The Moon Destroyers — Story, Setting & Ideas

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In Category - Space Future
Ruch, Monroe K., Paul, Frank R. (Frank Rudolph), 1884-1963 [Illustrator] Project Gutenberg 2012 Not confirmed
Science fiction; Moon -- Fiction; Space pirates -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 13,084
Reading time 57 min
Text sections 2

For The Moon Destroyers — Story, Setting & Ideas, the stored edition analysis reports 13,084 words, 57 min estimated reading time, and 2 detected text sections.

The text analysis averages about 19.1 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.

In this 1932 pulp serial, a seismologist detects a catastrophic earthquake that destroys New York, leading to a space expedition to the moon where pirates prey on interplanetary ships. The narrative blends disaster fiction with space opera, featuring a hero's rescue of his sweetheart from a lunar stronghold.
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Editorial Edition Score 4.5/5

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

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  • 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

Pictures were forming in his mind; he saw the huge steel and glass towers of the city, tossed and torn by the convulsive writhings of the earth beneath. Great engineers had said that the city was safe, that no tremors would ever disturb it, but they knew nothing of the terrific force of such a shock as this. Those massive buildings, thousands of feet high, would now be mere heaps of twisted junk. Holden closed his eyes to shut out the picture, but to no avail. His sister! God! She was probably one of the millions who now lay, crushed, bleeding and helpless beneath the wreckage of the too-proud metropolis.

"My boy," the professor was speaking, "we must stay with our work, no matter what happens." His voice was low; his entire family had been wiped out, without doubt, but Science must be served.

For hours the two sat before their instruments, as shock after shock was recorded. Jones came down from the television room above, and his report confirmed their observations in horrible detail.

"All communications from the city itself are cut off, but an airliner from England, which was about to dock, has broadcast the scene. Aid is being rushed from all over the world, but at a conservative estimate ten million are already dead, and millions more will probably die, buried and hidden as they are beneath the wreckage."

At last, nearly five hours after the first shock, the Professor stood up.

"I think that is all. My prophecies have come true, and at last my theories will be needed. But the cost of it all, the horrible cost!"

Two weeks later a group of men were seated around the conference table in the spacious offices of the Department of Public Safety of the World Union. All faces were turned toward the stooped figure of Professor Erickson, who was speaking from the head of the table.

"Gentlemen, I have outlined to you, only too briefly, the damage caused by the quake a few days ago. I now state that a repetition of such a disaster is imminent. Great faults have formed in the basic granites throughout the entire globe. Observations recorded during five centuries since the first conception of the idea by Dr. Maxwell Allen in 1931, show conclusively that Earth-tides, set up by the attraction of the moon, cause a sweeping series of stresses and strains. These, coming to a fault, produce earthquakes. Now that there are huge faults in the basic rock, these quakes will be of a tremendous force and range which the most modern structures will be unable to resist."

"Professor," spoke John Dorman, Secretary of Public Safety, "if all this is true, and we are assured that it is, what on earth can be done about it?"

"Gentlemen, during nearly seventy years I have studied that problem, and I have come to only one conclusion. Nothing on earth can be done about it, if you permit the remark, but men from earth can do something. _Destroy the moon!_"

A gasp went up from the great men assembled there. Erickson's colleagues nodded in helpless agreement.

"But how?" The question came from all sides. Famous engineers looked at each other questioningly.

"Gentlemen." This was a new voice, young and full of energy.

"Mr. Holden," responded the chairman.

"Professor Erickson was so kind as to confide in me several years ago, and since then I have been at work on this problem. I have solved it."

Eager interest shone on all faces. Jack Holden was known and liked by many of these men, despite his youth. His discovery of _hexoxen_, the chemical which turned solid matter into almost intangible vapor, had created quite a stir in scientific circles.

He now continued his address.

"If all the resources of Earth are made use of, it would be possible to produce hundreds of tons of _hexoxen_ and sufficient amounts of the element Europium to act as a catalyst. That would be plenty to reduce the moon to a gaseous state. The clouds of gas could then be penetrated by anti-gravitational screens, which would cause the smaller pieces to drift off into space, where they will do no harm whatsoever."

Several distinguished engineers nodded their heads. One of them spoke.

"Mr. Secretary, the plan is entirely feasible. I move that Mr. Holden be given permission to make use of all the necessary resources to carry out his plan, and that he be placed in sole charge, assisted by an advisory board of which Professor Erickson shall be chairman."

The motion was carried, the papers drawn up, and the meeting adjourned.

Holden grasped Professor Erickson firmly by the arm and hurried him to the elevator.

The story opens not in space but in a Himalayan seismological laboratory, where Professor Erickson and his assistant Jack Holden watch a stylus run off the graph—a concrete, technical detail that grounds the fantastic premise in a specific scientific practice. The earthquake that destroys New York is attributed to the Laurentian fault, a real geological feature, lending a veneer of plausibility to the catastrophe. This blend of period science (the moon's gravitational effects on Earth) and pulp adventure is characteristic of the tale.

The excerpts show a narrative that moves quickly from disaster to interplanetary action: within a few pages, Holden is on the moon, exploring a cliff base littered with wrecked ships. The prose is efficient, favoring action over description, and the dialogue often serves to convey plot information rather than character depth.

Science as Framing Device

The catalog subject "Science fiction" is accurate, but the excerpts reveal a particular use of science: it functions primarily as a trigger for the plot rather than a sustained focus. The opening pages devote considerable space to explaining the moon's gravitational influence on Earth, complete with references to tides and earthquakes. This expository passage, presented as a preamble, establishes a pseudo-scientific rationale for the lunar threat. However, once the action shifts to space, the science recedes. The space suits, ships, and ray pistols are described in functional terms, without detailed technical explanation. The story is more concerned with the adventure—Holden's exploration of the pirate cave, his reunion with Jean—than with the mechanics of space travel. The science serves as a credible springboard into a world of space pirates and rescued sweethearts, a common pattern in early pulp science fiction.

Space Pirates and Lunar Setting

The catalog includes "Space pirates" as a subject, and the excerpts confirm this: the moon is home to a band of pirates who attack interplanetary ships, using a sharp-pointed prow to breach hulls. The description of wrecked ships "piled up at the base of the precipice" evokes a grim junkyard, and the pirates' hideout is a cave walled with metal plates from captured vessels. This setting is vividly rendered in a few strokes: the "loosely piled dust" on the moon's surface, the sudden darkness when the cliff's shadow falls, the "silvery gleam" of a wrecked ship. The pirates themselves remain shadowy—their motives and organization are not detailed in the excerpts—but their presence drives the plot. The lunar environment is not explored for its own sake but serves as a backdrop for a rescue mission. The story's moon is a lawless frontier, a place where Earth's rules do not apply, which aligns with the maritime fiction tradition of pirates and hidden coves, transposed to space.

Heroic Conventions and Emotional Beats

The excerpts show a reliance on stock heroic conventions: the resourceful protagonist (Holden), the damsel in distress (Jean), and the climactic reunion. Holden is described as "slender yet strong," with "steel gray eyes" and a "tanned" complexion—a standard pulp hero. His actions are decisive: he refuses a companion for his solo exploration, uses a compass to navigate, and enters the air-lock without hesitation. The emotional peak is the reunion with Jean, rendered in a brief but intense passage: "With a single movement he flung off his helmet and seized her in his arms." The narrative does not dwell on their feelings; instead, Jean immediately provides exposition about the pirates' stronghold. This prioritization of plot over emotion is typical of the adventure genre. The story also includes a moment of personal stakes: the wrecked ship Gloriana is identified as the transport Jean boarded a year earlier, adding a layer of loss and hope to Holden's mission.

The excerpts offer a self-contained episode—the discovery of the pirate lair and the reunion—but leave the larger conflict unresolved. Readers should expect a fast-paced narrative that values incident over introspection. The story's brevity (under 14,000 words) means it moves quickly from one set piece to the next. Pay attention to how the author uses specific details, like the compass pointing toward the San Francisco, to anchor the action in a recognizable world. The blend of disaster, space travel, and pirate adventure makes this a representative sample of early 1930s pulp science fiction.

I keep thinking about that old serial where the moon hides pirates, and how the quiet dread of vast empty space felt almost cozy next to the danger. The Holes Around Mars — Edition Insights brought that same lingering ache back—not the action, but the strange loneliness between worlds, like remembering a place you’ve only seen in a half-forgotten dream.

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