A Man Obsessed — Text and Context
Edition facts
Before opening A Man Obsessed — Text and Context, the edition data offers a quick orientation: 46,852 words, 3 hr 24 min estimated reading time, and 5 detected text sections.
The text analysis averages about 12.4 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.
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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.
Read the Text
There was no mistaking the face, the hollow cheeks and the high forehead, the graying hair. It was the face he had seen in his dreams, the twisted lips, the evil, ghoulish face of the man he had hunted to the ends of the earth. For a fraction of a second he saw Paul Conroe, crouched at bay, and then the figure was gone, twisting through the crowd toward the door--
"Stop him!" Jeff swung savagely into the crowd, screaming at Bahr across the room. "He's heading for the street! Get him!" The gun kicked sharply against his hand as he fired at the moving head. Rising for an instant, it disappeared again into the sea of heads. A scream rose at the shot. Women dropped to the floor, glasses crashed, tables went over. Someone clawed ineffectually for Jeff's leg. Then, abruptly, the lights went out and there was another scream.
"The door, the door--Don't let him get out--"
Jeff plunged to the side of the room, wrenched open the emergency exit and plunged down the dark, narrow walkway to the street. He heard shots as he ran. Turning the corner of the building, he saw the tall figure running pell-mell down the wet street.
"There he goes! Get him!"
Ted Bahr hung from the door. He gasped as he held his side, his face twisted in pain. "He hit me," he panted. "He's broken away--" A jet car slid from the curb and whined down the street toward the fleeing figure. "He can't make it--I've got men on every corner in cars. They'll get him, drive him back--"
"But where's he going?" A sob of rage choked Jeff's voice. "She sold us out, the bitch. She fingered me when she saw him come in--" His whole body trembled and the words tumbled out, almost incoherent. "But he must know the streets are blocked. Where's he running?"
"You think I'm a mind reader? I don't know. There are no open buildings in the whole block but this place and the Hoffman Center. He can't go anywhere else and he can't get out of the block. We've got every escapeway sewed up tight. He'll have to come back here or be shot down out there."
They watched the gloomy street, tears of rage in Jeff's eyes. His hands shook uncontrollably and his shoulders sagged in exhaustion and defeat. The tavern door had burst open and people were crowding out. Jeff and Ted Bahr moved back into the shadows of the alleyway and waited and listened.
"There's got to be a shot!" Jeff burst out. "He couldn't have slipped through." He turned to Bahr frantically. "Could he have gone into the Center?"
"On what pretense? They'd throw him to the Mercy Men--or the booby hatch, one or the other. He'd know better than to try." The sandy-haired man sank down on his haunches and gripped his side tightly. "He'll be back or we'll hear the shooting. He couldn't have slipped through."
A three-wheeled jet car slid in to the curb, and a man came up to them, eyes wide. "Get him?"
Bahr scowled. "No sign. How about the other boys?"
The man blinked. "Not a whisper. He never reached the end of the block."
"Did you check with Klett and Barker?"
"They haven't seen a soul down here."
Bahr glanced at Jeff sharply. "How about the streets behind? Any chance of a breakthrough there?"
The man's voice was matter-of-fact. "It's airtight. He couldn't get through without somebody seeing him." He stepped back to the car and spoke rapidly into the talker for a moment or two. "Nothing yet."
"Damn. How about Howie and the boys inside the place?"
"Nothing from them either."
Jeff's face darkened. "The Hoffman Center," he said slowly. "He got into the Center, somehow. He must have."
"He'd have to have gilt-edged medical credentials to get in after hours. They don't mess around over there. And what would it gain him?"
Jeff peered at Bahr in the darkness. "Maybe he wanted to be thrown to the Mercy Men. Maybe he's figured that as a last resort, he'll go in and volunteer, make a stab at the Big Cash."
Bahr stared at the big man in horror. "Look--Conroe may be desperate, but he hasn't lost his mind. My God, man! He isn't crazy."
"Of course he's scared, but--"
Bahr shrugged angrily. "He'd have to be on his last legs to take a gamble like that."
The novel opens with Jeffrey Meyer in a stifling, crowded room, his body coiled and his pale gray eyes never still. The prose immediately establishes a taut, physical tension: his hand clenches a glass until knuckles whiten, his legs are knotted under the seat, and a shiver of chilly pleasure passes through him at the thought of Conroe coming. The voice is tightly focalized through Jeff's obsession, with short, breathlike sentences that mirror his anticipation. The setting—a future world sliding into narcotics-mania and gambling fever—is sketched in broad strokes, but the narrative's energy is entirely absorbed by Jeff's internal state and the imminent trap.
A Voice of Tense Interiority
The narrative voice stays close to Jeff's consciousness, rendering his thoughts in a clipped, urgent register. Phrases like his mind raced frantically and he found nothing reveal a protagonist who is both calculating and cornered. When Dr. Schiml warns him against falsifying tests, Jeff's internal retort—Don't worry about that, Jack. I won't be around long enough—shows a brittle bravado that undercuts his control. The prose often breaks into short, staccato sentences during moments of stress: His nerves tingled all over and his mind was full of conjecture—wild, ridiculous guesses. This technique keeps the reader locked in Jeff's immediate, anxious present.
Pace Shifts: From Stalking to Testing
The opening chapter moves at a predatory crawl, with Jeff waiting and watching. The pace is slow, almost static, built on sensory details: the stifling air, the crowd, the cool plastic handle of the gun. Once Jeff enters the Hoffman Medical Center, the rhythm accelerates into a rapid-fire exchange of questions and medical procedures. The testing sequence—physical stamina, mental alertness, reaction time—is delivered in a breathless list, and Jeff's internal calculations become more frantic. The shift from hunter to potential guinea pig creates a vertiginous change in pace, as the narrative speeds up while Jeff's options narrow.
Recurring Details: The Gun, the Dice, the Block
Three objects anchor Jeff's obsession. The gun appears early: he caressed the cool plastic handle, a tactile reminder of his purpose. Later, Jeff worries that the tests might reveal the dice—a reference to a fraud he is maintaining, though the excerpts do not clarify its nature. The most telling detail is his lie about a hypnotic block: Psychic block of some kind—induced in childhood, probably. My father had a block against it too. This fabricated excuse, delivered swiftly, shows Jeff's improvisational skill and his fear of being exposed. The block becomes a recurring point of tension, as Dr. Schiml's probing threatens to unravel Jeff's cover.
Readers should pay close attention to the gaps in Jeff's internal monologue—what he chooses not to think about. The narrative withholds the full nature of his obsession and the history with Conroe, leaving the reader to piece together motives from Jeff's defensive reactions. The medical testing scenes reward careful reading: each question from Dr. Schiml is a potential trap, and Jeff's answers are layered with deception. The novel's power lies in this cat-and-mouse game, where the hunter becomes the subject of an experiment he cannot control.
There is a strange, quiet kinship between Jeffery’s clinical dread in A Man Obsessed and the other book’s patient cataloguing of human frailty. Both understand how a body becomes a text we misread. I often find them side by side now, spines worn, whispering about the cost of looking too closely. Name Your Symptom — Background and Themes sits like an old friend to that honest, uncomfortable gaze.
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