The Bridge — Context and Discussion

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In Category - Other Worlds
Emshwiller, Ed, 1925-1990 [Illustrator], Revelle, G. G. Project Gutenberg 2019 Not confirmed
Science fiction; Short stories; Soldiers -- Fiction; Cold War -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 6,898
Reading time 30 min
Text sections 1

For The Bridge — Context and Discussion, the stored edition analysis reports 6,898 words, 30 min estimated reading time, and 1 detected text section.

The text analysis averages about 13.1 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 Cold War-era science fiction story, Captain Lowary must defend a bridge against both enemy jets and desperate civilians, while a personal telegram reveals his own family may be among those he is ordered to stop.
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Editorial Edition Score 4.3/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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There was silence. Finally Lowary said, "That's it, then. Let's move."

The Officers saluted and began to move off. Tudor took two steps, then halted and returned. "How much time do you think is left, Captain?" he asked.

Lowary took in the man's square face, the set of his jaw. Tudor was ex-combat, infantry during the last war.

"Who knows, Lieutenant! Minutes ... or hours. It all depends on how strong the enemy is, how fast they're moving, if they are sending a boy to do a man's job."

Tudor looked down the river in the direction of the City some thirty miles away. He seemed to have difficulty finding words. Lowary knew what he was thinking and it made him feel weak and inadequate.

Lowary said softly, "We knew it would come some day, didn't we, Tudor?"

Tudor faced him. "I guess we did ..." he hesitated.

"I just didn't think I would draw this kind of duty. I don't mind fighting, I've had my share. But I guess I feel as Meyers does. This will be something new for me, shooting my own people."

"Perhaps we won't have to," Lowary said.

Tudor stepped back a pace and gave him a salute. "You don't believe that any more than I do, Captain." He began to walk away swiftly.

Lowary watched him go and he wondered how many men in the Battery were thinking the same thing? It could create a serious psychological block. Damn it. It was bothering him too. But he could do it if he had to. He knew he could.

He climbed into his jeep and adjusted the radio squelch button, cutting down on the steady crackling noise. He found himself repeating under his breath. _I can do it because I know I have to. I can do it because...._ He jammed down on the starter and shoved the gearshift into first. He had to force the thoughts from his mind. He had orders to follow; orders left no room for personal feelings. Yet he knew the yellow paper in his pocket was mocking him.

The jeep was opposite the bridge entrance when he halted it momentarily. Lieutenant Meyers was busy talking to a machine-gunner named Morgan. As Lowary recalled, from what little he had seen during the three weeks he had been commanding the outfit since his transfer from the middle west, Morgan was a conscientious type of soldier. Meyers was making a good choice for such a delicate position. He moved on.

The tires made a low singing sound when he rolled on the bridge, heavy tread pounding on steel grating.

A sign attached to an upright girder caught his eye. He smiled sardonically and he wondered what the author had in mind when he phrased it.

It said: IN EVENT OF AIR ATTACK--DRIVE OFF THE BRIDGE.

The Captain shook his head.

When he got to the center of the bridge he halted the jeep. He got out and crossed over the lanes to the south railing and looked down at the gray water. It looks muddy, he thought. A wide, muddy snake winding its way down to the City. He looked at the horizon. He couldn't see the City but he knew it was there. He wondered for how long!

It will light up like a torch, he thought. One huge sheet of red and orange flame a mile high, like the gates of hell swinging open. Then there would be nothing but a towering mushroom of black smoke to mark the spot of the largest City in the world.

He found his hand clutching something in his pocket. He took it out and looked at it. Then, bitterly, he put it away. It was the yellow sheet of paper again. To read it would be torture.

Lowary ran the zipper up on his loose fitting green field jacket as a sudden chill took him. He blamed it on the nonexistent wind as he lighted another cigarette.

The sound of a motor caused him to look up. He narrowed his eyes, looking at the far end of the bridge. It was Lieutenant Kastner; he could tell by the foot resting carelessly on the outside fender. Kastner drove as though he were resting in an easy chair with his feet nestled on a hassock.

Kastner swung out of the jeep loosely, with the grace of a well coordinated athlete. A wide grin split his face.

"Just on my way to report to you, Captain. Everything is set up on my side."

Lowary smiled. He had been on his way to check Kastner. Lowary took in the blond man's well proportioned body. Kastner looked like the recruit ad on a "wild-blue-yonder" poster.

The story opens with Captain Lowary leaping from a moving jeep, shouting orders at an olive-drab truck convoy. The setting is a six-lane cantilever bridge, described as “trim and new,” which Lowary is responsible for keeping that way. The narrative immediately establishes a military hierarchy and a tense atmosphere: Lowary checks his radio set on “K channel, 29.2” and rereads a yellow telegram that gives him “a sinking sensation.” The catalog subjects—Science fiction, Soldiers, Cold War—are all present, but the excerpt shows that the Cold War tension is not about nuclear exchange but about psychological probing and the moral dilemma of shooting one’s own people.

Orders and Obedience

Lowary’s orders are explicit: “No one gets on the Bridge!” When Lieutenant Meyers asks, “Are we supposed to shoot our own people?” Lowary’s reply is hard: “If we have to.” The story hinges on this command. The excerpt shows Lowary later facing a crowd of civilians, including a woman whose “mouth worked up and down but no words came out.” He warns them that the machine gunners will shoot, but a man’s voice counters, “He can’t shoot us … he’s in the line of fire.” Lowary then turns his back on the crowd and walks to the jeep, a deliberate act that risks being seen as retreat. The radio crackles with an “ALL CLEAR” message: enemy jets were on a “peaceful training maneuver.” The crisis dissolves, but Lowary’s obedience to orders is tested throughout.

The Telegram’s Weight

The yellow telegram appears four times in the excerpt. First, Lowary reads it “for the fourth time” and gets a sinking sensation. Later, after the all-clear, a soldier hands it back to him; Lowary reads it “for the tenth time.” The message is personal: “CHILDREN AND I ARRIVED CITY THIS MORNING—WILL SPEND DAY SHOPPING—SEE YOU TONIGHT DARLING—LOVE—DOT.” The city is presumably the one beyond the bridge, and the civilians trying to cross include women and children. The story never states that Dot and the children are among the crowd, but the timing and Lowary’s reaction—his hand trembles, he carefully puts the telegram away—strongly imply the conflict. The catalog subject “Soldiers” is literal, but the telegram adds a domestic dimension that complicates the military frame.

Voice and Structure

The prose is lean, with short declarative sentences and minimal interiority. Lowary “lighted a cigarette” multiple times; his actions are physical and immediate. Dialogue is clipped: “That’s it, then. Let’s move.” The story’s structure builds to a single moment of decision—Lowary turning his back—then releases with the radio message. The ending is ambiguous: Lowary says “We’re going home” and his heart quickens, but the reader knows the enemy may return. The catalog subject “Short stories” fits, but the excerpt shows a tight, almost stage-like unity of time and place. The bridge itself is a constant presence, described in engineering terms (“cantilever style with curved upper and lower cords”) that ground the story in a specific, material reality.

The catalog lists “Cold War — Fiction,” and the story indeed features a standoff with enemy jets and a test of defenses. But the excerpt reveals that the real conflict is internal: Lowary must reconcile his orders with the human cost. Readers should pay attention to how the telegram functions as a silent counterpoint to the military action, and how the bridge—both a physical structure and a symbol—remains unchanged while everything else shifts.

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