William Gibson - The Difference Engine

I was ushered by a man-servant into Mr. Oliphant's study. Mr. Oliphant greeted me cordially, and noted that my telegram had mentioned my association with Dr. Mallory. I told Mr. Oliphant that it had been my pleasure to accompany Dr. Mallory's triumphant lecture on the Brontosaurus with a highly advanced kinotropic program. The Monthly Review of the Steam Intellect Society had run a most gratifying review of my efforts, and I offered Mr. Oliphant a copy of the magazine. He glanced within it, but it seemed that his grasp of the intricacies of clacking was amateurish at best, for his reaction was one of polite puzzlement.

I then informed him that Dr. Mallory had led me to his door. In one of our private conversations, the great savant had seen fit to tell me of Mr. Oliphant's daring proposal—to employ the Engines of the police in the scientific exploration of previously hidden patterns underlying the movements and occupations of the metropolitan population. My admiration for this bold scheme had brought me directly to Mr. Oliphant, and I stated my willingness to assist in the implementation of that vision.

He interrupted me, then, in a markedly distracted manner. We are numbered, he declared, each of us, by an all-seeing eye; our minutes, too, are numbered, and each hair upon our heads. And surely it was God's will, that the computational powers of the Engine be brought to bear upon the great commonality, upon the flows of traffic, of commerce, the tidal actions of crowds—upon the infinitely divisible texture of His work.

I waited for a conclusion to this extraordinary outburst, but Mr. Oliphant seemed quite lost in thought, of a sudden.

I then explained to him, as nearly as possible in layman's terms, how the nature of the human eye necessitates, in kinotropy, both remarkable speed and remarkable complexity. For this reason, I concluded, we kinotropists must be numbered among Britain's most adept programmers of Enginery of any sort, and virtually all advances in the compression of data have originated as kinotropic applications.

At this point, he interrupted again, asking if I had indeed said "the compression of data," and was I familiar with the term "algorithmic compression"? I assured him that I was.

He rose, then, and going to a bureau near at hand, he brought out what I took to be a wooden box of the sort used to transport scientific instruments, though this was partially covered, it seemed, with remnants of white plaster. And would I be so kind, he requested, as to examine the cards within, copy them for safekeeping, and privately report to him upon the nature of their content?

He had no idea of their astonishing import, you see, no idea whatever.

–JOHN KEATS, quoted in an interview conducted by H. S. Lywood, for The Monthly Review of the Steam Intellect Society, May 1857.

We learn with mingled regret and amazement of the recent departure, aboard the Great Eastern, of the well-liked and many-talented Mr. Laurence Oliphant—author, journalist, diplomat, geographer, and friend of the Royal Family—for America, with the stated intention of residing in the so-called Susquehanna Phalanstery established by Messrs. Coleridge and Wordsworth, thereby to pursue the Utopian doctrines espoused by these worthy expatriates!

–" 'ROUND TOWN," a column, September 12, 1860.

THE GARRICK THEATRE, Whitechapel, Newly Rebuilt and Refurbished, Under the Management of J. J. TOBIAS, Esq., presents The First Nights of a New Kinotropic Drama Monday, Nov. 13 and During the Week

The performance will commence with (FIRST TIME!) an entirely new national, local, characteristic, metropolitan, melodramatic, kinotropic drama of the day, in five acts, correctly exhibiting modern life and manners in innumerable novel and interesting phases, called the

CROSSROADS OF LIFE!!

or THE CLACKERS OF LONDON

The Groundwork of the drama founded on the celebrated play, "Les Fils de Vaucanson," now attracting the attention of all France, and applied to the circumstances and realities of the present moment.

With kinotropic scenery by MR. JJ TOBIAS and Assistants

The New Flash Medley Orchestra, led by MR. MONTGOMERY

The Action of the Piece arranged by MR. CJ SMITH

The Dresses by MRS. HAMPTON and MISS BAILEY

The Whole Produced Under the Direction of MR. JJ TOBIAS

Dramatis Personae

Mark Riddley, alias Fox Skinner, (a swell cove, and King of the London Clackers)… MR. H.L. MARSTON.

Mr. Dorrington (a wealthy Liverpool Merchant, on a visit to London)… MR. J. ROMER.

Frank Danvers (a British Naval Officer, just arrived from the Indies)… MR. WM. BIRD.

Robert Danvers (his younger brother, a ruined roue, pigeoned by the clackers)… MR. L. MELVIN.

Mr. Hawksworth Shabner (Principal Proprietor of a West-End Clacking-Hall, Bill-Discounter, and Anythingarian where there is Anything to be Got)… MR. P. WILLIAMS.

Bob Yorkner (a Duffer, tired of the Lay)… MR. W. JONES.

Ned Brindle (the Magsman, a half-and-half cove)… MR C. AUBREY.

Tom Fogg, alias Old Deady, alias The Animal, (a laudanum fiend suffering under delirium-tremens)… MR. A. CORENO.

Joe Onion, alias The Crocodile, (a bully-rock, and creature of Shabner's)… MR. G. VELASCO.

Dickey Smith (the Wakeful Bird, a young Engine-clerk in no ways particklar, pecking out a living as best he can)… MR. G. MASKELL.

Ikey Bates (Landlord of Rat's Castle, proprietor of two-penny dabs and a scandalous bagatelle board, having cut the bumblepuppy as too low!)… MR. GOTOBED.

Waiter at the Cat-and-Bagpipes Tavern… MR. SMITHSON.

The Bow Street Special Inspector… MR. FRANKS.

Louisa Truehait (the Victim of an ill-requited attachment)… MISS CAROLINE BARNETT.

Charlotte Willers (a young lady with her cat from the country)… MISS MARTHA WELLS

DRESS CIRCLE, 3S. BOXES, 2S. PIT, 5D. GALLERY, 2D.

BOX OFFICE OPEN DAILY FROM TEN O'CLOCK UNTIL FIVE.

[Mori Yujo, a samurai and classical scholar of Satsuma Province, wrote the following ceremonial poem upon his son's departure for England, in 1854. it is translated from Sinicized Japanese.]