Space Blackout — Reading Companion
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This digital edition of Space Blackout — Reading Companion is described by source-level measurements including 9,722 words, 43 min estimated reading time, and 1 detected text section.
The text analysis averages about 13.1 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.
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Jim looked bewildered. "Maybe it's too much," he said, "but such a speed is incredible."
"There is no limit to speed," Shadrak told us. "The problem is of acceleration, and deceleration. You have that problem in handling the Pelios, which rides energy beams at the speed of light. Frequencies, whether of sound or light, as instances, are constant. Therefore we employ this fact in accelerating. We superimpose frequencies against frequencies, repelling power, one from the other. The result is a constant, increasing ratio. In effect, Jim--and you, Jerry--will grasp it much easier in this manner. If you had a machine throwing a jet of water, and it touched an opposing jet of water, your propulsion would build up till the limits of the energy from the opposing jets were reached. Suppose those jets continued to reach out. As light frequencies, till you built up your maximum. In a vacuum your speed would continue at that maximum velocity till you chose to decelerate. Now deceleration is effected by the same principle. We do it by hitching to our sun and reaching the maximum in building up speed. In like manner, another sun can be used to decelerate, by reversing the process.
"But enough of that," Shadrak resumed. "Your ship will be robot controlled. Our own master navigator will get telescreened charts of your course. Your job will begin when you land, I fear. The planet of Spor enters the Noir within eighteen months, and a sudden reaction in that hundred thousand light year wide mass could reduce the engulfing to eighteen weeks."
"What does this Noir mean, swallowing up Spor?" I fired that shot. And it was Jim who answered.
"Noir's the light absorbing element nobody has lived to analyze. We know it absorbs all organic life as it does light, electricity, even sound. It's the black scourge of space."
"And we're going to play around it, eh? To bring back the descendants of the lost Atlantis. And where do they go, providing we take 'em off?"
Shadrak waved a hand vaguely over the horizon. "Here, till we find a planet suitable. You see, we're responsible. We moved them to Spor. Now it's our duty to remove them again."
Jim spoke. "We're ready, whenever you are sir."
Now a lot happened before we curved around the sinister prong of the Noir, the Milky Way lost behind, even Orion and his companions. We had ceased marveling at the repellor motors, operated within compact cases by the efficient robot machines. And I must put in a word for the way they lifted our big ship from Mars. You don't use rockets any more. They catapult you, shooting you ten thousand miles outward with rocket tubes sunk into the ground. You use inverted, concave affairs to catch the power. And too, we had our first acquaintance with the auxiliary repellors used inside the ship to offset inertia. This gave us the same gravity as Earth. And Shadrak called at regular periods on the relief screen, the new device that gives solidity to an image. He told us a lot about the transplanted sons and daughters of ancient Atlantis, and we had the mentameters to make immediate contact with their language and knowledge. Shadrak had thought of everything.
The solar system which Shadrak called Maj, crawled around the crescent of Noir, and we sighted the third planet, giving a ruddy glow. That gave us a kick, but I felt a shiver as I watched that ebon horn blotting out the sky, reaching hungrily toward Maj. Jim said the movement of Noir had been constant at 110 kilometers a second, but that the speed was building up. He called for a robot check on the tip of Noir and Spor. After careful study, Jim flashed the telescreen for Shadrak. "Noir tip at 60 plus 382," he reported.
Shadrak looked grave. "That gives you no more than four months," he said. "If the movement accelerates, it will be quite earlier. After you land, arrange for periodical checks."
It was time now to begin deceleration. We fixed on the sun of Maj. At first we couldn't feel a change. It was ten hours before the planets slowed down, and we curved to meet the pull of Maj. Two days elapsed by our chronometers before we entered the gravity pull of Spor and began our spiral descent, much as we would had it been the smaller Pelios. Our electroscopes found a city, towers and walls gilded by a rising sun. I worked out the course for Jim and we picked a plain nearby. We settled on a regular nest of repellor beams, to find an army gathered without, an army of men and women and children, not at all frightened and apparently not hostile.
The story opens with a striking claim: "I've seen a world die, and with it men who chose to remain and face the end because of love." This retrospective frame, delivered by narrator Jerry Kos, a master navigator with a solo Moon-to-Earth record, immediately establishes a tension between professional detachment and emotional involvement. The setting is a future where Martians have guided Earth toward a technocratic utopia after intervening against a dictator named Gregor. Yet the central crisis involves Spor, a planet identical to Earth, threatened by a dark nebula called Noir. The excerpts reveal a pattern of contrasts: the rational, data-driven warning from the Martian Shadrak versus the populist skepticism of Spor's citizens, and the loyalty of those who stay versus the desperation of those who try to save them.
The Narrator's Voice and the Retrospective Frame
The story is told by Jerry Kos, a twenty-seven-year-old master navigator who holds the solo record from Moon to Earth in 2437. His opening line—"I've seen a world die"—casts the entire narrative as a cautionary tale for Earthmen. Kos describes himself as someone who enjoys "camping in the raw, hiking, fishing, anything I can do by hand," a detail that contrasts with his high-tech profession and suggests a grounded, practical perspective. His voice is direct and colloquial, mixing technical jargon with personal observation. The frame implies that the story has already concluded, and Kos is reflecting on its meaning. This structure allows the author to foreshadow tragedy without revealing the exact outcome, maintaining suspense while emphasizing the moral weight of the events.
The Martian-Earth Alliance and Its Limits
The excerpts describe a long-standing partnership between Martians and Earth, established after Martians "liquidated a wad of would be exponents of force" and created a technocracy. Shadrak, a Martian guardian, serves as an adviser and friend to the human characters. He uses a throat disk to speak, and his knowledge of Spor comes from his grandfather's visit. This alliance is presented as benevolent and rational, yet it is not all-powerful. Shadrak's warning about Noir is met with disbelief on Spor, and even Governor Tarquin, who believes the warning, admits the Martians "could be wrong again." The limits of the Martians' influence highlight a central tension: advanced knowledge does not guarantee acceptance, and the very peace they fostered may have made Spor's citizens complacent and resistant to urgent action.
The Crowd's Denial and the Agitator's Rhetoric
A key scene shows a public rally in Osmand, where a speaker denounces the evacuation warning as a plot by "the forces of evil" and "messengers in disguise." He accuses the governor of losing his sanity and calls for punishing those who spread "fantastic stories." The crowd is described as "thousands massed in downtown parks," listening to speakers who demand punishment for the messengers. This populist rejection of expert advice mirrors real-world dynamics of denial in the face of existential threats. The governor, Tarquin, watches helplessly, noting that his own family is in the crowd and considers him mad. The excerpts do not reveal the final outcome, but the scene establishes a powerful contrast between the rational plea for evacuation and the emotional, identity-driven refusal to abandon home.
The excerpts leave the fate of Spor unresolved, but the narrative tension is clear: the reader knows the world is doomed, yet the characters must navigate disbelief, political opposition, and personal loyalty. Pay attention to how the story balances the cosmic scale of the threat with the intimate choices of individuals like Tarquin and the agitator. The contrast between Kos's retrospective calm and the frantic events he describes adds a layer of melancholy. This is a story less about technology than about the human reluctance to accept unwelcome truths.
The rain wouldn’t stop that afternoon, so I returned to the Jerry Kos story and felt that crowd’s refusal to look up. Afterwards, I sat with the weight of that denial for a while, then found myself pulling up Bleekman's Planet — Themes and Context almost without deciding to. It sits with similar silence, just quieter about it.
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