The Super Opener — Reading Companion

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In Category - Machines Invention
Orban, Paul, 1896-1974 [Illustrator], Zuroy, Michael, 1918-2007 Project Gutenberg 2019 Not confirmed
Science fiction; Short stories; Inventions -- Fiction; Business enterprises -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,321
Reading time 32 min
Text sections 1

The source record for The Super Opener — Reading Companion measures this digital text at 7,321 words, 32 min estimated reading time, and 1 detected text section.

The text analysis averages about 13.7 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.

Michael Zuroy's 1958 story uses a corporate can-opener rivalry to explore the tension between engineering integrity and market demands, with precise diction and escalating conflict.
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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
  • 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

There was the ever-present limit to production cost.

Hanson's eyes were upon him. "Chief," he said, "it's a rotten shame. Twenty-five years of your life you put in with Piltdon, and he'd fire you just like that if you don't do the impossible. The Piltdon Company is built upon your designs and you get handed this deal!"

"Well, well," said Feetch. "I drew my pay every week so I suppose I have no complaints. Although," a wistful note crept into his voice "I would have liked a little recognition. Piltdon is a household word, but who has heard of Feetch? Well,"--Feetch blew his nose--"how do we stand, Hanson?"

Hanson's bull-dog features drew into a scowl. "Piltdon ought to be rayed," he growled. "O.K., Chief. Eleven experimental models designed to date. Two more on the boards. Nine completed and tested, two in work. Best performance, four point four, but model otherwise unsatisfactory."

"Hello," said Feetch as an aproned machinist entered carrying a glistening mechanism. "Here's another model. Let's try it." The machinist departed and Hanson locked the opener on a can. "I hope----" he turned the handle, and stopped abruptly, staring down open-mouthed.

A cylinder of close-packed beans rested on the bench under the opener.

The can itself had disappeared.

"Chief," said Hanson. "Chief."

"Yes," said Feetch. "I see it too. Try another can."

"Vegetable soup or spinach?" inquired Hanson dreamily.

"Spinach, I think," said Feetch. "Where did the can go, do you suppose?"

The spinach can disappeared. Likewise several corn cans, sweet potato cans and corned-beef hash cans, leaving their contents intact. It was rather disconcerting.

"Dear, dear," said Feetch, regarding the piles of food on the bench. "There must be some explanation. I designed this opener with sixteen degree, twenty-two minute pressure angle modified involute gear teeth, seven degree, nineteen minute front clearance cutter angle and thirty-six degree, twelve minute back rake angle. I expected that such departures from the norm might achieve unconventional performance, but this--Dear, dear. Where do the cans go, I wonder?"

"What's the difference? Don't you see what you've got here? It's the answer! It's more than the answer! We can put this right into work and beat the dead-line."

Feetch shook his head. "No, Hanson. We're producing something we don't understand. What forces have we uncovered here? Where do the cans go? What makes them disappear? Are we dealing with a kinetic or a kinematic effect? What motions can we plot in the area of disappearance and what are their analytical mathematical formulae? What masses may be critical here? What transformations of energy are involved? No, Hanson, we must learn a lot more."

"But Chief, your job."

"I'll risk that. Not a word to Piltdon."

Several days later, however, Piltdon himself charged into the drawing room and slapped Feetch heartily on the back, causing him to break a pencil point. "Feetch!" roared Piltdon. "Is this talk that's going around the plant true? Why didn't you tell me? Let's see it."

After Piltdon had seen it his eyes took on a feverish glint. "This," he exulted, "will make can-opener history. Instantaneous opening! Automatic disposal! Wait until Advertising and Sales get hold of this! We'll throttle our competitors! The Piltdon Super-Opener we'll call it."

"Mr. Piltdon--" said Feetch shakily.

Piltdon stared at his chief engineer sharply. "What's the matter, Feetch? The thing can be duplicated, can't it?"

"Yes, sir. I've just finished checking that. But I'm in the midst of further investigation of the effect. There's more here than just a new type can-opener, sir. A whole new field of physics. New principles. This is big, Mr. Piltdon. I recommend that we delay production until further research can be completed. Hire a few top scientists and engineers. Find out where the cans go. Put out a scientific paper on the effect."

"Feetch," bit out Piltdon, his face growing hard. "Stow this hooey. I don't give a damn where the cans go. May I remind you that under our standard patent agreement, all rights to your invention belong to the company? As well as anything you may produce in the field within a year after leaving our employ? We have a good thing here, and I don't want you holding it back. We're going into production immediately."

Close, thought Feetch, wearily. It had been a man-killing job, and it had been close, but he'd made it. Beat the time limit by a half-day. The first tentative shipments of Piltdon Super-Openers had gone to distributors along the Eastern seaboard. The first advertisements blazed in selected media. The first reorders came back, and then: "It's a sell-out!" crowed Piltdon, waving a sheaf of telegrams. "Step up production! Let 'er rip!"

Michael Zuroy's "The Super Opener" opens with a shouting match in a drafting room. President Ogden Piltdon berates chief engineer Kalvin Feetch for failing to produce a faster, flashier can-opener, contrasting their product's 8.9-second opening time with competitors' sub-four-second models. The dialogue immediately establishes a power imbalance: Piltdon's aggressive, imperative speech versus Feetch's hesitant, interrupted protests. The story's conflict is not merely corporate but philosophical—Feetch values "stability, solidity, dignity," while Piltdon dismisses such qualities as "for museums."

Diction of Domination and Defeat

Zuroy crafts a verbal landscape where authority is asserted through volume and interruption. Piltdon "grated," "roared," and "sneered," his lines punctuated by exclamation marks. Feetch, by contrast, "shrunk visibly," speaks "unsteadily," and adjusts his spectacles with "shaking hands." The engineer's dialogue is repeatedly cut off—"But Mr. Piltdon—"—a structural pattern that mirrors his professional subjugation. When Feetch finally asserts himself, his speech shifts to "barked" commands and "coldly" delivered ultimatums, marking a reversal in verbal power.

The Object as Character: Can-Openers with Personalities

The story personifies competing can-openers through their specifications. The International "rips apart cans in three and three-tenths seconds"; the Minerva Mighty Midget "plays Home Sweet Home in chimes." These descriptions blend mechanical function with almost anthropomorphic traits—aggression, musicality. The Piltdon opener, in Feetch's defense, "has dignity," a quality that proves commercially useless. This personification extends to the Super-Opener itself, which becomes a catalyst for mob violence: people throw "rocks, tomatoes, rotten eggs" at Feetch's house, treating the invention as a personal affront.

Recurring Motifs: Time, Pressure, and the Body

Time is a relentless force in the narrative. Piltdon imposes a four-month deadline; Feetch reflects on "twenty-five years" of stifled creativity. The story's pacing mirrors this pressure—scenes are compressed, dialogue rapid. Physical reactions underscore psychological states: Feetch's "body twitched," he "shrunk," his hands shook. Later, a "glow of anger" builds in his chest, and a "tiny click" of a glass triggers his decisive rage. These bodily details ground the corporate conflict in visceral, human terms.

Structural Reversal: From Victim to Negotiator

The story's turning point is a carefully staged scene. Feetch assembles a government man, a foundation representative, a university professor, and the press—a coalition of institutional power. His demand for 51% of the company stock inverts the earlier power dynamic. Piltdon's protests—"Outrageous!" "Ridiculous!"—echo his earlier tirades but now fall flat. The supporting characters side with Feetch, with the Government man noting he "never did think Feetch got a fair shake." The reversal is complete when Piltdon signs, and Feetch distributes the papers.

Readers attentive to Zuroy's craft will notice how the story's language—its interruptions, its personified gadgets, its physical descriptions of stress—does more than advance plot. The can-opener is a McGuffin; the real subject is the psychology of corporate coercion and the cost of creative suppression. The ending, while a victory for Feetch, leaves open whether his triumph is ethical or merely tactical.

Years shelving, I’ve watched The Super Opener — Reading Companion fight its quiet battle between what a machine should be and what the market demands. It reminds me of an older neighbor’s letter, where pride in craft meets gentle compromise. That same tension lives in The Human Element — Edition Insights, though its pages whisper softer, like a sigh after a long argument. Their kinship is a librarian’s secret.

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