Security Plan — A Reader’s Guide

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In Category - Space Future
Farrell, Joseph, Wood, Wallace, 1927-1981 [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 6,745
Reading time 30 min
Text sections 1

For Security Plan — A Reader’s Guide, the stored edition analysis reports 6,745 words, 30 min estimated reading time, and 1 detected text section.

The text analysis averages about 17.0 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 Joseph Farrell's 1959 short story, a child prodigy turned inventor builds a time machine to secure his future, but his pawnbroker uncle's greed drives a darkly comic financial scheme. The narrative shifts from domestic banter to tense bargaining, with Wallace Wood's illustrations amplifying the ironic tone.
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Editorial Edition Score 4.3/5

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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.

Edition quality

Read the Text

There was more ozone and a blurring in the middle of the room. We stepped away from the thickest of the blurring, where something seemed to be gathering substance.

The something, we soon saw, was a man sitting in a chair surrounded by strange apparatus, most of which I couldn't guess the purpose of. It was a very young man, when I could see him better, probably nineteen, wearing bright clothes in what I figured must be the style of 1989.

"Man-o!" he said. "This time machine is low Fahrenheit, o-daddy! Right to the bottom! It's the deepest!"

I blinked. "Parlez vous Francais?"

Marilyn said, "I think he means he likes it. But who is he and just where did he come from?"

The gaily dressed youth got out of the chair and smiled at us. Each of his shoulders had padding the size of a football. His coat tapered from four feet wide at the shoulders to a tightly bound waist, the lapels from a foot at the top to zero. The trousers widened out to wide stiff hoops that ended six inches above his shoes. And the shoes! But at least they weren't really alive, as I had thought at first.

"How is it," asked Marilyn, "that a cool cat from the future comes to visit us in a time machine? I would expect a more scholarly type."

"Not so, doll-o. The angleheads don't reach the real science. The scientist pros believe that all knowledge is known. They delve not into the sub-zero regions of thought. That is done by us amateurs."

He did a short bit of syncopated tap and introduced himself. "I am Solid Chuck Richards, ambassador to the past, courtesy of the Friday Night Bull Session and Experimentation Society."

"Are they all like you?" I asked.

"No, o-daddy-man. Some are deep, some are high on the scale, but all of them reach together on one thing--they all feel that the pro-scientists have grown angular and lost the sense of wonder. So we gather together on Friday nights to work on the off-beat side of science. We read your books--if you are Ted Langer--?"

He danced a rhythmic circle around me, staring in what was evidently adoration, and kept murmuring, "Reach that deep man! Ted Langer--the father of time travel! O-man-o! Deep! Real deep!"

"Now see here," I finally broke in. "Don't they talk English where you come from? And just how do you come to be here anyway? I built a time machine to travel into the future, and instead I get you telling me how deep I am. Are you here or am I there?"

"You are here, o-daddy-boy, and I also am here. But, to explain this, I may have to use some angle talk, which is what you mean by English. We read your books--which are collectors' items, by the way--and we decided you were way under the zero mark, especially when we saw that the angleheads wouldn't touch any of your ideas. So we got together and made our time machine. But I am sad to report, doctor-o, that your theory was a bit less than two-hundred-per-cent correct. There were a few errors, which we found."

It was something of a shock to hear this future rock-and-roller tell me there were mistakes in my work, and I started to argue with him about it. But his attention wasn't on the conversation. He was sniffing thoughtfully, the thing he'd called sense of wonder shining in his eyes. He was looking at the steaks Marilyn had set on the table.

"Reach that!" he said, awed. "Gen-you-wine solid flesh! Man-o! I haven't seen a steak like that in all my off-beat life!"

So naturally we invited him to sit down at the table and he didn't have to be asked more than once. It seemed that food was pretty expensive in 1991, which is the year he came from, and what there was of it mostly came from factories where they shoveled soy beans and yeast into a machine and it came out meat at the other end, if you didn't make too much fuss about what you called meat. But with so much of the good farm land ruined by atomic dust, and so much more turned into building lots on account of the growing population, it was the best they could do.

When we heard this, we pushed the second steak in front of him and he showed he was a growing boy by finishing every scrap, along with a double order of French frieds and half a dozen ears of corn on the cob. But he had to give up after two pieces of pie.

The story opens with a domestic squabble that immediately establishes the narrator's voice: wry, self-deprecating, and grounded in material worry. Marilyn's repeated warning about marrying a child prodigy sets up the central tension between intellectual ambition and financial insecurity. The narrator's tinkering with a time machine is presented not as grand scientific endeavor but as a hobby that has drained their resources, leaving them with a drawerful of pawn tickets. This mundane framing makes the eventual time travel feel less like fantasy and more like a desperate gamble.

Voice and Temporal Framing

The narrator's voice is colloquial and intimate, peppered with asides like "She really loves me and doesn't mind too much" and "I added a growl to her sigh." This conversational tone masks the story's clever temporal structure. The opening scene is set in the present of the narrative, but the narrator already knows the outcome, as revealed by the first line: "I had something better than investing for the future ... the future investing in me!" This creates a knowing, retrospective quality. The reader is drawn into the domestic drama while sensing that the time machine will indeed work, shifting the focus from if to how the scheme unfolds.

The Pawnbroker as Antagonist

Uncle Johnson is introduced through a series of sharp, economical details. He is a "hulking lout" who inherits a pawn shop after his uncle's conveniently timed death. The narrator's resentment is palpable: "It seemed that every time I acquired something, Uncle Johnson soon came into possession of it." Johnson's dialogue is terse and transactional, as when he offers "twenty dollars a thousand" for future currency. The bargaining scene crackles with tension, each counteroffer revealing Johnson's eagerness and the narrator's desperation. Johnson's promise to be the only buyer sets up the story's ironic twist—his greed becomes the engine of his own undoing.

Pacing and the Shift to Triumph

The story accelerates after the time machine works. The narrator's tone shifts from beleaguered to buoyant, as he describes redeeming pawned items and giving stock tips to Johnson. The prose becomes more playful, with phrases like "You reach me, o-uncle" and "Real deep in the hole, that is." The final paragraph leaps forward to a second honeymoon on Mars, undercut by Solid Chuck Richards's complaint about low gravity and lack of jukeboxes. This coda maintains the story's comic voice while confirming the narrator's victory. The pacing mirrors the emotional arc: slow, anxious buildup followed by rapid, satisfying payoff.

Farrell's story rewards attention to its verbal texture and structural irony. The narrator's retrospective framing invites the reader to watch the trap close on Uncle Johnson, while the domestic details keep the fantastical premise grounded. Wallace Wood's illustrations, though not reproduced here, likely heighten the story's satirical edge. Readers may enjoy tracking how each piece of dialogue and description contributes to the final reversal.

That Farrell story stayed with me—how greed quietly warps something so personal, turning invention into a bargaining chip. I found myself thinking about that same uncomfortable thread while rereading The Gun Runners — Themes and Context, where the weight of a father’s choices lingers long after the last page, much like that uncle’s shadow over the workshop. A peculiar, uneasy afterglow.

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