Tickets to Paradise — Story, Setting & Ideas

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In Category - Space Future
James, D. L. (Daniel Lewis), 1911-1988, Kelly, J. [Illustrator] Project Gutenberg 2021 Not confirmed
Science fiction; Short stories; Time travel -- Fiction; Archaeologists -- Fiction; Iran -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 10,285
Reading time 45 min
Text sections 1

This digital edition of Tickets to Paradise — Story, Setting & Ideas is described by source-level measurements including 10,285 words, 45 min estimated reading time, and 1 detected text section.

The text analysis averages about 15.5 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 railroad construction man in Iran teams up with an archaeologist seeking a legendary Ice Stone, a time warp leading to a future where a robot named Eyoaoc Eiioiei warns of danger. The story blends 1940s pulp adventure with time travel and alien technology, narrated in a colloquial first-person voice.
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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

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.

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Read the Text

_The ice stone was a time warp, a pathway through 500,000 years!_

[Transcriber's Note: This etext was produced from Comet December 40. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

It all started at Bandar Shahpur. You see, I'm a railroad construction man. Our job was finished, and the whole outfit was waiting at Bandar Shahpur, which is on the inlet Khor Musa of the Persian Gulf, for a boat to take us back to America.

And there, out of nowhere, this Dr. Champ Chadwick showed up. He seemed to be starving for a little good old U.S.A. palaver, and I guess that's why we struck up an acquaintance.

"I've been doing a little digging over in Iraq," he said offhand. "But things quieted down there. So now I'm bound for the desert and mountains to the north of here. This railroad has opened things up. It's difficult to get an expedition financed, you know, and transportation is sometimes the chief item."

I began to catch on that he was one of those guys who dig up ruins and things, and read a country's whole past from what they find. Then he went on to tell that he'd been sent out by a university in Pennsylvania, but that this present trip was just a sudden idea of his own.

And as he talked I began to like Dr. Chadwick. He was a serious-faced, rawboned little guy--not half my size--with steady eyes, a firm chin, and black hair plastered down slick on his head. By and by he got around to mention that he was looking for a strong-backed man to take along with him.

"I intend to strike out from Qum, the holy city," he said. "I'll try to get hold of a motor-truck there--and one of these desert men to drive it. They're rotten drivers though," he added, "and next to a dead loss on a trip like this." Then he sighed. "But I'm getting used to 'em."

"What do you expect to find up there?" I asked.

"The usual thing," he answered, as if that ought to explain everything. "This country is full of ruins. It's so old, in fact, that sometimes I think that everything that can happen has already happened here, at one time or another. Take Qum, for instance. A few years back there were twenty thousand ruined and deserted buildings still standing. These walled towns are like coral islands, surrounded and upheld by the dust and decay of their own past. But I'm looking for something farther back--much farther back."

He paused, then suddenly his eyes brightened. "There's one thing, though. I may have a try at finding the Ice Stone."

"The Ice Stone?" I echoed. "And what's that?"

"Perhaps just a legend. It isn't likely you would ever have heard of it. It's supposed to be a black stone, a huge, square block, set in the side of a mountain. If a man touches it, his hand sinks in, and he can get loose only by amputating. The queer part is, there seems to be some basis for the legend. All down through Iran's history there are disconnected references. The thing keeps cropping up. Vague reports from wandering tribes, with one or more cripples, minus an arm or leg, to verify the yarn. So, I may take a shot at locating the Ice Stone."

Queer stories like that are quite common in Iran. Ordinarily I'd have laughed and forgotten it. But as I say, I'd taken a sort of liking to this serious-faced little Dr. Champ Chadwick. And when you like a man you're bound to think twice before discrediting what he believes in.

"So you'll be taking a ride over this crazy railroad," I remarked thoughtfully, somewhat later.

He nodded. "What makes you call it crazy?"

Well, I told him. Of course he already knew quite a lot about Iran's new railroad--the many-million dollar toy of the "Brother of the Moon and Stars," as the fancy-tongued Iranians like to call their shah. This road writhes and twists and climbs through eight hundred miles of queer, mountainous country--a country of mud and rocks and salt-swamps--and carefully avoids all the important towns. You see, the "King of Kings"--another pet name for Shah Pahlavi--is afraid some of his neighbors might get control of the road and use it against him. These same neighbors sneeringly refer to it as the road that leads from "nowhere to nowhere."

Perhaps they aren't far wrong. But this road was the reason for my meeting up with Dr. Champ Chadwick.

The story opens with a railroad construction man waiting at Bandar Shahpur on the Persian Gulf, a setting that immediately grounds the narrative in a specific time and place. The narrator's colloquial voice—'I'm a railroad construction man'—establishes a practical, no-nonsense perspective that contrasts with the fantastic elements to come. Dr. Champ Chadwick, an archaeologist, appears 'out of nowhere,' and their conversation reveals a quest for the Ice Stone, a legendary black block that traps anyone who touches it. The catalog subjects list 'Time travel -- Fiction' and 'Archaeologists -- Fiction,' and the excerpts confirm that the Ice Stone is indeed a time warp, leading to a future where a robot named Eyoaoc Eiioiei and a character named Rog Tanlu await.

Voice and Setting in the Opening

The narrator's voice is the story's most distinctive feature. He speaks in a direct, unpretentious manner, using phrases like 'I began to catch on that he was one of those guys who dig up ruins and things.' This vernacular style, reminiscent of pulp adventure fiction, creates an immediate sense of authenticity. The setting at Bandar Shahpur, a real port in Iran, is described with specific details: 'the inlet Khor Musa of the Persian Gulf.' The narrator's occupation as a railroad construction man ties him to the region's modernization, a theme echoed in Dr. Chadwick's comment that 'this railroad has opened things up.' The excerpts show that the story uses its Iranian setting not as mere backdrop but as a source of historical depth, with Chadwick noting that 'this country is full of ruins' and that 'everything that can happen has already happened here.'

The Ice Stone and Time Travel

The Ice Stone is introduced as a legend: 'a huge, square block, set in the side of a mountain' that traps those who touch it. Dr. Chadwick describes it as a 'time warp, a pathway through 500,000 years,' and the excerpts confirm that it functions as a portal to a future where a robot named Eyoaoc Eiioiei and a humanoid named Rog Tanlu exist. The robot is described in vivid, unsettling detail: 'a madhouse thing prancing on two jointed-metal legs, as thick as stovepipes, its eyes glinting ruby-red.' Its head 'wasn't attached in any visible manner to its short, squat body, but seemed to float.' This future world involves a conflict over the sale of 'tickets' to paradise, though the excerpts do not fully explain this concept. The time travel element is thus not a journey to the past but to a distant future, aligning with the catalog subject 'Time travel -- Fiction.'

Narrator's Reluctance and Moral Ambiguity

The narrator repeatedly expresses reluctance to get involved in the conflict. When Dr. Chadwick decides to help Rog Tanlu against 'an armed band of Marc's vassals,' the narrator thinks, 'I thought he was wrong. That fight—if there was going to be a fight—wasn't ours.' He admits, 'I still think so!' This persistent doubt creates a tension between the narrator's pragmatic self-interest and the adventure plot's demands. The excerpts show that the narrator is out of his depth, facing 'fountain-pen affairs' (advanced weapons) and a robot that 'was just as amazed and curious as I was.' This moral ambiguity—where the protagonist questions the heroics—is unusual for pulp science fiction and gives the story a reflective edge. The narrator's voice remains consistent throughout, grounding the fantastic events in a relatable, skeptical perspective.

The excerpts provide a clear sense of the story's opening and middle, but the resolution—whether the narrator and Dr. Chadwick survive, what the 'tickets to paradise' entail, and how the Ice Stone's time travel mechanics fully operate—remains unknown. Readers should pay attention to how the narrator's voice shapes the story's tone and whether his initial reluctance proves justified. The interplay between the mundane setting of 1940s Iran and the futuristic elements of robots and time warps is the story's central tension.

Somewhere between the dust of that Iranian railway and the hum of Eyoaoc’s warning, there’s a loneliness that sticks with you—the feeling of being out of step with your own time. I found myself thinking about that quiet ache afterward, and it led me back to Look to the Stars — Key Ideas to Explore, which sits with that same wondering, almost gently, like a hand on your shoulder.

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