Mate in Two Moves — Story, Setting & Ideas
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Read the Text
She looked up from the editorial page and remarked, "You know, someone should do a research on the pathology of pantie raids."
Murt spooned sugar into his mug of coffee and stared at her. In their six months' association, it was the first facetious remark she had made in his presence. To this moment, he had held an increasing regard for her quiet efficiency, sobriety, professional dignity and decorum. True, she wore her white coat more tightly belted than was necessary and, likewise, she refused to wear the very low hospital heels that thickened feminine ankles. But she wore a minimum of come-hither in both her cosmetic and personality makeup. This startling remark, then, was most unexpected.
"Pantie raids?" he inquired. "Whatever would justify an inquiry into such a patently behavioristic problem?"
"The epidemic nature and its increasing virulence," she replied soberly. "This spring, the thing has gotten out of hand, according to this editorial. A harmless tradition at a few of the more uninhibited campuses has turned into a national collegiate phenomenon. And now secondary effects are turning up. Instructors say that intramural romance is turning the halls of ivy into amatory rendezvous."
Murt sipped his coffee and said, "Be thankful you aren't a psychiatrist. Bacterial mutations are enough of a problem, without pondering unpredictable emotional disturbances."
His assistant pursued it further. "It says the classrooms are emptying into the marriage bureaus, and graduation exercises this year will be a mockery if something isn't done. What's more, statistics show a startling increase in marriages at the high school level."
Murt shrugged broad shoulders that were slightly bent from long hours over a microscope. "Then be thankful you aren't an overworked obstetrician," he offered as an amendment.
She glanced up from the paper, with annoyance showing in her dark, well-spaced eyes. "Is it of no interest to you that several hundred thousand youngsters are leaving high school and college prematurely because they can't control their glands?"
"Be glad, then," Murt said coldly, "that you aren't an endocrinologist--now drink your coffee. I hear the microtome working. We'll have some business in a minute."
Dr. Phyllis Sutton rustled the pages of the _Times_ together, folded it up and threw it at the wastebasket with more vigor than was necessary. The subject was momentarily closed.
His staff position at High Dawn paid less, but the life suited Dr. Murt better than the hectic, though lucrative, private practices of many of his colleagues. He arrived at the hospital early, seven o'clock each day, to be on hand for quick tissue examinations during the morning operations. By ten, the biopsies were usually out of the way, and he spent the rest of the morning and early afternoon checking material from the bacteriology section and studying post-operative dissections of tumorous tissues and organs removed in surgery.
It was engrossing, important work, and it could be accomplished in a normal work-day, leaving the pathologist considerable leisure to study, read and relax. Shortly after the pantie-raid conversation with Phyllis Sutton, he found the evening paper attracting more than his usual quick perusal.
This emotional fuss in the young human animal was beginning to preoccupy the newspaper world. Writers were raising their eyebrows and a new crop of metaphors at the statistics, which they described variously as alarming, encouraging, disheartening, provocative, distressing, romantic or revolting, depending upon the mood and point of view.
As June, the traditional mating month, wore into July, national statistics were assembled to reveal that marriages were occurring at almost double the highest previous rate, that the trend was accelerating rather than diminishing.
Jewelers and wholesale diamond merchants chalked up fabulous increases in the sale of engagement and wedding settings. Clergymen and qualified public officials were swamped with requests for religious and civil marriage ceremonies.
Parks, beaches and drive-in theaters were jammed with mooning and/or honeymooning couples, and amusement parks began expanding their over-patronized tunnel-of-love facilities.
The boom in houses, furniture, appliances and TV was on, and last year's glut of consumer goods for the home was rapidly turning into a shortage.
All was not good news, however. The divorce courts reported their calendars stacked months ahead of time, and an increasing number of lurid headlines were devoted to the love-triangular troubles of the rich, famous and notorious. Love-nest exposes and bigamous marriages rocketed in number.
The whole world, adolescent and adult, was falling in love, with the inevitable unrequited infatuations, the jealousies, infidelities and the bitter-sweetness of wholesale, illicit, impossible love situations in which vulnerable people found themselves increasing astronomically.
Writers of popular newspaper psychology columns attributed the rampaging emotional fire to everything from mass-hysteria, caused by sunspots, to the paternalism of a government that gave increased income-tax deductions to married people.
Winston Marks opens 'Mate in Two Moves' with a wry premise: a virus that kills by making its victims fall in love. The first line—'Love came somewhat late to Dr. Sylvester Murt'—establishes both the ironic tone and the central character's emotional isolation. Marks immediately grounds the fantastic in the mundane: Murt is a 38-year-old resident pathologist at High Dawn Hospital, and the epidemic is first noticed not through dramatic symptoms but through a newspaper editorial about pantie raids. The author's diction shifts between clinical precision ('bacterial mutations,' 'rush biopsies') and colloquial observation ('the damnedest thing'), creating a voice that is both detached and engaged. This tension between professional objectivity and personal vulnerability drives the narrative from the outset.
Clinical Diction and Emotional Distance
Marks consistently uses medical terminology to frame emotional states, a choice that reinforces the story's central conceit. Murt describes his own feelings as 'infected, overstimulated glands' and refers to the virus as a clinical entity even as it afflicts him. The dialogue between Murt and his assistant Phyl Sutton is peppered with professional jargon—'biopsies,' 'blood tested,' 'syringe'—that contrasts sharply with the romantic tension. When Murt confesses his infection, he does so in a 'flat voice,' as if reporting a lab result. This clinical diction serves a dual purpose: it authenticates the medical setting and underscores the characters' attempts to maintain control. The author avoids sentimental language; even the bartender Curly describes his wife's jealousy in pragmatic terms: 'She calls me up six times a shift.'
The Virus as Social Mirror
Marks uses the epidemic to satirize social behaviors, particularly romantic jealousy and institutional panic. The editorial Phyl reads describes 'intramural romance' turning campuses into 'amatory rendezvous,' and Curly reports that the virus is 'running the distilleries dry.' The author's observations are precise: the epidemic causes 'an increase in industrial accidents, absenteeism and the rest of the social effects.' Marks does not simply describe a plague; he catalogues its secondary consequences—marriage bureaus overwhelmed, high school marriages rising, elevator boys driving themselves 'nuts' with mutual suspicion. The virus becomes a lens through which to examine existing social tensions, with the author's wry tone preventing the satire from becoming heavy-handed. The bartender's remark that 'everybody's in love with the wrong people—I mean ten times as bad as usual' encapsulates the story's dark humor.
Restrained Dialogue and Unspoken Tension
Marks crafts dialogue that reveals character through what is left unsaid. When Murt tells Phyl 'If I lay a finger on you, clobber me,' the bluntness masks deeper vulnerability. Phyl's response—'Oh, dear! That blonde at the restaurant....'—shifts the focus to a previous scene, suggesting a history of unspoken attraction. The author uses interruptions and abrupt shifts to convey emotional strain: Murt breaks off mid-sentence ('I've got all the symp—') and later snaps 'Don't do that!' when Phyl touches his shoulder. These moments of tension are rendered with economy; Marks does not overexplain. The dialogue between Murt and Curly is similarly layered: Curly's casual complaints about his wife's jealousy reveal the epidemic's domestic toll without explicit commentary. The author trusts the reader to infer the emotional weight beneath the characters' matter-of-fact exchanges.
Setting as Emotional Amplifier
Marks uses physical spaces to mirror psychological states. The hospital lab, with its 'scope' and 'syringe,' represents Murt's professional domain, yet it becomes the site of his personal crisis. The club bar, described through Curly's observations, serves as a social barometer of the epidemic's spread. Murt's apartment is notably absent; the story's action remains in institutional or public spaces, reinforcing the theme of private emotions intruding on public roles. The author's descriptions are functional but evocative: Phyl's 'white coat more tightly belted than was necessary' and her refusal to wear 'very low hospital heels' suggest a deliberate femininity that Murt has previously ignored. The window glass where Murt sees Phyl's 'reflection dimly' becomes a barrier between them, literalizing his attempt to keep distance. These details accumulate to create a world where the clinical and the personal are inextricable.
Marks's story rewards attention to its verbal and structural choices: the way medical jargon becomes a shield, how dialogue carries subtext, and how setting reinforces theme. Readers may find that the author's restraint—his refusal to sentimentalize or overexplain—creates a more unsettling portrait of love as a biological imperative. The incomplete excerpts leave the resolution unclear, but the narrative's strength lies in its precise, ironic observation of how people behave when their emotions are no longer their own.
Rereading Mate in Two Moves, I kept thinking about how the virus there doesn’t destroy but distorts—making love a clinical symptom. That odd, unsettling tenderness reminded me of a book I once stumbled upon, The Machine That Floats — Key Ideas to Explore, which orbits similar gravity: the mechanics beneath our most human impulses, drifting quietly. Strange, how two different worlds can echo one another.
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