The Trouble with Truth — Context and Discussion

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In Category - Social Speculation
Lutjens [Illustrator], Grow, Julian F. Project Gutenberg 2016 Not confirmed
Science fiction; Short stories; Christmas stories; Journalism -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 10,781
Reading time 47 min
Text sections 2

For The Trouble with Truth — Context and Discussion, the stored edition analysis reports 10,781 words, 47 min estimated reading time, and 2 detected text sections.

The text analysis averages about 16.4 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 future where the World Press Association controls all media and only demonstrably true statements are legal, a reporter and his pregnant fiancée navigate personal and professional tensions when she challenges the system with a simple pencil and her small-town newspaper.
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Editorial Edition Score 4.5/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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Read the Text

Sara had said about the _Sun_. I'm a Reporter, after all.

When the car locked onto the exit tramway and started deceleration, I suggested that we go to the _Argus_ office first. Her apartment was just upstairs anyway. "We had better," I said, "have a little talk."

The demand sensor of the radiant heater in front of the _Argus_ building was, as usual, out of order, so we didn't linger. Sara pressed her ID bracelet against the night lock and the door swung open with a squawk that lifted my hair.

Once when I asked her why she didn't get it fixed, she said it saved the price of a cowbell on a spring. I told her then that Vermont had no business in the 21st century, and she said the 21st century had no business in Vermont, the 19th had been more fun. Fun! She said if I didn't like Vermont I could go back to Nork, and she gave it the old fashioned pronunciation, Newark, I suppose just to irritate me. As I recall, I did go back to Nork, that time, but that was a long time ago.

This time, anyway, I pushed her gently down into her chair, the worn old oak swivel chair in front of the disreputable old rolltop desk, with that battered old electric typewriter of her father's and her grandfather's. For all I know, her five-great-grandfather Elias Witherill started the _Argus_ with it in 1847, two centuries ago.

"You say the WPA is bad," I said. I tapped the typewriter. "There's your real villain. And there--" pointing at the ancient offset press she printed the _Argus_ on and waving at the framed, yellowed copy of Vol. 1, No. 1 of the _Argus_, hanging on the wall--and "there!"

It began with the typewriter, I informed her. The printing press came first, but typewriters really did the job.

Maybe the actual beginning was the manuscript of the ancient monks: impersonal and uniform. But handwriting was hardly wide-spread in the Dark Ages, so let's take it from the typewriter.

Handwriting was an individual thing. Transcribed speech; and speech is an individual's articulated thought. Printing is based on handwriting, but it's stylized and made uniform for mass production.

That leaves a big gap between script and print--the difference between personal mental process and a merely mechanical process of duplication.

Look at it this way. In the days when handwriting was general, a man believed a personal message if it came from someone he trusted. And he'd know it came from that person because he recognized the handwriting, just as he'd recognize the person's voice, or his face. The writing was, in effect, an extension of the reader's own senses or experience, into a distant situation.

Then with better communications came more handwritings, and more distant situations. Then the typewriter, and then the dictatyper. Everybody's writing was just like everybody else's, and there was a lot of it.

Everything was in type, even the identifying name at the end of a personal letter, the autograph ("Signature," Sara snigged) ... signature, then. For a long time businessmen's letters had been signed by their stenographers anyway. ("Secretaries, blockhead," Sara muttered, and she sighed.)

The point is, I continued, that except for a few cases of eccentricity--I glanced at her belt pouch, with the pencil in it--handwriting had disappeared. The written word--the reader's distant experience--was in type: dictatype, teletype, phototype, printer's type ... newspapers, books, advertising, business letters, memoranda, personal letters, everything.

Before, people had tended to believe most of what was handwritten, and almost nothing that was in type. With everything in type, they got tired of deciding which to believe and began to believe either every word, or none. It wasn't good.

It led to the Edict, and of course to the World Press Association and its relentless search for truth.

"Gah," said Sara. "Truth is an overrated commodity. Let's go upstairs and get ourselves something to eat."

Her voice was muffled coming from the jon. But I knew she was reading from a document she kept framed there, and I knew well what it said.

Be it enacted by the unanimous voice of these United Nations of America, Europe, Africa and Free Asia, in congress this 14th day of April, 1997 that, henceforth:

No person, group of persons, organization, or governing body of any town, city, state or nation existing under the articles of this federation, shall print, or cause to be printed, or knowingly permit to be printed, or disseminate or knowingly permit to be disseminated any word, phrase or work, excepting only certain scientific treaties of explicit speculative nature as hereinafter defined by statute, that is not both wholly and in part demonstrably true.

"Great Judah," I heard Sara say. "What a disaster!"

The story opens with a domestic argument that quickly reveals the story's central conflict: Sara's disdain for the World Press Association, which she calls "the WPA," and her reverence for a humble pencil as a symbol of authentic news. The narrator, a Reporter, observes her outburst in a community room where a Fotofax machine dispenses the official Sun newspaper. The setting—a future where news is mechanically produced and largely ignored—is established through small details: the cubeo broadcast, the belt-way travel, and the casual mention of a "Town Crier bell."

A Pencil Against the Machine

The argument over the pencil is not merely a quirk of character. Sara insists that the pencil contains "more real, solid news" than the entire World Press Association. This claim is the story's thesis, presented before any exposition about the Edict or the Scoop. The narrator's profession as a Reporter—capitalized in the text—immediately puts him on the side of the official system, yet his internal reaction is muted: he knows what a pencil is, but he does not defend the WPA. The scene establishes a tension between personal truth and institutional truth that the rest of the excerpt develops.

The Edict and Its Consequences

A later section of the excerpt provides a lengthy exposition on the Edict that governs all communication. The text explains that after the Third War, "incorruptible and infallible machines" were installed to ensure that all mass media content is "wholly and in part demonstrably true." This has eliminated fiction, competitive advertising, and even romantic love letters. The narrator describes a world where marriages occur only after a desired child is to be born, and children can be "rearranged" among parents. The tone is matter-of-fact, as if these are natural developments, but the details—such as the banning of "extravagant posturings of romance"—reveal a society stripped of ambiguity and emotion.

A Reporter's Dilemma

The narrator's profession places him at the heart of the conflict. He is a Reporter in a system where truth is mechanically enforced, yet his fiancée runs a "poor little Argus," a country monthly that presumably operates outside the Edict. The story does not reveal whether the narrator will side with Sara or the WPA, but the opening scene shows him leaving the Sun behind, a small act of defiance. The pregnancy announcement—"I'm pregnant"—adds personal stakes to the ideological debate. The narrator's response, "Okay. Good," is flat, suggesting a world where emotional expression has been suppressed. The story thus sets up a choice between the sterile truth of the Edict and the messy, human truth represented by Sara and her pencil.

The excerpts provide a clear picture of the story's premise and its central conflict, but they do not reveal how the narrator resolves his divided loyalties. Readers should pay attention to how the story balances its speculative world-building with the personal relationship between the narrator and Sara. The pencil, the Argus, and the Scoop are all symbols of communication; their fates may determine whether the story endorses the Edict's vision or critiques it.

That reporter’s pencil, so small against the machine, reminds me of something quieter in What Shall It Profit? — Inside the Classic — how a single stubborn question can echo longer than any broadcast. I keep thinking about that loaded word, truth, and how we all carry our own version of it, worn soft like a stone in a pocket.

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