And what a romance! A geometric, algorithmic, multi-spacial romance. In fact, I was so moonstruck by this novella’s trigonometric charms that I read it a second and a third time, repeatedly entranced by its cacophonous journeys through terrains of dimensional discord.
Flatland is a two-dimensional world inhabited by a legion of polygonal shapes (except for the women, who are straight lines), whose angles and proportionality determine their position within the social echelon. Isosceles triangles make up the microcosm’s soldiers and workmen, circles comprise the priestly cast, and squares and pentagons, including the story’s narrator, A. Square, are the “gentlemen” class, and hold professions such as doctor and lawyer.
Socially, Flatland is a very rigid and uncompromising place, with countless customs and affectations that result from its dimensional limitations, such as “The Art of Feeling”, which is used to identify other forms.
In the 2D world of Flatland, shapes appear as straight lines, the same as a coin appears as a straight line when viewed from its side in the three dimensional sphere where you and I live.
Flatland is replete with hand-drawn diagrams that illustrate the perspective of its inhabitants, like the ones above which show how polygonal forms appear as only sides and angles, depending on their relative position.
Women, being mere line segments, have the unique ability to appear as near-invisible points depending on their approach, the same as a sewing needle appears as a single point when viewed head-on in our comely, three-dimensional sphere. Women are portrayed as dangerous, irrational beings, prone to manic fits and limited intelligence, a misogynistic and hilarious nod to the Victorian-era civilization the novel parodies.
Flatland places a great deal of emphasis on the mathematical tangibility of its settings, with countless diagrams, equations, and blueprints punctuating its pages.
But this is not a story about shapes or geometry or arithmetical beings. Flatland is a story about dissonance, perception, and existential discovery, particularly that of the novel’s protagonist, A. Square.
One night, A. Square has a dream in which he visits the one-dimensional world of Lineland where his failed attempt to describe the realities of the second dimension to the region’s monarch proves infuriating and ultimately futile.
A. Square is then visited by a sphere from Spaceland, who experiences similar obstacles when explaining the spatial realities of his three dimensional home. A. Square cannot conceptualize the multidimensional world of Spaceland until seeing it with his own eye, which then forces him to reconcile the veracity of the third dimension with his own narrow, self-contained cosmology.
A. Square is transformed, his mind awakened to third dimension, now prepossessed by the theoretical possibility of a fourth, fifth, or sixth dimension.
Flatland‘s protagonist experiences what is colloquially known as having one’s mind blown. It reminded me of when I switched from streaming to Netflix or tasted real maple syrup for the first time: I was reborn, a transposed version of my former self, confounded by the heedless ignorance of my entire life up until that point.
The same is true for A. Square, a formerly content and self-assured being, who is quickly romanced by his newly acquired spatial realism. This forces at least a little angst on the reader, who must examine the dimensional limitations of her own world. Fun!
Flatland is a strange but charming little novel that spans a variety of genres including science fiction, non-fiction, and social satire, and can be read here in its entirety.
I really, really liked Flatland. It is a fun, amorous tale of contention and perception, and does a remarkably good job at explaining different dimensions while also functioning as a satire of Victorian society.
Flatland is a perplexing, bizarre, mathematical tale, and one that I was truly enamoured by. I can’t wait to read this romance-filled badboy yet again.