Sam, This Is You — Story, Setting & Ideas
Edition facts
Sam, This Is You — Story, Setting & Ideas can be approached with a clearer sense of reading commitment from its source measurements: 10,185 words, 45 min estimated reading time, and 2 detected text sections.
The text analysis averages about 15.5 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.
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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
Sam thought quite right. It seemed even abstracted. And Sam was at once sweating from the pure unreasonableness of the situation and conscious that he rated congratulation for the highly technical device he had built. After all, not everybody could build a time-talker!
He said with some irony, "If you're too busy to talk--"
"I'll tell you," replied the voice from the twelfth of July, gratified. "I am kind of busy right now. You'll understand when you get to where I am. Don't get mad, Sam. Tell you what--you go see Rosie and tell her about this and have a nice evening. Ha-ha!"
"Now what," asked Sam cagily, "do you mean by that 'ha-ha'?"
"You'll find out," said the voice. "Knowin' what I know, I'll even double it. Ha-ha, ha-ha!"
There was a click. Sam rang back, but got no answer. He may have been the first man in history to take an objective and completely justified dislike to himself.
But presently he grumbled, "Smart, huh? Two can play at that! I'm the one that's got to do things if we are both goin' to get rich."
He put his gadget carefully away and combed his hair and ate some cold food around the house and drove over to see Rosie. It was a night and an errand which ordinarily would have seemed purely romantic. There were fireflies floating about, and the Moon shone down splendidly, and a perfumed breeze carried mosquitoes from one place to another. It was the sort of night on which, ordinarily, Sam would have thought only of Rosie, and Rosie would have optimistic ideas about how housekeeping could, after all, be done on what Sam made a week.
They got settled down in the hammock on Rosie's front porch, and Sam said expansively, "Rosie, I've made up my mind to get rich. You ought to have everything your little heart desires. Suppose you tell me what you want so I'll know how rich I've got to get."
Rosie drew back. She looked sharply at Sam. "Do you feel all right?"
He beamed at her. He'd never been married and he didn't know how crazy it sounded to Rosie to be queried on how much money would satisfy her. There simply isn't any answer to the question.
"Listen," said Sam tenderly. "Nobody knows it, but tonight Joe Hunt and the Widow Backus are eloping to North Carolina to get married. We'll find out about it tomorrow. And day after tomorrow, on the Fourth of July, Dunnsville is going to win the baseball game with Bradensburg, seven to five, all tied till the ninth inning, and then George Peeby is going to hit a homer with Fred Holmes on second base."
Rosie stared at him. Sam explained complacently. The Sam Yoder in the middle of the week after next had told him what to expect in those particular cases. He would tell him other things to expect. So Sam was going to get rich.
Rosie said, "Sam! Somebody was playing a joke on you!"
"Yeah?" Sam answered comfortably. "Who else but me knows what you said to me that time you thought I was mad at you and you were crying out back of the well-house?"
"And nobody else knows about that time we were picnicking and a bug got down the back of your dress and you thought it was a hornet."
"Sam Yoder!" wailed Rosie. "You never told anybody about that!"
"Nope," said Sam truthfully. "I never did. But the me in the week after next knew. He told me. So he had to be me talking to me. Couldn't've been anybody else."
Rosie gasped. Sam explained all over again. In detail. When he had finished, Rosie seemed dazed.
Then she said desperately, "Sam! Either you've t-told somebody else everything we ever said or did together, or else--there's somebody who knows every word we ever said to each other! That's awful! Do you really and truly mean to tell me--"
"Sure I mean to tell you," said Sam happily. "The me in the week after next called me up and talked about things nobody knows but you and me. Can't be no doubt at all."
Rosie shivered. "He--he knows every word we ever said! Then he knows every word we're saying now!" She gulped. "Sam Yoder, you go home!"
Sam gaped at her. She got up and backed away from him.
"D-do you think," she chattered despairingly, "that I--that I'm g-going to talk to you when s-somebody else--listens to every w-word I say and--knows everything I do? D-do you think I'm going to _m-marry_ you?"
The story opens with a direct address to the reader, warning that the tale is not to be believed—and that the protagonist, Sam Yoder, would deny it. This framing sets a playful, conspiratorial tone. The first scene places Sam up a telephone pole, a lineman for a small company, trying to fix a dead party line. When his phone rings on a dead line, the voice on the other end claims to be Sam himself, calling from ten days in the future. The voice is familiar but unplaceable, and the conversation is marked by a mix of irritation and curiosity. The premise is established quickly: time-talking, not time-travel, enabled by a broken line.
A Voice from the Future
The opening pages introduce the central gimmick: Sam receives a call from his own future self, who warns him not to hang up. The future Sam speaks in a persuasive, almost teasing tone, insisting that they are the same person. The conversation is laced with specific details—the date, the location, the dead line—that ground the fantastic premise in mundane reality. Sam’s reaction is skeptical but not dismissive; he is annoyed but curious. The dialogue reveals that the future Sam has a plan: he wants to help his past self avoid a mistake. The reader is left to wonder what that mistake might be, and how a phone call across time could change it.
Rosie and the Tightening Noose
As the story progresses, Sam’s fiancée Rosie becomes a central force. She is introduced as the one who urged Sam to make something of himself, and she quickly takes charge when Sam confesses the future call. Rosie’s reaction is practical and fierce: she decides to keep Sam under constant surveillance to prevent him from becoming a criminal. The middle excerpts show her riding with Sam in his truck, a monkey wrench in her pocket, enforcing a strict code of conduct. Their interactions are tense and witty, with Sam complaining that they act like old married people without the fun. Rosie’s determination is matched by her frustration, and the dynamic between them drives much of the story’s emotional weight.
The Near-Crash and Its Aftermath
A key turning point occurs on July 11, when Rosie, driving Sam’s truck in a rage, nearly crashes into a parked car. The scene is vivid and chaotic: the truck hits with the noise of empty oil drums falling downstairs, and both are shaken but unhurt. This moment crystallizes the tension between them—Rosie’s fear that Sam will become a scoundrel, and Sam’s helplessness against a future he hasn’t chosen. The accident also forces them to confront the paradox: even if Sam avoids crime, the future Sam will still know everything they do. The excerpt ends with Sam worrying about explaining the damage to the telephone company, a mundane concern that contrasts sharply with the cosmic stakes.
The Limits of the Excerpts
The provided text cuts off before the resolution, leaving key questions unanswered. How does Sam avoid the criminal path? What role does the future Sam play? The excerpts suggest a tight timeline—the call came on July 2, and the future Sam exists on July 12—but the mechanics of time-talking are not fully explained. The story’s structure relies on a countdown, with each day bringing Sam closer to his potential fate. Readers should pay attention to small details: the party line, the dead spots, and the way Sam’s knowledge of the future affects his choices. The ending may hinge on a clever twist or a simple act of will.
This story is best read as a puzzle box, where the rules of time-talking are revealed gradually. Pay attention to what the future Sam knows and what he withholds. The romance between Sam and Rosie is not a subplot but the engine of the plot—her suspicion and loyalty shape every decision. The excerpts offer a complete arc of tension but not the payoff; the final pages likely resolve the paradox in a way that rewards close reading. Approach it as a tight, character-driven speculation rather than a technical treatise on time travel.
There’s a moment in Sam, This Is You where the past feels less like a fixed place and more like a soft, shifting signal. It reminded me of something quieter, a certain Proof of the Pudding — Context and Discussion, where the taste of a choice lingers long after the scene ends. Both feel like sitting alone with a dial tone, wondering which version of yourself just hung up.
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