Space Platform — Text and Context
Edition facts
For Space Platform — Text and Context, the stored edition analysis reports 63,116 words, 4 hr 35 min estimated reading time, and 6 detected text sections.
The text analysis averages about 12.8 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, American,” 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
There was a steady roaring in the cabin--the motors. One's ears got accustomed to it, and by now the noise sounded as if it were heard through cushions. Presently the coffeepot bubbled, unheard. The co-pilot lighted a cigarette. Then he drew a paper cup of coffee and handed it to the pilot. The pilot seemed negligently to contemplate some dozens of dials, all of which were duly duplicated on the right-hand, co-pilot's side. The co-pilot glanced at Joe.
"Thanks," said Joe. He took the paper cup.
The co-pilot said: "Everything okay with you?"
"I'm all right," said Joe. He realized that the co-pilot felt talkative. He explained: "Those crates I'm traveling with----. The family firm's been working on that machinery for months. It was finished with the final grinding done practically with feather dusters. I can't help worrying about it. There was four months' work in just lapping the shafts and balancing rotors. We made a telescope mounting once, for an observatory in South Africa, but compared to this gadget we worked on that one blindfolded!"
"Pilot gyros, eh?" said the co-pilot. "That's what the waybill said. But if they were all right when they left the plant, they'll be all right when they are delivered."
Joe said ruefully: "Still I'd feel better riding back there with them."
"Sabotage bad at the plant?" asked the co-pilot. "Tough!"
"Sabotage? No. Why should there be sabotage?" demanded Joe.
The co-pilot said mildly: "Not quite everybody is anxious to see the Space Platform take off. Not everybody! What on earth do you think is the biggest problem out where they're building it?"
"I wouldn't know," admitted Joe. "Keeping the weight down? But there is a new rocket fuel that's supposed to be all right for sending the Platform up. Wasn't that the worst problem? Getting a rocket fuel with enough power per pound?"
The co-pilot sipped his coffee and made a face. It was too hot.
"Fella," he said drily, "that stuff was easy! The slide-rule boys did that. The big job in making a new moon for the Earth is keeping it from being blown up before it can get out to space! There are a few gentlemen who thrive on power politics. They know that once the Platform's floating serenely around the Earth, with a nice stock of atom-headed guided missiles on board, power politics is finished. So they're doing what they can to keep the world as it's always been--equipped with just one moon and many armies. And they're doing plenty, if you ask me!"
"I've heard----" began Joe.
"You haven't heard the half of it," said the co-pilot. "The Air Transport has lost nearly as many planes and more men on this particular airlift than it did in Korea while that was the big job. I don't know how many other men have been killed. But there's a strictly local hot war going on out where we're headed. No holds barred! Hadn't you heard?"
It sounded exaggerated. Joe said politely: "I heard there was cloak-and-dagger stuff going on."
The pilot drained his cup and handed it to the co-pilot. He said: "He thinks you're kidding him." He turned back to the contemplation of the instruments before him and the view out the transparent plastic of the cabin windows.
"He does?" The co-pilot said to Joe, "You've got security checks around your plant. They weren't put there for fun. It's a hundred times worse where the whole Platform's being built."
"Security?" said Joe. He shrugged. "We know everybody who works at the plant. We've known them all their lives. They'd get mad if we started to get stuffy. We don't bother."
"That I'd like to see," said the co-pilot skeptically. "No barbed wire around the plant? No identity badges you wear when you go in? No security officer screaming blue murder every five minutes? What do you think all that's for? You built these pilot gyros! You had to have that security stuff!"
"But we didn't," insisted Joe. "Not any of it. The plant's been in the same village for eighty years. It started building wagons and plows, and now it turns out machine tools and precision machinery. It's the only factory around, and everybody who works there went to school with everybody else, and so did our fathers, and we know one another!"
The co-pilot was unconvinced. "No kidding?"
"No kidding," Joe assured him. "In World War Two the only spy scare in the village was an FBI man who came around looking for spies. The village cop locked him up and wouldn't believe in his credentials. They had to send somebody from Washington to get him out of jail."
The catalog entry for Space Platform lists it under 'Science fiction, American,' but the excerpts from Murray Leinster's 1953 novel spend remarkably little time on futuristic hardware. Instead, the opening pages present a young engineer, Joe Kenmore, driving through a dusty town called Bootstrap, worrying about a girl named Sally and the pistols she insists he carry. The speculative element—a space platform under construction—is mentioned only in the blurb; the actual text dwells on road conditions, a dam that provides power, and the dry air of the desert. This mismatch between catalog subject and narrative texture is the first clue that the book may be more concerned with terrestrial suspense than with spaceflight.
A Landscape of Tension, Not Technology
The excerpts show that Leinster builds atmosphere through physical details rather than scientific exposition. When Joe and Sally drive to Red Canyon, the narrative lingers on the road: 'the road curved and recurved as it wound among them,' and the dam is described as 'a monstrous structure of masonry, alone in the mountains.' The threat of sabotage is introduced not through a technical briefing but through Sally's casual mention that her father fears someone might 'blow up this dam and leave Bootstrap and the Shed without power.' The space platform itself—the supposed centerpiece—is referred to only as 'the Shed,' a nickname that deflates its grandeur. The catalog subject 'Machines, Inventions & Early Science Fiction' suggests a focus on invention, but the excerpts prioritize the human and environmental pressures surrounding the project.
Character Through Action, Not Description
Leinster reveals character through small, concrete actions. Joe's reaction to finding a revolver in the lunch basket—'He regarded it and said'—is left unfinished, implying a controlled wariness. Sally's dialogue is practical and direct: 'There are two pistols in the glove compartment. Dad knows you. So I promised you’d put one in your pocket up at the lake.' The midget Mike and the Indian steelworker 'The Chief' are listed in the blurb as key allies, but the excerpts do not show them; their absence from the sample suggests the story may shift focus later. The catalog's secondary topic 'science-fiction' is undercut by the fact that the only speculative element in the excerpts is the existence of 'the Shed'—and even that is treated as a given, not a marvel.
The Weight of Everyday Objects
Objects in the excerpts carry narrative weight far beyond their utility. The lunch basket contains a revolver; the glove compartment holds two pistols; the car itself becomes a mobile safe zone. When Joe 'slipped it in his coat pocket,' the gesture is both practical and ominous. The dam, a piece of infrastructure, is described with the same care as the space platform might be: 'a monstrous structure of masonry.' The catalog subject 'Machines, Inventions & Early Science Fiction' might lead a reader to expect descriptions of rocket engines or gyroscopes, but the excerpts offer only a dam, a car, and a pistol. This suggests that Space Platform may be less about the invention of a space platform and more about the human conflicts—sabotage, romance, loyalty—that surround it.
Readers approaching Space Platform through the catalog should adjust expectations: the novel is not a technical blueprint for spaceflight but a suspense story set against an engineering project. The excerpts reward attention to landscape, gesture, and the weight of everyday objects. The space platform itself remains offstage, a looming presence that shapes the characters' actions without dominating the prose. This gap between catalog promise and textual reality is the book's most interesting feature.
Joe’s constant tinkering in that 1953 story—his hands always busy with gyros—reminded me how books can feel like repairs, small adjustments to how we see things. I kept thinking about that quiet persistence while turning through The Last American A Fragment from the Journal of Khan-li, Prince of Dimph-yoo-chur and Admiral in the Persian Navy — Edition Insights, its fragments lingering gently, like a last ember.
Victoria Wright
3 weeks agoLiam Miller
3 weeks agoGrace Scott
1 month agoJames Taylor
1 month ago-
Alison Little - 1 month ago
A riveting science fiction story that feels ahead of its time. The concept of a space station is handled with realistic detail, and the political intrigue keeps you turning pages. The characters are well-developed, and the tension is palpable. A definite must-read for classic sci-fi enthusiasts. -
Matthew Price - 4 weeks ago
The premise is interesting, but the execution is mediocre. The characters are flat and the dialogue is stale. The plot has potential, but it never really takes off. I found myself bored in many parts. This might appeal to those who grew up with this style, but I found it underwhelming. -
William Powell - 3 weeks ago
This book delivers a fun and adventurous plot, but the writing style feels somewhat dated compared to modern sci-fi. However, the story is engaging, and the protagonist is likable. If you can overlook the old-fashioned dialogue, it's a worthwhile read. A nice piece of retro-futurism.
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Elijah Perez
3 weeks ago