Nice Girl with 5 Husbands — Reading Notes

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In Category - Social Speculation
Leiber, Fritz, 1910-1992, Bard, Philip, 1912-1966 [Illustrator] Project Gutenberg 2016 Not confirmed
Science fiction; Short stories; Time travel -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,499
Reading time 33 min
Text sections 1

Nice Girl with 5 Husbands — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 7,499 words, 33 min estimated reading time, and 1 detected text section.

The text analysis averages about 14.4 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.

Fritz Leiber's 1951 story follows artist Tom Dorset, stranded in a desert valley, who walks into a time wind that shifts him between 1950 and 2050. The narrative uses precise, playful prose to explore dislocation, group dynamics, and the relativity of adventure, with a balancing rock as a temporal anchor.
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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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Read the Text

She was barefoot and wearing a pale blue playsuit rather like a Grecian tunic. But most important, as she stood there toeing his rough shadow in the sand, there was a complete naturalness about her, an absence of sharp edges, as if her personality had weathered without aging, just as the valley seemed to have taken another step toward eternity in the space of an instant.

She must have assumed something of the same gentleness in him, for her faint surprise faded and she asked him, as easily as if he were a friend of five years' standing, "Tell now, do you think a woman can love just one man? All her life? And a man just one woman?"

Tom Dorset made a dazed sound.

His mind searched wildly.

"I do," she said, looking at him as calmly as at a mountain. "I think a man and woman can be each other's world, like Tristan and Isolde or Frederic and Catherine. Those old authors were wise. I don't see why on earth a girl has to spread her love around, no matter how enriching the experiences may be."

"You know, I agree with you," Tom said, thinking he'd caught her idea--it was impossible not to catch her casualness. "I think there's something cheap about the way everybody's supposed to run after sex these days."

"I don't mean that exactly. Tenderness is beautiful, but--" She pouted. "A big family can be vastly crushing. I wanted to declare today a holiday, but they outvoted me. Jock said it didn't chime with our mood cycles. But I was angry with them, so I put on my clothes--"

"To make it a holiday," she explained bafflingly. "And I walked here for a tantrum." She stepped out of Tom's shadow and hopped back. "Ow, the sand's getting hot," she said, rubbing the grains from the pale and uncramped toes.

"You go barefoot a lot?" Tom guessed.

"No, mostly digitals," she replied and took something shimmering from a pocket at her hip and drew it on her foot. It was a high-ankled, transparent moccasin with five separate toes. She zipped it shut with the speed of a card trick, then similarly gloved the other foot. Again the metal-edged slit down the front seemed to close itself.

"I'm behind on the fashions," Tom said, curious. They were walking side by side now, the way she'd come and he'd been going. "How does that zipper work?"

"Magnetic. They're on all my clothes. Very simple." She parted her tunic to the waist, then let it zip together.

"Clever," Tom remarked with a gulp. There seemed no limits to this girl's naturalness.

"I see you're a button man," she said. "You actually believe it's possible for a man and woman to love just each other?"

His chuckle was bitter. He was thinking of Elinore Murphy at Tosker-Brown and a bit about cold-faced Miss Tosker herself. "I sometimes wonder if it's possible for anyone to love anyone."

"You haven't met the right girls," she said.

"Girl," he corrected.

She grinned at him. "You'll make me think you really are a monogamist. What group do you come from?"

"Let's not talk about that," he requested. He was willing to forego knowing how she'd guessed he was from an art group, if he could be spared talking about the Vacation Fellowships and those nervous little cabins.

"My group's very nice on the whole," the girl said, "but at times they can be nefandously exasperating. Jock's the worst, quietly guiding the rest of us like an analyst. How I loathe that man! But Larry's almost as bad, with his shame-faced bumptiousness, as if we'd all sneaked off on a joyride to Venus. And there's Jokichi at the opposite extreme, forever scared he won't distribute his affection equally, dividing it up into mean little packets like candy for jealous children who would scream if they got one chewy less. And then there's Sasha and Ernest--"

"Who are you talking about?" Tom asked.

"My husbands." She shook her head dolefully. "To find five more difficult men would be positively Martian."

Tom's mind backtracked frantically, searching all conversations at Tosker-Brown for gossip about cultists in the neighborhood. It found nothing and embarked on a wider search. There were the Mormons (was that the word that had sounded like Martian?) but it wasn't the Mormon husbands who were plural. And then there was Oneida (weren't husbands and wives both plural there?) but that was 19th century New England.

"Five husbands?" he repeated. She nodded. He went on, "Do you mean to say five men have got you alone somewhere up here?"

"To be sure not," she replied. "There are my kwives."

"Co-wives," she said more slowly. "They can be fascinerously exasperating, too."

Fritz Leiber opens "Nice Girl with 5 Husbands" with a meditation on the relativity of adventure, immediately establishing a playful, speculative tone. The protagonist, Tom Dorset, is an artist on a fellowship, chafing against creative stagnation in a desert cabin cluster. Leiber introduces the central conceit—time winds—through a series of analogies: memory as a "tiny time breeze," the Marie Celeste as a possible victim of a "time gale." The specific mechanism is a monsoon-like wind near a balancing rock in the American Southwest, blowing a hundred years into the future at 10 a.m. and into the past at 2 p.m. daily. This opening blends scientific-sounding explanation with folkloric wonder, grounding the fantastic in concrete details like dust devils and mirages.

The Balancing Rock as Temporal Anchor

Leiber uses the balancing rock as a fixed point in both landscape and narrative. In the opening, Tom sees it fall and lie quarter-buried—a detail he dismisses as preoccupation, but which signals his displacement. Later, the rock reappears as a landmark described as "a wrecked spaceship" by Lois in 2050. This recurring image ties the two eras together without explicit explanation. The rock's physical instability mirrors the story's temporal instability: it falls, yet remains a reference point. Readers should note how Leiber withholds confirmation of the time shift, letting the rock's changed state speak for itself. The rock is never named or explained beyond its function; it simply is, a silent witness to the wind's operation.

Voice and the Relativity of Experience

Leiber's narrator adopts a wry, almost conversational tone, especially in the opening paragraphs. Phrases like "Adventure is relative to one's previous experience" and the direct address to the reader about time winds create an intimate, knowing voice. This voice contrasts with Tom's internal irritation—the "disparaging hisses of the grains of sand." The narrative shifts between omniscient explanation and close third-person focalization through Tom. When Tom arrives in 2050, the voice becomes more observational, noting details like the "beetle body" of the helicopter and the casual nudity of the group. The contrast between the narrator's calm exposition and Tom's growing unease generates tension. Readers should attend to how the narrative voice modulates between the two time periods, never fully committing to either as "real."

Social Dynamics and the Word "Loning"

In 2050, Tom encounters a group that uses the word "loning" for solitude. This invented term, along with the group's easy intimacy and lack of privacy, signals a changed social order. Lois asks if Tom has been "loning," and later offers him a chance to stay. The group's behavior—swimming nude, casual touching, collective decision-making—contrasts sharply with Tom's 1950s sensibilities. Leiber does not explain the society; instead, he lets dialogue and action imply norms. The word "loning" recurs only once, but it crystallizes the group's attitude toward individuality. Tom's attraction and discomfort are both evident. Readers should note how Leiber uses small linguistic cues to build a future society without lengthy exposition.

The Unseen Time Wind and Its Effects

Leiber never shows the time wind directly; it is described only in the opening analogy. Tom experiences it as a dust devil, a natural phenomenon. The wind's effects are inferred: the fallen rock, the changed landscape, the sudden appearance of a helicopter. When Tom asks the time and hears "Two," the word "sounded like a knell," signaling his dread of the return wind. The wind operates on a strict schedule, but its mechanics remain mysterious. Leiber emphasizes the wind's capriciousness—"sometimes a time wind is playful"—and its potential to go unnoticed. This ambiguity allows the story to function as both a literal time-travel tale and a metaphor for disorientation. Readers should consider how the wind's invisibility mirrors Tom's own uncertainty about what is real.

Leiber's story rewards attention to small details: the camera strap, the helicopter's "scarab" blue, the word "loning." These specifics build a world that feels both familiar and alien. The time wind is never explained beyond its schedule, leaving room for interpretation. As you read, note how Tom's perceptions shift between the two eras and how the group's casual acceptance of him contrasts with his own anxiety. The balancing rock, fallen yet still a landmark, may be the story's most telling image.

I remember Nice Girl with 5 Husbands as a story of time’s odd gentleness, how a wind can nudge a man between decades without malice. It stays with me beside A Man Obsessed — Text and Context, for both share that quiet ache of wanting to hold a moment still while it slips. Their kinship feels like two old friends nodding across a reading room.

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