The Mating of the Moons — A Reader’s Guide

(0 User reviews)   944
In Category - Space Future
Walton, Bryce, 1918-1988 Project Gutenberg 2012 Not confirmed
Science fiction; Short stories; Mars (Planet) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,785
Reading time 39 min
Text sections 1

The catalog record for The Mating of the Moons — A Reader’s Guide provides practical reading context through 8,785 words, 39 min estimated reading time, and 1 detected text section.

The text analysis averages about 15.7 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.

A woman's disillusionment with a commercialized Mars leads her to seek authentic experience beyond the sanitized tourist zone, where she encounters an enigmatic old man and the dangerous allure of the planet's double moons.
Share
Editorial Edition Score 4.4/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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.

Edition quality

Read the Text

Don had heard her. His smile was uneasy, though politely tolerant, as all good hosts were to rich tourists. "You're hard to please, Miss Ericson. Maybe too hard." His lingering glance stopped just short of crudity. But the look made it clear that if she wanted the romance all women were assumed to expect at Martian Haven, he could provide it, as he did everything else--discreetly, efficiently and most memorably.

Mrs. Ericson giggled. She had long since abandoned any hope of Madeleine being, even by stretching the norm, a well-adjusted girl. But much faith had been placed in a Martian vacation, and hope that it would provide Madeleine with some sort of emotional preoccupation, even an affair, if need be--something, anything, that would at least make her seem faintly capable of a normal relationship with a male. Even this fellow Don. For Madeleine was past thirty-five--how far past no one discussed any more--and was becoming more tightly withdrawn every day.

Don shouted. "All right, folks! Now we wend our way back to Martian Haven, over a trail that's the oldest in the Solar System, a trail that was once a mighty highway stretching from the inland city to the great ocean that once rolled where now there is only thousands of miles of wind-blown sands!"

The long line of exclaiming and sickeningly gullible tourists, either too young and wide-eyed to know better, or too old and desperate to admit the phoniness, ooohhhed and ahhhhed, and the rickshaws and camels, plus a few hardy adventurers on foot, turned with him as Don twisted his own beast toward Martian Haven.

Even the Ruins, she thought--they were like imported props lying in the sand, like old abandoned bits of a set for a TV production.

"Madeleine," her father said, still trying to be a big brother after years of failure. "I really don't understand this at all. Coming all the way to Mars, and you act like--well--like we'd just stepped around the corner in Chicago to some ridiculous carnival!"

"I am cursed," she whispered. "I'm tortured."

"What?" her mother said, and stared, with that child-like curiosity with which she had greeted Madeleine's advent into the world, and which she had never lost.

"Tortured by the insight that both enables and compels me to see through the sham and pretense."

Her father grunted and blinked twice. He almost always blinked twice when she began sounding pedantic like that. He suspected that she did it deliberately to show off his ignorance.

"Funny," she said, mostly to herself, "that I allowed myself to be sold this--Mars--the biggest piece of ersatz junk of all!"

"Madeleine!" her mother exclaimed.

"The advertisers got here first," Madeleine said, glancing at Don. "The hucksters." She stopped talking. Mars offered none of itself, but the others didn't understand. Mars was only what the hucksters wanted it to be.

She wondered how she could hang on to the end of the season--even though it was only three more days. They had committed themselves to a rigidly-planned schedule, a clockwork program that had them and the other "vacationing" tourists jumping and squeaking like automatons: Exotic Martian sports. Martian tennis played on a hundred-yard court with the players hopping through the rarified air and lower gravity with an almost obscene abandon. Swimming in a strangely buoyant water, called, of course, Martian water. Sandsled racing. Air-hopping with the de-gravity balloons. Spectator sports, including gladiators who leaped into the phony canals and fought to the death against the hideous-looking Martian rat-fish. There were many other "activities", in none of which Madeleine had been able to interest herself.

This last three days promised something called the "Martian Love Ritual under the Double Moons." And a climactic treasure hunt among the subterranean Martian labyrinths. They too, Madeleine was sure, were artificial.

Mrs. Ericson adjusted her polaroid glasses and waved her rickshaw boy into his harness, where his thighs tensed for the long haul. He was an incredibly huge man, taller even than those specially-bred movie stars, who averaged eight feet tall. Madeleine felt faint and clung to her camel. The Martian camels were coughing and wheezing and the sun glared horribly in the early afternoon.

Mr. Ericson looked with guarded apprehension at the six-legged camel. Don pulled him aboard. "What a helluva beast!" laughed Ericson. Earth camels specially bred by the big travel agencies to have a so-called "unearthly" appearance. Sad creatures with two extra, dangling limbs and a single, half-blind, blood-shot eye, watery and humbly resentful.

Pathetic mutation, Madeleine thought. Like those horrid rat-fish, like the canals and the games and the ruins and those silly rituals. All ersatz.

The caravan moved along the high ridge, a narrow trail that wound back toward Martian Haven along the edge of the eroded cliffs.

The story opens with Madeleine Ericson standing at the Ruins of Taovahr, feeling the falseness of the tourist experience. The sun is 'fiercely detached,' the air 'a vast lake of poison and glassy water.' Her guide, Don, delivers a 'machine-tooled lecture' full of clichés, and Madeleine whispers 'Oh God' in disgust. The narrative immediately establishes a tension between manufactured romance and a yearning for something genuine, a conflict that drives her away from Martian Haven and toward the unknown.

The Texture of Disenchantment

The prose mirrors Madeleine's brittle state of mind through sharp, sensory details. The Martian landscape is described as 'waver[ing] with a terrible insubstantiality,' and the ruins themselves are 'false.' Even the guide's smile is 'uneasy, though politely tolerant.' The author uses repetition of words like 'false' and 'falseness' to hammer home the theme of inauthenticity. Madeleine's parents are resigned; her mother hopes a Martian vacation might provide 'some sort of emotional preoccupation, even an affair.' The story does not shy away from the character's age—'past thirty-five'—or her growing withdrawal. The language is precise: 'the invisible edges of living had cut her soul to pieces.' This is not a generic space adventure but a psychological study set against a backdrop of cosmic tourism.

Movement Across the Martian Sands

The story's structure is built around physical movement that parallels emotional flight. Madeleine's journey begins at the ruins, then retreats to the Haven, and finally breaks away in a sandsled. The chase sequence is rendered in taut, kinetic prose: 'She swerved the sandsled dangerously among the erosions, and felt the grinding strain at the base of her skull.' The landscape becomes a participant—'rocky clefts,' 'spires,' 'erosions'—as she flees Don's entreaties. The radio voice is 'like that of a disembodied spirit.' The movement is not just spatial but temporal: there is 'no turning back now.' The final ascent to the ridge where the old man waits is a physical climax, the destination of her desperate search for authenticity.

Recurring Images of Light and Vision

Light and vision are unstable throughout the excerpt. The sun 'glared,' but the ruins waver. Later, the amphitheatre appears 'like a golden porpoise lapped in dawn,' and the Haven's lights are 'phosphorescent globes of spooky glowing.' Madeleine's perception is repeatedly compromised: 'dizziness threatened,' 'the surroundings ... seemed wildly, almost dangerously abstracted, as if viewed through drug-glazed eyes.' The old man has a 'vague, insubstantial look, only his eyes seemed real.' This motif of unreliable sight underscores the theme of illusion versus reality. The double moons, mentioned in the title, are present as 'love moons' but their actual appearance is left to the reader's imagination, a deliberate withholding that maintains mystery.

The Old Man and the Unspoken

The encounter with the old man is the story's pivot, yet the excerpt provides only fragments. He is 'propped against a block of eroded rock,' his robe ragged. As Madeleine sits beside him, he begins to 'fade' and 'dissolve,' becoming 'nebulous.' Don's warnings about 'contamination' and death are left unexplained. The narrative refuses to clarify the nature of the old man or the danger. This ambiguity is structural: the story withholds resolution, forcing the reader to inhabit Madeleine's uncertainty. The old man's reality is questioned—he 'had a vague, insubstantial look'—yet his eyes are 'almost too real.' This paradox echoes Madeleine's own search for something real in a world of surfaces. The excerpt ends before the encounter unfolds, leaving the reader at the threshold of revelation.

Readers should attend to the story's deliberate pacing and its refusal to explain. The narrative moves from crowded tourism to solitary desert, from glib dialogue to silence. The double moons of the title are a promise of transformation, but the text leaves their meaning open. The old man may be alien, ghost, or projection; the contamination may be literal or metaphorical. This editorial note does not resolve those questions—the story itself does not, within the excerpt. Approach it as a study in longing and the limits of escape.

I finished The Mating of the Moons feeling that ache for something unreachable, the way the old man watches those twin lights shift. It made me think of another quiet volume I keep returning to, Pioneer — A Closer Reading, which holds that same patient wonder, tracing what we lose when we only visit a place instead of truly seeing it.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What did you think of this book?

Answer a few questions and save a private reflection on this device.

Your progress 0 / 10
1

What is your current status with this title?

2

Was reading this book enjoyable?

3

Would you encourage someone else to read it?

4

What was the reading difficulty like?

Related eBooks