Ambition — Context and Discussion

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In Category - Space Future
Bade, William L., 1928-2005, Woromay, Lawrence, 1927-2007 [Illustrator] Project Gutenberg 2016 Not confirmed
Science fiction; Short stories; Time travel -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 10,850
Reading time 48 min
Text sections 2

Before opening Ambition — Context and Discussion, the edition data offers a quick orientation: 10,850 words, 48 min estimated reading time, and 2 detected text sections.

The text analysis averages about 13.8 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,” connecting these edition facts with the source record’s subject description.

In this 1951 science fiction story, a 20th-century rocket scientist is abducted to a future where technology is subservient to humanism. The narrative shifts from disorienting sensory details to philosophical debate, contrasting the Age of Technology with the Age of Man.
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Editorial Edition Score 4.5/5

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  • 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.

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Read the Text

There was a thump. Maitland stirred, came half awake, and opened his eyes. The room was dark except where a broad shaft of moonlight from the open window fell on the foot of his bed. Outside, the residential section of the Reservation slept silently under the pale illumination of the full Moon. He guessed sleepily that it was about three o'clock.

What had he heard? He had a definite impression that the sound had come from within the room. It had sounded like someone stumbling into a chair, or--

Something moved in the darkness on the other side of the room. Maitland started to sit up and it was as though a thousand volts had shorted his brain....

This time, he awoke more normally. He opened his eyes, looked through the window at a section of azure sky, listened to the singing of birds somewhere outside. A beautiful day. In the middle of the process of stretching his rested muscles, arms extended back, legs tensed, he froze, looking up--for the first time really seeing the ceiling. He turned his head, then rolled off the bed, wide awake.

_This wasn't his room!_

The lawn outside wasn't part of the Reservation! Where the labs and the shops should have been, there was deep prairie grass, then a green ocean pushed into waves by the breeze stretching to the horizon. This wasn't the California desert! Down the hill, where the liquid oxygen plant ought to have been, a river wound across the scene, almost hidden beneath its leafy roof of huge ancient trees.

Shock contracted Maitland's diaphragm and spread through his body. His breathing quickened. _Now_ he remembered what had happened during the night, the sound in the darkness, the dimly seen figure, and then--what? Blackout....

Where was he? Who had brought him here? For what purpose?

He thought he knew the answer to the last of those questions. As a member of the original atomic reaction-motor team, he possessed information that other military powers would very much like to obtain. It was absolutely incredible that anyone had managed to abduct him from the heavily guarded confines of the Reservation, yet someone had done it. How?

He pivoted to inspect the room. Even before his eyes could take in the details, he had the impression that there was something wrong about it. To begin with, the style was unfamiliar. There were no straight lines or sharp corners anywhere. The walls were paneled in featureless blue plastic and the doors were smooth surfaces of metal, half ellipses, without knobs. The flowing lines of the chair and table, built apparently from an aluminum alloy, somehow gave the impression of arrested motion. Even after allowances were made for the outlandish design, something about the room still was not right.

His eyes returned to the doors, and he moved over to study the nearer one. As he had noticed, there was no knob, but at the right of this one, at about waist level, a push-button projected out of the wall. He pressed it; the door slid aside and disappeared. Maitland glanced in at the disclosed bathroom, then went over to look at the other door.

There was no button beside this one, nor any other visible means of causing it to open.

Baffled, he turned again and looked at the large open window--and realized what it was that had made the room seem so queer.

It did not look like a jail cell. There were no bars....

Striding across the room, he lunged forward to peer out and violently banged his forehead. He staggered back, grimacing with pain, then reached forward cautious fingers and discovered a hard sheet of stuff so transparent that he had not even suspected its presence. Not glass! Glass was never this clear or strong. A plastic, no doubt, but one he hadn't heard of. Security sometimes had disadvantages.

He looked out at the peaceful vista of river and prairie. The character of the sunlight seemed to indicate that it was afternoon. He became aware that he was hungry.

Where the devil could this place be? And--muscles tightened about his empty stomach--what was in store for him here?

He stood trembling, acutely conscious that he was afraid and helpless, until a flicker of motion at the bottom of the hill near the river drew his attention. Pressing his nose against the window, he strained his eyes to see what it was.

A man and a woman were coming toward him up the hill. Evidently they had been swimming, for each had a towel; the man's was hung around his neck, and the woman was still drying her bobbed black hair.

The story opens with a disorienting thump that yanks Maitland from sleep, and the reader is immediately plunged into his confusion. The prose mirrors his disorientation: short, fragmented sentences convey the shock of waking to a moonlit room that feels wrong, then to a ceiling and landscape that are utterly alien. The narration stays close to Maitland's senses—the feel of a bed, the sight of prairie grass where a liquid oxygen plant should be—before his mind catches up with the implications. This technique of grounding the fantastic in concrete, physical detail establishes a voice that is both immediate and introspective.

A Voice of Disorientation and Discovery

The narrative voice in Ambition is tightly aligned with Maitland's perspective, especially in the opening scenes. The prose uses short, staccato sentences to convey his shock: “He turned his head, then rolled off the bed, wide awake. This wasn't his room!” The description of the room—its “flowing lines” and “arrested motion”—is filtered through his growing unease. Later, when he learns he has traveled to a future where technology is mundane, the voice shifts to a more analytical tone, as when he compares himself to a crusader dropped into 1950. This change in pace from visceral confusion to reasoned reflection mirrors Maitland's own adjustment. The language remains concrete throughout, avoiding abstract exposition in favor of sensory details: the “broad shaft of moonlight,” the “singing of birds,” the “green ocean” of prairie grass. These details root the reader in Maitland's experience, making the fantastic premise feel immediate and tangible.

The Clash of Two Eras in Dialogue

The central conflict is dramatized through dialogue between Maitland and Ingrid, a woman of the future. Their exchange reveals a fundamental shift in values. Maitland speaks with trembling hands about the adventure of space travel: “doesn't it fire something in your blood, the idea of going to Mars?” Ingrid counters with a calm, almost clinical explanation of her era's priorities: “This is the Age of Man. We are terribly interested in what can be done with people.” Her language is measured, using phrases like “human rather than nuclear reactions” and “life and death of cultures.” Maitland's responses are more emotional, punctuated by rhetorical questions and physical gestures. The dialogue does not resolve the conflict; instead, it highlights the gulf between their worldviews. The pacing here slows, allowing the philosophical debate to unfold, before Maitland retreats into solitude to reconsider his goals. This structural shift from action to reflection is a key feature of the story's rhythm.

Pacing and the Use of Analogy

The story's pacing is uneven by design. Early scenes move quickly, with Maitland's abduction and awakening compressed into a few paragraphs of rapid sensory impressions. The middle section slows considerably, dominated by long conversations and Maitland's internal deliberations. A notable device is the extended analogy Maitland draws between himself and a 12th-century crusader transported to 1950. This comparison, which occupies several sentences, serves to crystallize his predicament: his ambitions are as obsolete as the crusader's. The analogy is introduced with a flat declarative—“His mind had just manufactured a discouraging analogy”—and then elaborated in a measured, almost academic tone. This contrasts with the earlier frantic pace, signaling a shift from action to contemplation. The story thus alternates between moments of physical disorientation and intellectual reckoning, using changes in sentence length and narrative focus to guide the reader through Maitland's journey from shock to resolve.

Readers should pay attention to how the story uses setting details—the moonlit room, the prairie, the flowing furniture—to signal shifts in Maitland's understanding. The narrative never fully explains the mechanics of time travel or the future society; instead, it lets these elements emerge through Maitland's limited perspective. This restraint keeps the focus on his internal conflict, making the story as much about the psychology of ambition as about its science-fictional premise.

The rain kept drumming on the windows that afternoon, and I kept returning to that rocket scientist’s quiet horror at a world where machines had surrendered to manners. Afterwards, I found myself reaching for an old paperback about a thief, and oddly, it felt like the same conversation—what we take, what we keep. It Takes a Thief — Text and Context lingers on that same uneasy twilight between acquisition and belonging, like a half-remembered smell of wet dust.

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