THE
HUMAN ZERO
The Science Fiction Stories
of Erle Stanley Gardner
Edited by
Martin H Greenberg
and Charles G. Waugh
WILLIAM MORROW AND COMPANY
New York 1981
Contents
FOREWORD
THE HUMAN ZERO
CHAPTER 1 - A Mysterious Kidnaping
CHAPTER 2 - Who Is Albert Crome?
CHAPTER 3 - Into Thin Air
CHAPTER 4 - A Madmans Laboratory
CHAPTER 5 - A Fantastic Secret
CHAPTER 6 - Still They Vanish
CHAPTER 7 - A Fiend Is Unmasked
MONKEY EYES
Author's Note
CHAPTER 1 - Suspicion
CHAPTER 2 - A Night Flight
CHAPTER 3 - Into the Himalayas
CHAPTER 4 - “Time to Be Tried!”
CHAPTER 5 - "Monkey See, Monkey Do"
CHAPTER 6 - The Halls of Hanuman
CHAPTER 7 - Flight
NEW WORLDS
CHAPTER 1 - Flood!
CHAPTER 2 - Beginning of the End
CHAPTER 3 - Into the Water
CHAPTER 4 - Rushing-Where?
CHAPTER 5 - A Tree-Top Landing
CHAPTER 6 - Jungle Death
CHAPTER 7 - The Murderer
CHAPTER 8 - Captives
CHAPTER 9 - The New World
RAIN MAGIC
CHAPTER 1 - Through the Breakers
CHAPTER 2 - Life or Death
CHAPTER 3 - Guardians of Gold
CHAPTER 4 - A Fanti Raid
CHAPTER 5 - The Monkey-Man
CHAPTER 6 - African Justice
A YEAR IN A DAY
CHAPTER 1 - The Invisible Death
CHAPTER 2 - Trailing an Evil Genius
CHAPTER 3 - Unchained Lightning
CHAPTER 4 - Outlawed from Mankind
CHAPTER 5 - In a Frozen World
CHAPTER 6 - Among Living Statues
CHAPTER 7 - The Man Who Mastered Time
THE MAN WITH PIN-POINT EYES
CHAPTER 1 - Victim of a Vampire Mind
CHAPTER 2 - The Past Breathes
CHAPTER 3 - Warrior Without a Sword
CHAPTER 4 - An Old Battlefield
CHAPTER 5 - Dust
CHAPTER 6 - A Monster
CHAPTER 7 - A , Medieval Raid
CHAPTER 8 - Battle
CHAPTER 9 - The Magic of Gold
CHAPTER 10 - Through the Blackness
THE SKY'S THE LIMIT
CHAPTER 1 - The Mysterious Inclosure
CHAPTER 2 - Attacked
CHAPTER 3 - Defying Gravity
CHAPTER 4 - A Good Newspaper Man
CHAPTER 5 - Into Space
CHAPTER 6 - A New World
CHAPTER 7 - Captives on Venus
CHAPTER 8 - Horror in the Dark
CHAPTER 9 - Disaster
CHAPTER 10 - The Crater
Dust jacket notes: "A space capsule reels into space (in the 1920s!), complete with rocket and weightless passengers. Intelligent ants guard a ledge of solid gold in darkest Africa. A scientific miracle makes people invisible. Fans of Erle Stanley Gardner will be surprised and delighted to discover in these long-unavailable stories that he was one of our earliest science fiction writers - and science fiction readers will regret that he did not write many more. Published in Argosy magazine in the 1920s and 1930s, these suspenseful tales display Gardner's grasp of a vast range of unlikely subject matter and the masterful gift for plot and action that made him the best-selling author of all time. Some of the stories are peopled with his classic cops and killers, tough reporters and sleuths of detective fiction, along with the mad professors and strange geniuses of fantastic science. The nature of molecules is the key to a locked-room murder in The Human Zero title story, and A Year in a Day is another crime story. But there is also natural disaster when a shift in the earth's poles causes a worldwide flood (with a gripping description of the inundation of New York City), and still more eerie events are tied to hypnotism, reincarnation, and exotic ceremonies in a lost temple in India. The author's imagination and ingenuity seem limitless; the action and entertainment he could pack into a 10,000-word story are remarkable. The Human Zero: The Science Fiction Stories of Erle Stanley Gardner is a find for all his fans and collectors of his work."
THE
HUMAN ZERO
Compilation, selection and introduction copyright © 1981 by Martin H. Greenberg and Charles G. Waugh
The stories in this collection were first published in Argosy magazine on the following dates:
Rain Magic October 20, 1928
Monkey Eyes Serialized, July 27-August 3, 1929
The Sky’s the Limit Serialized, December 7-December 14, 1929
A Year in a Day July 19, 1930
The Man with Pin-Point Eyes January 10, 1931
The Human Zero December 19, 1931
New Worlds December 17, 1932
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the Publisher. Inquiries should be addressed to William Morrow and Company, Inc., 105 Madison Ave., New York, N. Y. 10016.
Library of Congress Cataloging in Publication Data
Gardner, Erie Stanley, 1889-1970.
The human zero.
Stories originally appeared in Argosy magazine between 1928 and 1932.
CONTENTS: The human zero.—Monkey eyes.—New worlds.
—Rain magic.—A year in a day.—The man with pin-point eyes.—The sky’s the limit.
1. Science fiction, American. I. Greenberg, Martin Harry. II. Waugh, Charles. III. Title.
PS3513.A6322H8 1981 813'.52 80-22494
ISBN 0-688-00122-X
Printed in the United States of America
First Edition
1 2 3 4 5 6 7 8 9 10
BOOK DESIGN BY MICHAEL MAUCERI
FOREWORD
Erie Stanley Gardner, author, lawyer, humanitarian, adventurer, was bom in 1889. He did not begin writing until he was thirty-one, but in the next fifty years until his death in 1970, he averaged approximately one book every four months, one article every two months, and one novelette or short story every month. This is a remarkable record by itself, but it seems nothing short of astonishing when one considers Mr. Gardner’s other activities: eleven years (1921 to 1931) of full-time law practice, twelve years (1943 to 1955) of attending to the Perry Mason radio show, nine years (1957 to 1966) of monitoring scripts for the Perry Mason TV series, fifteen years (1949 to 1964) of devoting most of his time to the functioning of the Court of Last Resort in an attempt to improve the criminal justice system in this country, and thirty-eight years (1933 to 1970) of almost constant travel.
As a person, Mr. Gardner was an interesting blend of New Englander and westerner. The first ten years of his life were spent in Massachusetts, and his parents’ roots extended back to the Mayflower on his mother’s side and to a long line of Yankee sea captains on his father’s side. This heritage shaped his conservative personal habits (drinking little and gambling less), his competitive ambition to excel, and his tenacious persistence. In 1899 his father, Charles Gardner, moved to the West Coast to further his career as a civil engineer, and the young Erie took to many of the western ways. For example, from the frontier atmosphere came his love of the outdoors and his informality, his confidence i
n his ability to teach himself things, and his nomadic tendencies. For the rest of his days, he would consider himself a Californian. His lively personal style was in some conflict with his New England upbringing and was a source of annoyance, for instance, to his very proper mother.
Erie was a clever, puckish youth whose habit of outsmarting authority kept getting him thrown out of schools. Fortunately, however, his great curiosity and enormous energy led him into the study of law. He gained admission to the bar by the age of twenty-one and shortly thereafter began establishing a reputation in Oxnard, California, as a brilliant criminal lawyer. His strengths were an ability to outmaneuver his opponents prior to trial, a genius for utilizing obscure statutes in innovative ways, and an ability to draw the truth out of opposition witnesses through dramatic cross-examinations. These are traits which later, of course, appeared in his most famous creation, Perry Mason.
By 1917, however, he realized that being a successful attorney was not exactly what he wanted because he disliked being tied down in one place. So for the next four years he was president of a sales company, which provided a life-style that satisfied his needs for action and travel. But a recession led to business reverses and a decision to return to law.
Still he remained restless, and after investigating a few alternatives he decided to become a writer. Such a profession would permit him to travel while working, and at first he could bring in some extra money while still practicing law. He began to teach himself how to write by banging away at his typewriter each evening until two o’clock in the morning. A major breakthrough occurred as a result of a devastating criticism of “The Shrieking Skeleton” which the editors of Black Mask magazine had inadvertently enclosed with the rejected manuscript. This provided Mr. Gardner with clues about what he was doing wrong. He tore the story apart, and after three days of furious revision he produced a version good enough to be accepted. Other markets opened to him, and, by carefully analyzing the suggestions of editors, he learned to break down plots into component parts which he put on separate cardboard wheels. Some, for example, represented situations, characters, the lowest common denominators of public interest, and unexpected complications. By spinning these wheels and noting points of* contact among spokes, he was usually able to generate a plot within thirty minutes. And since he wrote very quickly, he was able to produce a ten-thousand-word novelette every three days. Not all sold, of course, but enough did so that his income from writing increased from $974 in 1921 to $6,627 in 1926 and to more than $20,000 in the early thirties.
During 1932 he began reducing his legal work, and probably William Morrow’s acceptance of his first two Perry Mason novels that year gave him the confidence to cease practicing law in 1933, except in a consulting capacity. For two years he had been promising his agent a novel, but other commitments had left no time. Then Mr. Gardner decided he could save time by using a dictating machine. He spent a half day thinking up a plot and dictated in three and a half days what was eventually to be called The Case of the Velvet Claws. Six weeks later he produced his second novel in the same fashion.
Now he could once again be free, and in the summer of 1933 he began the seminomadic existence he would follow for most of the rest of his life. When not traveling abroad, or staying at one of the several residences he eventually maintained, he could be found traveling around the desert with several secretaries, stopping wherever he pleased and dictating work that would be typed up on the spot.
As a writer, Erie Stanley Gardner is one of the most popular of all time. His books have been translated into 37 foreign languages. His paperback sales exceed every other author who has ever lived, and a current estimate of his total sales in all languages and editions would be well over 300 million copies. The Case of the Velvet Claws ultimately sold 4,000,000 copies, a stunning figure for any novel, not to speak of a first novel. Of the 151 mystery novels which appeared on the bestseller lists from 1895 to 1965, Mr. Gardner was responsible for ninety-one.
Like Shakespeare, Dumas, and Dickens, he was remarkably popular during his lifetime, but, of course, the truest test of literary merit is how well sales hold up over time. And in this regard, Mr. Gardner continues to do very well. In 1979, almost fifty years since the first, and nine years after the last, novel was written, he still averaged 2,400 sales a day, seven days a week, fifty-two weeks a year.
To those who know that he wrote rapidly and prolifically, that he thought of himself as a businessman/lawyer who wrote because of circumstances, and that he continually referred to himself as a fiction factory, such staying power in his readership may seem surprising. Study his career closely, however, and many reasons for his success become apparent. First, he had the ability to become an expert in any field of knowledge that interested him. Law and writing are just two examples from a large number which included astronomy, surveying, archery, salesmanship, forensic medicine, polygraph work, and criminal psychology. Second, he always had the drive and ambition to try to make himself the best in whatever field he went into.*
* A picturesque example: When he was revising “The Shrieking Skeleton,” he pounded the skin off the ends of the two fingers he used for typing, covered the fingers with adhesive tape, and continued “hammering away on the blood-spattered keys” until the job was done.
Third, he possessed a mind which was both analytical and creative. As he did with the plot wheel, he was able to reduce complex matters to simple elements and then to utilize this information in innovative ways. He realized that to succeed in mass markets he had to appeal to the tired worker, the traveler looking to kill time, and the typical organization-bound individual. So he used rapid action, conflict, and drama to grip attention, and he sustained interest by appealing to his readers’ desire to see ordinary guys with some extraordinary qualities achieve justice by successfully fighting crime, chicanery, or red tape. Fourth, he was not the type of person to turn down good advice about how to improve his work. He realized that continued sales would depend on his books being well crafted. Therefore, criticisms from his secretaries and editors were listened to attentively. He often groused about both the comments and the commenter, especially on questions of time element or pace in a story. But he usually recognized good advice and took it when it was offered. Finally, although his books were written swiftly, they were often rewritten several times before they appeared in final form. Besides being responsive to the suggestions of others, he often initiated rewrites himself. He wanted each book in a series to be better than the ones before, and, until a novel got into print, he would keep turning it over and over in his mind to see if he could think of how rewriting might improve it.1
As Freeman Lewis remarked about him in a letter to The New York Times:
Erie had a right to be proud of his skills as a writer. They were real and hard-earned. It often seemed to me that he operated as a professional in an area inhabited largely by amateurs. And it also often seemed to me that his books should have been reviewed by sports columnists rather than bookish people, for Erie had the kinds of learned and applied skills that sports fans understand and cherish but which book reviewers often are too pretentious to appreciate. . . .
He was mostly given bad marks or simply overlooked by “literary” critics and he resented it, though he seldom said so. But once, in a drive from Palm Springs to Temecula, he gave the most lucid lecture on how to write readable stories, how to plot, how to select and depict believable characters, etc., that I have ever heard. He was a very serious student of the craft of writing fiction and many of those who dismissed his talents would benefit from a serious study of his practices.2
Particularly interesting are the nearly six hundred novelettes and short stories Mr. Gardner produced early in his career. They were not only his training ground; they also display immediately his storytelling gift. The majority are series stories, featuring protagonists such as Ed Jenkins (a phantom crook), Lester Leith (a philanthropic type who fleeces crooks), Senor Lobo (a professional soldier of fortune),
Bob Zane (an old prospector), Speed Dash (a human fly with a photographic memory), Bob Larkin (a juggler), and El Paisano (who can see in the dark). Both the Jenkins and Leith series comprise approximately seventy stories, and fourteen other series range from five to twenty-seven stories each. Most of this work is of the same quality that readers have come to expect from Mr. Gardner, and it often reveals additional dimensions of his writing ability. For example, besides rapid pace and crime, the Whispering Sand series weaves in romance and hauntingly lyrical descriptions of our western deserts. Surprisingly, however, only about six percent of these shorter works have ever been reprinted. The Human Zero collection is the first of what we hope will be a number of collections that will once again make this important work of Erie Stanley Gardner available to his millions of fans.
The Science Fiction of Erle Stanley Gardner - The Human Zero Page 1
