Short Fiction · Chapters
Chapters explained
Chapter companions for Short Fiction by Fritz Leiber.
Chapter 1
Later Than You Think
An Explorer returns from space and visits an Archeologist who has discovered the remains of an extinct intelligent species on Earth. The Archeologist describes the species' temperamental instability, overgrown possessiveness, and technological advancement that outstripped their psychology, leading to their demise. The Explorer, initially eager, becomes melancholic as he sees parallels to his own species, but the Archeologist argues that what they achieved in their short span is significant.
Chapter 2
Coming Attraction
An Englishman visiting a post-apocalyptic New York rescues a masked woman from a murder attempt by three men in a coupe. She invites him to her apartment, but during a cab ride she evades his questions and slaps his hand when he tries to remove her mask. After bribing the police to avoid being held as a witness, he reflects on the American masking culture and its sexual implications.
Chapter 3
Nice Girl with 5 Husbands
Tom Dorset, a frustrated artist on a Tosker-Brown Vacation Fellowship, wanders into a time wind near a balancing rock in the American Southwest and is transported a hundred years into the future. There he meets Lois Wolver, a woman with five husbands, and her unconventional family. He is welcomed into their advanced, communal lifestyle, but feels inadequate and out of place. Lois invites him to stay, and he considers the offer as the family prepares to show him their world.
Chapter 4
Appointment in Tomorrow
Jorj Helmuth, a leader of the Thinkers, uses a somno-learner and robots to invite rocket physicists to a conference, including Willard Farquar. The Thinkers' supercomputer Maizie is revered by the President and generals, who see it as a godlike authority. Jan Tregarron manipulates Caddy (Kitty Kaddy) into contacting Farquar, revealing tensions between Thinkers and professional scientists. Tregarron dismisses Helmuth's plans for a neutron-drive rocket and cooperation with scientists, instead plotting to send Helmuth to Mars and replace him with Farquar, using bribery and subversion.
Chapter 5
A Pail of Air
The narrator, a boy living with his family in a makeshift insulated 'Nest' after Earth has been torn from the Sun, recounts his terrifying experience seeing a mysterious light and a face in a window while fetching air. He fears the frozen dead are coming to life. His father, Pa, tells a philosophical story about the value of life to calm the family. Suddenly, strangers in suits and helmets enter the Nest, revealing they are survivors from Los Alamos who use atomic energy. They have come searching for other survivors and are amazed at the family's primitive but successful survival methods.
Chapter 6
Dr. Kometevsky's Day
Celeste Wolver and her husband Theodor discuss the disappearance of Mars' moons Phobos and Deimos with their friend Madge Carnap, who believes the event aligns with Dr. Kometevsky's predictions in 'The Dance of the Planets.' The Wolvers, part of a committee investigating the phenomenon, grapple with existential insecurity as scientific certainties crumble. Later, at a meeting, Rosalind Wolver experiences a terrifying episode where she sinks into the earth, perceiving its inner layers. The chapter explores themes of cosmic instability, fractured relationships within a polygamous family, and the psychological impact of unexplained phenomena.
Chapter 7
The Moon Is Green
Effie, trapped in a post-apocalyptic world with her paranoid husband Hank, secretly opens the shutters to gaze at a green moon and a mysterious, beautiful face. Hank forces her to use a Geiger counter, revealing her hidden radium-dial watch. Later, a stranger named Patrick arrives, claiming the outside world is safe and beautiful, but a Geiger counter reveals he is dangerously radioactive. Hank, jealous and fearful, threatens them with a gun, while Effie believes Patrick's promises of a transformed world.
Chapter 8
Yesterday House
The chapter explores themes of memory, identity, and the passage of time through the lens of a house that embodies the past. Characters grapple with their connections to history and the illusions that shape their present.
Chapter 9
I
The narrator describes her life working in the costumery of a quirky, loosely organized theatre company in Central Park, where she mends costumes and runs errands. She helps Miss Nefer, who is deeply immersed in character as Queen Elizabeth I, and observes Martin's transformation into an American Indian, leading her to seek answers from Siddy.
Chapter 10
II
The narrator (Greta) observes the chaotic dressing room before a performance of Macbeth, where Sid is costumed in an anachronistic Elizabethan style. She confronts Sid about the absurdity of the production, but he explains it's an experimental staging. The scene shifts as the narrator notices discrepancies in the theater environment, suggesting a blurring of reality. Miss Nefer, playing Queen Elizabeth, adds to the surreal atmosphere by playing Grieg on a virginals, and the narrator flees to her sleeping closet as the world seems to waver.
Chapter 11
III
The narrator, Greta, reflects on her life living in the dressing room of a theater company performing Macbeth in Central Park. She describes her agoraphobia and amnesia, her theories about her past, and the kindness of the actors who shelter her. She watches the play from the wings, noting the unique performance style, and grapples with her fears and dependence on the dressing room as a safe haven.
Chapter 12
IV
The narrator, Greta, watches a performance of Macbeth where Sid (Macbeth) and Martin (Lady Macbeth) deliver a compelling, intense rendition. The play becomes increasingly chaotic with missed cues, frantic doubling of roles, and unsettling interruptions from Miss Nefer in the audience, who comments on the play. Greta's anxiety grows as she hears strange sounds and later discovers Miss Nefer backstage in costume, raising the terrifying possibility that there are two Elizabeths.
Chapter 13
V
Greta, resting in her cot, experiences a disorienting episode of heightened perception and paranoia, fixating on the number eight and fearing Miss Nefer. Martin Kesserich visits her, and they discuss the nature of reality, time travel, and the theater as a potential machine for such journeys. Martin reveals that Sid thinks Greta is ready for stage roles, but Greta remains unsettled by her fears and the strange properties of numbers and spiders.
Chapter 14
VI
The narrator prepares to perform the Gentlewoman in the Sleepwalking Scene of Macbeth, overcoming fear and hesitation with Sid's encouragement. After a moment of introspection and a dexedrine, she accepts the role, learns the lines by heart, and discards her subway token as a symbol of commitment.
Chapter 15
VII
The narrator performs in a play as the Doctor opposite Martin's Lady Macbeth, while Queen Elizabeth watches. During the performance, the narrator experiences a vivid reverie of a forest glade with horses, cloaked men, and a demonic double of Elizabeth. Sid directs the performance, and Elizabeth reacts intensely to the sleepwalking scene, eventually storming off before returning with a sinister smile.
Chapter 16
A Bad Day for Sales
Robie, a mobile sales robot, demonstrates his capabilities on Times Square, attracting a crowd with his novelty and sales pitches. Amidst the spectacle, a nuclear bomb detonates over Manhattan, annihilating the crowd and devastating the city. Robie, undamaged, continues his programmed sales routines, offering products to the dying and dead, including a little girl who seeks his help. The chapter satirizes consumerism and the absurdity of robotic persistence in the face of catastrophe.
Chapter 17
Friends and Enemies
Madson and Ellenby, a poet and a physicist, argue about science versus art as they travel through a blighted landscape. They are forced into an irrigation ditch by a helicopter spraying fungicide, then encounter a vigilante group that expels them from Ozona. After an earthquake, they are rescued by Vera-Ellen and Rickie Vickson, who drive them toward New Angeles.
Chapter 18
Time in the Round
In a utopian future where violence and pain have been engineered away, a young boy called the Butcher rebels against the safety and sterility of his world. He and his friends Hal and Joggy watch a Time Bubble historical reenactment, but the Butcher's impulsive desire for real danger causes a warrior to step out of the bubble into the present, triggering chaos. The chapter explores themes of conformity, rebellion, and the human longing for authentic experience.
Chapter 19
What's He Doing in There?
A Martian visitor, having learned English from TV and radio, is hosted by a Professor and his family. After asking for the bathroom, the Martian locks himself inside for an extended period, causing growing anxiety and wild speculation among the family. They eventually discover he has been taking a bath and sleeping in the tub, misunderstanding Earth's sleeping customs based on TV images of women in bathtubs.
Chapter 20
Bread Overhead
In a futuristic corporate setting, Roger Snedden's plan to use helium in Puffyloaf bread goes awry when millions of loaves become airborne and drift across the globe, causing international chaos and humor before finally bursting over the starving Ukraine, leading to unexpected political and social consequences.
Chapter 21
The Last Letter
In a hyper-commercialized, surveillance-heavy future, Richard Rowe writes a personal letter to Jane Dough, triggering a massive security response from S.B.I. official Krumbine. The crisis reveals a society where personal communication is nearly extinct, replaced by advertising and telepathy. After interrogation, Krumbine allows Richard and Jane to marry, but warns against any future letters.
Chapter 22
Bullet with His Name
Ernie Meeker grapples with the onset of extraordinary mental abilities, including page-at-a-glance reading and a strange sensitivity, which he perceives as a threat to his sanity. He attempts to suppress these 'Gifts' through alcohol and by discarding a mysterious blue box that once contained sodium bicarbonate but now appears blank. The chapter also introduces two invisible, negatively massed beings from Galaxy Center who have selected Ernie as a test subject for a series of Little, Big, and Great Gifts, with the fate of his race hanging in the balance. Ernie's daily life is punctuated by odd occurrences, such as a razor blade that remains sharp far longer than normal.
Chapter 23
Pipe Dream
Simon Grue, an artist living in Greenwich Village, becomes obsessed with his Russian neighbors, the Stulnikov-Gurevich family, after finding a tiny mermaid in his bathtub that resembles Grushenka Stulnikov-Gurevich. He investigates their rooftop apparatus—a transparent pipe connected to a water tank—and discovers that Vasily has been conducting biological experiments using Grushenka's eggs, creating thousands of tiny swimming creatures that emit hypnotic vibrations. These creatures induce erotic dreams in men, and the brothers argue over their use: Lev wants to sell them, Ivan sees them as political weapons, Mikhail fears for their souls, and Grushenka has retreated into madness. During a storm, Simon becomes entranced by the visions, and Ivan bursts in to confront Vasily.
Chapter 24
The Night of the Long Knives
A tense and violent chapter where characters confront betrayal, survival, and the brutal consequences of their actions under the cover of night.
Chapter 25
I
The narrator describes her life working in the costumery of a quirky, loosely organized theatre company in Central Park, where she mends costumes and runs errands. She helps Miss Nefer, who is deeply immersed in character as Queen Elizabeth I, and observes Martin's transformation into an American Indian, leading her to seek answers from Siddy.
Chapter 26
II
The narrator (Greta) observes the chaotic dressing room before a performance of Macbeth, where Sid is costumed in an anachronistic Elizabethan style. She confronts Sid about the absurdity of the production, but he explains it's an experimental staging. The scene shifts as the narrator notices discrepancies in the theater environment, suggesting a blurring of reality. Miss Nefer, playing Queen Elizabeth, adds to the surreal atmosphere by playing Grieg on a virginals, and the narrator flees to her sleeping closet as the world seems to waver.
Chapter 27
III
The narrator, Greta, reflects on her life living in the dressing room of a theater company performing Macbeth in Central Park. She describes her agoraphobia and amnesia, her theories about her past, and the kindness of the actors who shelter her. She watches the play from the wings, noting the unique performance style, and grapples with her fears and dependence on the dressing room as a safe haven.
Chapter 28
IV
The narrator, Greta, watches a performance of Macbeth where Sid (Macbeth) and Martin (Lady Macbeth) deliver a compelling, intense rendition. The play becomes increasingly chaotic with missed cues, frantic doubling of roles, and unsettling interruptions from Miss Nefer in the audience, who comments on the play. Greta's anxiety grows as she hears strange sounds and later discovers Miss Nefer backstage in costume, raising the terrifying possibility that there are two Elizabeths.
Chapter 29
V
Greta, resting in her cot, experiences a disorienting episode of heightened perception and paranoia, fixating on the number eight and fearing Miss Nefer. Martin Kesserich visits her, and they discuss the nature of reality, time travel, and the theater as a potential machine for such journeys. Martin reveals that Sid thinks Greta is ready for stage roles, but Greta remains unsettled by her fears and the strange properties of numbers and spiders.
Chapter 30
VI
The narrator prepares to perform the Gentlewoman in the Sleepwalking Scene of Macbeth, overcoming fear and hesitation with Sid's encouragement. After a moment of introspection and a dexedrine, she accepts the role, learns the lines by heart, and discards her subway token as a symbol of commitment.
Chapter 31
VII
The narrator performs in a play as the Doctor opposite Martin's Lady Macbeth, while Queen Elizabeth watches. During the performance, the narrator experiences a vivid reverie of a forest glade with horses, cloaked men, and a demonic double of Elizabeth. Sid directs the performance, and Elizabeth reacts intensely to the sleepwalking scene, eventually storming off before returning with a sinister smile.
Chapter 32
Kreativity for Kats
Gummitch, a young cat, contemplates the nature of water mirrors and spirit worlds, but is depressed by his inability to become human. He is confined indoors by two aggressive toms, Scarface and the Mad Eunuch, and spends his time brooding. After a moment of inspiration involving water, light, and movement, he begins repeatedly upsetting his water bowl, leading to the 'Great Spilled Water Mystery' that puzzles his human family.
Chapter 33
The Big Engine
The Professor expounds his theory that the universe is a vast, mindless machine and that people are merely automatons, each set to perform a specific function without genuine consciousness or connection. He describes how most humans are like wooden puppets, incapable of true response, and how a rare few who awaken either go mad, turn mean, or hide away. He illustrates his philosophy by likening the sounds of the city to a mechanical symphony.
Chapter 34
The 64-Square Madhouse
A surreal and fragmented narrative explores themes of identity, illusion, and control through chess metaphors and shifting perspectives. Characters grapple with reality, possession, and survival in a world where the boundaries between self and other, love and violence, blur.
Chapter 35
I
The narrator describes her life working in the costumery of a quirky, loosely organized theatre company in Central Park, where she mends costumes and runs errands. She helps Miss Nefer, who is deeply immersed in character as Queen Elizabeth I, and observes Martin's transformation into an American Indian, leading her to seek answers from Siddy.
Chapter 36
II
The narrator (Greta) observes the chaotic dressing room before a performance of Macbeth, where Sid is costumed in an anachronistic Elizabethan style. She confronts Sid about the absurdity of the production, but he explains it's an experimental staging. The scene shifts as the narrator notices discrepancies in the theater environment, suggesting a blurring of reality. Miss Nefer, playing Queen Elizabeth, adds to the surreal atmosphere by playing Grieg on a virginals, and the narrator flees to her sleeping closet as the world seems to waver.
Chapter 37
III
The narrator, Greta, reflects on her life living in the dressing room of a theater company performing Macbeth in Central Park. She describes her agoraphobia and amnesia, her theories about her past, and the kindness of the actors who shelter her. She watches the play from the wings, noting the unique performance style, and grapples with her fears and dependence on the dressing room as a safe haven.
Chapter 38
IV
The narrator, Greta, watches a performance of Macbeth where Sid (Macbeth) and Martin (Lady Macbeth) deliver a compelling, intense rendition. The play becomes increasingly chaotic with missed cues, frantic doubling of roles, and unsettling interruptions from Miss Nefer in the audience, who comments on the play. Greta's anxiety grows as she hears strange sounds and later discovers Miss Nefer backstage in costume, raising the terrifying possibility that there are two Elizabeths.
Chapter 39
V
Greta, resting in her cot, experiences a disorienting episode of heightened perception and paranoia, fixating on the number eight and fearing Miss Nefer. Martin Kesserich visits her, and they discuss the nature of reality, time travel, and the theater as a potential machine for such journeys. Martin reveals that Sid thinks Greta is ready for stage roles, but Greta remains unsettled by her fears and the strange properties of numbers and spiders.
Chapter 40
VI
The narrator prepares to perform the Gentlewoman in the Sleepwalking Scene of Macbeth, overcoming fear and hesitation with Sid's encouragement. After a moment of introspection and a dexedrine, she accepts the role, learns the lines by heart, and discards her subway token as a symbol of commitment.
Chapter 41
The Snowbank Orbit
A narrative exploring themes of identity and illusion through a surreal journey, where characters confront distorted realities and the boundaries between self and other blur.
Chapter 42
I
The narrator describes her life working in the costumery of a quirky, loosely organized theatre company in Central Park, where she mends costumes and runs errands. She helps Miss Nefer, who is deeply immersed in character as Queen Elizabeth I, and observes Martin's transformation into an American Indian, leading her to seek answers from Siddy.
Chapter 43
II
The narrator (Greta) observes the chaotic dressing room before a performance of Macbeth, where Sid is costumed in an anachronistic Elizabethan style. She confronts Sid about the absurdity of the production, but he explains it's an experimental staging. The scene shifts as the narrator notices discrepancies in the theater environment, suggesting a blurring of reality. Miss Nefer, playing Queen Elizabeth, adds to the surreal atmosphere by playing Grieg on a virginals, and the narrator flees to her sleeping closet as the world seems to waver.
Chapter 44
III
The narrator, Greta, reflects on her life living in the dressing room of a theater company performing Macbeth in Central Park. She describes her agoraphobia and amnesia, her theories about her past, and the kindness of the actors who shelter her. She watches the play from the wings, noting the unique performance style, and grapples with her fears and dependence on the dressing room as a safe haven.
Chapter 45
IV
The narrator, Greta, watches a performance of Macbeth where Sid (Macbeth) and Martin (Lady Macbeth) deliver a compelling, intense rendition. The play becomes increasingly chaotic with missed cues, frantic doubling of roles, and unsettling interruptions from Miss Nefer in the audience, who comments on the play. Greta's anxiety grows as she hears strange sounds and later discovers Miss Nefer backstage in costume, raising the terrifying possibility that there are two Elizabeths.
Chapter 46
The Creature from Cleveland Depths
The chapter explores themes of technology and control through a narrative involving a creature from the depths of Cleveland, touching on identity and illusion as characters confront the unknown.
Chapter 47
I
The narrator describes her life working in the costumery of a quirky, loosely organized theatre company in Central Park, where she mends costumes and runs errands. She helps Miss Nefer, who is deeply immersed in character as Queen Elizabeth I, and observes Martin's transformation into an American Indian, leading her to seek answers from Siddy.
Chapter 48
II
The narrator (Greta) observes the chaotic dressing room before a performance of Macbeth, where Sid is costumed in an anachronistic Elizabethan style. She confronts Sid about the absurdity of the production, but he explains it's an experimental staging. The scene shifts as the narrator notices discrepancies in the theater environment, suggesting a blurring of reality. Miss Nefer, playing Queen Elizabeth, adds to the surreal atmosphere by playing Grieg on a virginals, and the narrator flees to her sleeping closet as the world seems to waver.
Chapter 49
III
The narrator, Greta, reflects on her life living in the dressing room of a theater company performing Macbeth in Central Park. She describes her agoraphobia and amnesia, her theories about her past, and the kindness of the actors who shelter her. She watches the play from the wings, noting the unique performance style, and grapples with her fears and dependence on the dressing room as a safe haven.
Chapter 50
IV
The narrator, Greta, watches a performance of Macbeth where Sid (Macbeth) and Martin (Lady Macbeth) deliver a compelling, intense rendition. The play becomes increasingly chaotic with missed cues, frantic doubling of roles, and unsettling interruptions from Miss Nefer in the audience, who comments on the play. Greta's anxiety grows as she hears strange sounds and later discovers Miss Nefer backstage in costume, raising the terrifying possibility that there are two Elizabeths.
Chapter 51
V
Greta, resting in her cot, experiences a disorienting episode of heightened perception and paranoia, fixating on the number eight and fearing Miss Nefer. Martin Kesserich visits her, and they discuss the nature of reality, time travel, and the theater as a potential machine for such journeys. Martin reveals that Sid thinks Greta is ready for stage roles, but Greta remains unsettled by her fears and the strange properties of numbers and spiders.
Chapter 52
VI
The narrator prepares to perform the Gentlewoman in the Sleepwalking Scene of Macbeth, overcoming fear and hesitation with Sid's encouragement. After a moment of introspection and a dexedrine, she accepts the role, learns the lines by heart, and discards her subway token as a symbol of commitment.
Chapter 53
VII
The narrator performs in a play as the Doctor opposite Martin's Lady Macbeth, while Queen Elizabeth watches. During the performance, the narrator experiences a vivid reverie of a forest glade with horses, cloaked men, and a demonic double of Elizabeth. Sid directs the performance, and Elizabeth reacts intensely to the sleepwalking scene, eventually storming off before returning with a sinister smile.
Chapter 54
VIII
Greta grapples with the moral weight of the Spiders' mission after Queen Elizabeth is revealed to be a Snake double and dies onstage. Martin defends their cause, but Greta's doubts deepen. A mysterious young man—apparently William Shakespeare himself—confronts Sid, recognizing his own play performed before its time. Sid and Beau then prepare to use the Major Maintainer to travel to 44 BCE Rome, navigating dark mists in the Void.
Chapter 55
X Marks the Pedwalk
A futuristic conflict between pedestrians ('Feet') and motorists ('Wheels') escalates after a little old lady shoots at a car that runs her down, killing two occupants. The incident sparks riots and reprisals, leading to government intervention and a tense compromise that restores an uneasy status quo.
Chapter 56
A Hitch in Space
Joe Hansen recounts a routine space patrol with his partner Jeff Bogart, who develops an imaginary companion—also named Joe. Joe initially finds the situation amusing but soon realizes Jeff's split personality allows him to express criticism and anger toward the imaginary 'Joseph' that he never shows to the real Joe. After an accident leaves Joe stranded outside the ship, he overhears Jeff's increasingly paranoid and hostile rants. Joe manages to return unnoticed, and when Jeff sees him, he is shocked but quickly reverts to his idealized view of Joe.
Chapter 57
No Great Magic
A narrative exploring themes of identity, illusion, and the blurred lines between reality and performance, as characters navigate a world where magic and mundane coexist.
Chapter 58
I
The narrator describes her life working in the costumery of a quirky, loosely organized theatre company in Central Park, where she mends costumes and runs errands. She helps Miss Nefer, who is deeply immersed in character as Queen Elizabeth I, and observes Martin's transformation into an American Indian, leading her to seek answers from Siddy.
Chapter 59
II
The narrator (Greta) observes the chaotic dressing room before a performance of Macbeth, where Sid is costumed in an anachronistic Elizabethan style. She confronts Sid about the absurdity of the production, but he explains it's an experimental staging. The scene shifts as the narrator notices discrepancies in the theater environment, suggesting a blurring of reality. Miss Nefer, playing Queen Elizabeth, adds to the surreal atmosphere by playing Grieg on a virginals, and the narrator flees to her sleeping closet as the world seems to waver.
Chapter 60
III
The narrator, Greta, reflects on her life living in the dressing room of a theater company performing Macbeth in Central Park. She describes her agoraphobia and amnesia, her theories about her past, and the kindness of the actors who shelter her. She watches the play from the wings, noting the unique performance style, and grapples with her fears and dependence on the dressing room as a safe haven.
Chapter 61
IV
The narrator, Greta, watches a performance of Macbeth where Sid (Macbeth) and Martin (Lady Macbeth) deliver a compelling, intense rendition. The play becomes increasingly chaotic with missed cues, frantic doubling of roles, and unsettling interruptions from Miss Nefer in the audience, who comments on the play. Greta's anxiety grows as she hears strange sounds and later discovers Miss Nefer backstage in costume, raising the terrifying possibility that there are two Elizabeths.
Chapter 62
V
Greta, resting in her cot, experiences a disorienting episode of heightened perception and paranoia, fixating on the number eight and fearing Miss Nefer. Martin Kesserich visits her, and they discuss the nature of reality, time travel, and the theater as a potential machine for such journeys. Martin reveals that Sid thinks Greta is ready for stage roles, but Greta remains unsettled by her fears and the strange properties of numbers and spiders.
Chapter 63
VI
The narrator prepares to perform the Gentlewoman in the Sleepwalking Scene of Macbeth, overcoming fear and hesitation with Sid's encouragement. After a moment of introspection and a dexedrine, she accepts the role, learns the lines by heart, and discards her subway token as a symbol of commitment.
Chapter 64
VII
The narrator performs in a play as the Doctor opposite Martin's Lady Macbeth, while Queen Elizabeth watches. During the performance, the narrator experiences a vivid reverie of a forest glade with horses, cloaked men, and a demonic double of Elizabeth. Sid directs the performance, and Elizabeth reacts intensely to the sleepwalking scene, eventually storming off before returning with a sinister smile.
Chapter 65
VIII
Greta grapples with the moral weight of the Spiders' mission after Queen Elizabeth is revealed to be a Snake double and dies onstage. Martin defends their cause, but Greta's doubts deepen. A mysterious young man—apparently William Shakespeare himself—confronts Sid, recognizing his own play performed before its time. Sid and Beau then prepare to use the Major Maintainer to travel to 44 BCE Rome, navigating dark mists in the Void.
