The Amateurs — Background and Themes

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In Category - Machines Invention
Cogan, Alan, Diehl [Illustrator] Project Gutenberg 2016 Not confirmed
Science fiction; Short stories; Death -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 6,136
Reading time 27 min
Text sections 1

Before opening The Amateurs — Background and Themes, the edition data offers a quick orientation: 6,136 words, 27 min estimated reading time, and 1 detected text section.

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Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.

In a future where euthanasia is state-mandated, Mr. Sims is pressured to enter Sunnylands Palace, a facility that euphemistically calls death 'pleasant and satisfying.' The story's ironic title and final twist hinge on amateurish execution of a classical death scene.
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Editorial Edition Score 4.3/5

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They were in the rich, rolling parkland at the rear of the palace and walking across the immaculate turf where colored fountains frolicked and shimmered in the sun. Lilting music floated out from a dozen hidden sources. The two men sat down on a seat facing the palace with its towering columns and vast marble steps.

"It's a very nice place," Mr. Sims commented, remembering that he hadn't said a word for at least five minutes.

"I suppose it's all right," Arthur Hoode agreed, his thin nostrils twitching condescendingly. He was a small, sleek man with a habit of emphasizing his words with airy gestures of his slim hands. "That section of the palace is the part I consider most uninteresting. After all, there's nothing but row upon row of stuffy little rooms where people come to die. And they take a long time doing it, too!"

Mr. Sims winced noticeably.

"You'll forgive me if I don't appear overly sanctimonious about death," Mr. Hoode said, smiling. "It's just that the other directors and myself decided we must take a realistic view of the situation. A place like this could become pretty morbid, you know, and there's actually no reason why a guest's last hours here shouldn't be pleasant and satisfying."

Pleasant and satisfying--the key words when you spoke of Sunnylands Palace, Mr. Sims thought grimly. Everyone used them--when not going there.

The words gave him a hollow, frightened feeling inside, perhaps because they made him remember the first time he had heard them used.

"It's a pleasant place and quite satisfying," Dr. Van Stoke had said. "There's no need to think of it as some kind of torture camp."

"But why should I go there at all?" Mr. Sims had asked. "I don't want to die. I'm only fifty-six and I've got nine more years left."

"Try and understand I'm doing you a good turn," the doctor had said. "You've lived fifty-six _good_ years; in your condition, the last nine won't be so good. You'll have pains, attacks, you won't be able to do anything strenuous. You'll hate to live under those conditions."

"I could always give it a try," Mr. Sims had protested.

Dr. Van Stoke had frowned bleakly over the tops of his glasses. "I know I'm a friend and family doctor," the frown had said, "but I'm also District Referee under the Euthanasian Legislation and you are becoming a burden to society. So don't make my job any more difficult."

He had signed his name at the bottom of the form.

And Mr. Sims had had a hollow, anxious feeling ever since.

"There's one thing I haven't found out yet," he said to Mr. Hoode. "Is it in order for me to ask how and when I can expect to die?"

"Certainly," Mr. Hoode said. "It's the reason I brought you here to talk. You see, anyone sent here under the Legislation is given a completely free choice as to the manner of his departure. Most people, although they realize this, show a distressing lack of imagination when the time comes. They seem unable to think beyond the ordinary methods of taking a pill, or a needle, or a poisoned cocktail."

"I can't say I'd thought about it, either," Mr. Sims admitted.

"We have a service to assist you," said the director. "We of the Sunnylands staff have discovered what you might call a Philosophy of Dying. For instance, if a man lives an active life, there's no reason why he should be subjected to a sneaking prick of a needle in his sleep just because he reaches the age of sixty-five. We discovered that a few people objected strongly to such methods. There are some people who would prefer to die fighting. We had a couple who chose the firing squad, for instance. Another desired the guillotine and nothing would satisfy him but a ride to his fate in a real tumbril. Because of these--ah--pioneers, our advisory bureau has been set up."

"You mean you obliged them ... with a guillotine and everything?" Mr. Sims asked.

"Certainly, though most choose the sneaking, cowardly way out. As far as I am concerned, they died as they lived--ignominously! It's depressing. We have the best accommodation, food, entertainment, everything the guest requires during his three days here; then they go ahead and die their miserable deaths. Somehow it makes all the luxury seem like pink sugar frosting around a rotten cake. That's why we're always happy to find a guest with the proper spirit." Mr. Hoode said.

Mr. Sims listened in silence to the sales talk, wondering absent-mindedly what the director's personal interest was in other people's death.

The story opens with Mr. Sims following a director through a palace that feels like a death march, the language of 'pleasant and satisfying' already hollow. The setting—a euthanasia facility disguised as a resort—is established through dialogue, not exposition. Dr. Van Stoke's role as both family doctor and 'District Referee under the Euthanasian Legislation' shows how institutional authority collapses private care into state coercion. The excerpts reveal a society where death is managed, scheduled, and euphemized, but the story's focus is less on the system than on the personal dread and final rebellion of one man.

Euphemism as Weapon

The phrase 'pleasant and satisfying' recurs like a bureaucratic mantra. Mr. Sims recalls it being used by Dr. Van Stoke to describe Sunnylands Palace, and later thinks 'Everyone used them—when not going there.' The story demonstrates how language sanitizes coercion: the facility is a 'palace,' guests are 'guests,' and death is a 'show.' The director Arthur Hoode speaks of 'a realistic view of the situation' and dismisses the dying rooms as 'stuffy little rooms where people come to die.' This verbal framing is central to the story's critique, as the characters themselves are aware of the gap between words and reality.

The Performance of Death

The climax hinges on a classical allusion: Nat, one of the amateurs, stabs Mr. Sims and later explains to Hoode that 'He decided at the last moment to make it Julius Caesar.' The murder is staged as a historical reenactment, complete with a 'woven garment' that trips the victim and a 'little toy dagger.' The story's title—'The Amateurs'—refers to these performers, who botch the planned suicide by turning it into a messy, unscripted assassination. Hoode's final disgust—'Damned, lousy, unimaginative amateurs!'—underscores that even in death, there is a standard of professionalism the group fails to meet.

Structure and Point of View

The narrative follows Mr. Sims closely, using free indirect discourse to convey his fear and resentment. The opening simile—'as though he were taking the last walk to the gallows or the electric chair'—establishes his dread. The story shifts abruptly at the murder, when the perspective widens to include the group's actions and Hoode's reaction. This structural break mirrors the thematic rupture: the planned, orderly death is replaced by chaotic violence. The excerpts do not reveal how Mr. Sims arrived at Sunnylands or what preceded his final confrontation, but the available text shows a tight focus on the moments leading to his death and the aftermath.

The catalog subjects list 'Death -- Fiction' and 'Science fiction,' but the story is less about speculative technology than about social pressure and the performance of dying. Readers should attend to how the story uses classical references—Socrates and Julius Caesar—to frame the amateurish murder as a failed imitation of noble death. The irony is that the amateurs, in their clumsiness, may be more honest than the system they serve.

I’ve often thought how Mr. Sims’s clumsy grasp at a dignified exit mirrors the quiet earnestness I find in another old volume, Lord Tedric — Edition Insights—both books reaching for something grander than their circumstances allow, like a reader who remembers a line imperfectly yet still treasures the feeling it left behind.

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