The Secret Martians — Key Ideas to Explore
Edition facts
The Secret Martians — Key Ideas to Explore can be approached with a clearer sense of reading commitment from its source measurements: 49,081 words, 3 hr 34 min estimated reading time, and 5 detected text sections.
The text analysis averages about 13.1 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.
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.
Read the Text
She was staring after me, open-mouthed, as the door slid neatly shut behind us.
"_W-Will_ I be back?" I asked desperately, as we waited for the elevator. "At all? Am I under arrest? What's up, anyhow?"
"You will be informed," said the man again. I had to let it go at that. Security men were not hired for their loquaciousness. They had a car waiting at the curb downstairs, in the No Parking zone. The cop on the beat very politely opened the door for them when we got there. Those red-and-bronze uniforms carry an awful lot of weight. Not to mention the golden bulk of their holstered collapsers.
There was nothing for me to do but sweat it out and to try and enjoy the ride, wherever we were going.
"_You_ are Jery Delvin?"
The man who spoke seemed more than surprised; he seemed stunned. His voice held an incredulous squeak, a squeak which would have amazed his subordinates. It certainly amazed me. Because the speaker was Philip Baxter, Chief of Interplanetary Security, second only to the World President in power, and not even that in matters of security. I managed to nod.
He shook his white-maned head, slowly. "I don't believe it."
"But I am, sir," I insisted doggedly.
Baxter pressed the heels of his hands against his eyes for a moment, then sighed, grinned wryly, and waggled an index finger at an empty plastic contour chair.
"I guess maybe you are at that, son. Sit down, sit down."
I folded gingerly at knees and hips and slid back into the chair, pressing my perspiring palms against the sides of my pants to get rid of their uncomfortably slippery feel. "Thank you, sir."
There was a silence, during which I breathed uneasily, and a bit too loudly. Baxter seemed to be trying to say something.
"I suppose you're wondering why I've called--" he started, then stopped short and flushed with embarrassment. I felt a sympathetic hot wave flooding my own features. A copy chief in an advertising company almost always reacts to an obvious cliche.
Then, with something like a look of relief on his blunt face, he snatched up a brochure from his kidney-shaped desktop and his eyes raced over the lettering on its face.
"Jery Delvin," he read, musingly and dispassionately. "Five foot eleven inches tall, brown hair, slate-gray eyes. Citizen. Honest, sober, civic-minded, slightly antisocial...."
He looked at me, questioningly.
"I'd rather not discuss that, sir, if you don't mind."
"Do you mind if I do mind?"
"Oh ... Oh, well if you put it like that. It's girls, sir. They block my mind. Ruin my work."
"Well, in my job--See, I've got this gift. I'm a spotter."
"A spotter. I can't be fooled. By advertising. Or mostly anything else. Except girls."
"I'm still not sure that I--"
"It's like this. I designate ratios, by the minute. They hand me a new ad, and I read it by a stopwatch. Then, as soon as I spot the clinker, they stop the watch. If I get it in five seconds, it passes. But if I spot it in less, they throw it out and start over again. Or is that clear? No, I guess you're still confused, sir."
"Just a bit," Baxter said.
I took a deep breath and tried again.
"Maybe an example would be better. Uh, you know the one about 'Three out of five New York lawyers use Hamilton Bond Paper for note-taking'?"
"I've heard that, yes."
"Well, the clinker--that's the sneaky part of the ad, sir, or what we call weasel-wording--the clinker in that one is that while it seems to imply sixty percent of New York lawyers, it actually means precisely what it says: Three out of five. For that particular product, we had to question seventy-nine lawyers before we could come up with three who liked Hamilton Bond, see? Then we took the names of the three, and the names of two of the seventy-six men remaining, and kept them on file."
"On file?" Baxter frowned. "What for?"
"In case the Federal Trade Council got on our necks. We could prove that three out of five lawyers used the product. Three out of those five. See?"
"Ah," said Baxter, grinning. "I begin to. And your job is to test these ads, before they reach the public. What fools you for five seconds will fool the average consumer indefinitely."
I sat back, feeling much better. "That's right, sir."
Then Baxter frowned again. "But what's this about girls?"
Jack Sharkey's The Secret Martians opens not on a spaceship but at a desk cluttered with sketches, crumpled copy sheets, and deadline memos. The narrator, Jery Delvin, is an advertising copywriter for Solar Sales, Inc., trying to craft a pitch for a Plasti-Flex brassiere when two security men arrive. This mundane setting—complete with the protagonist's self-deprecating humor about his job—establishes a voice that is wry, urban, and skeptical. The novel's catalog subjects list both science fiction and mystery, and the excerpts bear out that hybrid: the plot involves vanished Space Scouts, a Martian conspiracy, and a protagonist whose talent is detecting flaws in schemes, a skill honed in advertising rather than espionage.
A Copywriter's Eye for Deception
The excerpts repeatedly emphasize Jery Delvin's professional background as central to his role. He describes his ability to spot flaws in any scheme, a talent that has served him in advertising but which World Security now needs for a larger puzzle. When the security men appear, his first instinct is to retrace his ad campaigns, wondering if he had “shaken the security of the government.” This framing ties the detective work to commercial persuasion rather than traditional spycraft. Later, when explaining the Martian plot to Snow, he breaks down the conspiracy in logical steps, using phrases like “Okay. We'll take it from the top.” His method is analytical, almost clinical, and he admits that much of his understanding comes from conjecture: “A lot of it I had to conjecture, to fill the gaps. But hell, it fits, doesn't it?” This self-awareness about incomplete knowledge is a recurring note.
Martian Races and Unreliable Explanations
The excerpts introduce multiple Martian groups: the Ancients, the sugarfeet, and a character named Clatclit. Jery's explanation to Snow is layered and tentative. He describes the Ancients as a race that influenced Earth's “Brain” (a computer-like selection system) to choose a man who would help them, not destroy them. The sugarfeet are “not servants of the ancients, but another distinct race,” used as go-betweens. Snow's response—“It's got my head going in circles, Jery!”—mirrors the reader's potential confusion. The novel does not clarify these relationships fully in the excerpts; instead, it presents them as a puzzle Jery is still piecing together. The catalog subject “Mystery fiction” is apt, as the narrative withholds definitive answers, leaving the protagonist (and reader) to navigate conflicting accounts and incomplete data.
Voice and Dialogue as Structural Clues
The excerpts reveal a distinctive first-person voice that blends colloquial banter with rapid-fire reasoning. Jery's internal monologue is peppered with asides and self-deprecation: “I didn't quite believe it at first, when I looked up and saw them, six-feet-plus of steel nerves and gimlet eyes.” His dialogue with Snow is equally informal, with interruptions and overlapping speech. When Snow tries to interject, Jery says, “I know. The kids left of their own free will. I'll get to that in a minute.” This conversational rhythm suggests a narrative that values pace and character interaction over exposition. The setting on Mars is conveyed through sensory details—alkaline water, stubborn white cubes of vegetation—but the focus remains on Jery's voice. The novel's structure, at least in these sections, prioritizes the protagonist's perspective and his evolving understanding over a straightforward plot summary.
Readers should approach The Secret Martians as a mystery narrated by an unreliable explainer. Jery Delvin admits to filling gaps with conjecture, and the excerpts do not resolve whether his deductions are correct. The novel's catalog subjects—science fiction, mystery, and Mars—are accurate, but the text's emphasis on advertising logic and conversational dialogue may surprise those expecting a more conventional space adventure. Pay attention to what Jery does not know, and how he says it.
I keep thinking about Shaw’s old Mars, all those vanished scouts under a red sky, and how the mystery felt less like a chase and more like a quiet homecoming. That same ache surfaced in the opening pages of The Highest Mountain — Reading Companion, where the climb is just an excuse to listen for something older than the wind. Strange, how two very different books share that same still, lonely pulse.
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