The Connoisseur — Background and Themes

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In Category - Space Future
Banta, Frank Project Gutenberg 2019 Not confirmed
Science fiction; Short stories; Space ships -- Fiction; Bride price -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 4,585
Reading time 20 min
Text sections 1

The catalog record for The Connoisseur — Background and Themes provides practical reading context through 4,585 words, 20 min estimated reading time, and 1 detected text section.

The text analysis averages about 18.9 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 Frank Banta's 1961 story, a narrator bargains for a twelve-year-old bride aboard a spaceship, offering a control knob and a painting as bride price. The catalog subjects 'Space ships' and 'Bride price' match the excerpt, but the story's tone and moral implications are not fully captured by those labels.
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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.

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Read the Text

He said I was the biggest knuckle-head he ever saw, but I didn't trust him. Sooner or later I knew he'd insult me!

[Transcriber's Note: This etext was produced from Worlds of If Science Fiction, May 1961. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

It is infinitely more satisfactory to purchase wives when they are young. They are vastly more respectful.

Twelve is a good purchasing age. Lisa was twelve when I bargained for her, and she is an illustrious argument for the system.

I recall her excellent father and I facing each other across his gleaming synthol marble table that day. On the table were small metal shells of sweet liquor. And beside the shells were the sedulously gathered treasures I was formally offering for Lisa: A control knob, and a folded painting of one of our Navigator's other-ship visions.

Lisa's father eagerly examined the mirror-bright, chrome surface of the control knob--which I had handed to him with a pretense of casualness--trying to still the trembling of his fingers.

"The last knob on the control board!" he said in an emotion-cracked voice. "How could you have broken it off? We've all been tugging at it for years."

I answered--I hope with no more than legitimate pride--"I managed to get a thin hacksaw blade between the knob and the control board. Then I sawed off the shaft."

He nodded approvingly. "With knuckle-headed men like you aboard ship we will certainly all go to _Hell_."

I bowed, but I did not let his flattery relax my caution. After all, we were bargaining for his prettiest daughter. What flattering words bear weight in the midst of a sale? He, of course, referred to the ringing sincerity of our Navigator's dying words: "If you knuckle-heads all want to go to _Hell_, just keep dismantling the ship!"

Swinging adroitly to my other item of barter, I mused aloud, "Our Navigator! What a strange, frantic creature he was. Full of the wild, lovely visions which effervesced from his books of fantasy. Imploring us not only to read the books but to believe them--and, failing that, drawing immortal paintings of the fantasies for us to see."

Therewith I opened the folded painting and handed it reverently to him. It showed a large globular ship with people living on the _outside_ of it. The title of the painting was _Planet_.

Privately I had always thought the thing was wholly unnatural--a curious off-beat of the master's imagination. I was quite willing, despite its great beauty and its origin, to exchange it for something which to me was far more attractive at the moment. Namely a woman.

Lisa lay curled up on the narrow, in-wall couch, with her head propped up by a slim arm. She chewed her synthel-gum lazily and surveyed me with mild interest. She was a tender-featured girl, with shimmering black, shoulder-length hair. It was possible to forecast that she would some day be a lovely and gentle-hearted woman.

Her father, notwithstanding his habitually rigid integrity, saw my lively interest in her and tried to increase my generous bid for her by an artifice of delay.

Holding the painting of the master at arm's length, he grumbled critically, "A vision of _Hell_ would have been more to my liking. Unhappily our Navigator did not paint one of his radiant visions of that ship. Now, why would he prefer _Planet_ to _Hell_--particularly when he described _Hell_ as warm and enclosed like our own ship?"

I did not answer his frivolous complaint, knowing full well it was only bartering talk.

He handled the immortal painting with crudely feigned indifference. He could not quite bring himself to let go of it. He was determined to own it, I knew, and he sensed also my resolve to offer no more for Lisa. Yet slyly he determined on an evil course.

For, incredibly, he turned to tranquil Lisa and asked: "What is your value, lovely child? Does he offer enough?"

And slowly lifting her candid eyes to him she shook her head NO!

"Shall I bargain with _her_ then?" I asked my friend caustically. I will own I was vexed.

Shrewdly he nodded. "Whatever she accepts will be our bargain." Then, laughing at my undignified discomfiture, "It is manifest she is more aware of her value than I."

"Will you be serious? It is not kindly to banter with a woman-child in such an important matter as her future."

But greed now fully possessed him. "I do not joke. Whatever she demands shall be her price." He sipped his sweet wine, hiding his eyes from my displeasure.

The narrator of Frank Banta's 1961 story opens by declaring that purchasing wives when they are young is 'infinitely more satisfactory' and that twelve is a good age to buy. He describes bargaining for Lisa, age twelve, across a synthol marble table, offering a control knob and a folded painting of a Navigator's vision. The catalog subjects list 'Space ships' and 'Bride price,' which accurately reflect the setting and transaction, but the excerpt reveals a tone of casual justification that these labels do not convey. The narrator's pride in sawing off the knob and his dismissal of the Navigator's warnings hint at a darker undercurrent.

Barter and Power Dynamics

The excerpt centers on a formal exchange: the narrator offers a control knob and a painting for Lisa. The father's trembling fingers and emotional reaction to the knob—'the last knob on the control board'—suggest scarcity and desperation. The narrator's pride in his acquisition ('I managed to get a thin hacksaw blade between the knob and the control board') contrasts with his caution, as he notes that flattery bears no weight 'in the midst of a sale.' Lisa herself is described as 'curled up on the narrow, in-wall couch,' chewing synthel-gum and surveying the narrator with 'mild interest.' The power imbalance is stark: she is an object of transaction, her future forecast as 'a lovely and gentle-hearted woman.' The catalog subject 'Bride price' fits, but the excerpt shows the bride as a passive commodity, not a participant.

The Navigator's Legacy and Dismantling the Ship

The narrator references the Navigator's dying words: 'If you knuckle-heads all want to go to Hell, just keep dismantling the ship!' This line, repeated by the father, frames the crew's actions as reckless. The Navigator is described as 'strange, frantic,' full of 'wild, lovely visions' from fantasy books, and creator of 'immortal paintings.' One painting, titled Planet, shows 'a large globular ship with people living on the outside of it.' The narrator privately considers it 'wholly unnatural.' The catalog subject 'Space ships' is present, but the story's focus is on the ship's gradual destruction for barter—a detail not captured by the subject. The tension between the Navigator's warnings and the crew's priorities shapes the story's conflict.

Tone and Unreliable Narration

The narrator's voice is self-justifying and ironic. He claims not to trust the father, yet he is the one bargaining for a child. He dismisses the Navigator's art as unnatural while using it as currency. The opening line—'He said I was the biggest knuckle-head he ever saw, but I didn't trust him'—establishes a defensive, sly tone. The father's approving nod ('With knuckle-headed men like you aboard ship we will certainly all go to Hell') is taken as flattery. The narrator's casual description of the bride price and his pride in dismantling the ship suggest a moral vacuum. The catalog subjects do not capture this unreliable perspective; readers must infer the story's critique from the narrator's own words.

The excerpt offers a self-contained scene of barter, but the story's full arc—whether the narrator's confidence is justified or the Navigator's warnings prove true—remains unknown. Readers should attend to the gap between what the narrator says and what the details imply. The catalog subjects provide a starting point, but the story's effect depends on the tension between the narrator's pride and the reader's unease.

That story about the bride price on a spaceship stayed with me—not the bargaining, but how quietly the narrator convinced himself it was ordinary. It reminded me of another one I’ve been turning over, Time Payment — Inside the Classic, where the cost of something precious hides inside a routine transaction. Both left me unsettled in that soft way, like a hum you can’t quite place.

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