The Fifty-Fourth of July — Reading Companion

(0 User reviews)   477
In Category - Space Future
Nourse, Alan Edward, 1928-1992 Project Gutenberg 2021 Not confirmed
Science fiction; Short stories; Sieges -- Fiction; Space ships -- Fiction; Apocalyptic fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 10,209
Reading time 45 min
Text sections 1

For The Fifty-Fourth of July — Reading Companion, the stored edition analysis reports 10,209 words, 45 min estimated reading time, and 1 detected text section.

The text analysis averages about 15.1 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.

In a post-crisis desert camp, Matt Matthews confronts a city stranger who wants to negotiate with the besieged crew of a spaceship. The story's tension hinges on whether the ship—a symbol of economic ruin—can be destroyed without destroying hope.
Share
Editorial Edition Score 4.4/5

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

How this score is calculated
  • 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

Matt had to destroy the rocket because it was a symbol of evil that had brought economic disaster. But must he also destroy--the future?

[Transcriber's Note: This etext was produced from Imagination Stories of Science and Fantasy March 1954 Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

It was well after dark when Matt Matthews got back down to the headquarters camp, and saw the city stranger sitting there before the fire. He knew he was a city man after a single glance at the shiny, low-topped shoes and the reminiscence of a crease in the dusty trousers. Matt tossed the gophers and the two small coyotes off his broad shoulders to old Moe Arhelger, across the campfire, staring in suspicious silence from the stranger to Moe and back again. "Who's he?" he asked finally.

"He wants to go down to the Ship," said Moe, tossing another stick into the fire. He was a thin, wiry old man, with a white rim of beard scraggling over his lean jaw. A short-bit pipe was clenched between a set of very bad teeth. On his head was a torn, filthy old felt hat, but his clear blue eyes held the silent confidence of authority. The old man puffed quietly as he glanced up at the young giant who had just arrived. "His name's Loevy--he says. Flew over from El Paso this morning in a 'copter, just to see me. Even knew my name--"

"Everybody in New Mexico knows your name," Matthews growled.

The old man nodded, his eyes bright. "Mr. Loevy wants to go down to the Ship tonight."

Matt stared at the stranger's half-day stubble. Then he burst out laughing. "That's what we all want to do, buddy. Just go down to the Ship. That's all. Only trouble is, the Bulldog isn't ready to lay out the welcome mat for us just yet." He glanced over at Moe. "Did the doc say anything about Jack Abel?"

"Jack's dead. Three slugs in the head."

Matt's face darkened. He looked up at Loevy. "Jack wanted to go down to the ship, too. Tried to go down quiet-like." He set about skinning the first coyote, tossing the rest of the game to the group of silent men sitting around the fire near Moe. "You're wasting your time, stranger. Stick around a while. Be patient, like us. The Bulldog can't hold out forever."

Loevy ran a hand through his dark hair, watching Matthews with sharp brown eyes. "I wasn't figuring on going down quiet-like," he said.

Matt looked up as though seeing the man for the first time, his eyes dark with suspicion. "Then how _do_ you plan to go?" His hand moved to the gun at his side, and he began massaging the stock with his huge paw.

Loevy glanced at the gun without fear. "Under a truce flag," he said.

Matthews spat. "Old man Gorham has command of four hundred men down at the ship. They'll shoot anybody that comes close on sight." He looked up at Moe, caught the old man's blue eyes sharply. "I don't like this guy, Moe. I think we'd better take care of him."

Moe shook his head. "Take it easy, Matt. The man thinks maybe he can get this siege broken. Thinks Gorham may surrender if he knows what's happened--in Washington, all over the country."

Loevy nodded, bobbing his head eagerly. "I knew Gorham--before the crash. He's an old-guard soldier, he'll honor a truce flag." His voice was crisp in the still night air. "You want to get your hands on that ship--that's all you want, the whole crowd of you out here. Nothing else. So why risk a fight, risk getting killed, if I can get Gorham to surrender to you?"

Matt grinned unpleasantly. "Why do you think they call him the Bulldog? He'll never give up--until we starve him out. We've got the time, and the men, and the food. They can't last much longer--"

Loevy frowned in annoyance. "I say you may not need to wait."

The story opens with Matt Matthews returning to a desert camp after hunting, carrying gophers and coyotes. The campfire scene immediately establishes a stark contrast: the stranger Loevy arrives in shiny shoes and a creased suit, a city man out of place among the ragged survivors. Old Moe Arhelger, with his torn hat and bad teeth, holds quiet authority. The dialogue reveals a siege: the spaceship, called the Ship, is guarded by four hundred men under Gorham, and anyone approaching is shot. Jack Abel tried and died. Matt's first instinct is suspicion and violence—he reaches for his gun—but Loevy proposes a truce flag, introducing a different kind of conflict.

The Ship as a Symbol of Economic Disaster

The catalog summary states that the rocket is a symbol of evil that brought economic disaster. The excerpts support this: Matt's hostility toward the Ship is visceral, and the camp's men are trapped in a standoff. The Ship is not just a vessel; it is the cause of their ruin. When Matt later sneaks into the compound, he sees the Ship as 'beautiful, tall and silvery, enshrouded like a statue waiting to be unveiled.' This description contrasts with the destruction it represents. The fuel tanks, supplies, and space suits suggest the Ship is ready for departure, yet the men outside want to destroy it. The tension is between the Ship's physical allure and its economic curse.

Violence and Negotiation: Two Approaches to the Siege

Matt's first response to Loevy is to threaten him: 'I think we'd better take care of him.' Moe, however, restrains him. This dynamic repeats throughout the excerpts. Matt is a man of action—he kills game, carries dynamite, and drives a truck through a fence. Loevy, by contrast, arrives by helicopter and proposes a truce. The story sets up a binary: brute force versus diplomacy. Yet the excerpts show that Matt's violent approach succeeds in breaching the compound, but at a cost: he is knocked unconscious, and the raiders burn buildings. The truce flag is never used, suggesting that negotiation fails or is abandoned. The reader must infer whether Matt's destruction of the Ship is justified.

The Cost of Destruction: Matt's Final Weariness

After the explosion, Matt drives a truck through the fence, leading the mob to victory. But the aftermath is not triumphant: 'Matt felt the first wave of shock pass through him. Wearily he dropped his head against the dash-board, gasping for breath.' He is unconscious for an unknown time, and when he wakes, fires burn and raiders shout. The Ship is taken, but the scene is chaotic and destructive. The story's title, 'The Fifty-Fourth of July,' hints at a disrupted calendar—a world where normal time has broken down. Matt's weariness suggests that destroying the Ship may not solve the underlying crisis. The excerpts end before the resolution, leaving open whether the future is saved or lost.

The excerpts offer a vivid portrait of a siege where the object of contention is both a physical ship and a symbol of economic collapse. Nourse uses the desert setting and the campfire dialogue to build a world of scarcity and suspicion. Readers should pay attention to the way Matt's perspective shifts from confident hunter to dazed survivor, and how the story balances the Ship's beauty against its curse. The incomplete text leaves key questions unanswered: What is the Ship's true purpose? Can the future be rebuilt after its destruction? The story rewards attention to these ambiguities.

That grey afternoon, rain ticking against the window, I finished the desert camp’s standoff—the ship burning on the horizon, hope somehow left intact. I closed the companion, but my mind lingered on that fragile middle ground. Then, almost by accident, my hand found Hideout — Text and Context on the shelf, and I remembered that sometimes we hide precisely what we hope to be found.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Take a moment to reflect on this book

Create a short personal record of your experience with this book.

Your progress 0 / 10
1

What is your current status with this title?

2

How much did you enjoy the reading experience?

3

Would you recommend this book to another reader?

4

How easy was the book to follow?

Related eBooks