Joseph Farrell: Golden Age Space Opera Tales
By Joseph Farrell and S. H. Marpel
()
About this ebook
Space Opera is a subgenre of science fiction that emphasizes space warfare, melodramatic adventure, interplanetary battles, chivalric romance, and risk-taking. Set mainly or entirely in outer space, it usually involves conflict between opponents possessing advanced abilities, futuristic weapons, and other sophisticated technology.
The term has no relation to music, as in a traditional opera, but is instead a play on the terms "soap opera", a melodramatic television series, and "horse opera", which was coined during the 1930s to indicate a formulaic Western movie. Space operas emerged in the 1930s and continue to be produced in literature, film, comics, television, and video games.
The Golden Age of Pulp Magazine Fiction derives from pulp magazines (often referred to as "the pulps") as they were inexpensive fiction magazines that were published from 1896 to the late 1950s. The term pulp derives from the cheap wood pulp paper on which the magazines were printed. In contrast, magazines printed on higher-quality paper were called "glossies" or "slicks". (Wikipedia)
The pulps gave rise to the term pulp fiction. Pulps were the successors to the penny dreadfuls, dime novels, and short-fiction magazines of the 19th century. Although many writers wrote for pulps, the magazines were proving grounds for those authors like Robert Heinlein, Louis LaMour, "Max Brand", Ray Bradbury, Philip K. Dick, and many others. The best writers moved onto longer fiction required by paperback publishers. Many of these authors have never been out of print, even long after their passing.
Anthology containing:
Security Plan
Black-out
The Ethical Way
The Marrying Man
Men Without A World
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Joseph Farrell - Joseph Farrell
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MEN WITHOUT A WORLD
The Centaurians were making one last effort to conquer Earth, and their tools were wise-cracking, space-jaunting O’Dea and Hawthorne—two guys to whom freedom was more than a word.
I
THE FRANTIC FLARES of the rockets lit up a murderous landscape as barrel-chested Paul Hawthorne wrestled with the controls. He fought to keep the ship from falling too swiftly, anxious eyes searching for a level spot to set down the partly-crippled vessel.
Behind him, Lance O’Dea clung to a chart table and growled.
Put it down!
O’Dea ordered. You’re the Einstein who got us to this desert planet of Centauri; now get us landed safely!
Hawthorne risked a second to turn his grimy face to the animated bean pole behind him. Like himself, O’Dea was unshaven and wrapped in the shapeless coveralls of spacemen. Hawthorne scowled and pushed his hairy arms back into the controls.
If you think you can do any better,
he grunted, take over yourself!
No, thanks.
O’Dea bent over to look through the port. The jagged terrain was closer, and a horrified shudder ran down his bony frame. No, I’ll let you answer to Saint Peter for the death of us both!
His expression as he glared at Hawthorne was distasteful, but the makings of a grin played on the corners of his lips, and a thinly-hid concern was in his eyes.
This is the end,
he said. In one hand he clutched a photograph of a dark-haired girl. The end, Mercedes! To think you’ll be a widow before you’re even a wife, all because that ape of a Hawthorne lost all our fuel in Centauri’s asteroid belt—
Shut up!
the pilot demanded. One of his hands flipped a wad of something green back in O’Dea’s direction. Here’s the ten platins I owe you. And get ready—this is it!
A roughly level spot swept up at them—an uneven mesa that ended abruptly a few hundred feet ahead. Hawthorne dropped the vessel in a cushion of rocket blasts that were starting to cough for lack of fuel.
The ship bellied along the mesa, dipped into a pocket. O’Dea crashed into the stocky pilot as the ship turned end over end, then both struck the control board, smashing fifty thousand platins worth of instruments as they bounced around. The ship hesitated for a second at the edge of the mesa, balanced neatly, and decided to stay there.
INSIDE THE SHIP, THE lights were gone. For a few seconds there was a crashing of furniture, then silence.
Lance!
Hawthorne’s voice trembled slightly. Are you killed? I h-hope—
But the catch in his throat indicated he meant differently. From the darkness came O’Dea’s answering drawl:
No, you ape—I was just hoping the same about you. How about some light?
Hawthorne fumbled around, found a battery-operated light that had survived the crash. He hobbled to where O’Dea was half buried in a heap of furniture and extricated him. The two of them rubbed their sore spots and looked glumly about.
Centauri Six,
Hawthorne mused. You have the book l’arnin’. What’s this planet like?
O’Dea pressed fingers to his temples.
Not inhabited by Centaurs,
he said. Which is one small break. At least we won’t have those monsters—
I asked about the planet.
If any Centaurs show up,
said O’Dea shortly, it’ll make no difference about the planet. The Space Guide gives it the name Avignon. Hardly known by humans, of course—like the rest of this system. It has no water and no air. We’ll die of thirst or suffocation here, but at least the Centaurs won’t get us.
Hawthorne looked up from the aneroid set beside the airlock.
As usual,
he said, you’re wrong. We have an atmospheric pressure of ten pounds. And what’s more, the instruments show it’s a real atmosphere—like Earth’s!
There’s no such planet! Your instruments must be damaged!
No.
Hawthorne shook his head. These instruments don’t lie. And they say we have an atmosphere. It may be thicker in the valleys!
Then,
O’Dea insisted, the Space Guide must be wrong, because my memory distinctly tells me—
Be damned to your memory! I brought this ship down, and I felt the atmosphere. What’s more, all the planets inside the asteroid belt, except this one, are inhabited by Centaurs—and we’re certainly inside the asteroid belt.
You should know.
O’Dea glared at him. After letting that asteroid smash through our fuel tanks—
You make me tired,
Hawthorne yawned. We’re getting on each other’s nerves. Better get some sleep and cool off.
He cleared a place on the floor and relaxed. While O’Dea watched, fists knotted, the burly pilot started to snore.
O’Dea grinned suddenly and turned away. He stared thoughtfully out the port. It was dark. A feeble, distant sun was falling below a rugged horizon; and in the sky above he picked out ruddy Proxima.
But there should be a real
sun due to rise soon. Nice thing about Centauri—there were enough suns to suit anybody.
His eyes fell on the wad of bills Hawthorne had thrown at him. He retrieved it happily, also finding the photograph. He gazed fondly at the deep dark eyes and rich lips of the girl, kissed the picture happily.
Good night, Mercedes,
he said. We’ll show him in the morning.
BRILLIANT SUNLIGHT flooded the cabin when they awoke. At this distance, the sun seemed somewhat smaller than Sol as seen from Earth, but it was brilliant and warm. They ate a fast concentrated breakfast and studied the airlock. Hawthorne voiced his verdict:
We can repair it in a few hours. Get the tools out.
O’Dea was looking at the gravity indicator.
Gravity is .92,
he announced. That’s the correct figure for Avignon—no question about it. But I can’t understand that atmosphere! It doesn’t belong!
He took the torch Hawthorne shoved at him and they went to work on the airlock. When they had unjammed the inner door, they found that the outer had somehow escaped injury.
They crawled into the lock, an almost vertical climb with the ship tilted as it was, and closed the inner door behind them. O’Dea shoved open the outer and pushed his nose over the edge of the ship. His eyes bulged.
Gulp,
he said, pointing.
Hawthorne’s head appeared beside O’Dea’s, and the two stared at the cañon floor a thousand feet below. Their space ship was partly hanging over