The Return — Reading Notes

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Piper, H. Beam, 1904-1964, McGuire, John J. (John Joseph), 1917-1981 Project Gutenberg 2006 Not confirmed
Science fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 14,955
Reading time 66 min
Text sections 2

For The Return — Reading Notes, the stored edition analysis reports 14,955 words, 1 hr 6 min estimated reading time, and 2 detected text sections.

The text analysis averages about 15.9 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.

This editorial note examines the authorial choices in Piper and McGuire's 'The Return,' focusing on the interplay between technical and social-scientific dialogue, the use of domestic details to ground post-apocalyptic speculation, and the construction of a mystery around a slain-god religion through evasive character interactions.
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Editorial Edition Score 4.4/5

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Read the Text

Loudons looked forward, up the river they were following. "Get anything on the radio?" he asked. "I noticed you took us up to about ten thousand, while I was shaving."

Altamont got out his pipe and tobacco pouch, filling the former slowly and carefully.

"Not a whisper. I tried Colony Three, in the Ozarks, and I tried to call in that tribe of workers in Louisiana. I couldn't get either."

"Maybe if we tried to get a little more power on the set...."

That was Loudons, too, Altamont thought. There wasn't a better man at the Fort, when it came to dealing with people. But confront him with a problem about things and he was lost.

That was one of the reasons why he and the stocky, phlegmatic social scientist made such a good team, he thought. As far as he, himself, was concerned, people were just a mysterious, exasperatingly unpredictable order of things which were subject to no known natural laws.

And Loudons thought the same thing about machines: he couldn't psychoanalyze them.

Altamont gestured with his pipe toward the nuclear-electric conversion unit, between the control-cabin and the living quarters in the rear of the boxcar-sized helicopter.

"We have enough power back there to keep this windmill in the air twenty-four hours a day, three hundred and sixty-five days a year, for the next fifteen years," he said. "We just don't have enough radio. If I'd step up the power on this set any more, it'd burn out before I could say, 'Altamont calling Fort Ridgeway.'"

"How far are we from Pittsburgh now?" Loudons wanted to know.

Altamont looked across the cabin at the big map of the United States as they had been, the red and green and blue and yellow patchwork of vanished political divisions. The colors gleamed through the transparent overlay on which this voyage of re-discovery was plotted.

The red line of their journey started at Fort Ridgeway, in what had been Arizona. It angled east by a little north, to Colony Three, in northern Arkansas ... sharply northeast to St. Louis and its lifeless ruins ... then to Chicago and Gary, where little bands of Stone Age reversions stalked and fought and ate each other ... Detroit, where things that had completely forgotten they were human emerged from their burrows only at night ... Cleveland, where a couple of cobalt bombs must have landed in the lake and drenched everything with radioactivity that still lingered after two centuries ... Akron, where vegetation was only beginning to break through the glassy slag ... Cincinnati, where they had last stopped....

"How's the leg this morning, Jim?" he asked.

"Little stiff. Doesn't hurt much, though."

"Why, we're about fifty miles, as we follow that river, and that's relatively straight." He looked down through the transparent nose of the copter at a town, now choked with trees that grew among the tumbled walls. "I think that's Aliquippa."

Loudons looked and shrugged, then looked again and pointed.

"There's a bear. Just ducked into that church or movie theater or whatever. I wonder what he thinks we are."

Altamont puffed slowly at his pipe. "I wonder if we're going to find anything at all in Pittsburgh."

"You mean people, as distinct from those biped beasts we've found so far? I doubt it," Loudons replied, finishing his caffchoc and wiping his mustache with the back of his hand. "I think the whole eastern half of the country is nothing but forest like this, and the highest type of life is just about three cuts below Homo Neanderthalensis, almost impossible to contact, and even more impossible to educate."

"I wasn't thinking about that. I've just about given up hope of finding anybody or even a reasonably high level of barbarism," Altamont said. "I was thinking about that cache of microfilmed books that was buried at the Carnegie Library."

"If it was buried," Loudons qualified. "All we have is that article in that two-century-old copy of Time about how the people at the library had constructed the crypt and were beginning the microfilming. We don't know if they ever had a chance to get it finished, before the rockets started landing."

They passed over a dam of flotsam that had banked up at a wrecked bridge and accumulated enough mass to resist the periodic floods that had kept the river usually clear. Three human figures fled across a sand-flat at one end of it and disappeared into the woods. Two of them carried spears tipped with something that sparkled in the sunlight, probably shards of glass.

"You know, Monty, I get nightmares, sometimes, thinking about what things must be like in Europe," Loudons said.

Five or six wild cows went crashing through the brush below. Altamont nodded when he saw them.

From its opening scene, 'The Return' establishes a distinctive voice through the interplay of its two protagonists, Altamont and Loudons. Their dialogue is not merely expository; it reveals character through contrasting preoccupations. Altamont, the pilot, notes the river below and scrapes his plate clean, while Loudons, the socio-psychologist, describes his improvised meal in precise, almost clinical detail. This early exchange—centered on leftover pork chops, rice, and egg powder—grounds the post-apocalyptic setting in mundane domesticity, a technique the authors use repeatedly to make the speculative world tangible.

Dialogue as Character Revelation

The authors use dialogue to differentiate their leads without heavy-handed description. Altamont's thoughts about Loudons—'that was Loudons, all right'—and Loudons' habit of chewing his mustache when worried are shown through action, not stated. When Loudons says, 'A much overrated beverage,' about coffee, the line does double duty: it conveys his pragmatic nature and hints at the world's lost luxuries. Similarly, Altamont's internal admission that 'people were just a mysterious, exasperatingly unpredictable order of things' contrasts with his comfort with machinery, a dynamic that drives the plot. The authors avoid telling us these traits; they let the characters' words and small gestures reveal them.

Domestic Details in a Ruined World

The story's post-apocalyptic setting is built not through grand descriptions of ruins but through the texture of everyday life. Loudons' recipe for 'caffchoc' and his mention of vacuum-packed coffee found in Idaho ground the narrative in a specific, material reality. The helicopter's 'transparent nose' and the 'yellow-brown river' below are observed in passing, as routine. This technique makes the extraordinary—a society descended from an Army platoon with a slain-god religion—feel plausible because it is embedded in the ordinary. The authors trust the reader to infer the scale of the catastrophe from these small, concrete details.

The Construction of Mystery Through Evasion

The central mystery of the 'Sacred Books' and the slain god is built not through exposition but through the characters' frustrated attempts to learn more. Loudons reports that the villagers 'evaded' his questions, and that the Tenant sent the Reader out on errands to 'pass the word around not to talk to us about their religion.' This indirect approach creates tension: the reader, like Loudons, must piece together clues from what is not said. The authors also use the characters' own theories—Altamont's guess about the platoon commander, Loudons' dismissal of a Christian variant—to narrow possibilities without resolving them, keeping the reader engaged in the puzzle.

Voice and Register in a Post-Collapse Society

The dialogue of the villagers, as glimpsed through Tenant Jones, is notably formal and respectful—'I hope you don't think, sir, that I was presumptuous'—which contrasts with the casual banter between Altamont and Loudons. This register shift signals a society that has developed its own codes of deference, likely tied to the religion Loudons finds so anomalous. The authors do not explain this; they let the language itself suggest a culture shaped by its sacred texts. The mention of 'cartridges' in those texts, dating them after 1860, is a small but precise detail that grounds the mystery in historical specificity, avoiding vague futurism.

Readers attentive to the authors' craft will find that 'The Return' rewards close attention to what is implied rather than stated. The story's effectiveness lies in its restraint: the post-apocalyptic world is evoked through a handful of domestic objects and routines, the central mystery is developed through evasion and inference, and the characters are defined by their contrasting verbal habits. This is a story that trusts its audience to read between the lines.

There’s something tender about how The Return buries its god-mystery under domestic quiet—a kettle’s hiss louder than any revelation. It reminded me of another old story, where space’s vastness felt most real in a shared cabin’s glancing touch: A Honeymoon in Space — Themes and Context. Both leave you holding the ordinary a little differently, afterward.

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