The Nostalgia Gene — Reading Companion

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In Category - Space Future
Hutchins, Roy Project Gutenberg 2016 Not confirmed
Science fiction; Short stories; Time travel -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,211
Reading time 36 min
Text sections 1

The catalog record for The Nostalgia Gene — Reading Companion provides practical reading context through 8,211 words, 36 min estimated reading time, and 1 detected text section.

The text analysis averages about 19.3 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.

Roy Hutchins' 1954 story follows Edgar Evans, a man born too late, whose longing for a gentler past leads to a genetic time-travel legacy. The narrative traces how nostalgia becomes a biological urge, culminating in Benjamin Reeves' sardonic resistance. Excerpts reveal a satirical voice and a structure that moves from personal yearning to societal crisis.
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Editorial Edition Score 4.4/5

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.

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Read the Text

That was when Edgar decided to build a time machine.

It was two months before he touched a transformer or a capacitor and during that period he did nothing but try to answer the question, _What is time?_ How could he overcome it or change its flow or whatever had to be done?

He read everything he could find on the subject from Dr. Cagliostro to Dr. Einstein without gaining much insight. Many a midnight, when his neck muscles ached from trying to hold up his throbbing head, he caught himself dreaming of grandmother's wonderful stories. And every time he forced himself furiously back to the books, but he couldn't stop the nostalgia entirely. It was in him.

Eventually, Edgar came to think of time as an infinite series through which the Universe was constantly expanding. Something like a set of stop-motion photos taken microseconds apart, each complete, the changes becoming apparent only when they are viewed in sequence. He was wrong, of course, but that was unimportant.

Time must therefore be a function of human motion and consciousness, Edgar reasoned, and that _was_ important.

"That's it!" he exclaimed, and then apologized gracefully to the elderly gentleman glaring across the library table.

Now that he knew what his time machine must do, he could begin building, adapting circuits, experimenting. Obviously, consciousness could move forward through the series only; hence, consciousness must be completely suspended, as in death, to move back in time.

It required some heartbreaking months for Edgar to learn that brain waves couldn't be stopped, but that the simple trick of introducing random electrical noise suspended all the brain functions.

"Fudge!" cursed Edgar, thinking of the wasted time.

Only a man filled with the longing which obsessed Edgar could have found the aching perseverance and brain-wrenching ingenuity the job needed. Only a man driven by a terrible master that rode in his glands.

But four months later, he stood with his hand on a switch, sweating with nervous excitement as he eyed the spot from which a live rabbit had just disappeared. The rabbit was on the table, but he was there an hour ago and Edgar was here now, so the table appeared empty.

He pressed another switch and there was the bunny, wriggling its soft nose in perplexity, but perfectly healthy. Edgar's own trip, of course, would be strictly one way since the machine stayed in the present. He could be brought back only if he stepped into its field on a date for which the machine was set and he had absolutely no intention of venturing near this vicinity again, once his aim was accomplished.

He thought about arranging a small explosive charge to blow the equipment to what he thought of as The Hot Place. It seemed to him, however, that there was some kind of law against that sort of thing. Besides, even if the machine should come to the attention of the authorities, who would know what it was? He could devise a mechanical scrambler to change all the control settings once he was gone, and it was unlikely that anyone could operate it again.

Most likely the landlady would simply sell it for junk, especially if he left owing her a week's rent. The idea hurt his conscience.

"I know!" he exclaimed to himself. "I'll buy a bank check and arrange to have the bank mail it to her a month after I've left!"

He felt much better about that.

Three weeks later, Edgar Evans was the newest boarder at Mrs. Peterson's, on Elm Avenue in Greencastle, Indiana. He had arrived on April 3, 1893, the day after Easter, and already he was being referred to as "that nice young man staying at Emma's."

Edgar snuggled into the life of the '90s like a showgirl into mink. He went to work as a clerk in Cloud's Emporium and was soon regarded as logical choice for the next manager. Anxious mamas filled his evenings with dinner invitations and "at homes" and he had a dazzling choice of partners for the numerous socials.

Edgar waltzed his partners with zest and propriety, contributed a determined tenor at parlor sings, and sampled dozens of cakes and pies baked by maidens bent on winning his heart via the traditional route. And always he had a gracious compliment, an appropriate phrase for every situation.

Within a month, the entire feminine population of Greencastle was his for the asking, though he'd never have recognized nor admitted the fact. The men sought his company, too, and even asked his advice on how to win their girls back from him. Edgar, almost sick with happiness, told them, of course.

The story opens with a striking claim: if you cannot shake the "good old days," blame Edgar's grandmother. This sets up a tale that treats nostalgia not as sentiment but as a quasi-biological inheritance. The first excerpt introduces Edgar Evans, a young man whose old-fashioned manners—he "akshully called me 'sir'"—make him a social misfit in a world of bop talk and aggressive dating. His longing for a simpler era is framed as a personal affliction, but the narrative quickly expands.

By the middle excerpt, the scope widens: Edgar's descendants build time machines, and the "nostalgia gene" spreads through the population. The later excerpt shifts to Benjamin Reeves, a research engineer fired for recommending that people "run like hell" at the first warning. The story thus moves from one man's anachronistic politeness to a species-wide escape impulse, all delivered with a dry, ironic tone.

A Square in a Bop World

The opening establishes Edgar Evans through his speech and behavior. He is described as "the darling of the old ladies and the despair of the young," and his manners—inherited from a grandmother whose hand was kissed by a passing Barrymore—mark him as out of step. The narrator reports that one parent, dazed after meeting Edgar, said he "akshully called me 'sir,'" contrasting him with "them other punks" who use "Mac." This dialogue captures the era's slang and the generational divide.

Edgar's social isolation is detailed: he finds bop talk "a repulsive travesty upon English" and his peers' music like "the braying of asses in agony." His dates fail because his courtly approach is mistaken for a "new dreamy line," but when no pass is made, interest cools. The story uses these specifics to ground his nostalgia in concrete social friction, not vague yearning.

From Personal Longing to Genetic Legacy

The middle excerpt leaps forward in time, revealing that Edgar's descendants—and eventually most people—carry a "nostalgia gene" that drives them to escape their own era. The narrative voice becomes more direct, addressing the reader: "How many times this week have you read or heard a piece of news and wondered how much longer before the final, fatal mushrooms flare?" This shift from third-person to second-person implicates the reader in the same desire to flee.

The excerpt lists specific years—1939, 1959, 1962—and events like the "thieves' agreement" that averted missile launches. These details anchor the speculative premise in a recognizable Cold War timeline. The gene is described as a "seed of that desperate desire," spreading through time machines built by Susan's grandchildren and others. The tone remains matter-of-fact, treating the fantastic as inevitable.

Benjamin Reeves and the Dream Department

The later excerpt introduces Benjamin Reeves, a research engineer who "labored in the military vineyard" designing computers and control systems. His physical description—"tall, stooped a little, with limbs attached in that special loose way that makes a man amble rather than walk"—gives him a folksy, unassuming presence. He heads a study group in the "Dream Department," where creative thinking is valued over routine design.

Benjamin's firing is the story's comic-sardonic climax. Asked to study how to protect people from enemy missiles, his group's single recommendation is: "At the earliest warning, tell everybody to run like hell!" The military's response is to fire him, though the public statement says he is "resigning to pursue independent research." This episode encapsulates the story's critique of institutional absurdity and the tension between practicality and idealism.

Voice and Structure Across the Excerpts

The story's voice shifts from the opening's wry character sketch to the middle's direct address and the later's deadpan reportage. The opening uses colloquial dialogue and exaggerated contrasts—"square" versus "bop"—to establish Edgar's anachronism. The middle section breaks the fourth wall, asking the reader personal questions about news and nostalgia. The later section adopts a more observational tone, describing Benjamin's amble and his firing with understated humor.

Structurally, the excerpts move from individual to collective to individual again: Edgar's personal longing becomes a genetic trait, then focuses on Benjamin's resistance. The story does not resolve whether the gene is a curse or a release; it simply traces its spread. The reader is left to observe how each character's nostalgia manifests differently—Edgar's passive dreaming, Benjamin's active defiance—without a clear judgment.

These excerpts suggest a story that uses science fiction to examine a psychological and cultural phenomenon. The nostalgia gene is not explained scientifically; it is a narrative device that externalizes a common feeling. Readers may want to track how the tone shifts between sections and how the story balances satire of the military-industrial complex with sympathy for its characters. The ending, not included here, likely returns to Benjamin Reeves, whose modesty and loose-limbed demeanor hint at a quiet resolution.

That rainy afternoon, The Nostalgia Gene left me sitting with Edgar’s ache for a past he never truly had. The rain kept falling, and I found myself drifting to Black Amazon of Mars — Story, Setting & Ideas, where the longing isn’t for time but for somewhere far away. Strange, how both books live in that same quiet pull.

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