Madmen of Mars — Text and Context

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In Category - Space Future
Fennel, Erik, Elkan, Max, 1918-2000 [Illustrator] Project Gutenberg 2021 Not confirmed
Science fiction; Adventure stories; Martians -- Fiction; Space ships -- Fiction; Human-alien encounters -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 11,158
Reading time 49 min
Text sections 2

Madmen of Mars — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 11,158 words, 49 min estimated reading time, and 2 detected text sections.

The text analysis averages about 14.7 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 first-person account of how Terence Michael Burke's peculiar influence on Martian behavior—turning them into wine-drinking, poetry-spouting duelists—accidentally averted an interplanetary war, narrated by a crewmate who insists the story must finally be told.
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Editorial Edition Score 4.5/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

Everything was slowing down, and it made it plenty tough to do business with the outfits that furnished our supplies. People kept acting more and more like zombies--or Martians. But nobody thought of connecting the Complex with the Cultural Emissaries.

The whole thing hit me right in my pet phobia.

Then it was blast-off morning, with me trying to keep my mind off my phobia and those nagging fears that had nothing to do with space-hopping. I cornered the Professor in the _Banshee's_ control room.

"The power drain of this widget of yours has me worried," I complained. "The secondaries are already running overloaded."

As pilot-engineer, power was my responsibility.

Professor Tim Harrigan looked around, but not in his usual quick, birdlike way, and his eyes were dull.

"I'm sorry, Olsen." His voice sounded as though something were missing. "I haven't been able to reduce input requirements yet. The circuit changes keep eluding me."

Worms started squirming inside me. If the Professor, with his brilliant brain, were getting the Complex--

"Polly will tell Mike to be careful of power," he tried to reassure me.

Naturally Polly was scheduled to handle the ground end. She usually did whenever we were testing one of the Professor's inventions. In some ways she was more like a partner than a daughter to him. The set in the Professor's laboratory was rigged for her, while the Hustic aboard ship was adjusted to Mike's brain-wave pattern.

That's right. The thing we were going to test en route to Mars was the Harrigan Unimodulate Subetheric Telepathic Interspatial Communicator. Yes, I know that officially the Hustic wasn't invented until nearly a year later. Keeping it under wraps after what it did was one of our security measures. We were afraid someone might add two and two and get us hanged, shot, stabbed, defenestrated, etc.

That first set was a bulky, power-hogging, spit-and-solder job very different from the perfected, foolproof, universal-type transceivers that have now replaced the clumsy old Luminophones on all interplanetary routes.

Terence Michael Burke, our red-headed astrogator, was standing as close to Polly as he could get, and from the gleam in his eye he was quoting some more of his abominable romantic poetry at her. But she wasn't responding as usual. Not even blushing. She just stood there looking pale and wan, frozen up inside. Typical symptoms of the Complex, and it made me wince.

Mike looked around, missed something, and turned to me.

"Where'd you put my books?" he demanded.

"Cargo hold," I growled at him. "Had to use that space for the Hustic modulator."

"Barbarian squarehead!" he yelped.

"If you'd gas off to sleep like a human being--!" I squawked right back at him. The Wilsons weren't warming yet, but already my nerves were tightening up in anticipation.

"Come on, Polly," he said. But she didn't follow him until he took her hand.

Mike was born in San Francisco, but he's a professional Irishman. Red Irish. And a prolifically lousy poet. Had a picture of himself as the spiritual descendent of Fin McCool and Francois Villon and Robin Hood and Sir Henry Morgan and all the other poet-adventurers and troublemakers of history. He was one of those romantics--and still is.

When he and Polly came back a few minutes later he had his bag of books under one arm, a smear of lipstick across his mouth, and a worried expression on his face. That was unusual. Ordinarily Mike was too slugnutty to worry about anything. On Polly's much prettier countenance there was no expression at all. And that was all wrong.

Wild Bill, Professor Harrigan's younger but larger brother and skipper of the _Banshee_, came up from checking the drive room.

"Final tests," he said.

So we built up the secondaries until the whole ship howled and shrieked with their noise. Then when the needles came over without indicating radiation leakage we cut them to idling again.

Polly had snapped out of her daze and was clinging to Mike.

"I'm scared," she shouted in his ear, not realizing the noise had died. "Think nice thoughts to me on the Hustic, Michael dearest."

Mike's arms tightened around her. "Of course, my one and only love, pearl of my universe and lodestar of my life. Every day."

I didn't like that "every day" stuff. I never approved of running secondary power-packs to the limit. But before I could say anything Bill glanced at the chronometer.

"Clear out and dog down," he ordered.

The narrator, Swede, opens by explaining why he and his four shipmates have kept silent for five years about the events that caused the Martians to withdraw from Earth contact. He describes the "Big Scare" and the "Exclusion Ultimatum," but immediately undercuts the official narrative: the Martians never explained themselves because they themselves were confused. The tone is conspiratorial and rueful, with a list of punishments—"hang, shoot, stab, gas, electrocute, freeze, burn, poison, impale and/or defenestrate"—that signals the story's blend of pulp adventure and dark comedy.

A Narrator Who Keeps Interrupting Himself

The story is framed as a reluctant confession. Swede tells us he is writing because he and Wild Bill Harrigan met a Venusian cat-man named Miu Tlenow, who reported puzzling conditions on Mars. The narrative is peppered with asides: "I'm not mad at anyone. Not even at the Thing." This voice—apologetic, defensive, and self-aware—shapes the reader's trust. Swede admits the psychos would call the Martians' condition "Acute Virulent Mass Burke-itis," but he insists they don't know Mike as he does. The frame establishes that the story is being told after a treaty vote is pending, adding urgency to the confession.

Martian Behavior as a Puzzle Box

The Martians are described as acting in ways that are "most un-Martian." They mill about, shift from foot to foot, and make aimless movements—details that the narrator treats as shocking violations of their normal stillness. Mike's device, the Hustic, produces "secondary effects" that spill over onto nearby Martians, causing them to move. The narrator watches Mike "thinking into the Hustic" for an hour, then hears a sound like "a whole forest full of infuriated parrots." The Martians' transformation is not explained in terms of psychology or politics; it is presented as a direct, observable consequence of Mike's mental broadcasting.

The Hustic as a Weapon of Mass Persuasion

Mike's device is not a ray gun or a bomb; it is a thought-transmitter that he uses to threaten the "Thing"—a collective Martian intelligence. He shouts, "I can blast Mars out of the Universe at will—and if there is any further interference with Earth minds I shall do so." The narrator calls this "paranoia, delusions of grandeur," but the device visibly affects Martians. Mike also gasses his own crewmates to keep them quiet, including Wild Bill, who yells "mutiny!" The Hustic is both a plot device and a symbol of the story's interest in mind control versus individual freedom.

The excerpts end before the resolution, but the frame makes clear that Mike's intervention succeeded: the Martians abandoned their invasion plans and became obsessed with him instead. Readers should pay attention to how the narrator's voice—alternately sheepish and boastful—colors every event. The story is less about space travel than about the absurdity of a single man's personality becoming a planetary force.

Reading this crewmate’s insistence that Burke’s foolishness saved us all, I remembered lying in a bunk on the Aphrodite, clutching that old paperback and feeling the same strange relief—how chaos, not courage, sometimes keeps us whole. The Terror Out of Space — Context and Discussion stirred that again, a quiet ache for the unintended heroes we never thank. More than twenty years on, I still wonder which of us is really mad.

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