A Mixture of Genius — Story, Setting & Ideas

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In Category - Social Speculation
Orban, Paul, 1896-1974 [Illustrator], Castle, Arnold Project Gutenberg 2010 Not confirmed
Science fiction; Short stories; Fathers and sons -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 9,059
Reading time 40 min
Text sections 1

The source record for A Mixture of Genius — Story, Setting & Ideas measures this digital text at 9,059 words, 40 min estimated reading time, and 1 detected text section.

The text analysis averages about 14.0 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 science fiction story in which Senator Vance Duran learns of a pattern of extraordinary, often dangerous, achievements by teenagers, including a nuclear fission society, a winged alligator, and a transcontinental scavenger hunt, forcing him to reconsider his son's recent misadventure.
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Editorial Edition Score 4.4/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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Duran had intended quite bluntly to explain that he had more important business. But there was something compelling about the man's apparently ingenuous urgency that caused the senator to change his mind.

"Okay, Loeffler. I'll be right over."

He broke the contact and told Woodvale to dial his home number.

"Ernie, this is Dad," he said at the sound of his younger son's voice. "Tell Mother I'm going to stop off at the Attorney General's office--that's right--but that I'll be home in plenty of time to get ready for the dinner. Got that? That's right. How's school? Something wrong? Okay, son, I'll see you later."

Ernie had said that everything was all right, but with an uneasiness in the way he spoke. Grades, maybe, Duran thought. The boy had been doing pretty well, almost as well as Roger, but was showing the inevitable adolescent ramifications of interest. Duran found himself musing briefly upon his own youthful extra-curricular forays up the tree of knowledge and sighed.

"Go to the capitol building, Jack," he said.

"Which port should I use, sir?" the younger man asked.

"The official one," Duran told him. This was Loeffler's idea.

The senator was surprised to find one of the Attorney General's harried-looking secretaries working late. She glanced up from her typewriter and gave him an equivocal smile of recognition.

"He's expecting you, Mr. Senator," she said, nodding toward the inner office. "Go right in."

Sigmund Loeffler was not alone. But the two other visitors were paled by the aura of importance which emanated from the large black-haired man behind the desk. He rose grandly at Duran's entrance, and without bothering to shake hands proceeded with introductions.

"Fritz Ambly, Senator Vance Duran. Fritz," he explained, "is chairman of the state Youth Welfare Board."

Duran took the thin hand which the other extended to him and noted the concern on the man's slim freckled face. His features were appropriately almost those of a child, but of a worried child.

"And Bob Duff, Senator Duran," Loeffler went on. "Bob is head of our Civil Defense now."

The second man was, in contrast, short and homely, but not without a touch of the other's anxiety.

"Well, gentlemen, you're welcome to stay if you wish," the Attorney General told them. "I'll have to repeat all the facts to Senator Duran, of course."

"I'd better be off," Ambly said. "Perhaps I'll see you at the Governor's tonight?"

"Not me, I'm afraid," Loeffler told him. "The DA and I have a little problem to work out together. I'll call you both tomorrow about the press release."

"We can't wait too long," said Duff. "Rumors can be a lot worse than the truth. Especially about something like this. In fact, I don't see the point in waiting at all."

"Tomorrow, Bob. Tomorrow," Loeffler promised. "Noon at the latest."

His heavy smile faded as the two visitors closed the door behind them. With an unthrottled groan, he lowered himself into the chair and turned his dark gaze upon the senator.

"They think _they_ have troubles," he said.

"And you think _I_ have," Duran returned, seating himself.

"I know _you_ do. Unfortunately I happen to share them to some extent."

He paused to relight the stub of a cigar, then went on.

"It's a crazy world we live in, Vance. Things change. Sometimes it's hard for us adults to keep up with it. The kids seem to, though."

Duran tried to appear suavely bored with the other's musings. But in spite of himself he could sense his gaze becoming intently expectant. Whatever connection there might be between himself, Ambly, and Duff completely eluded him. And that elusive connection had aroused his curiosity.

"Yeah, they keep up with things, all right," Loeffler went on. "And sometimes they get some pretty big ideas."

He halted, puffed thoughtfully, then barked:

"Remember Mel Skinner's lodge out on that island in Wakataoga Lake? Big Spanish-style place. Built it for that wife of his he brought back from Chile or somewhere."

"Yes, I remember it. Molly and I spent a weekend there a couple of years ago. Why?" the senator asked, realizing more than ever how much he disliked Sigmund Loeffler. "What are you getting at?"

"Well, the next time you go you'd better take along some sleeping bags," said Loeffler. "Because the house isn't there anymore."

"Okay," Duran said, strangely anxious. "Let's forget the riddles and get down to business. What happened to Mel Skinner's hacienda?"

The Attorney General stared at his guest for a moment, before remarking harshly:

"A bomb, you mean?" Duran asked.

"Oh, no, no--nothing so crude as that. This was a guided missile. With a warhead."

The senator was thinking fast now, but still the pattern eluded him.

"Not an act of war, surely?" he remarked.

The story opens with Senator Vance Duran returning home on a transcontinental airliner, his attention divided between legislative reports and the ritual of political appearances. The initial scenes establish a familiar world of airport greetings, evasive press answers, and gubernatorial dinners, but the narrative quickly pivots when Duran is drawn into a private discussion about a series of alarming incidents involving teenagers. The structure moves from public to private, from the known to the unsettling, as the senator is confronted with evidence that his own son's trouble is part of a larger, more puzzling phenomenon.

From Airport to Governor's Study

The story's opening movement is carefully paced. Duran's arrival at Stevenson Airport is rendered with specific, mundane details: the red light going off, the mobile escalator, the shuttle car. The dialogue with reporters is clipped and political, full of non-answers and calculated grimaces. This public scene gives way to a more intimate conversation with an old friend, Wayne, and then to the Governor's study, where the real subject emerges. The shift in setting—from the open tarmac to a closed room—mirrors the shift in tone. The reader, like Duran, is eased into the ordinary before the extraordinary is introduced.

A Catalog of Adolescent Ingenuity

Fritz Ambly, the Governor's aide, presents a series of cases that form a pattern. Each incident is described with a mix of clinical detail and dark humor: fifty teenaged "copter jockeys" staging a transcontinental scavenger hunt that results in seventeen collisions; a sixteen-year-old biologist carrying a deadly bacteria strain in an aspirin bottle; two seventeen-year-olds using genetic exchange to breed "alli-bats" that escape into the Everglades. The most startling case involves the Nuclear Fission Society of Urania, Nevada, whose members were assembling a workable atomic bomb. Ambly's recitation is methodical, each example building on the last, and Duran's reactions—from skepticism to unease—guide the reader's response.

The Pattern Beneath the Surface

What makes these incidents cohere is not just their strangeness but the way they are framed. Ambly notes that ninety percent of such cases are suppressed, either for national security or because parents are influential enough to squelch the story. The Governor admits they would have sat on Duran's son's case if they could. This meta-commentary on how information is controlled adds a layer of social speculation. The story is less about the individual feats than about the collective phenomenon—and the reluctance of adults to acknowledge it. Duran's growing awareness is the narrative's engine, and the reader is left to wonder what this pattern means for the future.

Recurring Images of Flight and Containment

Throughout the excerpts, images of flight and containment recur. The story begins with an airliner settling onto a runway; later, teenaged copter jockeys take to the skies, and winged alligators escape into the everglades. The atomic bomb is contained only because a father asks too many questions. Duran himself is constantly in transit, shuttling between Washington and home, between public and private roles. These images suggest a tension between youthful ambition and adult control, between breaking free and being held back. The structure of the story—moving from airport to study, from public to private—reinforces this theme of movement and constraint.

Readers should pay attention to how the story uses its settings—the airport, the governor's study, the reported incidents—to create a sense of escalating unease. The narrative does not resolve the pattern it uncovers; instead, it leaves Duran (and the reader) at the threshold of a larger question. The story rewards attention to its structure of revelation, where each new piece of information reframes what came before.

There’s something tender about Senator Duran watching those impossible teens and thinking of his own son. It reminds me that the strangest sparks often come from quiet homes, not grand stages. The same wistfulness lingers in Tea Tray in the Sky — Story, Setting & Ideas, where wonder hides in domestic corners. I still think about both long after closing the page.

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