By Raymond J. Healy, Francis McComas
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The acceleration is over; it won’t be so bad from here on. I’ll unstrap you so you can wiggle around a little. ” He tugged at buckles. Harriman partially repressed a groan. ” “Nothing. Nothing at all. ” Charlie ran his fingers over the old man’s side with the sure, delicate touch of a mechanic. “You ain’t foolin’ me none, Pop. ” “Can’t I move to a port? ” “Ain’t nothin’ to see yet; the ship hides it. As soon as we turn ship, I’ll move you. ” Charlie clambered monkey fashion to the nose of the ship, and anchored to the gymbals of the pilot’s chair.
The gentlemen are here, Mr. ” “Send ’em in. That’s all, Ashley. ” Ashley went out as McIntyre and Charlie entered. Harriman got up and trotted forward to greet them. “Come in, boys, come in. I’m so glad to see you. Sit down. Sit down. ” “Mighty pleased to see you, Mr. Harriman,” acknowledged Charlie. ” Harriman glanced from face to face. McIntyre answered him. “You still mean that about a job for us, Mr. ” “Mean it? Certainly, I do. ” “Not at all. We need that job now. ” “Dear me! ” “No, aside from sprains and bruises.
Perhaps the most popular, with author and reader alike, is still the interplanetary story. The fundamental fascination of the interplanetary tale is not alone in means of motive power. It is the use of the author’s prime protagonist, Man, in this setting. The space traveler’s adventures are—for the present at least—completely alien to our existence. Most fiction deals with man’s conflict with man—or woman. The interplanetary story deals with Earth man’s conflict with Venus man, or with the things that may inhabit Venus, Mars, Jupiter or one of the planets that revolve around Sirius.