PRoblem — Reading Notes

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Nourse, Alan Edward, 1928-1992 Project Gutenberg 2008 Not confirmed
Science fiction; Short stories; Human-alien encounters -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,896
Reading time 35 min
Text sections 1

The catalog record for PRoblem — Reading Notes provides practical reading context through 7,896 words, 35 min estimated reading time, and 1 detected text section.

The text analysis averages about 12.7 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 Alan E. Nourse's 'PRoblem,' a PR man is summoned to manage public fear of alien Grdznth, whose promised technology remains elusive. The story's tension builds through bureaucratic dialogue and the protagonist's growing unease, with a sharp turn in the final act.
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Editorial Edition Score 4.3/5

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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

Pete thought of Tommy, red-faced and frantic, beating off hordes of indignant citizens. "So I hear," he said. "How many more of you are coming through?"

"Oh, not many, not many at all. Only the Wives--half a million or so--and their spouses, of course." The creature clicked his talons nervously. "We haven't much more time, you know. Only a few more weeks, a few months at the most. If we couldn't have stopped over here, I just don't know _what_ we'd have done."

"Think nothing of it," said Pete indulgently. "It's been great having you."

The passengers within earshot stiffened, glaring at Pete. The fat lady was whispering indignantly to her seat companion. Junior had half emerged from his mother's collar; he was busy sticking out his tongue at the Grdznth.

The creature shifted uneasily. "Really, I think--perhaps Florida would be better."

"Going to try it again right now? Don't rush off," said Pete.

"Oh, I don't mean to rush. It's been lovely, but--" Already the Grdznth was beginning to fade out.

"Try four miles down and a thousand miles southeast," said Pete.

The creature gave him a toothy smile, nodded once, and grew more indistinct. In another five seconds the seat was quite empty. Pete leaned back, grinning to himself as the angry rumble rose around him like a wave. He was a Public Relations man to the core--but right now he was off duty. He chuckled to himself, and the passengers avoided him like the plague all the way to New Philly.

But as he walked down the gangway to hail a cab, he wasn't smiling so much. He was wondering just how high Tommy was hanging him, this time.

The lobby of the Public Relations Bureau was swarming like an upturned anthill when Pete disembarked from the taxi. He could almost smell the desperate tension of the place. He fought his way past scurrying clerks and preoccupied poll-takers toward the executive elevators in the rear.

On the newly finished seventeenth floor, he found Tommy Heinz pacing the corridor like an expectant young father. Tommy had lost weight since Pete had last seen him. His ruddy face was paler, his hair thin and ragged as though chunks had been torn out from time to time. He saw Pete step off the elevator, and ran forward with open arms. "I thought you'd never get here!" he groaned. "When you didn't call, I was afraid you'd let me down."

"Me?" said Pete. "I'd never let down a pal."

The sarcasm didn't dent Tommy. He led Pete through the ante-room into the plush director's office, bouncing about excitedly, his words tumbling out like a waterfall. He looked as though one gentle shove might send him yodeling down Market Street in his underdrawers. "Hold it," said Pete. "Relax, I'm not going to leave for a while yet. Your girl screamed something about a senator as we came in. Did you hear her?"

Tommy gave a violent start. "Senator! Oh, dear." He flipped a desk switch. "What senator is that?"

"Senator Stokes," the girl said wearily. "He had an appointment. He's ready to have you fired."

"All I need now is a senator," Tommy said. "What does he want?"

"Guess," said the girl.

"Oh. That's what I was afraid of. Can you keep him there?"

"Don't worry about that," said the girl. "He's growing roots. They swept around him last night, and dusted him off this morning. His appointment was for _yesterday_, remember?"

"Remember! Of course I remember. Senator Stokes--something about a riot in Boston." He started to flip the switch, then added, "See if you can get Charlie down here with his giz."

He turned back to Pete with a frantic light in his eye. "Good old Pete. Just in time. Just. Eleventh-hour reprieve. Have a drink, have a cigar--do you want my job? It's yours. Just speak up."

"I fail to see," said Pete, "just why you had to drag me all the way from L.A. to have a cigar. I've got work to do."

"Selling movies, right?" said Tommy.

"To people who don't want to buy them, right?"

"In a manner of speaking," said Pete testily.

"Exactly," said Tommy. "Considering some of the movies you've been selling, you should be able to sell anything to anybody, any time, at any price."

"Please. Movies are getting Better by the Day."

The story opens with a letter that arrives 'too early that morning to be the regular mail run,' immediately establishing an off-kilter rhythm. Pete Greenwood, a PR man, reads Tommy Heinz's plea—'Grdznth problem getting to be a PRoblem'—and the typographical quirk in the title signals a central tension: language as a tool of manipulation. The narrative voice is brisk, colloquial, and laced with dark humor, as when Pete reflects that Tommy 'just didn't know his own depth.'

Nourse quickly introduces the Grdznth through a startling mid-flight materialization: a 'huge reptilian head' appears, followed by a scaly body that 'settled gently to the floor like an eight-foot circus balloon.' The creature's polite apology—'Terribly sorry. So difficult to control, you know'—contrasts sharply with its monstrous appearance, setting up a recurring gap between perception and reality.

Voice and the Weight of Jargon

The narrative voice is tightly tethered to Pete's perspective, using clipped, sardonic interior monologue to convey his skepticism. When Tommy exclaims, 'It's starting to sell, boy,' Pete responds with a flat 'Hmmm.' This verbal restraint mirrors the story's broader critique of PR language: Tommy's 'PR-blasts' and 'D-Date tags' are presented as hollow, yet they drive the plot. The dialogue is peppered with period-specific slang—'chop-chop,' 'gators,' 'icebox salesman'—that grounds the futuristic setting in a recognizable, almost noirish tone. Nourse also uses repetition for effect: the word 'PRoblem' recurs as a motif, its odd capitalization underscoring how language can distort urgency. The pacing accelerates during the Analysis scenes, where staccato exchanges—'How soon?' 'You want yesterday's rushes?'—create a sense of mounting pressure, while Pete's longer, more reflective speeches slow the rhythm, signaling his growing doubt.

The Grdznth: Alien as Ambiguity

The Grdznth are rendered through vivid, contradictory details. Initially described as a 'nightmare combination of large alligator and small tyrannosaurus,' the creature is later revealed to have 'satiny green fur' and to be a mammal—'docile, peace-loving mammals,' per Tommy's PR. This shift from reptilian to mammalian is never fully resolved, leaving the reader in a state of uncertainty that mirrors Pete's own. The creature's speech is polite and self-deprecating ('I always misgauge'), yet its physical presence—'great yellow pouches,' 'double row of long curved teeth'—triggers visceral revulsion. Nourse withholds any deep interiority from the Grdznth; they remain opaque, their motives inferred only through human reaction. This ambiguity is central to the story's tension: are they benevolent refugees or something more sinister? The excerpts offer no clear answer, only Pete's uneasy observation that 'nothing is what we're hearing from Charlie'—the scientist who might unlock their secrets.

Pacing Through Deadlines and Delays

The story's structure is built around a series of countdowns: the letter's arrival, the three-week PR campaign, the thirty-minute deadline for Analysis data, and the looming 'five months' of public tolerance. Nourse uses these temporal markers to create a sense of inexorable pressure. Early scenes move at a leisurely, observational pace—Pete dozing on the rocketjet, the Grdznth's apologetic entrance—but the rhythm tightens as the narrative progresses. The Analysis office is a 'shambles' of 'paper and tape piled knee-deep,' with machines 'clattering wildly,' a physical manifestation of frantic activity. Dialogue becomes more clipped, with sentences fragmenting: 'Baby Grdznth.' 'That's what I said.' The final excerpt introduces a chilling pause—'There was dead silence in the room'—before the Analysis man's gesture of a finger across his throat. This shift from verbal to physical communication marks a turning point, where the pace slows to a halt, forcing the reader to sit with the implication.

Readers should attend to the story's use of typography and wordplay: the capitalized 'PRoblem' is not merely a gimmick but a clue to the narrative's central conflict between public relations and reality. Notice how Nourse withholds the Grdznth's perspective entirely, keeping them as objects of human interpretation. The ending, though not fully excerpted, is foreshadowed by Pete's recurring nervousness and the ominous silence from Charlie's lab. This is a story that rewards attention to its linguistic and structural choices, where every delay and deadline carries weight.

The conversation in PRoblem made me remember waiting for a promised letter that never came, the blank space growing louder each day. That ache for something unfulfilled resurfaced when I later sat with Twelve Times Zero — Reading Notes, where a similar hollow echo hangs over every exchange. Both stories felt less like fiction and more like a held breath.

Elijah Thomas
1 month ago

5
5 out of 5 (1 User reviews )

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