Hold Onto Your Body! — Story, Setting & Ideas

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In Category - Social Speculation
Terry, W. E., 1921-1992 [Illustrator], Lewis, Richard O. Project Gutenberg 2021 Not confirmed
Science fiction; Short stories; Extraterrestrial beings -- Fiction; Criminals -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 5,051
Reading time 22 min
Text sections 1

For Hold Onto Your Body! — Story, Setting & Ideas, the stored edition analysis reports 5,051 words, 22 min estimated reading time, and 1 detected text section.

The text analysis averages about 16.4 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.

A science fiction short story from 1953 in which a businessman manipulates partners into suicide, only to discover a cosmic identity-swapping scheme that turns the predator into prey.
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Editorial Edition Score 4.4/5

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

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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.

Edition quality

Read the Text

That was the last time I saw Pasquamine. Except at the funeral, of course. He made a lovely corpse--considering everything.

It was the day following the funeral when there came a gentle tapping at my office door.

"Come in," I said, tossing the half-finished bottle of gin back into the lower drawer.

They didn't bother about opening the door; they just crawled under it. A moment later, they had slithered across the floor, had wiggled their way up to the top on my desk, and had flattened out upon its polished surface in complete pseudopod relaxation. Gyf and Gyl. My two very good friends.

"Sorry, boys," I said, after we had exchanged the usual amenities, "that I had to get rid of your symbiotics in such a messy fashion. But business is business, you know; and I felt that the time was right...."

Gyf shrugged gelatinously. "I was getting tired of occupying Fidwell, anyway," he vibrated. "Regular old pussyfoot. Never had no fun."

Gyl burped resoundingly in the middle. "I hope the next body I get doesn't turn out to be another wine-guzzling, garlic eater." A tremor ran through him. "It upsets me frightfully."

"Time and the rising tide of accidents will tell," I soothed.

"I'm cold," trembled Gyf, "since I ain't got no body to keep me warm."

"You might try my secretary," I offered, playfully. "There's a body for you!"

"You know I can't," he vibrated. "She ain't even dead yet!"

"Nearest thing to it," I commented, "this side of the precinct morgue."

That brought a shake of mirth from Gyl who really has a truly remarkable sense of humor.

Gyf, ignoring the levity, slid over to the little intercom box at one side of the desk, crawled in through one of the slits, curled up, and promptly went to sleep. It seems that Fidwell, along with his other faults, had also been a sufferer of insomnia.

"I suppose," I said to Gyl, conversationally, "you'll be wanting a new body now...."

"Not necessarily. Not right away." He edged away from the blotter my desk fan was blowing in his direction. "Want to wait--" A burp nearly flipped him again. "--until these garlic fumes effervesce more completely from my system."

"It worked out wonderfully well, though," I said, "even though you did have to put up with the garlic for awhile." I brought out the gin bottle from the lower drawer. "It was certainly fortunate that Gyf was on hand to occupy Fidwell just after his wife murdered him." I unstoppered the bottle and raised it to my lips. "To Fidwell, departed partner and erstwhile owner of the Remey Company!"

"And the joke was on Mrs. Fidwell," sparkled Gyl's sense of humor. "Just imagine: seeing her husband up walking around, hale and hearty, just a half hour after she had throttled the life out of him with her own two hands!"

"No wonder she had to be locked up," I chuckled, pouring a few drops of gin on the polished glass near my companion.

"My getting the body of Pasquamine, owner of the floating stock, wasn't so bad either," he reminded me, isolating a drop of gin and flowing around it.

"He nearly crushed me, too, when he tumbled," Gyl reminded. "I'd been following him two weeks, waiting for his fat heart to do a flopperoo."

We both laughed. I took another drink, and Gyl osmosed a nip.

Finally, I leaned across the desk. "Listen, Gyl," I said, coldly serious. "Now that this little deal is over, how would you like to get in on something else? Something really _big_?"

He instantly became all ears. (Naturally, only a pseudopod can do it.)

"After I sell out Remey," I continued, "we'll have ample funds. So-o, if we moved over to Washington, D. C.... If you and Gyf could get in touch with a couple tottering congressmen who are about ready to depart from this vale of tears...."

Gyl caught on immediately. "T. J.," he complimented, "you've _got_ something!"

He fell silent, and I knew he was letting the gin and the thought trickle through him, savoring both from various angles. Then he vibrated, dreamily, "I've always wanted to be a congressman. Or--or a cabinet member. Or--" His vibration dropped to little more than a whisper, "--or a _president_!"

"Sorry," I said, "but I believe he is already possessed."

Gyl flowed around another drop of gin. "Oh, well," he said dismissing the ambition, "guess he doesn't have much to say about things, anyway." Then he brightened. "But there are some mighty fine bureaus and departments there. We could wiggle our way into one of those. A few million dollars here and there wouldn't be missed."

The story opens with T. J. Nelson coolly instructing his business partner, James Fidwell, to "go lose yourself" and then "go shoot yourself." Fidwell complies without resistance, even brightening at the suggestion to purchase a gun. Nelson's internal monologue reveals his motive: a partnership contract that grants sole ownership upon a partner's death. The narrative voice is brisk and amoral, treating murder-by-suicide as a convenient business tactic.

A Pattern of Manipulation

Nelson's method is consistent. He targets partners and associates, first securing their cooperation through vague commands, then escalating to explicit self-harm. When Fidwell leaves, Nelson turns to Pasquamine, a stockholder, and asks if he owns a gun or a rope. The repetition of these questions—"Do you by any chance own a gun?"—creates a chilling rhythm. Each victim responds with passive agreement, their individuality erased by Nelson's cheerful, predatory tone. The story's structure mirrors this pattern: a series of encounters where Nelson issues orders, collects assets, and anticipates the next target.

The Office as a Stage

Nearly all action occurs in Nelson's office, a controlled environment where he orchestrates his schemes. He taps the glass top of his desk with manicured nails, shuffles papers, and cuts "an intricate little dance step" to the files. These small physical details—the dance, the humming—contrast sharply with the grim subject matter. The office becomes a theater of manipulation, where Nelson's performance of casual authority masks the violence of his requests. The setting never shifts, reinforcing the sense of a closed system where Nelson believes he is in complete control.

Recurring Images of Exchange

Objects circulate throughout the narrative: a bill tossed to Fidwell, stocks transferred to Nelson's name, a cheap cigar handed to Pasquamine. These transactions mirror the larger exchange of lives for property. Nelson treats suicide as a clean transaction—"No mess to clean up. No body to get rid of." The story's title, Hold Onto Your Body!, gains irony as bodies become disposable vessels in a cosmic trade. The recurring image of the gun and rope underscores the material means of this exchange, while the stocks and contracts represent its abstract counterpart.

A Shift in Perspective

Though the excerpts are incomplete, they hint at a reversal. The opening line—"People do strange things—an example, committing suicide for no apparent reason. Unless it's time for a change of identity!"—suggests that the suicides are not merely manipulated but part of a larger, possibly alien, system. Nelson's victims may be willingly vacating their bodies for new occupants. This reframes his predatory business as a small part of a cosmic cycle. The story's structure, built on repeated encounters, may be setting up a twist where the manipulator becomes the manipulated.

Readers should pay attention to the story's title and opening line, which frame the events as an example of a broader phenomenon. The pattern of passive victims and the office setting may be deliberate misdirection. Watch for how the narrative shifts from Nelson's internal monologue to external events, and consider whether the final paragraphs confirm or subvert the initial premise. The story rewards attention to small details—the dance, the cigar, the repeated questions—that accumulate into a larger design.

Sitting with this story’s grim switcheroo, I remembered an old paperback of Riallaro: The Archipelago of Exiles — Background and Themes, the way its exiled souls wore their betrayals like weather. Both books share that quiet shiver — the predator finding he’s been exiled all along, circling back to a shore he thought he’d left.

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