Second Childhood — Key Ideas to Explore
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Second Childhood — Key Ideas to Explore can be approached with a clearer sense of reading commitment from its source measurements: 9,665 words, 43 min estimated reading time, and 1 detected text section.
The text analysis averages about 14.6 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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Read the Text
There was no normal way to die.
You lived as carelessly and as recklessly as you could and you hoped that you would be lucky and be accidentally killed.
You kept on living and you got tired of living.
"God, how tired a man can get of living!" Andrew Young said.
John Riggs, chairman of the immortality commission, cleared his throat.
"You realize," he said to Andrew Young, "that this petition is a highly irregular procedure to bring to our attention."
He picked up the sheaf of papers off the table and ruffled through them rapidly.
"There is no precedent," he added.
"I had hoped," said Andrew Young, "to establish precedent."
Commissioner Stanford said, "I must admit that you have made a good case, Ancestor Young. Yet you must realize that this commission has no possible jurisdiction over the life of any person, except to see that everyone is assured of all the benefits of immortality and to work out any kinks that may show up."
"I am well aware of that," answered Young, "and it seems to me that my case is one of the kinks you mention."
He stood silently, watching the faces of the members of the board. They are afraid, he thought. Every one of them. Afraid of the day they will face the thing I am facing now. They have sought an answer and there is no answer yet except the pitifully basic answer, the brutally fundamental answer that I have given them.
"My request is simple," he told them, calmly. "I have asked for permission to discontinue life. And since suicide has been made psychologically impossible, I have asked that this commission appoint a panel of next-friends to make the necessary and somewhat distasteful arrangements to bring about the discontinuance of my life."
"If we did," said Riggs, "we would destroy everything we have. There is no virtue in a life of only five thousand years. No more than in a life of only a hundred years. If Man is to be immortal, he must be genuinely immortal. He cannot compromise."
"And yet," said Young, "my friends are gone."
He gestured at the papers Riggs held in his hands. "I have them listed there," he said. "Their names and when and where and how they died. Take a look at them. More than two hundred names. People of my own generation and of the generations closely following mine. Their names and the photo-copies of their death certificates."
He put both of his hands upon the table, palms flat against the table, and leaned his weight upon his arms.
"Take a look at how they died," he said. "Every one involves accidental violence. Some of them drove their vehicles too fast and, more than likely, very recklessly. One fell off a cliff when he reached down to pick a flower that was growing on its edge. A case of deliberately poor judgment, to my mind. One got stinking drunk and took a bath and passed out in the tub. He drowned...."
"Ancestor Young," Riggs said sharply, "you are surely not implying these folks were suicides."
"No," Andrew Young said bitterly. "We abolished suicide three thousand years ago, cleared it clean out of human minds. How could they have killed themselves?"
Stanford said, peering up at Young, "I believe, sir, you sat on the board that resolved that problem."
Andrew Young nodded. "It was after the first wave of suicides. I remember it quite well. It took years of work. We had to change human perspective, shift certain facets of human nature. We had to condition human reasoning by education and propaganda and instill a new set of moral values. I think we did a good job of it. Perhaps too good a job. Today a man can no more think of deliberately committing suicide than he could think of overthrowing our government. The very idea, the very word is repulsive, instinctively repulsive. You can come a long way, gentlemen, in three thousand years."
He leaned across the table and tapped the sheaf of papers with a lean, tense finger.
"They didn't kill themselves," he said. "They did not commit suicide. They just didn't give a damn. They were tired of living ... as I am tired of living. So they lived recklessly in every way. Perhaps there always was a secret hope that they would drown while drunk or their car would hit a tree or...."
Clifford D. Simak’s “Second Childhood” opens not with a celebration of immortality but with a petition to die. Andrew Young, five thousand years old, stands before the immortality commission and argues that his case is a “kink” in the system they must fix. The commissioners, Riggs and Stanford, are uneasy: they fear the day they will face what Young faces now. The story’s central tension is established immediately—not how to achieve eternal life, but how to live with it once it becomes inescapable.
The excerpts show a narrative that shifts between the formal hearing and Young’s interior experience of mental decline. His memory falters; he forgets names and commissions. The story’s title takes on literal weight as Young deliberately regresses, sorting buttons in a muffin tin and losing his teddy bear in the dusk.
The Kink in Immortality
The catalog subject “Immortality -- Fiction” suggests a familiar theme, but the excerpts reveal a specific twist: immortality is not a gift but a trap. Young’s friends are all dead—by accident, by violence, by reckless living. He lists more than two hundred names, each with a death certificate. The commissioners acknowledge that suicide has been made “psychologically impossible,” so the only way out is accidental death or, as Young proposes, a formal panel to “discontinue” his life. The story does not explore the technology of immortality; it examines the bureaucratic and psychological machinery that sustains it.
Riggs argues that if they grant Young’s request, they “would destroy everything we have.” There is no virtue, he says, in a life of only five thousand years. The logic is chilling: immortality must be absolute, or it is worthless. The commission’s role is not to grant life but to enforce it.
Regressive Momentum
The excerpts trace Young’s deliberate regression from a lucid petitioner to a childlike figure who “chattered about birds and flowers” and cried when lost. Commissioner Stanford describes this as “regressive momentum”—a willed descent back to babyhood. The story’s structure mirrors this decline: early scenes are dialogue-heavy and formal; later passages are fragmented, full of sensory details like fireflies and wet grass.
Young’s memory loss is not a tragic accident but a strategy. He realizes, “I’m getting downright childish. Childish and forgetful. Good Lord, that’s just the way I want it.” The story thus inverts the typical narrative of aging: here, regression is a goal, not a fear. The commission prepares “special size diapers” and an android playmate, monitoring Young’s progress from a distance. The question is whether he will reach “actual babyhood” or get stuck “halfway between.”
Watching and Waiting
The commission’s role shifts from adjudicator to observer. Stanford reports that Young “got lost yesterday” and that one of their men “found him and led him home.” They leave cookies on a low shelf and have a robot cook “more substantial stuff.” The language is clinical: “We can’t intrude on him. I have a feeling he’s almost reached an actual turning point.”
Riggs, meanwhile, is visibly uncomfortable, “obviously thinking of his own future.” The story uses the commission as a lens to examine the fear that immortality breeds. They are not villains but fellow prisoners of the system they administer. The excerpts end with Stanford’s dogmatic assertion that Young must go “all the way or nothing”—a stark choice that leaves no room for compromise. The narrative withholds the outcome, focusing instead on the tension of waiting.
Readers should attend to the story’s shifting point of view and its use of interior monologue to convey cognitive decline. The excerpts do not reveal whether Young’s regression succeeds or whether the commission intervenes. What is clear is that Simak uses a speculative premise to explore a concrete emotional reality: the exhaustion of living too long. The story rewards attention to its small, telling details—the muffin tin, the teddy bear, the fireflies—that ground its philosophical argument in sensory experience.
That book about choosing to end an unending life—it stayed with me for days, the quiet weight of Andrew’s regression. It made me think of another story, one that lingers differently but just as tenderly, about how we shape ourselves around the roles we’re given. A Woman's Place — Text and Context holds that same soft ache of watching someone negotiate their own edges, and I found myself holding both close.
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