall Street Journal
“A grand thought experiment, using physics and philosophy as the active agents, and literature as the catalyst. Embedded in the book is a bibliography for the Babel of time—a most exquisitely annotated compendium of the body of time literature. What emerges is an inquiry, the most elegant�since Borges, into why we think about time, why its directionality troubles us so, and what asking these questions at all reveals about the deepest mysteries of human consciousness and about what Gleick so beguilingly calls ‘the fast-expanding tapestry of interwoven ideas and facts that we call our culture’...the kind of book that lodges itself in the imagination, planting seeds of ideas, insights, and revelations bound to go on blossoming for the remainder of this lifetime.” —Maria Popova, Brainpickings
“In his enthralling new book, James Gleick mounts H.G. Wells’s time machine for an invigorating ride through the most baffling of the four dimensions. In these pages, time flies.” —John Banville, author of The Sea
“James Gleick is a master historian of ideas—no one else can do what he does. Synthesis leads to elucidation leads to stunning, original insight. Time Travel, like so much of his work, is simply indispensable.” —Charles Yu, author of How to Live Safely in a Science Fictional Universe
“Time Travel is another of James Gleick’s superb, unclassifiable books—rich in obscure and illuminating information, laced with lyricism, wit, and startling and convincing insights. �It is an exploration not only of the (theoretical) phenomenon of time travel but of our understanding of ‘time’ itself.”�—Joyce Carol Oates
“Magnificent. A riveting�history of an idea that changed us so profoundly, we forgot we had even been changed. But Gleick remembers.” —Lev Grossman, Books Editor of TIME and author of The Magicians Trilogy
“Against Kingsley Amis’ skeptical assertion that ‘time travel is inconceivable,’ Gleick adduces impressive evidence that the phenomenon has tantalized novelists, philosophers, poets, scientists, moviemakers, and even cartoonists as a transformative possibility. Readers follow the fictional ‘Time Traveler’ that H. G. Wells sends into future centuries; track the gyrations of time-spanning thought that Borges unfolds in his labyrinthine tales; ponder the temporal cause-effect paradoxes that Bertrand Russel surmounts; and puzzle over the reversibility of time in the physics with which Einstein revolutionized science….Ultimately, readers discern behind the modern mania for the phenomenon a human craving for immortality that—particularly in a secular age—fosters this mania. Both piquant and profound.”�—Booklist�*starred review*
“A dazzling voyage through the concept of time….Deeply philosophical and full of quirky humor—‘The universe is like a river. It flows. (Or it doesn’t, if you’re Plato.)’—Gleick’s journey through the fourth dimension is a marvelous mind bender.” —Publishers Weekly *starred review*
“From Wells to Schr�dinger to Twitter, [Gleick] doesn’t miss a beat, and he imparts a wry appreciation for humorous detail, making him one of the most enjoyable science writers in the field….Another fantastic contribution…from Gleick, whose lush storytelling will appeal to a wide range of audiences.” —Kirkus Reviews
“In�Time Travel, James Gleick provides an absorbing history of the idea, eloquently elucidating the reasons for its enduring appeal…. Within physics, Gleick captures some of the intellectual ferment in his account of the debate about whether time is an illusion. Within literature, he’s particularly incisive in his account of alternative histories, which originated as an accident of time travel.” —New Scientist
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“Engaging…[Gleick’s] book resembles a salon where the guests include physicists (Richard Feynman and Albert Einstein), science-fiction writers (Robert Heinlein, Hugo Gernsback and the inevitable Isaac Asimov), philosophers (Richard Taylor), logicians (Kurt G�del) and scientist-philosophers (Arthur Eddington), among many other articulate souls. Their discussions draw upon the theater (Tom Stoppard’s “Arcadia”), TV series (“Doctor Who”) and movies (“La Jet�e”), as well as books of philosophy and works in theoretical physics….Time Travel presents a great read—as well as a wide-ranging, rich list for further reading—for anyone intrigued by the scientific romance of time travel.” —The Washington Post
“Isaac Newton’s biographer takes a smart, scholarly look at this science fiction staple. With a little help from Gleick, you might finally understand Interstellar.” —Esquire Magazine,�"Nine Books That You Need To Know"
About the Author
JAMES GLEICK (around.com) is our leading chronicler of science and technology, the best-selling author of Chaos: Making a New Science, Genius: The Life and Science of Richard Feynman, and The Information: A History, a Theory, a Flood. His books have been translated into thirty languages.
Excerpt. � Reprinted by permission. All rights reserved.
ONE
Machine
�
A man stands at the end of a drafty corridor, a.k.a. the nineteenth century, and in the flickering light of an oil lamp examines a machine made of nickel and ivory, with brass rails and quartz rods—a squat, ugly contraption, somehow out of focus, not easy for the poor reader to visualize, despite the listing of parts and materials. Our hero fiddles with some screws, adds a drop of oil, and plants himself on the saddle. He grasps a lever with both hands. He is going on a journey. And by the way so are we. When he throws that lever, time breaks from its moorings.
�
The man is nondescript, almost devoid of features—“grey eyes” and a “pale face” and not much else. He lacks even a name. He is just the Time Traveller: “for so it will be convenient to speak of him.” Time and travel: no one had thought to join those words before now. And that machine? With its saddle and bars, it’s a fantasticated bicy�cle. The whole thing is the invention of a young enthusiast named Wells, who goes by his initials, H. G., because he thinks that sounds more serious than Herbert. His family calls him Bertie. He is trying to be a writer. He is a thoroughly modern man, a believer in social�ism, free love, and bicycles. A proud member of the Cyclists’ Touring Club, he rides up and down the Thames valley on a forty-pounder with tubular frame and pneumatic tires, savoring the thrill of riding his machine: “A memory of motion lingers in the muscles of your legs, and round and round they seem to go.” At some point he sees a printed advertisement for a contraption called Hacker’s Home Bicy�cle: a stationary stand with rubber wheels to let a person pedal for exercise without going anywhere. Anywhere through space, that is. The wheels go round and time goes by.
�
The turn of the twentieth century loomed—a calendar date with apocalyptic resonance. Albert Einstein was a boy at gymnasium in Munich. Not till 1908 would the Polish-German mathematician Hermann Minkowski announce his radical idea: “Henceforth space by itself, and time by itself, are doomed to fade away into mere shadows, and only a kind of union of the two will preserve an inde�pendent reality.” H. G. Wells was there first, but unlike Minkowski, Wells was not trying to explain the universe. He was just trying to gin up a plausible-sounding plot device for a piece of fantastic story�telling.
�
Nowadays we voyage through time so easily and so well, in our dreams and in our art. Time travel feels like an ancient tradition, rooted in old mythologies, old as gods and dragons. It isn’t. Though the ancients imagined immortality and rebirth and lands of the dead time machines were beyond their ken. Time travel is a fantasy of the modern era. When Wells in his lamp-lit room imagined a time machine, he also invented a new mode of thought.
Why not before? And why now?
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###
�
The time traveller begins with a science lesson. Or is it just flummery? He gathers his friends around the drawing-room fire to explain that everything they know about time is wrong. They are stock characters from central casting: the Medical Man, the Psycholo�gist, the Editor, the Journalist, the Silent Man, the Very Young Man, and the Provincial Mayor, plus everyone’s favorite straight man, “an argumentative person with red hair” named Filby.
�
“You must follow me carefully,” the Time Traveller instructs these stick figures. “I shall have to controvert one or two ideas that are almost universally accepted. The geometry, for instance, that they taught you at school is founded on a misconception.” School geometry—Euclid’s geometry—had three dimensions, the ones we can see: length, width, and height.
�
Naturally they are dubious. The Time Traveller proceeds Socrati�cally. He batters them with logic. They put up feeble resistance.
“You know of course that a mathematical line, a line of thickness nil, has no real existence. They taught you that? Neither has a mathematical plane. These things are mere abstractions.”
�
“That is all right,” said the Psychologist.
�
“Nor, having only length, breadth, and thickness, can a cube have a real existence.”
�
“There I object,” said Filby. “Of course a solid body may exist. All real things—”
�
“So most people think. But wait a moment. Can an instanta�neous cube exist?”
�
“Don’t follow you,” said Filby [the poor sap].
�
“Can a cube that does not last for any time at all, have a real existence?”
�
Filby became pensive. “Clearly,” the Time Traveller proceeded, “any real body must have extension in four directions: it must have Length, Breadth, Thickness, and—Duration.”
###
�
Aha! The fourth dimension. A few clever Continental mathemati�cians were already talking as though Euclid’s three dimensions were not the be-all and end-all. There was August M�bius, whose famous “strip” was a two-dimensional surface making a twist through the third dimension, and Felix Klein, whose loopy “bottle” implied a fourth; there were Gauss and Riemann and Lobachevsky, all think�ing, as it were, outside the box. For geometers the fourth dimension was an unknown direction at right angles to all our known directions. Can anyone visualize that? What direction is it? Even in the seven�teenth century, the English mathematician John Wallis, recognizing the algebraic possibility of higher dimensions, called them “a Mon�ster in Nature, less possible than a Chimaera or Centaure.” More and more, though, mathematics found use for concepts that lacked physi�cal meaning. They could play their parts in an abstract world without necessarily describing features of reality.
�
Under the influence of these geometers, a schoolmaster named Edwin Abbott Abbott published his whimsical little novel Flatland: A Romance of Many Dimensions in 1884, in which two-dimensional creatures try to wrap their minds around the possibility of a third; and in 1888 Charles Howard Hinton, a son-in-law of the logician George Boole, invented the word tesseract for the four-dimensional analogue of the cube. The four-dimensional space this object encloses he called hypervolume. He populated it with hypercones, hyper pyramids, and hyperspheres. Hinton titled his book, not very modestly, A New Era of Thought. He suggested that this mysterious, not-quite-visible fourth dimension might provide an answer to the mystery of consciousness. “We must be really four-dimensional creatures, or we could not think about four dimensions,” he reasoned. To make mental models of the world and of ourselves, we must have special brain molecules: “It may be that these brain molecules have the power of four-dimensional movement, and that they can go through four-dimensional movements and form four-dimensional structures.” For a while in Victorian England the fourth dimension served as a catchall, a hideaway for the mysterious, the unseen, the spiritual—anything that seemed to be lurking just out of sight. Heaven might be in the fourth dimension; after all, astronomers with their telescopes were not finding it overhead. The fourth dimension was a secret compartment for fantasists and occultists. “We are on the eve of the Fourth Dimension; that is what it is!” declared William T. Stead, a muckraking journalist who had been editor of the Pall Mall Gazette, in 1893. He explained that this could be expressed by mathematical formulas and could be imagined (“if you have a vivid imagination”) but could not actually be seen—anyway not “by mortal man.” It was a place “of which we catch glimpses now and then in those phenomena which are entirely unaccountable for by any law of three-dimensional space.” For example, clairvoyance. Also telepathy. He submitted his report to the Psychical Research Society for their further investiga�tion. Nineteen years later he embarked on the Titanic and drowned at sea.
�
By comparison Wells is so sober, so simple. No mysticism for him—the fourth dimension is not a ghost world. It is not heaven, nor is it hell. It is time.
�
What is time? Time is nothing but one more direction, orthogonal to the rest. As simple as that. It’s just that no one has been able to see it till now—till the Time Traveller. “Through a natural infirmity of the flesh . . . we incline to overlook this fact,” he coolly explains. “There is no difference between Time and any of the three dimensions of Space except that our consciousness moves along it.”
�
In surprisingly short order this notion would become part of the orthodoxy of theoretical physics.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Fun and informative
By Joshua Gans
From the play in words in the title to all of the fun chapters throughout this is a great work on the most interesting of completely unreal topics.
8 of 9 people found the following review helpful.
Very enjoyable read - Time Travel as inspired by HG Wells - Book really does give a good history
By Dan Sherman
This is a really interesting book that explores time travel from different perspectives, starting mostly from the short novel by HG Wells "Time Machine" that assumed time travel was possible in 1895 and then explored some of its consequences. Gleick is a wonderful writer and writes what is really a long essay about the the history of time travel in literature and pop culture (think Dr. Who), asking a lot of questions along the way about the paradoxes of time travel. It really is quite thought provoking and engaging, appealing to a range of readers - not just sci-fi buffs but rather those interested in seeing how an interesting idea such as time travel develops in literature and culture, along with those who simply like to think about a puzzling concept that is now well within our culture.
Highly recommended!
4 of 10 people found the following review helpful.
Time Poorly Spent
By Martin Lesser
The book was of some interest for its discussion of the literature of time travel, however I expected a deeper discussion of both the philosophy and physics of time and time travel. The author's lack of understanding of relativity was especially annoying considering how important this was even to some of the literary discussion. For example he makes much of H.G. Wells use of a four dimensional space time as a preview of the theory of special relativity. As a professor of mechanics I taught how such a representation that includes time as a coordinate dates back for several centuries. Even in solving simple one dimensional problems results are graphed in a space-time plane. The distinction made by relativity is that there is a metric invariant in space time akin to the Pythagorean invariant of space, thus unifying space and time in a deep way. This is quite different from simply using time as an extra coordinate, which was a common way of plotting the results of calculations long before Wells story. In fact that is probably why Wells used such an idea in his novel. I have heard Gleick interviewed about the book and to his credit he does disclaim any deep understanding of the physics. Even so for those in the know the book can be quite annoying and for those not in the know misinforming. For those wishing to have a readable introduction to the subject of time I would recommend the book "Introducing Time" by Craig Callender. This graphic text is both authoritative and entertaining and far more informative than Gleick's work.
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