The Voyage of Vanishing Men — Story, Setting & Ideas

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In Category - Space Future
Terry, W. E., 1921-1992 [Illustrator], Mullen, Stanley, 1911-1974 Project Gutenberg 2021 Not confirmed
Science fiction; Short stories; Storytelling -- Fiction; Space ships -- Fiction; Outer space -- Exploration -- Fiction; Bars (Drinking establishments) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,846
Reading time 39 min
Text sections 1

This digital edition of The Voyage of Vanishing Men — Story, Setting & Ideas is described by source-level measurements including 8,846 words, 39 min estimated reading time, and 1 detected text section.

The text analysis averages about 13.3 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 space station bar, Braun—sole survivor of a vanished survey ship—faces suspicion and isolation. The story uses a bartender's perspective to frame unreliable testimony, repeated failed crossings, and a mirrored alien ship that challenges the crew's grasp of reality.
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Angular as a stick-bug, he stood at the bar, elbows digging into the polished mahogany, one foot cocked on the rail. He was drinking alone as if it had become a habit, and the customers edged away from him as if not wanting to make it too obvious. As usual, his go-to-hell face looked past you into the backbar mirror and out again to cover the whole place. He was older and changed, though, as he would be. Deep lines furrowed the tight, tanned, leathery features, and his eyes still held some of that awful emptiness of space between the star-packs.

Nobody said anything, at first.

Braun watched them, a humorous half-defiant glint in his eye. But there was pain in him, in his voice as he spoke.

"What's the matter? Am I poison, or something?"

Somebody said it, then. In a stage whisper. "I had friends on the _Venture IV_."

"So did I," Braun answered quickly. "A lot of friends. So before somebody works up nerve to ask, I don't know."

"Don't know?" a man named Cutter pursued the point coldly. "You were there!..."

"I was there," admitted Braun. "I still say it. I don't know what happened to anybody. I've told the authorities that over and over. I've told anybody who'd listen. You don't have to believe me. I don't give a--"

"Nobody's told us anything," Cutter insisted. "We haven't heard a whisper about it. And, speaking for all of us, we'd like to be sure about you ... before we go on drinking at the same bar...."

It was going to be like that as long as Braun lived. People will talk, and if there's a choice, they'll guess the ugly thing, every time. Wherever he went, there would be people to ask that question, and somebody to smirk if he answered it.

You could see trouble coming. Whatever Braun answered....

Braun was never a man to talk much about himself. It was always the places he had been and seen, or wanted to go. Like all old-time spacemen, he was a bird of passage. Between trips, he came in a few times, got to be a fixture. But he was always coming or going somewhere never lighting or staying put.

You don't learn too much about a man in a bar, casually. Little things add up and hint at the bigger ones. You can call him by his first name casually, and hash over mutual acquaintances, that's all.

Maybe you talk about the things men talk about. Life and death. Men and spaceships. Life on distant worlds. Braun had knocked around the galaxy like a lot of people since the DuMont space-time drive came into general use. He had seen more than the ordinary man even dreams about, but there was always a restless and curious wondering about more distant stars and their planets. On one classic occasion, you even helped him wonder about other galaxies, and if the new drive would ever take men out into the far, dark spaces where ships never ventured.

When Braun's big break came, you heard about it from someone else, since Braun was far away, at a planet-base circling a star that was just a number in a catalog. There were no formal goodbyes out there, just technical admonitions. Then a speck diminished into nowhere, with no instruments to track an object accelerating into speeds so many times greater than light that mathematics became weird paradoxes, and nothing existing in normal dimensions even makes sense.

Eventually the ship came back, and Braun with it. Nobody knew much more than that. No official announcements were made, no actual denials or accusations. Rumor hinted at ugliness, and an investigation going on. People made the usual wild and extravagant guesses, and there were the formless whispers that start nowhere and end nowhere.

Braun put his back to the bar and looked over the crowd soberly, one by one. This must have happened to him many times before, as it probably would again. Braun had his own way of dealing with such situations, and maybe he was right.

"I don't know what happened," he said slowly. "I'll say it again, just once. I don't know. If you don't like it, I'm here, waiting. One at a time, or the whole ratpack of you. How do you want it?"

In any real, deadly brawl, voices are rarely raised. There is no loud and explosive discussion. Instead, all movement jells, crystallizes in utter silence. Something breaks it. Something like a flung beermug. Then comes a five-ring circus of action.

Braun ducked. The beermug struck in foaming, splintering destruction. The backbar mirror dissolved in a chiming avalanche of glass.

The story opens not on a spaceship but in a bar, where Braun—angular as a stick-bug—stands alone, drinking while other customers edge away. The bartender-narrator, a veteran of way-station psychology, reads the room: Braun’s eyes still hold “that awful emptiness of space between the star-packs.” The tension is immediate and social: a survivor of the vanished Venture IV is treated like a pariah. When a man named Cutter whispers, “I had friends on the Venture IV,” Braun’s reply is blunt: “So did I. … I don’t know what happened to anybody.” The opening establishes a pattern of contested testimony and public suspicion that frames the entire narrative.

The Bar as Psychological Laboratory

The framing device—a bartender who has seen “people—most of them human—as they really are, and in all stages of emotion”—gives the story a clinical, observational tone. The narrator claims that tending bar on a way station is better than an academic degree in psychology. This perspective allows Mullen to present Braun’s trauma through external cues: the way customers avoid him, the “humorous half-defiant glint” in his eye, the pain in his voice. The bar becomes a stage where reputation is judged and guilt is assumed. The narrator’s voice is knowing but detached, offering no judgment of Braun’s truthfulness, only recording the social mechanics of suspicion.

Repeated Crossings and the Mirror Trap

Braun’s account of the Venture IV’s fate involves a series of baffling attempts to reach an alien ship. On his first try, the lifeboat returns to the Venture IV as if reflected. Topping speculates that space itself might act “like a mirror, reflecting back our own mass and the beam of our own light.” Braun’s second attempt is grim and deliberate: he memorizes faces and details, feeling he is leaving them forever. Yet the result is the same—he returns to the same ship, the same crew. The pattern suggests a spatial anomaly that defies known physics, but the story withholds any definitive explanation, leaving the reader as uncertain as the crew.

Unreliable Testimony and the Weight of Silence

The narrative is built on what Braun does not know. He repeats, “I don’t know what happened to anybody.” The authorities have heard his story; the bar patrons have not. The story’s tension comes from the gap between Braun’s insistence on ignorance and the public’s demand for answers. Mullen uses this gap to explore how communities treat survivors of unexplained disasters. The bartender notes that “if there’s a choice, they’ll guess the ugly thing, every time.” Braun’s isolation is not just physical but testimonial: he is a living question mark, and the story refuses to resolve him.

Readers should pay close attention to the framing narrator’s observations and to the repeated, nearly identical descriptions of Braun’s attempts to cross to the alien ship. The story’s power lies not in a revealed secret but in the sustained ambiguity of what happened—and in the social consequences of that ambiguity. Mullen’s use of a bartender as a psychological observer gives the tale a grounded, skeptical tone that resists easy answers.

Years at this desk, and still I think of Braun, alone at that bar, his truth bending like light through the station’s glass. The isolation in The Voyage of Vanishing Men was never about space, but presence being doubted. A quiet kinship lives in The Brave Walk Alone — Background and Themes, where courage merely means holding one’s own story against the vast, indifferent quiet. Both simply sit with their loneliness, unflinching.

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