The Holes Around Mars — Edition Insights

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In Category - Space Future
Bixby, Jerome, 1923-1998, Francis, Dick [Illustrator] Project Gutenberg 2010 Not confirmed
Science fiction; Short stories; Mars (Planet) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,865
Reading time 39 min
Text sections 1

This digital edition of The Holes Around Mars — Edition Insights is described by source-level measurements including 8,865 words, 39 min estimated reading time, and 1 detected text section.

The text analysis averages about 14.1 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.

Jerome Bixby's 1954 story follows the first Mars expedition as they discover mysterious holes in rocks and a Martian calendar, leading to a deadly secret about the planet's surface. The narrative blends scientific curiosity with dark humor.
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Editorial Edition Score 4.4/5

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  • Title & short description10 pts
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Read the Text

Janus was already fiddling with his camera, testing the cooperation of the tiny distant sun with a light-meter.

"Let us see _weather_ it is or not," Allenby said.

Burton brought out a steel tape-measure. The hole was four and three-eighths inches across. It was perfectly circular and about sixteen inches long. And four feet above the ground.

"But why?" said Randolph. "Why should anyone bore a four-inch tunnel through a rock way out in the middle of the desert?"

"Religious symbol," said Janus. He looked around, one hand on his gun. "We'd better keep an eye out--maybe we've landed on sacred ground or something."

"A totem _hole_, perhaps," Allenby suggested.

"Oh. I don't know," Randolph said--to Janus, not Allenby. As I've mentioned, we always ignored Allenby's puns. "Note the lack of ornamentation. Not at all typical of religious articles."

"On Earth," Gonzales reminded him. "Besides, it might be utilitarian, not symbolic."

"Utilitarian, how?" asked Janus.

"An altar for snakes," Burton said dryly.

"Well," said Allenby, "you can't deny that it has its _holy_ aspects."

"Get your hand away, will you, Peters?" asked Janus.

I did. When Janus's camera had clicked, I bent again and peered through the hole. "It sights on that low ridge over there," I said. "Maybe it's some kind of surveying setup. I'm going to take a look."

"Careful," warned Janus. "Remember, it may be sacred."

As I walked away, I heard Allenby say, "Take some scrapings from the inside of the hole, Gonzales. We might be able to determine if anything is kept in it...."

One of the stumpy, purplish, barrel-type cacti on the ridge had a long vertical bite out of it ... as if someone had carefully carved out a narrow U-shaped section from the top down, finishing the bottom of the U in a neat semicircle. It was as flat and cleancut as the inside surface of a horseshoe magnet.

I hollered. The others came running. I pointed.

"Oh, my God!" said Allenby. "Another one."

The pulp of the cactus in and around the U-hole was dried and dead-looking.

Silently Burton used his tape-measure. The hole measured four and three-eighths inches across. It was eleven inches deep. The semicircular bottom was about a foot above the ground.

"This ridge," I said, "is about three feet higher than where we landed the ship. I bet the hole in the rock and the hole in this cactus are on the same level."

Gonzales said slowly, "This was not done all at once. It is a result of periodic attacks. Look here and here. These overlapping depressions along the outer edges of the hole--" he pointed--"on this side of the cactus. They are the signs of repeated impact. And the scallop effect on _this_ side, where whatever made the hole emerged. There are juices still oozing--not at the point of impact, where the plant is desiccated, but below, where the shock was transmitted--"

A distant shout turned us around. Burton was at the rock, beside the ship. He was bending down, his eye to the far side of the mysterious hole.

He looked for another second, then straightened and came toward us at a lope.

"They line up," he said when he reached us. "The bottom of the hole in the cactus is right in the middle when you sight through the hole in the rock."

"As if somebody came around and whacked the cactus regularly," Janus said, looking around warily.

"To keep the line of sight through the holes clear?" I wondered. "Why not just remove the cactus?"

"Religious," Janus explained.

The gauntlet he had discarded lay ignored on the ground, in the shadow of the cactus. We went on past the ridge toward an outcropping of rock about a hundred yards farther on. We walked silently, each of us wondering if what we half-expected would really be there.

It was. In one of the tall, weathered spires in the outcropping, some ten feet below its peak and four feet above the ground, was a round four-inch hole.

Allenby sat down on a rock, nursing his ankle, and remarked that anybody who believed this crazy business was really happening must have holes in the rocks in his head.

Burton put his eye to the hole and whistled. "Sixty feet long if it's an inch," he said. "The other end's just a pinpoint. But you can see it. The damn thing's perfectly straight."

I looked back the way we had come. The cactus stood on the ridge, with its U-shaped bite, and beyond was the ship, and beside it the perforated rock.

"If we surveyed," I said, "I bet the holes would all line up right to the last millimeter."

The story opens with a spaceship crew complaining about Commander Allenby's puns, a detail that immediately establishes the tone: a blend of scientific seriousness and wry humor. The first hole is discovered when Allenby trips on a rock with a perfectly round, four-inch hole—a hole that is not drilled, chipped, melted, or eroded. The crew's confusion mirrors the reader's, and the hole becomes the first of many puzzles.

The narrative moves from the landing site to a Martian village, where the crew observes the natives glancing at the ground as they cross the street. This recurring gesture, unexplained at first, builds tension and hints at a hidden danger.

Holes as a Structural Motif

The holes are not just a curiosity; they structure the plot. The first hole is in a rock, but soon the crew finds holes in the ground, in walls, and even in the Martian calendar. Each hole is perfectly round and precisely measured—four and three-eighths inches across. The mineralogist notes they are not made by any known process. The holes appear in clusters, and the Martians avoid them. The repetition of the hole image creates a pattern that the reader can follow, and the crew's attempts to understand them drive the story forward.

The holes also serve as a visual motif: the crew sees them in the street, in the calendar wall, and in the ground where the Martians glance. The story's title itself emphasizes the holes, and the narrative returns to them again and again, each time with more urgency.

The Martian Calendar as a Puzzle

The calendar is a key piece of evidence. It is painted on a curved brick-colored wall, consisting of 687 squares—the number of days in a Martian year. Each square has a peg and squiggly writing, and a metal ring hangs on the peg for the current day. The crew deduces its purpose through observation, not prior knowledge. This scene shows the story's method: the characters reason from what they see, and the reader is invited to do the same.

The calendar also connects to the holes. The crew notices that the Martians glance at the ground when crossing the street, and the calendar's pegs and squares mirror the pattern of holes. The puzzle is not solved by technology but by careful attention to detail.

Movement and Gesture as Narrative Clues

The story relies on physical movement to convey information. The Martians glance at their feet without breaking stride; the child crosses the street, glances down, and continues. The crew's own movements are equally telling: Randolph tries to cross the street, and the Martian chief blocks him, pointing at the ground. The crew draws guns, but the Martians do not react—they are focused on the ground.

These gestures are the only way the Martians communicate with the crew, and they are also the story's primary means of building suspense. The reader watches the characters watch the Martians, and the mystery deepens with every glance.

The Crew's Dynamic and the Role of Humor

The crew is a collection of specialists: the mineralogist narrator, the pilot Burton, the photographer Janus, the botanist Gonzales, the biologist Randolph, and the commander Allenby. Their interactions are marked by irritation and humor, especially Allenby's puns. The opening line—'Spaceship crews should be selected on the basis of their non-irritating qualities'—sets up a dynamic that persists throughout.

The humor serves a purpose: it lightens the tension and makes the characters feel real. But it also contrasts with the deadly seriousness of the holes. The puns are a way for the crew to cope with the unknown, and they become a signature of the story's voice.

Readers should pay close attention to the descriptions of the holes and the Martians' behavior. The story rewards careful reading, as small details—like the exact measurement of a hole or a Martian's glance—are clues to the central mystery. The ending is abrupt but logical, and the final pun is both a punchline and a revelation.

I remember old Bixby’s holes, those Martian riddles grinning beneath the red dust—how a clever trap hides in plain curiosity. It reminds me of another quiet stranger, Fly By Night — Inside the Classic, a book that also waits, patient, for the sharp-eyed reader to notice what the pages do not say. Both whisper their secrets slowly.

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