Compete or Die! — Edition Insights

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In Category - Social Speculation
Reinsberg, Mark, 1923-1981 Project Gutenberg 2021 Not confirmed
Science fiction; Psychological fiction; Chicago (Ill.) -- Fiction; Adventure stories; Families -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 17,144
Reading time 75 min
Text sections 2

For Compete or Die! — Edition Insights, the stored edition analysis reports 17,144 words, 1 hr 15 min estimated reading time, and 2 detected text sections.

The text analysis averages about 10.9 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.

Mark Reinsberg's 1957 novella follows Bart Sponsor, a Top Competitor in a hyper-competitive future Chicago, as a single mistake forces him to flee police, confront a business partner's betrayal, and attempt escape to Venus. The narrative's clipped, urgent prose mirrors the protagonist's frantic mindset.
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Editorial Edition Score 4.5/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

There was another shot. Pieces of glass trickled down my neck. I straightened up and saw a hole in the windshield, level with my eyes.

"Hands up!" The cop had slowed down to take careful aim. He was so close now he could hardly miss.

"Don't shoot!" I shouted. "I surrender!"

I inserted the key in the ignition with desperate precision, gunning the engines so hard that the ship spun halfway around. The policeman leaped out of the way as my Cad Super roared past him and lurched into the air.

I heard a tattoo of shots from the ground and then we were out of range.

I swore as the acceleration crushed me deep into the seat. My forehead was pounding.

"Bart Sponsor, fugitive," I thought bitterly. "And only a half-hour ago I was a pillar of society. Worst thing I had to worry about was a speeding ticket...."

... I had been griping to my wife as usual about the rush-hour morning traffic above Chicago.

"Look at this. Just look at this," I said disgustedly.

Below us, the lanes were choked with ponderous, slow-moving commuter copters. Around us, flivver-jets clogged the expressway like millions of migrating birds. We couldn't make more than three hundred miles an hour.

"The stupid shlubs," I muttered resentfully. "They ought to ride the pneumatic tubes to work."

"The airlanes should be reserved for Top Competitors only," said Celia teasingly. "Like you, dear."

I ignored her sarcasm and scanned the empty lane overhead. All that blue sky set aside for outgoing traffic, and nothing in sight. A shameful waste.

I gunned our Cad Super, joyfully, defiantly, and scooted up over the assigned traffic stream at a thousand per. Celia gave me an alarmed look.

"Bart! You'll get a ticket."

I grinned and kicked our speed up an additional two hundred.

Illegal, of course, but I made terrific time crossing the Iowa-Illinois border where Chicagoland begins. I didn't squeeze back into the expressway until mighty Municipal Tower came into view through the dense industrial haze above Lake Michigan. There atop the building stood a gigantic sign revolving on a pivot with the wind. It bore the seal of Chicago and the stunning legend: I WILL COMPETE. Most inspiring motto in the world, I think.

Celia touched my hand. "We'll have to stop at the bank first."

"No time," I said. "We're due at the school at nine-thirty."

"It won't hurt to be a few minutes late. This is important, Bart."

We have a good marriage, and I don't quarrel with Celia's wishes. But this meant another delay, and I could already see half the morning shot, what with the meeting in the principal's office, and afterwards perhaps taking Freddie out for a soda or something to make him feel secure and loved. What a lot of trouble that boy was getting into lately.

I wheeled out of traffic and feathered down to the roof of the 1st National. A conveyer belt carried our ship toward the teller's window.

Celia opened her purse and withdrew a bank form. "Here, I think you'll have to sign this, darling."

I voiced my irritation. "Withdraw it in your own name. It's a joint account. Personally, I don't understand how you can need more money when I just gave you four hundred yesterday."

"This is a very large amount," said Celia softly. "Bank requires it."

"How much?" I asked suspiciously.

"Ten thousand." She was staring at me intently with her almond-shaded eyes. Her full red lips were parted in the faintest trace of a smile, as her neat brown-pencilled eyebrows arched slightly in amused defiance.

She was daring me to ask the obvious question. Hell, I thought, I can afford it. I signed the form and passed it back to her.

We were at the teller window. She scribbled on the sheet and handed it to the clerk.

"Now," I said, feeling that I'd fulfilled the code of gallantry, "may I ask what you need it for?"

"Certainly, dear. I'm giving it to the Mendelsohns as a going-away present. Tonight at their farewell party."

"What! Ten thousand credits? Are you insane! The Mendelsohns mean nothing to me." I was so upset that I kicked the degravity pedal and we started to rise from the roof. I brought us down with a thud.

"They mean a lot to me," said Celia calmly. "They used to mean a lot to you too."

"But ten thousand!" I protested. "What do you think I am, a millionaire philanthropist?"

"It is a lot of money," Celia agreed placatingly. "But the Mendelsohns are leaving tomorrow for Primus Gladus. We'll never see them again."

The story opens with Bart Sponsor, a self-described 'Top Competitor,' fleeing police after a routine traffic violation escalates into a high-speed chase. Reinsberg establishes the stakes immediately: Bart's internal monologue—'Bart Sponsor, fugitive'—and the physical details of a bullet hole in the windshield set a tone of desperate, breathless action. The setting is a future Chicago where the motto 'I WILL COMPETE' adorns a revolving sign atop Municipal Tower, and air traffic is stratified by social rank. Bart's contempt for 'stupid shlubs' in slower lanes reveals a society built on ruthless competition, a theme woven into the very fabric of the city's infrastructure.

Diction of Desperation

Reinsberg's word choices consistently reinforce Bart's frantic state. Verbs like 'slammed,' 'fumbled,' 'gunned,' and 'lurched' convey physical urgency, while phrases such as 'desperate precision' and 'fatalism swept over me like ocean surf' reveal his psychological turmoil. The dialogue is terse and functional: 'Don't shoot! I surrender!' Bart's internal thoughts are bitter and self-aware—'I was a pillar of society'—but never introspective. The narrator's voice is that of a man who measures his worth by his competitive status, and the language reflects a world where speed, efficiency, and dominance are paramount.

Voice and Social Hierarchy

Bart's narration is laced with casual contempt for those beneath him. He dismisses commuters as 'stupid shlubs' and resents sharing airspace with 'flivver-jets.' His wife Celia's teasing remark—'The airlanes should be reserved for Top Competitors only'—is met with sarcasm, but Bart's actions betray his agreement. The society is stratified into 'Top Competitors' and others, a hierarchy Bart internalizes. When his business partner Charlie Spacker questions Bart's trustworthiness, the negotiation becomes a battle of competitive wits, with Bart masking fury behind cordial words. The voice shifts from bravado to humiliation as Bart realizes his status is fragile.

Structure of Escalation

The narrative is structured as a series of escalating crises, each forcing Bart to improvise. The opening chase leads to a flashback of the morning's routine, then to a tense loan negotiation, a hostage standoff, and a calculated escape through an office window. Reinsberg uses short, punchy paragraphs and abrupt transitions to mirror Bart's racing thoughts. The pacing accelerates with each scene: from traffic frustration to gunpoint, from a 'sleep bomb' to a fake alibi. The structure itself embodies the 'compete or die' ethos—every moment demands a decisive, often ruthless, action.

Recurring Details of a Competitive World

Recurring details reinforce the story's central theme. The 'Cad Super' aircar is a status symbol; the 'pneumatic tubes' represent an alternative for the less privileged. The 'I WILL COMPETE' motto is not just a sign but a creed that Bart lives by. The 'sleep bomb'—a non-lethal weapon—reflects a society where even violence is strategic. The mention of 'slave-mines of Mercury' as a punishment for failure underscores the stakes. These details are not decorative; they are functional, building a world where competition is the only law, and Bart's every move is a survival tactic.

Readers should attend to how Reinsberg uses Bart's limited perspective to reveal the society's values without explicit commentary. The novella's brevity (17,144 words) and fast pace mean that every line of dialogue and description carries weight. Notice how the author withholds judgment, letting Bart's actions and words speak for themselves. This is a story that rewards attention to its lean, purposeful prose and the way it constructs a world where the motto 'Compete or Die' is not hyperbole but a literal truth.

I keep thinking about Bart’s frantic race through Chicago, how winning never felt like peace. It reminded me of a quieter afternoon, years ago, when Blind Time — A Reader’s Guide made me sit still for an hour, just breathing, as if the pressure of constant doing finally let go. That felt like coming home to myself.

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