The Business, As Usual — Text and Context
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The source record for The Business, As Usual — Text and Context measures this digital text at 5,713 words, 25 min estimated reading time, and 1 detected text section.
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Read the Text
THE BUSINESS, AS USUAL
Illustrated by TRATTNER
[Transcriber's Note: This etext was produced from Galaxy Magazine August 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]
Giving Certain Powers the business for a change would be a joy--but it must not backfire--and here at last was the perfect recoilless diddle!
In 1962, the United States Air Force found itself possessed of a formidable tool of battle, a radar resistant airplane. While this was the occasion for much rejoicing among the Defense Department members who were cleared for Top Secret, this national-defense solution merely posed a greater problem: What should we do with it?
"There must," said the Secretary of Defense, "be some utilization of this new device to demonstrate to 'Certain Powers' that the world can be made safe for Freedom and Democracy!"
"'Certain Powers,' my foot," said the President. "Why don't we ever come out and just say it?"
"Policy," the Secretary said. "We've always walked softly in our Foreign Policy; especially softly in cases where we didn't have the 'big stick' to carry."
"Well," grumbled the President, "we've got the big stick now. What do we do with it?"
"We just want to shake it a bit," said the Secretary. "No contusions intended, of course. We just have to let them know we _have_ it, but are too kind-hearted to use it. Unless provoked, naturally."
"I can see," said the President, "that this new plane is burning a hole in your pocket. Suppose we do send it flying over Rus--"
"_Mister_ President!" said the Secretary of Defense.
The President sighed. "All right, all right. Flying over 'Certain Areas,' then. Let's say we get it there. Fine. What do we do with it? Drop leaflets?"
"No. That comes under the proselytizing clause in the Geneva Conference of '59."
"I don't suppose a small--well, you know."
"Aggression," said the Secretary. "We'd lose face in the Middle East."
"So?" demanded the President, spreading his hands. "They don't like us anyhow, do they? Or the competition--or each other, for that matter."
"That's not the point. We have to _feel_ as though our dollars are buying friends, whether or not it's true."
"Well, then, what _can_ we do?" said the President. "No leaflets, no aggression. We couldn't maybe seed their clouds and make it rain on them?"
"And get sued by other countries for artificially creating low-pressure conditions that, they could claim, robbed them of their rightful rainfall? We've had it happen right here between our own states."
"Maybe we should just forget about it, then?"
"Never! It must be demonstrated to the world that--"
"We could take a full-page ad in the New York _Times_."
"It just isn't done that way," the Secretary protested.
"Why not? It'd save money, wouldn't it? A simple ad like, '_Hey, there, Certain Powers! Lookie what we got!_' What'd be wrong with that?"
"They'd accuse us of Capitalistic Propaganda, that's what! And to get the egg off our face, we'd have to demonstrate the plane and--"
"And be right back where we are now," the President realized aloud, nodding gloomily. "Okay, so what do we do?"
The Secretary looked to left and right, although they were alone together in a soundproofed, heavily guarded room, before replying.
"We drop an agent!" he whispered.
The President blinked twice before responding. "Have you gone mad? What man in his right mind would volunteer for such a thing? 'Drop an agent,' indeed! Ten minutes after landing, he'd be up against a wall and shot. Wouldn't _that_ be lovely for Freedom and Democracy? We'd have the R--the Certain Powers gloating over the air waves for weeks about nipping a Capitalist Assassination Plot in the bud, not to mention the Mothers of America beating down the White House door because one of Our Boys was sacrificed. You know how our country reacts: If an entire division is wiped out, we bite the bullet and erect statues and make speeches and then forget it. But let a single man get in dutch and the whole populace goes crazy until something is 'done' about it. No, it won't work."
"May I finish?" said the Secretary patiently.
The President shrugged. "Why not?"
"This agent would be something special, sir. One that would not only demonstrate our new aircraft, but which would positively leave the R--damn, you've got _me_ doing it!--Certain Powers tied in knots. In point of fact, our military psychologists think that this agent might be the wedge to split Communism apart in hopeless panic!"
"Really?" the President said, with more enthusiasm than he had shown throughout the entire meeting. "I'd like to meet this agent."
Jack Sharkey's 1960 short story opens with a bureaucratic comedy of euphemisms: the Secretary of Defense insists on referring to the Soviet Union as 'Certain Powers,' while the President grumbles for plain speech. The central problem—what to do with a radar-resistant airplane—unfolds almost entirely through dialogue, with the President proposing increasingly farcical ideas like taking out a full-page ad in the New York Times. The clipped, exasperated exchanges establish a tone of political absurdity that drives the narrative forward.
Euphemism as Plot Engine
The story's language hinges on deliberate evasion. The Secretary's repeated use of 'Certain Powers' and 'Certain Areas' is not mere politeness but a structural constraint: it forces the President to dance around the obvious, creating a rhythm of frustration. When the President finally blurts 'Rus—' and is cut off, the interruption itself becomes a gag. This verbal tiptoeing extends to the plane's purpose: 'We just want to shake it a bit,' says the Secretary, ruling out leaflets, aggression, or even cloud-seeding. Each rejected option tightens the comedic deadlock. The dialogue's pace accelerates as the President's suggestions grow more desperate, from ads to 'a small—well, you know,' which the Secretary immediately shuts down as 'Aggression.' The euphemisms are not just window dressing; they are the mechanism that keeps the plot from resolving, building toward a punchline that subverts the entire premise.
Voice and Characterization Through Speech
Sharkey differentiates his three main characters almost entirely through their manner of speaking. The President is colloquial and blunt: 'Why don't we ever come out and just say it?' and 'They don't like us anyhow, do they?' His language is full of contractions and rhetorical questions, conveying impatience. The Secretary, by contrast, speaks in formal, policy-laden sentences: 'We've always walked softly in our Foreign Policy; especially softly in cases where we didn't have the 'big stick' to carry.' His careful phrasing and parenthetical asides ('No contusions intended, of course') mark him as a career bureaucrat. Blake, who appears later, speaks in hesitant fragments ('Methods?' asked Blake, a little nervously), suggesting a subordinate out of his depth. When the diplomatic note arrives, the Secretary's hands 'opened limply' and he whispers, a sudden shift from his earlier composure. The President's reaction—'The dirty, lowdown, rotten....'—is cut off, leaving his fury hanging. These vocal tics create distinct personalities without physical description.
Pacing and the Twist Ending
The story's structure is a long, escalating setup followed by a swift, ironic payoff. For most of the excerpt, the dialogue loops through variations of 'What can we do?' with no progress. The President's suggestions grow more absurd, the Secretary's objections more pedantic. Then, abruptly, a knock at the door. The pace shifts: the envelope is torn open, the message falls, and the President reads it in silence. The revelation—'He's confessed'—is delivered in three words, without explanation. The preceding banter about radar planes and 'Certain Powers' is suddenly reframed as a distraction. The confession of 'Teddy' (presumably a spy or diplomat) undercuts the entire debate over the plane, suggesting that the real threat was internal all along. The story ends on that note, leaving the reader to infer the implications. This abrupt tonal shift from farce to something darker is the story's central structural gambit.
Readers should pay close attention to how the story's title—The Business, As Usual—echoes through the dialogue. The phrase 'business as usual' is never spoken, but the characters' obsession with protocol and euphemism embodies it. The final twist invites a reread: does the earlier debate about the plane become ironic in light of Teddy's confession? Sharkey leaves that question open, trusting the reader to connect the dots.
The rain on the windowsill made the absurd Cold War chatter in The Business, As Usual feel almost cozy, like static from a distant radio. After closing it, I drifted to a shelf and pulled down something quieter, a collection that lingered on weather and wanderings. It felt less like a departure and more like an exhale, that book, Fresh Air Fiend — Story, Setting & Ideas, easing the satire’s sharp edges into something softer, like afternoon light fading. A gentler kind of searching.
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