Time In the Round — A Reader’s Guide

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In Category - Machines Invention
Dillon, Diane, 1933- [Illustrator], Dillon, Leo, 1933-2012 [Illustrator], Leiber, Fritz, 1910-1992 Project Gutenberg 2016 Not confirmed
Science fiction; Short stories; Boys -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,486
Reading time 37 min
Text sections 1

For Time In the Round — A Reader’s Guide, the stored edition analysis reports 8,486 words, 37 min estimated reading time, and 1 detected text section.

The text analysis averages about 14.9 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.

Fritz Leiber's 1957 story follows a boy called 'the Butcher' in a future where nothing hurts, as he tests the limits of a Time Theater that may or may not allow real time travel. The tale pivots on the tension between simulated violence and genuine harm, with a dog that won't bleed and a warrior who steps out of the bubble.
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Editorial Edition Score 4.4/5

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Read the Text

Hal looked puzzled and then quickly erased the expression. "Well, even if it is about Tamerlane, you can't see it. How about it, Joggy?"

"They won't let me in, either."

"Yes, they will. You're five years old now."

"But I don't feel any older," Joggy replied doubtfully.

"The feeling comes at six. Don't worry, the usher will notice the difference."

Hal and Joggy switched off their levitators and dropped to their feet. The Butcher came down rather hard, twisting an ankle. He opened his mouth to cry, then abruptly closed it hard, bearing his pain in tight-lipped silence like an ancient soldier--like Stalin, maybe, he thought. The red-headed adult's face twitched in half-humorous sympathy.

Hal and Joggy mounted the Ramp and entered a twilit corridor which drank their faint footsteps and returned pulses of light. The Butcher limped manfully after them, but when he got inside, he forgot his battle injury.

Hal looked back. "Honestly, the usher will stop you."

The Butcher shook his head. "I'm going to think my way in. I'm going to think old."

"You won't be able to fool the usher, Butcher. You under-fives simply aren't allowed in the Time Theater. There's a good reason for it--something dangerous might happen if an under-five got inside."

"I don't exactly know, but something."

"Hah! I bet they're scared we'd go traveling in the Time Bubble and have some excitement."

"They are not. I guess they just know you'd get bored and wander away from your seats and maybe disturb the adults or upset the electronics or something. But don't worry about it, Butcher. The usher will take care of you."

"Shut up--I'm thinking I'm World Director," the Butcher informed them, contorting his face diabolically.

Hal spoke to the uninjes, pointing to the side of the corridor. Obediently four of them lined up.

But Brute was peering down the corridor toward where it merged into a deeper darkness. His short legs stiffened, his neckless head seemed to retreat even further between his powerful shoulders, his lips writhed back to show his gleaming fangs, and a completely unfamiliar sound issued from his throat. A choked, grating sound. A growl. The other uninjes moved uneasily.

"Do you suppose something's the matter with his circuits?" Joggy whispered. "Maybe he's getting racial memories from the Scands."

"Of course not," Hal said irritably.

"Brute, get over there," the Butcher commanded. Unwillingly, eyes still fixed on the blackness ahead, Brute obeyed.

The three boys started on. Hal and Joggy experienced a vaguely electrical tingling that vanished almost immediately. They looked back. The Butcher had been stopped by an invisible wall.

"I told you you couldn't fool the usher," Hal said.

The Butcher hurled himself forward. The wall gave a little, then bounced him back with equal force.

"I bet it'll be a bum time view anyway," the Butcher said, not giving up, but not trying again. "And I still don't think the usher can tell how old you are. I bet there's an over-age teacher spying on you through a hole, and if he doesn't like your looks, he switches on the usher."

But the others had disappeared in the blackness. The Butcher waited and then sat down beside the uninjes. Brute laid his head on his knee and growled faintly down the corridor.

"Take it easy, Brute," the Butcher consoled him. "I don't think Tamerlane was really a Scand of the Navies anyhow."

Two chattering girls hardly bigger than himself stepped through the usher as if it weren't there.

The Butcher grimly slipped out the metal tube and put it to his lips. There were two closely spaced faint _plops_ and a large green stain appeared on the bare back of one girl, while purple fluid dripped from the close-cropped hair of the other.

They glared at him and one of them said: "A cub!" But he had his arms folded and wasn't looking at them.

Meanwhile, subordinate ushers had guided Hal and Joggy away from the main entrance to the Time Theater. A sphincter dilated and they found themselves in a small transparent cubicle from which they could watch the show without disturbing the adult audience. They unstrapped their levitators, laid them on the floor and sat down.

The darkened auditorium was circular. Rising from a low central platform was a huge bubble of light, its lower surface somewhat flattened. The audience was seated in concentric rows around the bubble, their keen and compassionate faces dimly revealed by the pale central glow.

But it was the scene within the bubble that riveted the attention of the boys.

From its first image—a gray, hairless dog barking soundlessly at a crystal Time Theater—Fritz Leiber's story establishes a world where aggression is defanged. The boy called Butcher jabs a metal tube under the dog's eyelid, then into its stomach; the dog only wags its tail and grins. Nothing hurts. This opening sets up the central puzzle: in a society where even dog fights are 'uninj' and everyone gives in to the puny, what happens when a boy who craves real bloodshed gets access to a device that might make time travel—and real injury—possible?

A Future of Harmless Violence

The story's future is defined by the absence of pain. Butcher's dog Brute has 'formidable ivory fangs' and a 'long black tongue,' but when Butch jabs it, the dog's tail thumps the pavement. The other boys' dogs pile into a fight that is all spin and no damage—'a fanged merry-go-round.' Butcher's disgust is palpable: 'I don't like uninj fights. They're just a pretend, like everything else.' Leiber underlines this by having Butcher jab himself with the tube and squeak—the only pain in the scene, and it's self-inflicted. The society has eliminated hurt so thoroughly that the boy must hurt himself to feel anything real.

The Time Bubble as a Test of Reality

The Time Theater's bubble is presented as a viewing device, but the interpreter mentions a minority theory: that it operates by 'hypermemory' and might actually permit time travel, blocked only by 'a mental inability.' This ambiguity is crucial. The interpreter dismisses the theory, but the story's action hinges on it. When the sorcerer inside the bubble pushes a warrior 'backward so that in a moment he must cross-section,' the warrior emerges into the theater, rain dripping from his beard. Butcher cheers; Hal is aghast. The interpreter insists the 'safeguards are now energized,' but the warrior grabs a woman from the audience. The bubble's status—simulation or gateway—remains unresolved, and the story exploits that uncertainty.

Butcher's Role as Catalyst

Butcher is not a passive observer. He 'folds his arms and scowls' when questioned, and he verbally encourages the sorcerer: 'Sock it to 'em!' When the warrior emerges, Butcher claims credit: 'that old guy in the bubble helped me. Must take two to work it.' The story gives him agency in breaching the barrier between spectacle and reality. Yet the excerpts do not reveal the outcome of the warrior's intrusion. The narrative leaves Butcher's success ambiguous—did he truly cause a time breach, or is the warrior's appearance a malfunction? The reader is left with the same uncertainty that the interpreter tried to dismiss.

Readers should watch how Leiber uses the dog fights and the Time Theater as parallel arenas for testing the boundary between play and reality. The story's power lies not in explaining the technology but in letting the contradiction stand: a boy who wants real hurt in a world that has outlawed it, and a machine that may or may not grant his wish. Pay attention to what the interpreter says—and what he fails to prevent.

That Leiber story stayed with me because the dog refuses to bleed, and the warrior stepping out of the bubble made me wonder where memory ends and reality begins. It reminded me of how With These Hands quietly circles similar ground—the ache of wanting something true amidst the simulated. With These Hands — Context and Discussion felt like a gentle echo of that same lingering unease.

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