Hideout — Text and Context

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In Category - Space Future
Holden, Fox B., 1923-1973 Project Gutenberg 2021 Not confirmed
Science fiction; Short stories; Time travel -- Fiction; Space pirates -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,491
Reading time 37 min
Text sections 1

This digital edition of Hideout — Text and Context is described by source-level measurements including 8,491 words, 37 min estimated reading time, and 1 detected text section.

The text analysis averages about 18.0 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.

In Fox B. Holden's 'Hideout', space pirate Robbin Cutlass escapes a Patrol trap by fleeing into the past, landing in 1880s Texas where he resumes outlaw life. The story contrasts space-age technology with Old West grit, exploring identity and survival across time.
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Editorial Edition Score 4.4/5

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  • 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.

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Read the Text

Those were the days when a man had friends--and now, all that Jeremy Cutlass had had, scattered as they'd been from one end of the Universe to the other--were either dead or sweating out their last days in the penal colonies of Earth or Mars. All except for old Doc Raven--and he'd be under lock and key too if the _Vulture_ hadn't been able to carry out Jeremy's dying command--to rescue him from the penal colony of Mars, regardless of the cost. The cost had been the last eleven ships of the fleet.

It had been worth it, yes. Not just because the conniving old toad was probably the best scientist Mars had ever produced, but because--

The intercom squealed frantically even as Cutlass saw what was happening in his own screen.

"Cap'n Cutlass! It's a trap, sir! I'm tracking Patrol ships from all points--"

There were at least 200 of them.

Even the Raven drive couldn't keep the _Vulture_ from slewing, losing some of her precious speed as Cutlass tapped out an unprecedented ecliptic-deviation and trajectory-variation pattern on the master control console.

A screen generator whined its overload as the Patrol ships got the _Vulture's_ range and pounded her with everything they had. This time, they were too many--and too fast.

"Run!" Cutlass howled to the drive-room. "Godammit, _run_!"

His eyes were hot and wet with the rage that rasped in his voice. No Cutlass that had ever buccaneered Space for four generations had ever given that command. But now the notorious _Vulture_, last of her kind in the Solar System, finally was forced to take to her jets or be torpedoed to cosmic dust like all the rest.

Two screen generators went to hell and plastered the control room with jagged shards of smoking metal. There was a searing pain in Cutlass' shoulder, and blood trickled the length of his arm and along his fingers as he flipped the ship's inter-teleco switches. Just a glance told him they'd gotten through the screens--the jagged, gaping holes in the _Vulture's_ ripped flanks told him he didn't have a gunner or a radarman left alive.

Damn them _damn them_....

He choked on the acrid fumes of the burnt-out screen generators as he fumbled painfully into a space-suit. Old Doc had bragged to him once that a man could travel the system end to end and back in a Raven-built suit--with a certain amount of pirates' luck, of course. Well, the Patrol wasn't to have Robbin Cutlass alive--

He was less than five thousand miles out when he saw the _Vulture_ die. It was a Viking's death--a great mass of blinding white flame which seemed to rip Space wide open for a silent, coruscating second--and then there was the cold darkness of any grave.

Pluto glimmered eerily a hundred million miles ahead of him. And somewhere, a half-light-year beyond, was Doc's old freighter. Doc, with his well hidden laboratory, circling away the last years of his life in the quiet solitude of Deep Space--all that was left.

Barrel-chested and heavy-browed like his father, Robbin Cutlass stood there, his space-suit crumpled in a heap at his feet, and looked about him. Doc had explained it to him, but he still was not sure he understood.

This was the freighter--or, more accurately, Doc Raven's great laboratory, suspension-built in the long, tapering mid-section of the battered, engineless ship which drifted silently in its dark, remote path around a pale sun. Only a scant five years ago Doc had been brought here following his costly Martian rescue, yet his equipment, which had been salvaged from a half-dozen hidden sanctuaries on as many different planets and brought here for him to assemble, had in that time grown to twice its original bulk. Sometimes Robbin thought of Doc as something less of a scientist and more of a wizard. It was often said, in the deadly seriousness that marked the spaceman's legends, that there is more to the Martian mind than a man of Earth might even dream of.

The long banks of control consoles emitted a blue-green glow of their own, silhouetting as they did the rows of relays, grid-circuits and reactor-registers.

Robbin did not know the little Martian scientist's source of power--but he knew that through this Colossus of engineering enough must pour to change the very courses of the planets in their paths, if Doc should will it.

Robbin Cutlass, captain of the space pirate ship Vulture, faces a trap set by the Tri-Planet Entente Space Patrol. Outnumbered two hundred to one, he activates a Raven drive that hurls his vessel not through space but through time. The narrative shifts abruptly from the void of Deep Space to the dusty roads of 1880s Texas, where Cutlass and his crew—now calling themselves the Kid and Chico—plot a stagecoach robbery. The transition is jarring: one moment Cutlass taps an ecliptic deviation pattern on a master control console; the next, he studies a wanted poster offering $5,000 for his capture, dead or alive.

Two Eras, One Outlaw

The story's central tension lies in the collision of two settings: the high-tech future of space piracy and the lawless frontier of the American West. Cutlass carries his space-age arrogance into the past, fuming that 'all the tin badges in Texas gang together just to hunt him down like a coyote.' Yet his methods remain unchanged—he uses the same cunning and ruthlessness that made him a feared pirate. The narrative draws explicit parallels: the Patrol's pursuit mirrors the cavalry's ambush, and the reward poster echoes the price on his head in space. Holden reinforces this through recurring details: Cutlass's gold watch, engraved with initials not his own, becomes a symbol of his displaced identity. He cannot remember where the watch came from, just as he cannot fully reconcile his two lives.

Voice and Dialogue Across Genres

The dialogue shifts register between the two settings, yet retains a consistent hard-boiled edge. In space, Cutlass barks orders: 'Track her down! ... Boarders don your suits, man lock stations and stand by.' In the Old West, his speech adopts a folksier cadence: 'Last time you got that greasy trigger finger of yours in an itch an' we had t'go killin' t'get the stuff.' The crew's banter—Gonzales complaining that wanted posters 'don't draw our peectures worth a damn'—adds a wry humor that undercuts the tension. Holden uses these vocal contrasts to highlight the characters' adaptability: they are outlaws in any era, fluent in the idioms of both space and saddle. The Kid's nervous adjustment of his 'black kerchief over his thin nose' echoes the earlier image of Cutlass checking his radar screen, linking the two worlds through gesture.

Structure and the Fragmentary Text

The surviving excerpts present only the opening and a middle section, leaving the full arc of time travel and resolution unclear. What is visible is a deliberate structural hinge: the story begins in medias res with a space battle, then cuts to a Western heist. The missing portions likely bridge these halves, but the existing text already establishes a pattern of doubling. Cutlass's memory is spotty—'he knew more by instinct than by memory how he'd got it'—suggesting that time travel may have eroded his past. The reader is left with fragments: a watch, a reward poster, a name that may not be his own. Holden's prose mirrors this fragmentation, shifting from technical jargon ('oblique ecliptic eight degrees') to Western colloquialisms ('hell for leather') without transition. The effect is disorienting, forcing the reader to piece together Cutlass's identity alongside him.

Readers should pay close attention to the objects Cutlass carries between eras—the watch, the Raven drive, the wanted poster—as they may serve as anchors for the story's logic of time travel. The incomplete text invites speculation about how the two timelines connect, but the existing material offers a self-contained portrait of a man who cannot outrun his own nature. Holden's blend of science fiction and Western tropes rewards those who enjoy genre hybridity and lean, dialogue-driven storytelling.

Reading about Cutlass trading his starship for a Texas saddle, I caught myself wondering how another stranded man might fare on Mars. That old question of a person out of place, improvising in a world that doesn't want them, keeps echoing. It is a strange comfort, finding that loneliness again in Madmen of Mars — Text and Context, like meeting an old acquaintance.

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