After Some Tomorrow — Key Ideas to Explore

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In Category - Machines Invention
Emshwiller, Ed, 1925-1990 [Illustrator], Reynolds, Mack, 1917-1983 Project Gutenberg 2019 Not confirmed
Science fiction; Short stories; Colorado -- Fiction; Sex role -- Fiction; Apocalyptic fiction; Matriarchy -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,309
Reading time 37 min
Text sections 1

This digital edition of After Some Tomorrow — Key Ideas to Explore is described by source-level measurements including 8,309 words, 37 min estimated reading time, and 1 detected text section.

The text analysis averages about 14.9 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.

In a post-apocalyptic matriarchy, the Wolf clan's husband Alan challenges the violent status quo by advocating for planned breeding and prisoner reform, but his ideas clash with the warrior women's traditions.
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Helen was on her feet first, her eyes flashing. Instantly she was in command. "Alan," she snapped. "Quick, to the citadel. All of you boys, hurry! To the citadel!"

She whirled to her older classmates. "Ruth, Margo, Jenny, Paula. Get stones, sharp stones. You younger girls go with Alan. See if you can help at the citadel. We'll come last. Hurry Alan."

Alan was already off, herding the boys before him. Possibly all of them were sterilies and so wouldn't count. But you never knew.

As they climbed the hill, he looked back over his shoulder. Down in the fields he could see the workers scattering for their weapons and for cover. One stumbled and was down. In the distance he couldn't make out whether she had fallen accidentally or been wounded. Further beyond the fields he could see the smoke from a half dozen or more places where the shots had originated. It didn't seem to be an attack in force.

Not far up the hill from the field workers, on a overhanging boulder in a lookout position, he could make out Vivian, the scout chief. She sat, seemingly in unconcerned ease, one elbow supported on a knee as her telescoped rifle went _crack, crack, crack_. If he knew Vivian there was more than one casualty among the raiders.

Who could it be this time? Deer from the south, Coyote or Horse from the east? Possibly Eagles, Crows or Dogs from Denver way. The clan couldn't stand much more of this pressure. It was the third raid in six months. They couldn't stand it and put in a crop, nor could the drain on the arsenal be maintained. He had heard that the Turtle clan, near Colorado Springs, the clan of his birth, had got to the point where they were using bows and arrows even for defense. If so, it wouldn't be long before they would be losing their husband.

He was puffing somewhat by the time they reached the citadel. Helen and her four girls were coming much more slowly, watching the progress of the fight below them, keeping their eyes peeled for a possible break through of individual enemies. The stones in their hands were pathetically brave.

The rounded citadel building, stone built, loopholed for rifles, loomed before them. He swung open the door and hurried inside.

"Hello, honey," a strange voice said pseudo-pleasantly. "Hey, you're kind of cute."

Alan's eyes went from the two figures before him, automatic rifles cuddled under their arms, to the two Wolf clan sentries collapsed in their own blood on the floor. They had paid for lack of vigilance with their lives.

He could see that the strangers were of different clans by their kilts, one a Horse the other a Crow. This would mean two clans had united in order to raid the Wolves and that, in turn, would mean the Wolves were outnumbered as much as two to one.

"Relax, darling," the second one said, a lewd quality in her voice. "Nothing's going to happen to _you_." Her eyes took in the dozen boys ranging in age from five to twelve. "Look like a bunch of sterilies to me," she sneered. "Get them up above, and those girls too. You stay here where we can watch you, honey."

The Crow went to a small window, stared down below. "Wanda is holding them pretty well but they're beginning to work their way back in this direction." She laughed harshly. "These Wolves never could fight."

Her companion fingered the Bren gun which lay on the heavy table top in the round room's center. Aside from four equally heavily constructed chairs the table was the large room's sole furniture. While Alan was ushering the boys and younger girls up to the second floor where they would be safe, the Horse said musingly, "We could turn this loose on them even at this distance."

The Crow shook her head. "No. It'll be better to wait until they're closer. Besides, by that time Peggy and her group'll be coming up from the arroyo. There won't be a Wolf left half an hour from now."

Alan, his stomach empty, stared out the loophole nearest him.

One of the women said, grinning, "You better get away from there, honey. Make you sick. That's a mighty pretty suit you've got on. Make it yourself?"

"No," Alan said. As a matter of fact one of the sterilies had made it.

She laughed. "Well, don't be so uppity. You're going to have to learn how to be nice to me, you know."

Both of them laughed, but Alan said nothing. He wondered how long the women of these clans had been without a husband.

Mack Reynolds's After Some Tomorrow opens with a scene that immediately establishes its inverted gender dynamics: Alan, the Wolf clan's husband, teaches myth-legend to young people in an aspen grove. The girls are bored and unbelieving, the boys open-mouthed—a reversal of expected roles that persists throughout the excerpt. The story's setting is a post-bomb-day world where women are warriors, hunters, and leaders, while men are scarce, valued primarily for reproduction, and often dismissed as 'cute' or meddlesome in 'women's affairs.'

Gender Roles and Power Dynamics

The catalog lists 'Sex role -- Fiction' and 'Matriarchy -- Fiction,' and the excerpt bears this out with striking specificity. Women command the clan: Helen, fourteen, instantly takes charge when shots ring out, ordering Alan to the citadel while she and older girls gather stones. Vivian, the scout chief, sits unconcernedly picking off raiders with a telescoped rifle. Men are husbands, teachers of myth-legend, and potential sterilies—if infertile, they 'wouldn't count.' Alan's proposal to discuss 'planned breeding' makes the younger women titter, and Sally, the clan leader, reminds him that 'a certain dignity is expected at a clan meeting.' The power structure is clear: women fight, lead, and decide; men advise, if permitted.

The Fragility of Post-Apocalyptic Society

The catalog includes 'Apocalyptic fiction' and 'Colorado -- Fiction,' and the excerpt shows a world struggling with decline. Alan argues that the present system 'isn't working,' noting that 'at the rate the race is going, there will be no men left at all in another few generations.' He recalls that Warren's great-grandfather remembered 'four times or more the number of men' and far fewer sterilies. The clan survives by raiding and being raided—the Deer from the south, the Horse and Crow—and prisoners are casually disposed of: Vivian suggests shoving them into a canyon to save ammunition. The society is locked in a cycle of violence and population loss, with no clear path forward.

Language and Voice as Worldbuilding

Reynolds uses dialogue to reinforce the reversed gender hierarchy. Vivian calls Alan 'you cutie, you' and 'honey,' while Sally addresses him as 'Alan dear.' The women's speech is pragmatic, commanding, and affectionate in a patronizing way. Alan, by contrast, speaks formally and pleads for silence. The narrative voice also reflects the world's values: Helen is described as 'tall for her fourteen years and straight, clear of eye, aggressive and brooking of no nonsense,' and the narrator notes that 'the old books told of the femininity of women, but...'—leaving the thought unfinished. Such details build a setting where traditional gender traits are reassigned without explicit commentary.

Readers should note that the excerpt ends before Alan's proposal is fully debated, and the outcome of the clan meeting—and the fate of the prisoners—remains unknown. The story's brevity (under 9,000 words) suggests a focused exploration of this single conflict rather than a sprawling post-apocalyptic epic. Pay attention to how Reynolds uses small details, like the changing content of myth-legend or the casual disposal of prisoners, to imply a larger history without explaining it directly.

I remember sitting with my grandmother, her hands stilled mid-knit, as she told me why she'd stopped reading war stories. Alan's quiet insistence that strength could mean mercy brought that afternoon back. The Super Opener — Reading Companion carried the same unhurried hush, like a door left slightly ajar, asking not for answers but for patience. Some books simply wait beside you.

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