Friends and Enemies — Context and Discussion

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In Category - Machines Invention
Engle, Robert, 1928-1989 [Illustrator], Leiber, Fritz, 1910-1992 Project Gutenberg 2022 Not confirmed
Science fiction; Short stories; California -- Fiction; College teachers -- Fiction; Apocalyptic fiction; Art and science -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 9,350
Reading time 41 min
Text sections 1

Before opening Friends and Enemies — Context and Discussion, the edition data offers a quick orientation: 9,350 words, 41 min estimated reading time, and 1 detected text section.

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

In a post-apocalyptic California, a physicist and an anti-science professor are expelled from their college and forced to navigate a landscape of armed gangs and paranoid survivors, where art and science become matters of life and death.
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Editorial Edition Score 4.4/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
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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.

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Read the Text

Madson did not deign to answer.

They passed a crossroad leading, the battered sign said, one way to Palmdale, the other to San Bernardino. They were perhaps a hundred yards beyond it when Ellenby let go a little chuckle. "I have a confession to make. When I was very young I wrote an article about how children shouldn't be taught the Santa Claus myth or any similar fictions."

Madson laughed sardonically. "A perfect member of your dry-souled tribe! Worrying about Santa Claus, when all the while something very different was about to come flying down from over the North Pole and land on our housetops."

"We did try to warn people about the intercontinental missiles," Ellenby reminded him.

"Yes, without any success. The last two reindeer--Donner and Blitzen!"

Ellenby nodded glumly, but he couldn't keep a smile off his face for long. "I wrote another article too--it was never published--about how poetry is completely pointless, how rhymes inevitably distort meanings, and so on."

Madson whirled on him with a peal of laughter. "So you even thought you were big enough to wreck poetry!" He jerked a limp, thinnish volume from his coat pocket. "You thought you could destroy this!"

Ellenby's expression changed. He reached for the book, but Madson held it away from him. Ellenby said, "That's Keats, isn't it?"

"How would you know?"

Ellenby hesitated. "Oh, I got to like some of his poetry, quite a while after I wrote the article." He paused again and looked squarely at Madson. "Also, Vera-Ellen was reading me some pieces out of that volume. I guess you'd loaned it to her."

"Vera-Ellen?" Madson's jaw dropped.

Ellenby nodded. "She had trouble with her geometry. Some conferences were necessary." He smiled. "We physicists aren't such a dry-souled tribe, you know."

Madson looked outraged. "Why, you're old enough to be her father!"

"Or her husband," Ellenby replied coolly. "Young women are often attracted to father images. But all that can't make any difference to us now."

"You're right," Madson said shortly. He shoved the poetry volume back in his pocket, flirted the sweat out of his eyes, and looked around with impatience. "Say, you're going to New Angeles, aren't you?" he asked, and when Ellenby nodded uncertainly, said, "Then let's cut across the fields. This road is taking us out of our way." And without waiting for a reply he jumped across the little ditch to the left of the road and into the yellowing wheat field. Ellenby watched him for a moment, then hitched his rolled towel further up under his arm and followed.

It was stifling in the field. The wheat seemed to paralyze any stray breezes. Their boots hissed against the dry stems. Far off they heard a lazy drumming. After a while they came to a wide, brimful irrigation ditch. They could see that some hundreds of feet ahead it was crossed by a little bridge. They followed the ditch.

Ellenby felt strangely giddy, as if he were looking at everything through a microscope. That may have been due to the tremendous size of the wheat, its spikes almost as big as corncobs, the spikelets bigger than kernels--rich orange stuff taut with flour. But then they came to a section marred by larger and larger splotches of a powdery purple blight.

The lazy drumming became louder. Ellenby was the first to see the low-swinging helicopter with its thick, trailing plume of greenish mist. He knocked Madson on the shoulder and both men started to run. Purple dust puffed. Once Ellenby stumbled and Madson stopped to jerk him to his feet. Still they would have escaped except that the copter swerved toward them. A moment later they were enveloped in sweet oily fumes.

Madson heard jeering laughter, glimpsed a grotesquely long-nosed face peering down from above. Then, through the cloud, Ellenby squeaked, "Don't breathe!" and Madson felt himself dragged roughly into the ditch. The water closed over him with a splash.

Puffing and blowing, he came to his feet--the water hardly reached his waist--to find himself being dragged by Ellenby toward the bridge. It was all he could do to keep his footing on the muddy bottom. By the time he got breath enough to voice his indignation, Ellenby was saying, "That's far enough. The stuff's settling away from us. Now strip and scrub yourself."

Ellenby unrolled the towel he'd held tightly clutched to his side all the while, and produced a bar of soap. In response to Madson's question he explained, "That fungicide was probably TTTR or some other relative of the nerve-gas family. They are absorbed through the skin."

The story opens with a tense expulsion scene at dawn: two professors, Ellenby (a former nuclear physicist) and Madson (a vocal anti-science advocate), are driven out of Ozona College by a fat man who embodies the town's rejection of science. The setting immediately establishes a world where scientific knowledge is criminalized—Ellenby is exiled for his past as a physicist, while Madson, despite his lifelong crusade against science, is also cast out. The dialogue reveals a society that has turned violently against intellect, with the fat man boasting of helping to burn down Cal Tech. This opening efficiently introduces the central conflict: the collision between art and science in a world shattered by super-bombs.

A Landscape of Suspicion and Sudden Violence

The narrative moves through a series of hostile encounters that escalate without warning. After their expulsion, Ellenby and Madson are picked up by a wealthy actress, Rickie, whose frivolous demeanor contrasts with the looming threat of renewed bombing. Her chauffeur, George, is drunk and jittery, hinting at the pervasive fear. The journey is abruptly interrupted when a gang led by Harvey ambushes them. Harvey's men appear from nowhere, armed with everything from shotguns to rapid-fire weapons, and the violence is sudden and absurd: Rickie's four-foot hat lands on a gunman, causing him to fire at the sky. The scene underscores the randomness of danger in this world, where even a hat can become a weapon.

The Spectroscope and the Keats: Objects as Accusations

When Harvey's gang searches the professors, they seize two objects that crystallize the story's thematic tension: Madson's volume of Keats and Ellenby's spectroscope. Harvey dangles the Keats by a stray page, treating poetry as contraband, while the spectroscope—a scientific instrument—prompts the gang to label Ellenby a “science gadget” user. These items are not mere possessions but evidence of allegiance in a world where both art and science are suspect. The gang's leader, Harvey, declares there has been “too much science in the world and too many words,” equating intellectual pursuits with the bombs that destroyed civilization. The confiscation of these objects signals that the professors' identities are now liabilities.

Shifting Alliances and the Unreliability of Labels

The story complicates the initial art-versus-science binary by showing how characters shift sides based on circumstance. Madson, who has devoted his life to opposing science, is nonetheless expelled alongside a scientist. Rickie, a film star, dismisses official news and relies on her psychic counselor, yet she owns a jet car and employs a chauffeur—trappings of technology. Even the gang members are a motley mix: one wears a gold kimono, another a filthy white lace dress, suggesting that social roles have collapsed. The professors themselves are forced to cooperate despite their ideological differences. The narrative suggests that in a broken world, the categories of “friend” and “enemy” are fluid, determined less by belief than by survival.

Recurring Images of Heat, Dust, and Decay

Leiber uses sensory details to evoke a parched, deteriorating environment. The sun is already hot before it has fully risen; the road is dusty; a dead eucalyptus leaf catches Ellenby's eye. Spittle curls in the dust “like a little brown worm.” These images of dryness and decay mirror the moral and social desiccation of the post-bomb world. The spires of New Angeles gleam “dusky blue,” a distant promise that remains unreachable. Even the jet car's blast is described as “hot,” and the wheat near the bridge is dry enough to conceal a gunman. The physical landscape reinforces the sense of entropy, where every element—from the sun to the characters' sweat—contributes to an atmosphere of imminent collapse.

The excerpts present only the opening chapters of a longer story, so the full arc of Ellenby and Madson's journey remains unknown. However, the patterns established—sudden violence, the weaponization of objects, and the blurring of ideological lines—suggest a narrative that resists simple resolutions. Readers should attend to how Leiber uses setting and incidental details to build tension, and how the initial opposition between art and science may be subverted as the plot unfolds. The story's title, Friends and Enemies, hints at a world where trust is provisional and alliances shift with each encounter.

Reading Friends and Enemies, I kept thinking about the old pulp underneath the dust, that strange underground journey in The Wolf-Men: A Tale of Amazing Adventure in the Under-World — Inside the Classic. Both feel like survival hinges on what you carry in your head, not what you hold in your hands. It’s a quieter terror, that thought, and it lingers long after the pages close.

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