Double or Nothing — Inside the Classic
Edition facts
For Double or Nothing — Inside the Classic, the stored edition analysis reports 10,670 words, 47 min estimated reading time, and 2 detected text sections.
The text analysis averages about 17.3 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.
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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
Artie looked at the gadget, sitting and whistling on the floor of the lab, then turned a bleak-but-still-hopeful glance my way. "Maybe--If we could make a _guy_ take on a cone-shape, and whirled him--"
"Sure," I muttered. "Bend over, grab his ankles, and fly anywhere in the world, with his torso and legs pivoting wildly around his peaked behind." I shook my head. "Besides the manifestly undignified posturing involved, we have to consider the other effects; like having his eyeballs fly out."
"If--If we had a bunch of men lie in a circle around a kind of Maypole-thing, each guy clutching the ankles of the next one...."
"Maybe they'd be weightless, but they _still_ wouldn't go _up_," I said. "Unless they could be towed, somehow. And by the time they landed, they'd be too nauseous to be of any use for at least three days. Always assuming, of course, that the weak-wristed member of the sick circlet didn't lose his grip, and have them end up playing mid-air crack-the-whip before they fell."
"So all right, it's got a couple of bugs!" said Artie. "But the principle's sound, right?"
"Well--Yeah, there you got me, Artie. The thing _cancels_ weight, anyhow...."
"Swell. So we work from there," He rubbed his hands together joyously. "And who knows what we'll come up with."
"_We_ never do, that's for sure," I mumbled.
But Artie just shrugged. "I like surprises," he said.
The end of the day--me working, Artie inventing--found us with some new embellishments for the machine. Where it was originally a sort of humped metal box (the engine went inside the hump) studded with toothbrush-bristle rows of counter-revolving cones (lest elementary torque send the machine swinging the other way, and thus destroy the thrust-effect of the cones), it now had an additional feature: A helical flange around each cone.
"You see," Artie explained, while I was torching them to order from plate metal, "the helices will provide _lift_ as the cones revolve."
"Only in the atmosphere of the planet," I said.
"Sure, I know. But by the time the outer limits of the air are reached, the machine, with the same mass-thrust, will have less gravity-drag to fight, being that much farther from the Earth. The effect will be cumulative. The higher it gets, the more outward thrust it'll generate. Then nothing'll stop it!"
"You could be right," I admitted, hammering out helix after helix on an electric anvil (another gadget of Artie's; the self-heating anvil--The Thermovil--had begun life as a small inspiration in Artie's mind for a portable toaster).
It was just after sunset when we figured the welds were cool enough so we could test it. Onto the scale it went again, I flicked the toggle, and we stood back to watch the needle as the cones picked up speed. Along with the original whistling sound made by the cones we began to detect a shriller noise, one which abruptly became a genuine pain in the ear. As Artie and I became somewhat busy with screaming (the only thing we could think of on the spur of the moment to counteract the terrible waves of noise assaulting our tympana), it was all at once much easier to see the needle of the scale dropping toward zero, as the glass disc facing the dial dissolved into gritty powder, along with the glass panes in every window in the lab, the house, the heliport, and the movie theatre. (Not to mention those of a few farmhouses a couple of miles down the highway, but we didn't find that out till their lawyers showed up with bills for damages.)
Sure enough, though, the thing lifted. Up it bobbed, like a metal dirigible with agonizing gas pains, shrieking louder by the second. When the plaster started to trickle and flake from the walls, and the fillings in my teeth rose to a temperature just short of incandescence, I decided it was time to cancel this phase of the experiment, and, with very little regret, I flung a blanket-like canvas tarpaulin up and over the ascending machine before it started using its helices to screw into the ceiling. The cones bit into the tarpaulin, tangled, jammed, and the machine--mercifully noiseless, now--crashed back onto the scale, and lost a lot of symmetry and a couple of rivets.
"What's Plan C?" I said to Artie.
"_Quiet!_" he said, either because I'd interrupted his thinking or because that was our next goal.
The story opens with the narrator, Burt, reflecting on his partnership with the inventor Artie Lindstrom, whose mechanical aptitude is matched only by his impracticality. Burt's voice is immediately distinctive: self-aware, sardonic, and resigned to being dragged into Artie's schemes. The first invention described, the Teletwist—an electronic jar-cap remover—establishes a pattern of clever but useless gadgets. The narrator's wry observation that a housewife already has a husband for that task sets the tone for the story's blend of technical specificity and humorous understatement.
The Narrator's Voice and Partnership Dynamic
The story is told in first person by Burt, who serves as both builder and straight man to Artie's inventor. Sharkey establishes their dynamic through contrasting descriptions: Artie has a “natural mechanical aptitude” but cannot handle tools without injury, while Burt has the knack for construction. The narrator's tone is colloquial and self-deprecating, as when he admits, “I don't know why I listen to Artie Lindstrom. Maybe it's because at times I'm as screwy as he is.” This voice carries the story, grounding the absurd premise in a relatable, humorous perspective. The partnership is presented as a recurring cycle: Artie invents, Burt builds, and disaster ensues. The Teletwist episode, with its total sales of seventeen, exemplifies the pattern of technical success and commercial failure.
Technical Precision and Escalating Crisis
Sharkey embeds the story's humor in precise technical details. The matter duplicator's output follows a mathematical progression: each batch takes twice as long to form and appears at a greater height. Burt calculates the formula “n × 20 = lag between loads in seconds” and notes that the materialization occurs within a “theoretical conical section” below the machine. This specificity makes the crisis feel plausible, even as the situation grows absurd—from cornflakes to bowls to napkins and toothpicks. The narrator's methodical observation of each load's timing and position contrasts with Artie's obliviousness, heightening the tension. The physical details, such as the hole in the lab ceiling and the mounting debris, ground the fantasy in concrete imagery.
Comic Timing and Setbacks
The story's structure relies on a series of escalating setbacks, each delivered with deadpan timing. After the narrator and Artie realize the machine is ascending uncontrollably, they attempt to drive for help, only to run out of gas on a deserted road. The farmer they encounter has a shotgun and a windowless house—a detail that suggests previous encounters with Artie's inventions. The repeated phrase “By the time” introduces each new obstacle: load twenty falls, then twenty-five, as the pair hitchhikes into town. Sharkey uses these delays to build suspense while maintaining a comic rhythm. The narrator's laconic summaries, such as “As usual with your inventions, we get on the phone and alert the government,” underscore the routine nature of disaster in their partnership.
Diction and Dialogue as Characterization
Sharkey differentiates the two protagonists through their speech. Burt's narration is filled with colloquial asides and mathematical precision, while Artie's dialogue tends toward vague enthusiasm and delayed comprehension. When Burt explains the cone-shaped materialization zone, Artie responds, “Fine. But so what?” Later, his exclamations—“Quick!” and “What'll we do?”—reveal his panic once the crisis becomes undeniable. The dialogue is natural and unadorned, relying on rhythm and repetition for effect. The narrator's internal commentary, such as “I would've said as much sooner, only you never listen until somebody supplies you with all the pertinent data on a crisis first,” provides a running critique of Artie's character. This interplay of voices drives the story's humor and keeps the reader engaged in the duo's misadventures.
Sharkey's story rewards attention to its narrative voice and structural pacing. The first-person perspective invites readers to share Burt's exasperation and amusement, while the technical details lend credibility to the increasingly improbable scenario. Readers may note how the author balances exposition with action, using the narrator's calculations to heighten suspense. The story stands as a compact example of mid-century science fiction humor, where character and dialogue take precedence over technological wonder.
Some days I still think about that cornflake cascade, how the smallest miscalculation can bury everything in absurdity. It reminded me of how quiet themes echo across different stories, like old friends meeting. There's a gentle companion in All That Goes Up — Themes and Context, and I found myself nodding along, remembering why such flawed inventions feel so painfully human.
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