The Smiler — Inside the Classic

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Hernhuter, Albert, 1934- Project Gutenberg 2009 Not confirmed
Science fiction; Short stories; Extraterrestrial beings -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 3,990
Reading time 18 min
Text sections 1

This digital edition of The Smiler — Inside the Classic is described by source-level measurements including 3,990 words, 18 min estimated reading time, and 1 detected text section.

The text analysis averages about 18.1 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.

A science-fiction story in which a literary agent confesses to murdering a writer, claiming Martians control the publishing industry to suppress dangerous ideas. The narrative unfolds through an inquest, blending genre satire with a tense interrogation.
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Editorial Edition Score 4.3/5

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_Have you ever written science fiction? Have your stories been rejected? Herein may lie the reason._

"A very important one. I am a literary agent specializing in science fiction. I sell the work of various authors to magazine and book publishers."

The Coroner paused to study Cole; to ponder the thin, mirthless smile. The Coroner said, "Mr. Cole, this inquest has been called to look into the death of one Sanford Smith, who was found near your home with a gun in his hand and a bullet in his brain. The theory of suicide has been--"

"--rather hard to rationalize?"

The Coroner blinked. "You could put it that way."

"I would put it even stronger. The theory is obviously ridiculous. It was a weak cover-up. The best I could do under the circumstances."

"You are saying that you killed Sanford Smith?"

The Coroner glanced at his six-man jury, at the two police officers, at the scattering of spectators. They all seemed stunned. Even the reporter sent to cover the hearing made no move toward the telephone. The Coroner could think of only the obvious question: "Why did you kill him?"

"He was dangerous to us."

"Whom do you mean by _us_?"

"We Martians, who plan to take over your world."

The Coroner was disappointed. A lunatic. But a lunatic can murder. Best to proceed, the Coroner thought. "I was not aware that we have Martians to contend with."

"If I'd had the right weapon to use on Smith, you wouldn't be aware of it now. We still exercise caution."

The Coroner felt a certain pity. "Why did you kill Smith?"

"We Martians have found science-fiction writers to be our greatest danger. Through the medium of imaginative fiction, such writers have more than once revealed our plans. If the public suddenly realized that--"

The Coroner broke in. "You killed Smith because he revealed something in his writings?"

"Yes. He refused to take my word that it was unsalable. He threatened to submit it direct. It was vital material."

"But there are many other such writers. You can't control--"

"We control ninety percent of the output. We have concentrated on the field and all of the science-fiction agencies are in our hands. This control was imperative."

"I see." The Coroner spoke in the gentle tones one uses with the insane. "Any writing dangerous to your cause is deleted or changed by the agents."

"Not exactly. The agent usually persuades the writer to make any such changes, as the agent is considered an authority on what will or will not sell."

"The writers always agree?"

"Not always. If stubbornness is encountered, the agent merely shelves the manuscript and tells the writer it has been repeatedly rejected."

The Coroner glanced at the two policemen. Both were obviously puzzled. They returned the Coroner's look, apparently ready to move on his order.

The thin, mirthless smile was still on Cole's lips. Maniacal violence could lie just behind it. Possibly Cole was armed. Better to play for time--try to quiet the madness within. The Coroner continued speaking. "You Martians have infiltrated other fields also?"

"Oh, yes. We are in government, industry, education. We are everywhere. We have, of course, concentrated mainly upon the ranks of labor and in the masses of ordinary, everyday people. It is from these sources that we will draw our shock troops when the time comes."

"That time will be--?"

The Coroner could not forebear a smile. "You find the science-fiction writers more dangerous than the true scientists?"

"Oh, yes. The scientific mind tends to reject anything science disproves." There was now a mocking edge to Cole's voice. "Science can easily prove we do not exist."

"But the science-fiction writer?"

"The danger from the imaginative mind cannot be overestimated."

The Coroner knew he must soon order the officers to lay hands upon this madman. He regretted his own lack of experience with such situations. He tried to put a soothing, confidential note into his voice. "You said a moment ago that if you'd had the right kind of weapon to use on Smith--"

Cole reached into his pocket and brought out what appeared to be a fountain pen. "This. It kills instantly and leaves no mark whatever. Heart failure is invariably stated as the cause of death."

The Coroner felt better. Obviously, Cole was not armed. As the Coroner raised a hand to signal the officers, Cole said, "You understand, of course, that I can't let you live."

"Take this man into custody."

The police officers did not move. The Coroner turned on them sharply. They were smiling. Cole pointed the fountain pen. The Coroner felt a sharp chill on his flesh. He looked at the jury, at the newspaperman, the spectators. They were all smiling cold, thin, terrible smiles....

The story opens inside a coroner's inquest, where Martin Cole, a literary agent specializing in science fiction, calmly admits to killing writer Sanford Smith. His motive: Smith's manuscript threatened to expose a Martian conspiracy to take over Earth. The narrative voice is clipped and theatrical, with dialogue that snaps between the Coroner's measured questions and Cole's unsettling composure. The thin, mirthless smile mentioned early becomes a recurring emblem of Cole's menace.

Interrogation as Narrative Engine

The entire excerpt is structured as a back-and-forth interrogation, with the Coroner trying to maintain procedural calm while Cole controls the rhythm of revelation. The Coroner's thoughts—“A lunatic. But a lunatic can murder.”—reveal his internal struggle to treat Cole as both credible threat and delusional subject. This dual perspective creates tension: the reader is never sure whether Cole is a clever manipulator or genuinely insane. The dialogue is economical, with each exchange advancing the conspiracy theory while the Coroner's observations (the smile, the possibility of being armed) hint at physical danger lurking beneath the verbal sparring.

Satire of Publishing and Genre

Cole's explanation of how Martians control science fiction publishing is a pointed satire of the genre's own anxieties about censorship and market forces. He describes how agents persuade writers to alter dangerous content or simply shelve manuscripts, claiming “we control ninety percent of the output.” This meta-commentary on the editorial process—where agents act as gatekeepers—mirrors real-world debates about creative freedom. The story weaponizes the very tropes of science fiction (alien infiltration, hidden conspiracies) to critique the industry that produces them, making the inquest a stage for genre self-reflection.

Pacing Through Controlled Disclosure

Hernhuter builds suspense by parceling out information in measured doses. Cole's initial confession is immediate, but the reasons unfold slowly: first the claim of Martian identity, then the specific threat of writers, finally the mechanism of control. The Coroner's questions act as prompts, each one peeling back a layer. The physical setting—the jury, the police, the reporter—remains static, focusing attention on the verbal duel. The smile, described as “thin, mirthless,” recurs like a punctuation mark, reminding the reader of the volatility beneath Cole's calm delivery. This technique keeps the story taut despite its largely expository dialogue.

Voice and Characterization

Cole's speech is precise and unapologetic, using phrases like “It was a weak cover-up” to assert intellectual superiority. The Coroner, by contrast, speaks in “gentle tones one uses with the insane,” a detail that underscores the power imbalance. The two police officers are reduced to silent, puzzled observers, their reactions conveyed through glances rather than words. This asymmetry in dialogue—Cole verbose and confident, the Coroner cautious and clinical—shapes the story's unsettling atmosphere. The reader is left to judge whether Cole's elaborate confession is a sign of madness or a calculated performance.

Because the excerpt ends mid-inquest, the reader is left with an unresolved tension: is Cole a lone fanatic or part of a larger conspiracy? The story rewards attention to the subtle shifts in the Coroner's internal monologue and the recurring image of the smile. Pay close attention to how Hernhuter uses the inquest format to blur the line between confession and performance, and consider whether the story's satire of publishing is meant to be taken seriously or as a dark joke.

Rereading the inquest in The Smiler, I found myself thinking of that old story about the microscopist and his perfect drop of water. Both books share a peculiar loneliness—the sense of a mind convinced it’s seeing something true, while everyone else sees only obsession. That quiet, unsettling isolation lingers, like The Diamond Lens — Story, Setting & Ideas did after I first closed it.

Grace Jackson
2 weeks ago

Theodore Jones
3 weeks ago

5
5 out of 5 (2 User reviews )

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  • ...
    Jessica Garcia - 1 month ago
    {'review_type': 'neutral', 'content': "The premise of 'The Smiler' is compelling, and the pacing is mostly good. The main character is well-drawn, and the mystery is intriguing. However, the supporting characters are underdeveloped, and some plot threads are left unresolved. The ending may feel abrupt for some. Still, it's an enjoyable read if you don't mind a few loose ends in your mysteries."}

  • ...
    Blake Lynch - 1 month ago
    {'review_type': 'positive', 'content': "'The Smiler' is a gripping mystery that keeps you on the edge of your seat. The protagonist's obsession with uncovering the truth behind the enigmatic smile is brilliantly executed. The author's atmospheric writing and intricate plot make for a thrilling read. Filled with suspense and unexpected twists, this novel is a page-turner that will satisfy any crime fiction enthusiast."}

  • ...
    Craig Thomas - 4 weeks ago
    {'review_type': 'negative', 'content': "'The Smiler' is a tedious mystery with a predictable plot. The 'twist' is obvious from early on, and the protagonist is unsympathetic. The writing is mediocre, with too much telling and not enough showing. The secondary characters are forgettable, and the climax is anticlimactic. I've read better thrillers that offer far more suspense and originality. Skip this one."}


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