Let There Be Light — Context and Discussion

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In Category - Machines Invention
Fyfe, H. B. (Horace Bowne), 1918-1997 Project Gutenberg 2010 Not confirmed
Science fiction; Short stories; Apocalyptic fiction; Regression (Civilization) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 5,449
Reading time 24 min
Text sections 1

Let There Be Light — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 5,449 words, 24 min estimated reading time, and 1 detected text section.

The text analysis averages about 17.8 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 a post-apocalyptic world, a group of men fells a tree to ambush a passing machine, revealing a society that has regressed to manual labor while remnants of automated infrastructure still function. The story explores human ingenuity and the tension between survival and the lost knowledge of the past.
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Editorial Edition Score 4.3/5

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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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They were quiet, watching Sid peer out through narrowly parted brush of the undergrowth. Blackie fidgeted behind him. Finally, he reached out as if to pull the other aside, but at that moment Sid released the bushes and crouched.

The others, catching his warning glance, fell prone, peering through shrubbery and around tree trunks with savage eyes.

The distant squawk of a jay became suddenly very clear, as did the sighing of a faint breeze through the leaves overhead. Then a new, clanking, humming sound intruded.

A procession of three vehicles rolled along the highway at an unvarying pace which took no account of patches or worn spots. They jounced in turn across a patch laid over a previous, unsuccessful patch, and halted before the felled tree. Two were bulldozers; the third was a light truck with compartments for tools. No human figures were visible.

A moment later, the working force appeared--a column of eight robots. These deployed as they reached the obstacle, and explored like colossal ants along its length.

"What're they after?" asked Mike, whispering although he lay fifty yards away.

"They're lookin' over the job for whatever sends them out," Blackie whispered back. "See those little lights stickin' out the tops o' their heads? I heard tell, once, that's how they're run."

Some of the robots took saws from the truck and began to cut through the tree trunk. Others produced cables and huge hooks to attach the obstacle to the bulldozers.

"Look at 'em go!" sighed Sid, hunching his stiff shoulders jealously. "Took us hours, an' they're half done already."

They watched as the robots precisely severed the part of the tree that blocked the highway, going not one inch beyond the gravel shoulder, and helped the bulldozers to tug it aside. On the opposite side of the concrete, the shoulder tapered off into a six-foot drop. The log was jockeyed around parallel to this ditch and rolled into it, amid a thrashing of branches and a spurting of small pebbles.

"Glad we're on the high side," whispered Mike. "That thing 'ud squash a guy's guts right out!"

"Keep listenin' to me," Blackie said, "an' you'll keep on bein' in the right place at the right time."

Mike raised his eyebrows at Vito, who thrust out his lower lip and nodded sagely. Sid grinned, but no one contradicted the boast.

"They're linin' up," Blackie warned tensely. "You guys ready? Where's that rope?"

Someone thrust it into his hands. Still squinting at the scene on the highway, he fumbled for the ends and held one out to Mike. The others gripped their clubs.

"Now, remember!" ordered Blackie. "Me an' Mike will trip up the last one in line. You two get in there quick an' wallop him over the head--but good!"

"Don't go away while we're doin' it," said big Sid. "They won't chase ya, but they look out fer themselves. I don't wanna get tossed twenty feet again!"

The eyes of the others flicked toward the jagged white scar running down behind Sid's right ear and under the collar of his jacket. Then they swung back to the road.

"Good!" breathed Blackie. "The rollin' stuff's goin' first."

The truck and bulldozers set out toward the city, with the column of robots marching a fair distance behind. The latter approached the ambush--drew abreast--began to pass.

Blackie raised himself to a crouch with just the tips of his fingers steadying him.

As the last robot plodded by, he surged out of the brush, joined to Red Mike by their grips on the twenty feet of rope. They ran up behind the marching machine, trailed by the others.

In his right hand, Blackie twirled the part of the rope hanging between him and Mike. On the second swing, he got it over the head of the robot. He saw Mike brace himself.

The robot staggered. It pivoted clumsily to its left, groping vaguely for the hindrance. Mike and Blackie tugged again, and the machine wound up facing them in its efforts to maintain balance. Its companions marched steadily along the road.

"Switch ends!" barked Blackie.

Alert, Mike tossed him the other end of the rope and caught Blackie's. They ran past the robot on either side, looping it in. Blackie kept going until he was above the ditch. He wound a turn of rope about his forearm and plunged down the bank.

A shower of gravel spattered after him as Mike jammed his heels into the shoulder of the highway to anchor the other end. Then he heard the booming sound of the robot's fall.

The story opens with a precise, physical action: two men attacking a tree trunk with axes, their sweat glistening in bright sunlight. The scene is set on a cracked highway, with a character named Blackie supervising, rubbing his short beard. The dialogue immediately establishes a post-catastrophe setting—references to "the last blitz" and machines that "run the machines" hint at a collapsed technological civilization. The men are not savages but organized, with a plan to ambush something that travels the road. The narrative voice is lean, favoring concrete details over exposition, and the pacing mirrors the rhythmic axe strokes.

Structure and the Rhythm of Labor

The story's structure is built around repeated, physical tasks. The opening axe work is a microcosm: the men take turns, relieve each other, and comment on the progress. This pattern of labor—chopping, waiting, watching—shapes the narrative rhythm. Fyfe uses short, declarative sentences and dialogue that is terse and functional. The men speak in fragments: "Pretty soon, now," "Think it'll bring them?" "Sure." This economy of language mirrors their stripped-down existence. The tree falling is a climax of effort, but it is immediately followed by a shift to concealment and waiting. The structure thus alternates between bursts of action and periods of tense stillness, a pattern that likely continues as the ambush unfolds.

Recurring Images of Decay and Persistence

Fyfe populates the landscape with images of decay: the "patched and cracked concrete," the "soft grass which was attempting another invasion of the gravel shoulder." Nature is reclaiming the road, yet the highway remains usable—a symbol of the old world's stubborn persistence. The men themselves are marked by wear: Red Mike's "semi-shaven stubble" marks him as "something of a dandy," a detail that suggests remnants of former vanity. The axes are "worn tools," and Mike's hunting knife is "worn thin by years of sharpening." These objects carry history. The tree chip that Mike picks up and smells—"It had a good, clean smell"—is a small, sensory detail that contrasts with the surrounding decay, hinting at a connection to a natural world that endures.

Movement Between Scenes: From Road to Ambush

The narrative moves deliberately through space. After felling the tree, Blackie leads the men "fifty yards up the road toward the ruined city—off to the side where a clump of trees and bushes provided shade and concealment." This shift from open road to hidden position is a key transition. The ruined city is mentioned but not described; it remains a distant, ominous presence. The men's movement is purposeful, and the setting—a highway, a tree, a bush—is minimal but functional. Fyfe uses the road as a stage: it is both a barrier (the tree blocks it) and a lure (the ambush waits). The spatial logic is clear, and the reader is positioned alongside the men, peering "over a bed of" something, cut off mid-sentence in the excerpt, which heightens the suspense.

Voice and the Language of Survival

The dialogue reveals a social hierarchy and a shared history. Blackie is the leader, making decisions and calming disputes. Mike is boastful and careless, while Sid is cautious. Their speech is colloquial and uneducated: "Aw, they ain't got the brains to notice." Yet they possess a practical intelligence—they know how to fell a tree, set an ambush, and read the road. The narrator's voice is neutral, reporting actions without judgment. The men's world is one of scarcity: they regret not bringing food, and the women are expected to have something ready. The story's title, "Let There Be Light," is ironic in this context of dimmed knowledge. The men are not heroes but survivors, and their ingenuity is grounded in the mundane details of their environment.

Readers should attend to the way Fyfe builds tension through small, physical details and the interplay between what the characters know and what they have forgotten. The story rewards attention to the objects—the axes, the knife, the tree—and the spaces they occupy. The incomplete excerpt leaves the ambush unresolved, but the pattern of labor and waiting suggests that the outcome will hinge on the same blend of crude tools and hard-won experience that defines the characters' lives.

That image of men straining against a fallen tree, their hands remembering what their minds half-forget, lingered long after I closed the book. It made me think of how we often hold onto the rituals of making even when the purpose blurs. The same quiet ache for lost context lives in Double or Nothing — Inside the Classic, a different kind of machinery humming beneath the surface. Strange, how certain absences echo across stories.

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