The Gift — Inside the Classic

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In Category - Machines Invention
Fuqua, Robert, 1905-1959 [Illustrator], Sturgis, Melvin Project Gutenberg 2021 Not confirmed
Science fiction; Short stories; Healers -- Fiction; Trials -- Fiction; Psychic ability -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 6,171
Reading time 27 min
Text sections 1

The Gift — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 6,171 words, 27 min estimated reading time, and 1 detected text section.

The text analysis averages about 17.4 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.

In Melvin Sturgis's 1951 short story, a healer named Carl Sloan is put on trial and subjected to a lobotomy. The narrative unfolds almost entirely in a courtroom and an asylum, focusing on the legal and medical systems' response to his psychic ability.
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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

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Read the Text

As a boy, Carl Sloan began to perform miracles, healing the sick. But the world hated him--for being born a thousand years too soon....

[Transcriber's Note: This etext was produced from Imagination Stories of Science and Fantasy November 1951 Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

The tenseness in the tiny court room was a live thing that you could feel clear down to your insoles. The thick silence was broken as the judge said solemnly: "Your objection will be taken under advisement by the court, Counselor. In what manner will the childhood of the defendant be relevant to this case, Mr. Prosecutor?"

"It is my purpose to show, your Honor, that the defendant has been of unsound mind since birth, and therefore has long been a public menace, not merely a victim of circumstance as the defense would have us believe." The prosecuting attorney nodded briefly in the direction of the table for the defense.

"Objection overruled," the judge said. "You may call your witness."

"Thank you, your Honor." The prosecutor helped the flighty woman into the witness box.

"Will you please give the court your name?"

The woman simpered. "Ida Mae Holk. Mrs. Ida Mae Holk."

The prosecutor cleared his throat and ruffled the papers in his hand.

"How long have you known the defendant, Mrs. Holk?"

"Why, ever since he was about two years old. Him and his Ma came to Elmwood right after his Pa was killed in that big Oak Ridge explosion. He was born right there on the government project, you know. Never could understand why Mrs. Sloan, that was his Ma, never did get married again, her being so pretty and all, and any number of nice widowers just--"

"Uh, yes, Mrs. Holk," the prosecutor interrupted. "Was your acquaintance with the defendant continuous throughout his childhood?"

"Well, it was until he was ten years old. They sent him away to that crazy house then."

"I object to the term 'crazy house', your Honor," the public defender addressed the court.

"I am sure that the witness meant to say the Rochelle School for Retarded Children," the prosecutor said mildly. "Didn't you, Mrs. Holk?"

"Well, I guess that is what they call it," she said grudgingly. "Anyway, they kept him there until he was eighteen. Then he came back to Elmwood and I've known him ever since."

"As a child, was the defendant er, ah, strange; that is, different from the other children?"

"He certainly was." The woman drew herself up primly. "Why, the first time that I ever laid eyes on that boy I said to my neighbor 'did you ever see a child with such a big head and such brooding eyes', why--"

The public defender started to rise.

"I don't mean physical characteristics, Mrs. Holk," the prosecutor hurriedly interjected. "The court is interested only in facts that will prove relevant to the case at hand."

"Oh." Mrs. Holk seemed disappointed. "Well, he never played much with the other children because they made so much fun of him. Not that they didn't have a right to, the way he was always acting. Picking up stray dogs and cats, and every thing else under the sun, and telling everybody that would listen how he cured their sores. It was enough to make a person sick. He even claimed that he could cure himself, and that was the reason that he was never sick! Hmmfp.

"Of course, he wasn't ever sick. No sir, not a day in his life. Never had the measles or the mumps like my Sally, and even when that terrible flu epidemic hit town he was just as chipper as you please. If you want incidents, I can tell you a dozen. There was one time when he was about five and I was over visiting with his ma. He came running into the house telling some big story about a bird with a busted wing that he had fixed up. Of course, his ma shut him up; she always was too easy on him. Another time--"

_The man with the too big head and the serene features gazed softly at the witness stand. He remembered about the bird. He had been very young at the time and hadn't known, yet, that everyone didn't have The Gift._

Melvin Sturgis's 1951 short story opens not with the protagonist's miraculous healings but with a courtroom scene thick with tension. The narrative immediately establishes a legal framework: the judge, prosecutor, and public defender debate the relevance of the defendant's childhood. The first witness, Mrs. Ida Mae Holk, offers gossipy testimony about the defendant's large head and brooding eyes, revealing a community's suspicion rather than any supernatural event. The story's structure—a trial interspersed with flashbacks—prioritizes the institutional response to the protagonist's gift over the gift itself.

Courtroom as Proving Ground

The story devotes its opening pages to legal procedure. The prosecutor seeks to prove the defendant of unsound mind since birth, calling witnesses to establish a pattern of strangeness. The public defender objects, but the judge overrules. This legal framing suggests that the central conflict is not whether the protagonist can heal, but whether society will label him insane. The courtroom becomes a stage where the community's fear is codified into testimony. Mrs. Holk's rambling answers—she mentions the defendant's father killed in an Oak Ridge explosion, his mother's failure to remarry—paint a picture of small-town judgment. The prosecutor's careful steering of her testimony reveals a deliberate strategy to pathologize the defendant's difference.

The Language of Medical Authority

When the scene shifts to the Rochelle School for Retarded Children and later to the asylum, the language becomes clinical. The interne describes the operation as a 'wonderful discovery' that will cure insanity by destroying part of the brain. The doctor cheerfully agrees: 'at least he will be sane.' The contrast between the protagonist's internal experience—'a sense of vast loneliness'—and the medical staff's professional satisfaction underscores a chilling disconnect. The straps, plates, and 'sharp pain, blinding and searing' are described with precise, almost detached detail. The story does not romanticize the protagonist's gift; instead, it shows how institutional language redefines healing as a symptom of madness.

A World Not Ready

The subtitle—'born a thousand years too soon'—appears only in the story's header, not in the narrative itself. The excerpts do not show the protagonist performing any miracle; his healing ability is referenced only in the opening line and through the trial's implication. The story focuses on the aftermath: the trial, the institutionalization, the lobotomy. The wrought iron gates 'clanged shut with a dismal finality.' The protagonist feels no bitterness, only 'vast loneliness' at being unable to fulfill his promise. This suggests a world that punishes what it cannot understand. The catalog subjects list 'Healers -- Fiction' and 'Psychic ability -- Fiction,' but the excerpts emphasize the societal reaction rather than the ability itself.

Readers should note that the story's title, The Gift, is ironic: the protagonist's ability brings him not salvation but a state-sanctioned lobotomy. The narrative withholds any direct depiction of healing, instead forcing the reader to infer the nature of the gift through the testimony of hostile witnesses and the cold efficiency of medical procedure. This structural choice makes the story a critique of how institutions pathologize the extraordinary.

I keep thinking about that trial—how effortlessly a gift gets mistaken for a sickness. Reading about Sloan made me feel the weight of being heard wrong. Later, I found Underground Movement — Reading Notes; it sat with me the same way, quietly reminding me that some stories are less about answers, more about the silence they leave behind.

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