Desire No More — Reading Notes

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Budrys, Algis, 1931-2008 Project Gutenberg 2012 Not confirmed
Science fiction; Short stories; Space flight to the moon -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,173
Reading time 36 min
Text sections 1

Desire No More — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 8,173 words, 36 min estimated reading time, and 1 detected text section.

The text analysis averages about 13.1 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.

In this 1950s short story, Algis Budrys traces Martin Isherwood's single-minded quest to pilot the first moon rocket, using a compressed narrative that jumps from childhood to adulthood while contrasting derisive family voices with the protagonist's quiet determination.
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Editorial Edition Score 4.4/5

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  • 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.

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Read the Text

She was a woman scorned. She had to lie to herself. She broke out of the press section and ran over to him. "Marty!" She brushed past a technician.

He looked at her with faint surprise on his face. "Well, Nan!" he mumbled. But he did not put his hand over her own where it touched his shoulder.

"I'm sorry, Marty," she said in a rush. "I didn't understand. I couldn't see how much it all meant." Her face was flushed, and she spoke as rapidly as she could, not noticing that Ish had already gestured away the guards she was afraid would interrupt her.

"But it's all right, now. You got your rockets. You've done it. You trained yourself for it, and now it's over. You've flown your rocket!"

He looked up at her face and shook his head in quiet pity. One of the shocked technicians was trying to pull her away, and Ish made no move to stop him.

Suddenly, he was tired, there was something in him that was trying to break out against his will, and his reaction was that of a child whose candy is being taken away from him after only one bite.

"Rocket!" he shouted into her terrified face. "_Rocket!_ Call that pile of tin a rocket?" He pointed at the weary Mark VII with a trembling arm. "Who cares about the bloody _machines_! If I thought roller-skating would get me there, I would have gone to work in a _rink_ when I was seventeen! It's _getting there_ that counts! Who gives a good goddam _how_ it's done, or what with!"

And he stood there, shaking like a leaf, outraged, while the guards came and got her.

"Sit down, Ish," the Flight Surgeon said.

_They always begin that way_, Isherwood thought. The standard medical opening. Sit down. What for? Did somebody really believe that anything he might hear would make him faint? He smiled with as much expression as he ever did, and chose a comfortable chair, rolling the white cylinder of a cigarette between his fingers. He glanced at his watch. Fourteen hours, thirty-six minutes, and four days to go.

"How's it?" the FS asked.

Ish grinned and shrugged. "All right." But he didn't usually grin. The realization disquieted him a little.

"Think you'll make it?"

Deliberately, rather than automatically, he fell back into his usual response-pattern. "Don't know. That's what I'm being paid to find out."

"Uh-_huh_." The FS tapped the eraser of his pencil against his teeth. "Look--you want to talk to a man for a while?"

"What man?" It didn't really matter. He had a feeling that anything he said or did now would have a bearing, somehow, on the trip. If they wanted him to do something for them, he was bloody well going to do it.

"Fellow named MacKenzie. Big gun in the head-thumping racket." The Flight Surgeon was trying to be as casual as he could. "Air Force insisted on it, as a matter of fact," he said. "Can't really blame them. After all, it's _their_ beast."

"Don't want any hole-heads denting it up on them, huh?" Ish lit the cigarette and flipped his lighter shut with a snap of the lid. "Sure. Bring him on."

The FS smiled. "Good. He's--uh--he's in the next room. Okay to ask him in right now?"

"Sure." Something flickered in Isherwood's eyes. Amusement at the Flight Surgeon's discomfort was part of it. Worry was some of the rest.

MacKenzie didn't seem to be taking any notes, or paying any special attention to the answers Ish was giving to his casual questions. But the questions fell into a pattern that was far from casual, and Ish could see the small button-mike of a portable tape-recorder nestling under the man's lapel.

"Been working your own way for the last seventeen years, haven't you?" MacKenzie seemed to mumble in a perfectly clear voice.

The corners of Isherwood's mouth twitched, and he said "Yes" for the recorder's benefit.

"Odd jobs, first of all?"

"Something like that. Anything I could get, the first few months. After I was halfway set up, I stuck to garages and repair shops."

"Out at the airports around Miami, mostly, wasn't it?"

"Took some of your pay in flying lessons."

MacKenzie's face passed no judgements--he simply hunched in his chair, seemingly dwarfed by the shoulders of his perfectly tailored suit, his stubby fingers twiddling a Phi Beta Kappa key. He was a spare man--only a step or two away from emaciation. Occasionally, he pushed a tired strand of washed-out hair away from his forehead.

Ish answered him truthfully, without more than ordinary reservations. This was the man who could ground him He was dangerous--red-letter dangerous--because of it.

Algis Budrys opens "Desire No More" with a scene of domestic tension that immediately establishes the story's central conflict: a young boy's ambition to become a rocket pilot is met with his father's mocking laughter. The father's derision—"A ro— oh, no! —a rocket pilot !"—is rendered in a staccato, almost theatrical style that underscores the gap between generations and worldviews. The boy's silent response, his "thin jaw stretching the skin of his cheeks," signals a resolve that will carry through the narrative. Budrys uses this early exchange to set up a pattern of external opposition and internal focus that defines the protagonist, Martin Isherwood, across the story's compressed timeline.

Compressed Time and Shifting Perspectives

Budrys condenses years of Martin Isherwood's life into a few key scenes, jumping from his adolescence to his young adulthood without transitional exposition. The first section ends with the line "Martin Isherwood, rocket pilot, weight 102, height 4', 11", had come of age at seventeen," a factual summary that abruptly closes the opening. The next section begins with "THE SMALL man looked at his faculty advisor," using the same adjective "small" to link the boy to the man, but the perspective has shifted. The narrative now presents Isherwood as a determined adult, still facing skepticism. This leap creates a sense of relentless forward motion, mirroring the protagonist's own single-minded pursuit. The story's pacing accelerates as it moves from domestic scenes to bureaucratic negotiations, and finally to the lunar surface, where time seems to slow again.

Voice and Dialogue as Character Markers

Budrys distinguishes characters primarily through their speech patterns. The father's dialogue is full of exclamations and repetitions—"Crazy kid," "A rocket pilot!"—conveying bluster and frustration. In contrast, Martin Isherwood speaks in short, declarative sentences: "I'm a rocket pilot," "No," "I am not interested in working for a degree." His words are clipped, almost monosyllabic, reflecting a man who has long since stopped explaining himself. Later, when Isherwood confronts the Personnel Manager, his speech becomes more urgent and pleading—"All I need is a week"—but still retains a directness. The Personnel Manager, by contrast, uses longer, more analytical sentences, such as "It's not really the job, is it? It's just that you think you've been cheated." This contrast in voice highlights the tension between Isherwood's visceral drive and the institutional rationality that seeks to contain it.

Recurring Details and the Sensory Gap

Throughout the excerpts, Budrys emphasizes the physical and sensory aspects of spaceflight that Isherwood craves. When he finally stands on the Moon, he notes the absence of tracks in the pumice and the silence: "There wasn't any sound of rockets." The story repeatedly returns to the idea of "feel"—the feel of piloting, the sound of rockets, the physical connection to the machine. Isherwood's earlier experience flying a Navion over the Everglades is mentioned as a touchstone, a moment when the image of the Moon first built up in his mind. The Personnel Manager's attempt to show him the Earth from the lunar surface is meant to satisfy him, but Isherwood insists, "It's not the same." This recurring motif of sensory lack—the absence of vibration, noise, and personal agency—drives the protagonist's dissatisfaction and propels the plot toward its climax.

Budrys builds his story around a single, obsessive goal, but the excerpts suggest that the narrative is less about the achievement of that goal than about the cost of pursuing it. Readers should pay attention to the moments of stillness—the silent Moon, the sleeping protagonist before launch—as counterpoints to the frantic dialogue and compressed action. The story's title, drawn from Chaucer, hints at a moral dimension that the text may explore beyond the surface plot of spaceflight.

I finished Desire No More a few evenings ago, and it left me thinking about Isherwood’s quiet defiance — how he kept his course despite all those dismissive voices. There’s a similar steadiness in the pilot’s work I remember from Space Tug — A Reader’s Guide, that unglamorous patience with machinery and gravity. Both feel like remembering someone who simply knew what they were for.

Joseph Nguyen
1 month ago

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4 out of 5 (1 User reviews )

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  • ...
    Paula Jacob Williams - 1 month ago
    {'review_type': 'neutral', 'content': "The novel 'Desire No More' has a strong premise and well-developed characters, especially the internal conflict of the main character. However, the pacing is uneven, with some sections dragging while others feel rushed. The prose is evocative but sometimes overly descriptive. Overall, it's a decent read for those who enjoy character-driven stories, but it could have been tighter."}

  • ...
    Charles Choi - 3 weeks ago
    {'review_type': 'negative', 'content': "'Desire No More' disappointed me. The plot is predictable and lacks originality, relying on tired tropes. The characters are underdeveloped and their motivations are unclear. The writing is verbose without adding substance, and the emotional beats feel forced. I struggled to stay engaged and ultimately had to force myself to finish. There are far better books on similar themes."}

  • ...
    Robert Thomas Sullivan - 2 weeks ago
    {'review_type': 'positive', 'content': "'Desire No More' is a compelling exploration of human longing and redemption. The author's vivid prose draws you into the protagonist's emotional journey, making his struggles and triumphs palpable. The themes of loss and self-discovery are handled with sensitivity and depth. A beautifully crafted novel that resonates long after the last page. Highly recommended for fans of literary fiction."}


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