Welcome, Martians! — Edition Insights
Edition facts
Welcome, Martians! — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 5,584 words, 25 min estimated reading time, and 1 detected text section.
The text analysis averages about 12.8 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.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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.
Read the Text
Who was flying where?
[Transcriber's Note: This etext was produced from Worlds of If Science Fiction, May 1952. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]
The only sound was the swish of the jets against the sand as the big ship came down. Slowly, nose pointed skyward, a yellow tail streaming out behind the tubes, it settled to the ground like a cat nuzzling its haunches against a velvet pillow.
Dave Langley peered through the viewport.
"I feel kind of funny," he said.
A tremor of excitement flooded through Cal Manners' thin frame. "Mars," he whispered. "We made it."
Gently, the fins probed the sand, poking into it. Cal cut the power and the big ship shuddered and relaxed, a huge metal spider with a conical head.
Cal peered through the viewport, his eyes scanning the planet. Behind him, Dave shrugged into a space suit, gathered up his instruments.
"I'll make the tests," Dave said. "Keep the starboard guns trained on me."
Cal nodded. He walked Dave to the airlock and lifted the toggles on the inner hatch. Dave stepped into the small chamber, and Cal snapped the hatch shut.
He walked quickly to the starboard guns, wiggled into the plastic seat behind them and pitched his shoulders against the braces. Outside, like a grotesque balloon, Dave stumbled around on weighted feet, taking his readings.
_What's out there?_ Cal wondered. _Just exactly what?_
He tightened his grip on the big blasters, and trained the guns around to where Dave puttered in the sand. Dave suddenly stood erect, waved at Cal, and started lumbering back toward the ship. Cal left the guns and went to the airlock. He stepped into the chamber closed the toggles on the hatch behind him, and twirled the wheel on the outer hatch. He was ready to move back into the ship again when Dave stepped through the outer hatch, his helmet under his arm.
"It's okay, Cal. Breathable atmosphere. And the pressure is all right, too."
Cal let out a sigh of relief. "Come on," he said. "Get out of that monkey suit. Then we'll claim the planet for Earth."
They went back into the ship, and Dave took off the suit, hanging it carefully in its locker. Both men strapped on holsters and drew stun guns from the munitions locker. They checked the charges in their weapons, holstered them, and stepped out into the Martian night.
It was cold, but their clothing was warm and the air was invigorating. Cal looked up at the sky.
"Phobos," he said, pointing.
"And Deimos," Dave added.
"How do you feel, Dave?" Cal asked suddenly.
"Mars. I mean, we're the first men to land on Mars. The first, Dave!"
They were walking aimlessly, in no particular hurry.
"It's funny," Dave said. "I told you before. I feel kind of--"
The music started abruptly, almost exploded into being, tore through the silence of the planet like the strident scream of a wounded animal. Trumpets blasted raucously, trombones moaned and slid, bass drums pounded a steady tattoo. Tubas, heavy and solemn like old men belching. Clarinets, shrill and squealing. Cymbals clashing.
A military band blaring its march into the night.
Dave's mouth hung open. He stared into the distance.
There were lights, and the brass gleamed dully. A group of men were marching toward them, blowing on their horns, waving brilliant banners in the air.
"And music. Like ours. _Music just like ours._"
The procession spilled across the sand like an unravelling spool of brightly colored silk. Children danced on the outskirts of the group, hopping up and down, screaming in glee. Women waved banners, sang along with the band. And the music shouted out across the sand, a triumphal march with a lively beat.
A fat man led the procession. He was beaming, his smile a great enamelled gash across his face. The music became louder, closer, ear-shattering now.
"Welcome," the shouts rang out. "Welcome."
"English!" The word escaped Dave's lips in a sudden hiss. "For God's sake, Cal, they're speaking English."
"Something's wrong," Cal said tightly. "This isn't Mars. We've made a mistake, Dave."
The fat man was closer now, still grinning, his stomach protruding, a gold watch hanging across his vest beneath his jacket. He wore a white carnation in his buttonhole. A homburg, black, was perched solidly atop his head.
"They're human," Dave whispered.
The fat man stopped before them, raised his hands. The music ceased as abruptly as it had begun. He stepped forward and extended his hand.
"Welcome home," he said.
Welcome _home_! The words seared across Cal's mind with sudden understanding.
"There's some mistake ..." he started.
Evan Hunter's 1952 short story Welcome, Martians! opens with a landing on Mars described in a simile that compares the ship settling to a cat nuzzling its haunches against a velvet pillow. This image, both domestic and slightly surreal, sets an immediate tone of controlled wonder. The story's first half follows astronauts Dave Langley and Cal Manners as they step onto the Martian surface, only to be startled by sudden, raucous music. The prose is lean, with dialogue that often repeats—Dave says "I feel kind of funny" twice—suggesting unease beneath the bravado.
Mirrored Landings and Repeated Lines
The story's structure hinges on a near-verbatim repetition. The opening landing on Mars—"Slowly, nose pointed skyward, a yellow tail streaming out behind the tubes, it settled to the ground like a cat nuzzling its haunches against a velvet pillow"—is later mirrored when the ship lands on Earth. The same simile recurs, and the dialogue is echoed: Gary Dale says "I feel kind of funny," and Bobby Galus whispers "Earth. We made it." This symmetry is not accidental; it invites the reader to compare the two arrivals. The repeated phrase "I feel kind of funny" becomes a leitmotif, hinting at a disorientation that transcends location. Hunter uses this structural mirroring to suggest that the experience of arrival—whether on Mars or back home—carries the same emotional charge, blurring the line between the familiar and the alien.
Diction and the Texture of Description
Hunter's descriptive choices are economical but evocative. The ship is a "huge metal spider with a conical head," blending mechanical and organic imagery. The Martian night is "cold" but the air "invigorating," a simple contrast that avoids overstatement. When the music erupts, it is described as "explod[ing] into being," with trumpets "blasted raucously" and trombones that "moaned." The verbs are forceful—"tore through the silence"—and the sound is likened to "the strident scream of a wounded animal." This diction shifts the mood abruptly from calm exploration to jarring intrusion. Later, on Earth, the same musical assault is implied but not described in full, leaving the reader to infer the parallel. Hunter's word choices thus do double duty: they create vivid sensory moments and reinforce the story's thematic symmetry.
Dialogue as a Marker of Character and Unease
The dialogue in the opening scenes is terse and functional, but it reveals character through small variations. Dave Langley admits to feeling "kind of funny" twice, while Cal Manners responds with practical commands: "Keep the starboard guns trained on me." Cal's dialogue is action-oriented—"Get out of that monkey suit. Then we'll claim the planet for Earth"—while Dave's is more introspective. This contrast establishes a dynamic between the cautious, feeling astronaut and the mission-driven commander. When the roles are reversed in the Earth landing, the same lines are spoken by different characters, suggesting that the unease is not personal but situational. Hunter uses repetition not as a flaw but as a deliberate device to underscore how the characters' reactions are shaped by their environment, not their individual personalities.
The Role of Setting and Sensory Detail
Setting in Welcome, Martians! is established through selective sensory details rather than exhaustive description. On Mars, the reader sees the sand, the viewport, the "grotesque balloon" of a space suit, and hears the "swish of the jets." The Martian moons are named—Phobos and Deimos—and immediately nicknamed "Ike and Mike" by Dave, a casual touch that humanizes the alien landscape. On Earth, the setting shifts to a recognizable urban night: "the lights of New York danced crazily, gleaming from a thousand spires that scratched the sky." The police cars "screamed through the night" to pick up the mayor. These details are minimal but pointed, grounding the fantastic in the familiar. Hunter's restraint in description allows the reader to fill in gaps, while the repeated landing sequence ensures that the two settings are compared, not contrasted.
Readers attentive to Hunter's craft will notice how the story's structure rewards a second reading. The mirrored scenes and repeated phrases are not shortcuts but deliberate choices that invite reflection on how we perceive the strange and the familiar. The author's control of diction and dialogue creates a tight, almost minimalist narrative that relies on implication rather than explanation. This story, originally published in Worlds of If in 1952, offers a compact example of how science fiction can use formal repetition to explore psychological and perceptual themes.
I keep thinking about how those mirrored landings in that old story make you feel the twist before you see it, like déjà vu with a pulse. It reminded me of another quiet ache in Search the Sky — Inside the Classic, where repetition feels less like a trick and more like a hand reaching back. Some books just sit beside you afterward.
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