The Statue — A Reader’s Guide
Edition facts
Before opening The Statue — A Reader’s Guide, the edition data offers a quick orientation: 9,571 words, 42 min estimated reading time, and 2 detected text sections.
The text analysis averages about 11.6 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 old. We were both old. There wouldn't be many more Martian summers for us, nor many years of missing Earth.
"Why can't we go back this year, Lewis?"
She smiled at me almost apologetically. She knew the reason as well as I did.
"We can't," I said. "There's not enough money."
"There's enough for our tickets."
I'd explained all that to her before, too. Perhaps she'd forgotten. Lately I often had to explain things more than once.
"You can't buy passage unless you have enough extra for insurance, and travelers' checks, and passport tax. The company has to protect itself. Unless you're financially responsible, they won't take you on the ships."
She shook her head. "Sometimes I wonder if we'll ever have enough."
We'd saved our money for years, but it was a pitifully small savings. We weren't rich people who could go down to the spaceport and buy passage on the rocket ships, no questions asked, no bond required. We were only farmers, eking our livelihood from the unproductive Martian soil, only two of the countless little people of the solar system. In all our lifetime we'd never been able to save enough to go home to Earth.
"One more year," I said. "If the crop prices stay up...."
She smiled, a sad little smile that didn't reach her eyes. "Yes, Lewis," she said. "One more year."
But I couldn't stop thinking of what she'd said earlier, nor stop seeing her thin, tired body. Neither of us was strong any more, but of the two I was far stronger than she.
When we'd left Earth she'd been as eager and graceful as a child. We hadn't been much past childhood then, either of us....
"Sometimes I wonder why we ever came here," she said.
"It's been a good life."
She sighed. "I know. But now that it's nearly over, there's nothing to hold us here."
"No," I said. "There's not."
If we had had children it might have been different. As it was, we lived surrounded by the children and grandchildren of our friends. Our friends themselves were dead. One by one they had died, all of those who came with us on the first colonizing ship to Mars. All of those who came later, on the second and third ships. Their children were our neighbors now--and they were Martian born. It wasn't the same.
She leaned over and pressed my hand. "We'd better go in, Lewis," she said. "We need our sleep."
Her eyes were raised again to the green star that was Earth. Watching her, I knew that I loved her now as much as when we had been young together. More, really, for we had added years of shared memories. I wanted so much to give her what she longed for, what we both longed for. But I couldn't think of any way to do it. Not this year.
Once, almost seventy years before, I had smiled at the girl who had just promised to become my wife, and I'd said: "I'll give you the world, darling. All tied up in pink ribbons."
I didn't want to think about that now.
We got up and went into the house and shut the veranda door behind us.
I couldn't go to sleep. For hours I lay in bed staring up at the shadowed ceiling, trying to think of some way to raise the money. But there wasn't any way that I could see. It would be at least eight months before enough of the greenhouse crops were harvested.
What would happen, I wondered, if I went to the spaceport and asked for tickets? If I explained that we couldn't buy insurance, that we couldn't put up the bond guaranteeing we wouldn't become public charges back on Earth.... But all the time I wondered I knew the answer. Rules were rules. They wouldn't be broken especially not for two old farmers who had long outlived their usefulness and their time.
Martha sighed in her sleep and turned over. It was light enough now for me to see her face clearly. She was smiling. But a minute ago she had been crying, for the tears were still wet on her cheeks.
Perhaps she was dreaming of Earth again.
Suddenly, watching her, I didn't care if they laughed at me or lectured me on my responsibilities to the government as if I were a senile fool. I was going to the spaceport. I was going to find out if, somehow, we couldn't go back.
I got up and dressed and went out, walking softly so as not to awaken her. But even so she heard me and called out to me.
I turned at the head of the stairs and looked back into the room.
Mari Wolf's 'The Statue' opens with an intimate domestic scene: elderly couple Lewis and Martha Farwell watch Earthrise from their glassed-in veranda on Mars. The story's emotional core is established through small, precise details—Martha's trembling hands, the squeak of her rocking chair, the scent of Earth roses maintained by artificial means. The narrative voice, first-person from Lewis, conveys a quiet desperation beneath the routine of watching the Morning Star.
The catalog subjects list 'older people' and 'married people' as themes, and the excerpts bear this out: the Farwells' sixty-six years on Mars have created a shared language of unspoken thoughts. Yet the story also complicates the 'space colony' subject by focusing not on adventure but on the psychological weight of permanence and the impossibility of return.
Earth as a Distant Morning Star
The opening pages establish Earth not as a destination but as a celestial object observed nightly. Lewis describes it as 'a clear, bright star' that rises over the desert horizon, yet for the Farwells it remains emotionally charged: 'To us it wasn't a point of light. It was the continents and oceans of Earth.' This tension between astronomical distance and emotional proximity drives the narrative. The ritual of watching earthrise becomes a measure of their isolation—'staying up night after night' for years. Wolf uses the contrast between the veranda's controlled Earth atmosphere and the 'cold night air of Mars' outside to underscore the couple's suspended existence. The detail of Martha's shawl, drawn 'tightly about her knees,' suggests both physical frailty and a protective barrier against the alien environment.
The Statue as Community Mirror
The community's surprise anniversary gift—a life-size statue carved from 'dull red stone of Mars'—transforms the Farwells into symbols. The inscription reads 'Lewis and Martha Farwell. The last of the pioneers' and 'the first Martians,' a paradox that captures their ambiguous status. Wolf emphasizes the statue's realism: 'They were very real, those figures. Real, and somehow familiar.' Yet the narrative undercuts the celebratory tone. Lewis observes the crowd's children and grandchildren, noting the generational shift. The statue, meant to honor, also freezes them in a pioneer identity they may no longer inhabit. The story's structure—moving from private longing to public ceremony—highlights the gap between how the community sees them and how they see themselves.
Aging and the Limits of Return
Martha's repeated plea 'I want to go home' frames the story's central conflict. Lewis's promise—'Next year for sure'—echoes a deferred dream. Wolf uses physical details to convey mortality: Martha's 'work-coarsened hands' that 'never stopped shaking,' her thin body. The three-month rocket journey becomes an impossible threshold. The story's setting on Mars, a colony now generations old, complicates the notion of home. The Farwells' children (implied by the community's composition) have never known Earth. When Martha reads the list of original settlers, she recites names of the dead. The statue's permanence contrasts with their bodily decline. The excerpts do not reveal whether they ever return, but the narrative weight suggests the question is less about travel than about acceptance of where—and when—they belong.
Readers attentive to the story's use of sensory detail—the smell of alkali dust, the squeak of a rocking chair, the texture of red stone—will find a narrative that grounds speculative elements in tangible experience. Wolf's choice to tell the story from Lewis's perspective filters the community's celebration through his awareness of Martha's frailty and his own doubts. The statue, unveiled as a surprise, becomes a mirror for the reader to consider how memory and identity are shaped by those who remain.
That rainy afternoon, The Statue left me with the Farwells’ quiet ache—how a home can fade even while you’re still standing in it. Later, restless, I picked up Black Amazon of Mars — Story, Setting & Ideas and recognized that same loneliness, but sharper, fought against. Two Marses, two different definitions of belonging. I just sat there, turning pages, listening to the rain. Neither book answered anything. Neither needed to.
There are no reviews for this eBook.
How did this book work for you?
Your answers remain private and are stored only in this browser.