Home is Where You Left It — Text and Context
Edition facts
For Home is Where You Left It — Text and Context, the stored edition analysis reports 7,508 words, 33 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.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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
She was a woman now....
"Steve Cantwell?" Mary said. "Of course I remember. Hello, Steve. I--I'm sorry you had to come back at a time like this. I'm sorry about your aunt. If there's anything I can do...."
Steve shook his head, then shook the hand she offered him. She was a slim, strong girl with a firm handshake. Her concern for him at a time like this was little short of amazing, especially since it was completely genuine.
Tobias Whiting said: "Shame of it is, Cantwell, some of us could get along with the Kumaji. I had a pretty good business here, you know that." He looked with bitterness at the dusty file of refugees. "But I never got a credit out of it. Wherever we wind up, my girl and I will be poor again. We could have been rich."
Steve asked, "What happened to all your profits?"
"Tied up with a Kumaji moneylender, but thanks to what happened I'll never see it again."
Mary winced, as if her father's words and his self-pity were painful to her. Then others came up and a few minutes were spent in back-pounding and hand-shaking as some of the men who had been boys with Steve came up to recognize and be recognized. Their greeting was warm, as Tobias Whiting's had been cool. Despite the knowledge of what lay behind all of them, and what still lay ahead, it was a little like homecoming.
But Steve liked Mary Whiting's warm, friendly smile best of all. It was comforting and reassuring.
Three days later, Tobias Whiting disappeared.
The caravan had been making no more than ten or fifteen miles a day. Their water supply was almost gone but on the fourth day they hoped to reach an oasis in the desert. Two of the older folks had died of fatigue. A third was critically ill and there was little that could be done for him. The food supply was running short, but they could always slaughter their camels for food and make their way to Oasis City, still four hundred and some miles away, with nothing but the clothes on their backs.
And then, during the fourth night, Tobias Whiting disappeared, taking Steve's unicopter. A sentry had heard the low muffled whine of the turbojets during the night and had seen the small craft take off, but had assumed Steve had taken it up for some reason. Each day Steve had done so, reconnoitering for signs of the Kumaji.
"But why?" someone asked. "Why?"
At first there was no answer. Then a woman whose husband had died the day before said: "It's no secret Whiting has plenty of money--with the Kumaji."
None of them looked at Mary. She stood there defiantly, not saying anything, and Steve squeezed her hand.
"Now, wait a minute," one of Whiting's friends said.
"Wait, nothing." This was Jeremy Gort, who twice had been mayor of the colony. "I know how Whiting's mind works. He slaved all his life for that money, that's the way he'll see it. Cantwell, didn't you say the Kumaji were looking for us, to kill us?"
"That's what I was told," Steve said.
"All right," Gort went on relentlessly. "Then this is what I figure must have happened. Whiting got to brooding over his lost fortune and finally decided he had to have it. So, he went off at night in Cantwell's 'copter, determined to get it. Only catch is, folks, if I know the Kumaji, they won't just give it to him--not by a long sight."
"No sir. They'll trade. For our location. And if Whiting went off like that without even saying good-bye to his girl here, my guess is he'll make the trade." His voice reflected some bitterness.
Mary went to Gort and slapped his face. The elderly man did not even blink. "Well," he asked her gently, "did your pa tell you he was going?"
"N-no," Mary said. There were tears in her eyes, but she did not cry.
Gort turned to Steve. "Cantwell, can he get far in that 'copter?"
Steve shook his head. "Ten or fifteen miles is all. Almost out of fuel, Mr. Gort. You saw how I took her up for only a quick mile swing each day. He won't get far."
"He'll crash in the desert?"
"Crash or crash-land," Steve said.
Mary sobbed, and bit her lip, and was silent.
The story opens with Steve Cantwell arriving at a deserted mud-brick village on Sirius' second planet, where the well has been poisoned. The prose immediately establishes a harsh setting: the Sirian sun is "searing, parching," and the water is so bitter that Steve stuffs his mouth with sand to counteract the poison. A single Kumaji, withered and with "enormous red-rimmed eyes," confirms that everyone is gone. The opening uses sensory detail—heat, taste, the creak of the winch—to ground the reader in Steve's physical experience of loss.
Memory and Place
The narrative weaves Steve's childhood memories into the present desolation. He recalls the well where all families drew water, the mud-brick house he shared with his aunt after his parents were killed in a Kumaji raid, and the community center where he spent his happiest hours. These recollections are not sentimental; they are triggered by specific objects—the well, the house, the square—and they underscore the gap between past safety and present danger. The text does not explain why Steve left or how long he was away, but the contrast between remembered community and current emptiness is sharp.
The Weight of a Decision
Midway through the excerpts, the focus shifts to a moral dilemma. Tobias Whiting, a colonist captured by the Kumaji, is willing to betray the location of a fleeing Earth caravan to save his daughter Mary. Steve must decide whether to kill Whiting to prevent the betrayal. The prose becomes terse and physical: Steve's hands find Whiting's throat, but he pauses deliberately to make Whiting cry out, drawing a guard into the tent. The fight is described in short, violent actions—"Death for the Kumaji guard—or death for the fleeing Earthmen." The text does not resolve whether Steve's plan is sound; it only shows him acting under pressure.
Violence and Its Cost
The struggle in the dark tent is rendered with brutal economy. Steve and the guard fall together on the sand; the guard stabs blindly with a pike, kicking up sand. When the guard's legs stop drumming, Steve releases him, unsure if he has killed him. The narrative then reveals that Tobias Whiting has been accidentally stabbed by the guard's wild thrust. Steve's hands find the wound, blood rushing out, and he knows he cannot stop it. The scene avoids melodrama: Mary sobs, Whiting gasps out instructions to deceive the Kumaji, and Steve leads her away. The cost of survival is made explicit without commentary.
Uncertainty in the Final Pages
The excerpts cut off before the story's conclusion, leaving several threads unresolved. Steve and Mary escape the camp, but the fate of the Earth caravan, the success of Whiting's deception, and the ultimate destination of the survivors are not shown. The text also does not reveal whether Steve's childhood home is ever reclaimed or if the colony is permanently lost. This incompleteness is not a flaw but a feature of the excerpted record: the reader must infer that the story likely ends with the pair fleeing into the desert, carrying the weight of Whiting's sacrifice. The narrative's focus on immediate action rather than resolution suggests a story more concerned with the moment of choice than with its aftermath.
Readers approaching this story for the first time should pay attention to how the setting—the poisoned well, the deserted village, the relentless sun—functions as both atmosphere and plot driver. The moral questions raised by Steve's actions are left for the reader to weigh, as the text does not offer easy judgments. The excerpts provide a complete arc of arrival, crisis, and escape, but the ending remains open, inviting speculation about what comes next.
The rain tapped the window while Cantwell’s poisoned well echoed something worn in me. Later, nearly by accident, I picked up The Highest Mountain — Reading Companion; its quiet grief didn’t feel like escape, but a softer place to rest the same heavy question.
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