The Feeling — Reading Companion
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The catalog record for The Feeling — Reading Companion provides practical reading context through 5,072 words, 23 min estimated reading time, and 1 detected text section.
The text analysis averages about 18.3 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.
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- Title & short description10 pts
- Source metadata20 pts
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Read the Text
Illustrated by GAUGHAN
[Transcriber's Note: This etext was produced from Galaxy Magazine April 1961. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]
If this story holds true in real practice, it may reveal something about us that we've never known.
"We're just starting on the first one--Walraven, ship's communications man," Costain said, low-voiced. "Captain Maxon and Vaughn have called in. There's been no word from Ragan."
Coordinator Erwin took his seat beside the psychologist, his bearing as militarily authoritative in spite of civilian clothing as the room's air was medical.
"Maybe Ragan won't turn up," Erwin said. "Maybe we've still got a man out there to bring the ship back."
Costain made a quieting gesture, his eyes on the three-man psych team grouped about Walraven's wheeled reclining chair. "They've given Walraven a light somnolent. Not enough to put him out, just enough to make him relive the flight in detail. Accurately."
The lead psych man killed the room's lighting to a glow. "Lieutenant Walraven, the ship is ready. You are at your post, with Captain Maxon and Lieutenants Vaughn and Ragan. The first Mars flight is about to blast off. How do you feel?"
Walraven lay utterly relaxed, his face dreaming. His voice had the waning sound of a tape running down for lack of power.
"Jumpy," he said. "But not really afraid. We're too well conditioned for that, I guess. This is a big thing, an important thing. Exciting."
It had been exciting at first. The long preparation over, training and study and news interviews and final parties all dreamlike and part of the past. Outside now, invisible but hearteningly present beyond the ship's impermeable hull, the essential and privileged people waiting to see them off. The ship's power plant was humming gently like a giant, patient cat.
Captain Maxon passed out muscle-relaxant capsules. The total boneless relaxation that was their defense against acceleration came quickly.
The ship was two hours out, beyond lunar orbit and still accelerating, when, trained for months against the moment, set each about his task. Readings occupied Maxon and Vaughn and Ragan while Walraven checked his communications and telemetering gear.
It was not until the transmitter slot had licked up its first coded tape--no plain text here, security before even safety--and reported all well, the predicted borne out, that they became aware of the Feeling.
The four of them sat in their unsqueaking gimbaled seats and looked at each other, sharing the Feeling and knowing that they shared it, but not why. Vaughn, who was given to poetry and some degree of soul-searching, made the first open recognition.
"There's something wrong," he said.
The others agreed and, agreeing, could add nothing of explanation to the wrongness. Time passed while they sat, seeing within themselves for the answer--and if not for answer, at least for identification--but nothing came and nothing changed except that with time the steady pressure of the Feeling grew stronger.
Vaughn, again, was first to react to the pressure. "We've got to do something." He twisted out of his seat and wavered in the small pseudogravity of the ship's continuing acceleration. "I've never in my life felt so desolate, so--"
He stopped. "There aren't any words," he said helplessly.
Less articulate than Vaughn and knowing it, the others did not try to help find the words. Only Ragan, professional soldier without family or close tie anywhere in the world, had a suggestion.
"The ship's power plant is partly psionic," Ragan said. "I don't understand the principle, but it's been drilled into us that no other system can give a one-directional thrust without reaction. The psi-drive is tied into our minds in the same way it's tied into the atomic and electronic components. It's part of us and we're part of it."
Even Maxon, crew authority on the combination drive, missed his meaning at first.
"If our atomic shielding fails," Ragan explained, "we're irradiated. If our psionics bank fails, we may feel anything. Maybe the trouble is there."
Privately they disagreed, certain that nothing so disquieting as the Feeling that weighted them down could be induced even by so cryptic a marriage of dissimilar principles as made up the ship's power plant. Still it was a possible avenue of relief.
"It's worth trying," Maxon said, and they checked.
And checked, and checked.
"We worked for hours," Walraven said, "but nothing came of it. None of us, even Maxon, knew enough about the psi-drive to be sure, but we ended up certain that the trouble wasn't there. It was in us."
The drug was wearing thin, leaving him pale and shaken. His face had a glisten of sweat under the lowered lights.
Roger Dee's 1961 story The Feeling begins not on the launch pad but in a debriefing room, where Coordinator Erwin and psychologist Costain observe a psych team interrogating Lieutenant Walraven under a light somnolent. The setting is clinical, the tone hushed. The first Mars flight has already happened, and something has gone wrong. The story's structure—a frame narrative of recall—immediately signals that the mystery is not about space travel but about the crew's internal experience. From the opening lines, Dee establishes a tension between military procedure and the ineffable: Erwin's authoritative bearing contrasts with the room's "medical" air, and Costain's quiet gestures suggest that what is about to be uncovered cannot be handled by protocol alone.
The Frame of Recall
The story's opening places the reader inside a psychological interrogation. Walraven, the communications man, is made to relive the flight under a "light somnolent"—not enough to lose consciousness, but enough to retrieve details accurately. This framing device does more than set up a flashback; it establishes that the story's central event, the Feeling, cannot be understood from the outside. The psych team's question—"How do you feel?"—is both literal and ironic, since the Feeling defies the crew's own vocabulary. Dee uses the clinical setting to underscore that the crew's training has not prepared them for this. The reader, like the observers, must piece together the experience from Walraven's halting recollections.
The Emergence of the Feeling
Two hours out, beyond lunar orbit, the crew becomes aware of something wrong. Vaughn, "given to poetry and some degree of soul-searching," is the first to voice it. The others agree but cannot explain. Dee's prose shifts here from technical description to a shared, wordless recognition: the four men sit in their gimbaled seats, looking at each other, "sharing the Feeling and knowing that they shared it, but not why." The phrase "the Feeling" is capitalized in the story's title but not in the text, suggesting it is both a proper name and an ordinary word stretched beyond its meaning. The crew's inability to name the sensation is the story's central puzzle. Dee does not offer a supernatural explanation; instead, he keeps the source ambiguous, rooted in the characters' own psychology.
The Limits of Training
Dee repeatedly emphasizes the crew's conditioning. They are "too well conditioned" for fear, Walraven says. The muscle-relaxant capsules, the gimbaled seats, the coded tapes—all speak to a mission designed for maximum control. Yet the Feeling bypasses every safeguard. The crew's training has given them no framework for a shared, inexplicable wrongness that has no external cause. Dee's choice to set the story in 1961, at the height of the Space Race, adds a layer of cultural anxiety: the crew represents the ideal of rational, technocratic exploration, and their failure to understand the Feeling suggests a limit to that ideal. The story does not resolve whether the Feeling is a psychological artifact or something external; it simply presents the crew's helplessness as the central fact.
The Unfinished Flight
The excerpts break off before the story's conclusion, but the frame narrative hints at consequences. Coordinator Erwin's remark—"Maybe Ragan won't turn up. Maybe we've still got a man out there to bring the ship back"—suggests that at least one crew member is missing. The debriefing is an attempt to understand what happened, but the reader, like the psych team, only has Walraven's testimony. The story's title, The Feeling, remains the only label for the experience. Dee leaves the reader with the same question the crew faces: what does it mean to feel something that has no name? The incomplete excerpts make the story's ambiguity a feature, not a flaw, inviting the reader to sit with the unresolved tension.
Because the excerpts end before the story's resolution, readers should pay close attention to how Dee handles the aftermath. The frame narrative suggests that the crew's experience has consequences beyond the flight itself. Watch for how the debriefing reveals—or conceals—the fate of the missing crew member. The story's power lies not in a tidy explanation but in its refusal to reduce the Feeling to a single cause. Approach it as a psychological puzzle rather than a technical one, and note how Dee uses the crew's own language to create a sense of unease that lingers beyond the final page.
Reading the crew’s debriefing, I remembered a long bus ride where everyone suddenly went quiet, no reason given. That shared unease feels familiar. Welcome, Martians! — Edition Insights once held a similar hum, a gentle reminder that we carry our strangeness together, even when we cannot name it.
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