The 3rd Party — Key Ideas to Explore

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In Category - Machines Invention
Holum, Lee B., 1931-2019, Freas, Kelly, 1922-2005 [Illustrator] Project Gutenberg 2019 Not confirmed
Science fiction; Scientists -- Fiction; Kidnapping victims -- Fiction; Terrorism -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 13,489
Reading time 59 min
Text sections 2

This digital edition of The 3rd Party — Key Ideas to Explore is described by source-level measurements including 13,489 words, 59 min estimated reading time, and 2 detected text sections.

The text analysis averages about 15.5 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.

Lee B. Holum's 1955 novella uses a scientist's kidnapping to escalate Cold War tensions, with a narrative that shifts from crowded terminals to mountain hideouts, tracking the pacing of surveillance and conspiracy.
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Editorial Edition Score 4.5/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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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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Linda was surprised to find that the sound of the blast off was not as loud as she had expected. Neither did she find the acceleration of two and a half gravities excessively uncomfortable. The brightly lighted compartment made the scene outside the eyeport seem dark; although it was only four-thirty in the afternoon. Tiny pellets of snow streamed by the port during the few seconds it took the rocket to scream through the lower atmosphere. Then the ship burst through the clouds. Linda gave an exclamation of surprise and pleasure at the sheer beauty of the sight. The clouds rose like tumbled snowy mountain ranges under an ice blue winter sky. The setting sun painted their tops in brilliant hues of pink, orange, and violet. Their eastern sides lay in blue shadow honeycombed with caves and grottos.

"It's beautiful!" exclaimed Linda. "I never dreamed it would be like this."

"You have to see it to really appreciate it," Roger said. "Descriptions never do it justice."

As the rocket continued to rise, the clouds flattened until they resembled pack ice on an arctic sea. More of Earth became visible, and spots of green and brown appeared on the southwestern horizon. Finally the blue of the Pacific crept into view, brilliantly contrasted against the now black sky.

"You may be able to see a few stars if you don't look toward Earth or the sun," Roger said to Linda. Linda followed Roger's instructions; and, sure enough, a few stars appeared, unwinking points of light against black velvet. Now over three hundred miles above Earth, the rocket had crossed the frontier into outer space.

The rocket passed the top of its arc and the scenery was forgotten; the natural fear of falling to which all humans are heir asserted itself. Linda suddenly realized that there was no sensation of weight and that the rocket was falling steadily through space.

"Is ... is everything all right?" she asked in a weak voice.

"Don't worry dear," Roger replied soothingly. "We'll be landing in another half hour. You won't have to go through much more of it."

"Thank goodness!" Linda breathed a sigh of relief and laid her dark head on Roger's shoulder. Roger put his arm around her and held her until the rocket came in with a squeal of runners against hard packed snow. Lights flashed by the eyeport as they slid along the runway. In the distance the lighted, slablike towers of Arctic City loomed against the dark sky. The night was clear and bitterly cold.

The rocket slid to a stop, and an electric tractor came to tow the ship to the top of an elevator shaft. A few minutes later the passengers streamed along a conveyer walk into the Arctic City terminal. The sounds of hurried activity echoed through the tunnel. The rumble of heavy freight conveyers, the shouts of stevedores, the whine of heavily loaded electric motors, and the hum of conversation mingled in a medley of sounds that spoke of commerce and industry, of people busy at an almost endless array of tasks.

"Are you Roger Lorin?" The question came from a short, stocky, gray-haired individual.

"Yes, I am," Roger replied.

"I'm Jacob Darcy. I'm supposed to show you to your apartment and help you get oriented."

"Good," Roger said. "You lead. We'll follow." Darcy turned and led them to a small electric monorail car which sped them through a maze of underground streets past the windows of many shops and stores.

After a ten minute ride in the monorail and a fast ascent in an elevator, the three of them entered a small apartment high in one of the slablike buildings. The apartment was comfortable and compact, though not luxuriously furnished. One transparent wall of the living room looked out over the city and the arctic landscape.

"I thought things would be more primitive," said Linda as she looked around her future home. "This doesn't seem like a frontier at all."

"No," Darcy replied with a smile. "Arctic City is pretty well built up. Conditions are a lot better here than they are in some of the mining centers farther north." He turned to Roger. "I'll be around tomorrow morning to show you the labs. Sometime around eight or eight thirty."

"I'll be ready," replied Roger. "It should be interesting to see the facilities here."

"I suppose the high temperature work will be most interesting to you," said Darcy. "I read your paper on molecular linkages. We'll sure be able to use you. We're having the devil's own time with the linings for the reaction chambers in the neutron pile."

The story opens with a dense, sensory description of a snowbound rocket terminal, where the howling wind and swirling snow are set against the hurried movements of passengers. This initial scene establishes a world of routine space travel, but the weather and the impersonal crowds create an atmosphere of isolation and tension. The narrative voice is direct and observational, focusing on physical details—the glass elevator cage, the stewardess checking tickets, the rocket's orange flame—before pivoting to the abduction plot.

Shifts in Setting and Pace

The narrative moves from the crowded terminal to the claustrophobic interior of the rocket, then to a mountain hideout. Each setting change alters the pace: the terminal is bustling with activity, the rocket launch is a controlled sequence of warnings and vibrations, and the hideout introduces long periods of waiting. The description of the hideout—a log-faced lodge with luxurious interiors—contrasts with the earlier technological environments. The pacing slows during the three-day wait, with characters fishing, watching television, or playing cards, while the police stake out the Denver house. This lull is broken by the arrival of Miguel Gomez, who reveals a new plan involving a rocket crash. The text uses these shifts to build suspense, alternating between action and stillness.

Voice and Sensory Detail

Holum's prose is plain but precise, relying on sensory details to convey mood. The wind 'sings its mournful song' and fires 'volleys of snow against the glass,' while the stars glitter 'like icy diamonds.' These similes are functional, not ornamental, grounding the reader in the characters' physical experience. Dialogue is sparse and utilitarian, used to advance the plot rather than reveal character. The police patrolman's report is a list of observable facts: height, hair color, clothing. This matter-of-fact voice extends to the villains, whose plans are stated without embellishment. The narrative rarely enters characters' thoughts; instead, it reports actions and external events, creating a documentary feel.

Recurring Motifs of Surveillance

The story repeatedly emphasizes observation and detection. The police patrolman uses light-amplifying binoculars and switches to ultraviolet sensitivity to check for code numbers. The police plane tracks the fugitives with infrared detectors. The hideout is discovered through patient stakeouts and radar. These details reflect the story's Cold War context, where technology is both a tool and a threat. The motif extends to the villains' own paranoia: Juarez suspects he is being followed, and the new plan involves framing the North Americans with 'evidence of general negligence.' The narrative thus builds a world where everyone is watching, and the third party remains an unseen manipulator.

Readers should attend to how Holum uses the weather and the physical environment to mirror the political chill of the story. The snow, the cold moonlight, and the ice-covered lake are not mere backdrop but active elements that shape the plot's rhythm. The novella's brevity—under 14,000 words—means that every scene serves the escalating tension, and the narrative voice remains consistently external, leaving the reader to infer the characters' inner states from their actions.

That rainy afternoon, I kept thinking about how Holum’s scientists never chose their chases, only survived them—like weather. The panic in those crowded terminals stayed with me, so I set the book down and reached for something softer, finding My Lady Greensleeves — Background and Themes. It offered quiet corridors instead of mountain hideouts, a different kind of waiting. The rain never stopped, and neither did that thought.

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