Fly By Night — Inside the Classic

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In Category - Space Future
Emshwiller, Ed, 1925-1990 [Illustrator], Savage, Arthur Dekker Project Gutenberg 2010 Not confirmed
Science fiction; Short stories; Space flight -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,194
Reading time 36 min
Text sections 1

The catalog record for Fly By Night — Inside the Classic provides practical reading context through 8,194 words, 36 min estimated reading time, and 1 detected text section.

The text analysis averages about 16.4 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.

In Arthur Dekker Savage's 1954 story, a young couple on the first moon flight returns to find Earth changed. The narrative shifts from public spectacle to intimate survival, with precise details of training, landing, and a mysterious cavern.
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Editorial Edition Score 4.4/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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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

She looked at him with sudden coolness. "Impatient, Major?" She turned away quickly and he could feel her body stiffen.

Had he said something wrong? Or--the new thought was jarring disharmony: did he represent the end of this girl's--_his_ girl's--hopes for a conventional, happy marriage? Did she think him the altar of sacrifice, whereupon she would accrue the moralist's scorn and, tomorrow, attract only the lecherous? Or was it just an act? What, besides ship and instrument operation, had they taught her?

Grimly he listened to the President, who was then extolling their merits as though--well, as though they were some sort of laboratory specimens. "... acute hearing, 20/10 vision ... perfect health ... highest combination of intelligence and fast physical reactions ... exceptional bravery and loyalty." Cheers. "... intensive training ... youngest to receive their military ranks ... expert pilots ... _fittest humans for this attempt_."

Stubbornly, Ken continued to hold her waist. He watched the sun sneak around one stubby wing of the _Latecomer_. He'd need those glinting wings to land. Land? What were the actual odds against circling the moon and landing again on earth? That phase--and a lot of others--had never been discussed. The speeches were over and he put the thought from his mind. They were extending the mike to him, waiting for his farewell--or his last words?

Abruptly, ignoring the mike, he swung Carol up the ramp and crawled in through the port behind her.

In the narrow confines she slipped out of her uniform. She glanced at him once, quickly, then cast down her eyes. "You don't have to look, you know."

There was a hurt in his throat. "I want to look, Carol. I don't ever want to stop looking at you. I--" He choked off, tore his eyes from her and hurriedly began to get out of his uniform.

Hidden from the spectators outside, they divested themselves of all but filmy, clinging, chemically inert garb. Carol's body was sheathed in a kind of sarong. Ken wore a short, kilt-like affair. They pulled on soft, tough-soled sandals. The medics had insisted on this specific attire, but the psychologists had planned it that way. Their discarded clothing was dropped into a basket. Ken shoved it out the port, down the ramp, slammed and bolted the hatch. Then he stared at it. Clamped to the inner side were two knives: one was about the length of a bayonet, shaped like a saber; the other was half that length, and straight. Both were sheathed, with belts wrapped around checkered handles.

All his official instructions flashed through his head in an instant. All the technical data, instrument operation, procedures, emergency measures. There had never been mention of knives. Except--of course. Survival training. If he were unable to bring the ship to its proper destination, was forced down in uninhabited territory, a knife would be essential equipment. But so would a gun, fishing tackle, matches, clothing....

The ship's radio said, "Fourteen minutes to take-off."

Ken flung himself on the couch. Carol moved in quietly beside him.

"You understand, Carol," he said, "you're to touch no controls unless I'm unable to."

"You'll handle the cameras only, but you'll keep reminding me of every step to be taken, as though I'd forgotten, and make sure I answer sensibly each time."

Yes, _Ken_. A pulse throbbed in his temple.

They watched the crowd on the screen--scattered now, far from that area below and behind the ship which would be washed in radiation. They listened to the radio calling off the minutes before departure. Ken kept his thoughts on the structure of the space vessel, similar in many ways to vastly cheaper atmosphere models he and Carol had flown--separately--for hundreds of training hours. Behind them, and lining the inner hull, was a light, spongy wall protecting them from the atomic converters aft. The surrounding couch could be regulated to form a resilient cocoon during high-G acceleration and deceleration, or during periods of weightlessness. Forward were the controls, instruments and hooded viewport.

Escape velocity was not needed to pull away from gravity. With atomic engines and the new, low-mass shielding, fuel quantity was a problem of dollars only--and none had been spared for this voyage. The psychologists had seen to that.

"Eight minutes to take-off."

He started the atomic reactors, a mighty purring here in the sealed cabin. Gently, watching the instruments, he tested bow and stern rockets, matching fore and aft forces delicately, tentatively increasing stern thrust until the craft barely stirred in its silicone-greased, magnetized launching rack.

"Two minutes to take-off."

They placed their faces against soft masks in the couch, down through which they could watch the instruments, in a mirror, the video screen and bow viewport. The couch encompassed them, their arms in padded slots reaching to the controls.

"... thirty-four, thirty-three, thirty-two, thirty-one...."

The story opens with a public ceremony: a general introduces Carol and Ken, the first couple sent on a moon flight, to a cheering crowd and hungry video cameras. The narrative voice quickly turns inward, focusing on Ken's anger at being made a spectacle and his resentment of the military's manipulation. The prose shifts from broad, almost journalistic description to a tight, personal perspective, establishing a tension between public expectation and private experience.

From Spectacle to Survival

The early paragraphs present the flight as a media event, with the crowd's "roaring, cheering" and the cameras' "hollow, hungry eyes." But the voice soon narrows to Ken's thoughts: he recalls years of "rigorous, specialized training" and the teasing promise of Carol's presence. The language becomes more tactile—"he pulled Carol to his side and held her with an arm about her waist"—and the pace quickens as the couple lands on a ruined runway. The shift from public to private is marked by a change in sentence length: long, descriptive sentences give way to short, urgent commands like "Snug down, kitten, we're going in."

Time and Disorientation

After landing, the narrative dwells on temporal confusion. Carol notes that "it's been longer than a day" because of the time zones, but Ken insists on their own clock: "we've clocked a little over thirty-three hours." This exchange, with its catch in her throat and his gentle reply, reveals the story's interest in subjective versus objective time. The setting itself—a runway "littered with at least a hundred years' debris"—amplifies the disorientation. The prose lingers on sensory details: "warm, moist air," "incense of pine," and the "radioactive path" left by the ship. The pace slows here, allowing the reader to absorb the strange new world.

The Cavern and Its Secrets

The final excerpt introduces a labyrinthine cavern with "glass-enclosed bookshelves" and machines. The language becomes methodical: Ken and Carol move cautiously, with Ken buckling a knife and instructing Carol to do the same. The discovery of a recent campfire and a cut in the metal door injects tension. The prose uses short, action-oriented sentences: "He whipped the blade from its sheath." The cavern's contents—books, tools, instruments—hint at a hidden purpose, but the narrative withholds explanation. The voice remains focused on immediate actions, leaving the broader implications to the reader's inference.

The story's strength lies in its controlled shifts in pace and perspective. Readers should attend to how the narrative voice moves from public fanfare to private anxiety, and how temporal and spatial disorientation are rendered through concrete details. The cavern's inventory—books, machines, a rifle—suggests a survivalist logic that the story does not fully unpack in the excerpts, inviting speculation about what the couple will find.

The rain kept drumming on the eaves while I reread the cavern scene, that quiet terror of imagining home gone strange. It made me think of other lonely places, and somehow my hand drifted to The Merchants of Venus — Edition Insights, which I’d set aside months ago. Its slow, dusty corridors felt like a gentler echo of Savage’s emptiness.

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