Twelve Times Zero — Reading Notes
Edition facts
This digital edition of Twelve Times Zero — Reading Notes is described by source-level measurements including 25,132 words, 1 hr 50 min estimated reading time, and 3 detected text sections.
The text analysis averages about 13.4 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.
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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.
Read the Text
Cordell said doggedly: "The lab door was open a crack. I heard a woman's voice in there, and it wasn't my wife's. It was a voice like--like cracked ice. You know: cold and kind of ... well ... brittle and--and deadly. That's the only way I can describe it.
"Anyway, I sort of hesitated there, outside the door. I didn't want to go bulling in on something that wasn't none of my business ... but on the other hand I figured my wife was in there, else Alma would've said so."
"You hear anything besides this collection of ice cubes?"
The young man's jaw hardened. "I'm giving it the way it happened. You want the rest, or you want to trade wise cracks?"
One of the men behind Kirk lunged forward, "Why, you cheap punk--"
Kirk stopped him with an arm. "I'll handle this, Miller." To Cordell: "I asked you a question. Answer it."
"I heard Professor Gilmore. Only a couple words, then two quick flashes of light lit up the frosted glass door panel. That's when I heard these two thumps like when somebody falls down. I shoved open the door fast ... and right then I saw _her_!"
Kirk nodded for no apparent reason and was careful about knocking a quarter inch of ash off his cigar. "Tell me about her."
The young man's hands were shaking again. He sucked at his cigarette and let the smoke come out with his words: "She was clear over on the other side of the lab ... standing a good two feet off the floor in the middle of a big blue ball of some kind of--of soft fire. _Blue_ fire that sort of _pulsed_--you know. Anyway, there she was: this hell of a good-looking blonde; looking right smack at me, and there was this funny kind of gun in her hand. She aimed it and I ducked just as this dim flash of light came out of it. Something hit me on the side of the head and I ... well, I guess I blanked out."
"Well, like I said yesterday, I suppose I just naturally came out of it. I'm all spread out on the floor with the damndest headache you ever saw. Over by the window is the Prof and--" he wet his lips--"and Juanita. They're dead, Lieutenant; just kind of all piled up over there ... dead, their heads busted in and the--the--the--"
He sat there, his mouth working but no sound coming out, his eyes staring straight into the blazing light, the cigarette smouldering, forgotten, between the first two fingers of his left hand.
Almost gently Kirk said: "Let's go back to where you were standing outside the door. You heard this woman talking. What did she say?"
Cordell looked sightlessly down at his hands. "Nothing that made sense. Sounded, near as I can remember, like: 'Twelve times zero'--then some words, or more numbers maybe--I'm not sure--then she said, 'Chained to a two hundred thousand years'--and the Professor said something about his colleges having no idea and he'd warn them--and the blonde said, 'Three in the past five months'--and then something about taking in washing--"
The detective named Miller gave a derisive grunt. "Of all the goddam stories! Kirk, you gonna listen to any--"
Kirk silenced him with a gesture. "Go on, Cordell."
The young man slowly lifted the cigarette to his mouth, dragged heavily on it, then let it fall to the floor. "That's all. That's when the lights started flashing in there and I tried to be a hero."
"Sure you've left nothing out?"
"You've got it all. The truth, like you wanted."
Kirk said patiently, "Give it up, Cordell. You're as sane as the next guy. Give that story to a jury and they'll figure you're trying to make saps out of them--and when a jury gets sore at a defendant, he gets the limit. And in case you didn't know: in this State, the limit for murder is the hot seat!"
The prisoner stared at him woodenly. "You know I didn't kill my wife--or Professor Gilmore. I had no reason to--no motive. There's _got_ to be a motive."
The police officer rubbed his chin reflectively. "Uh-hunh. Motive. How long you married, Cordell?"
"Ames Chemical pay you a good salary?"
"Enough for two to live on?"
"How long did your wife work for Professor Gilmore?"
"Four years next month."
"Pretty big job for a woman, wasn't it?"
"Juanita held two degrees in nuclear physics."
"You mean this atom bomb stuff?"
"That was part of it."
"Gilmore's a big name in that field, I understand," Kirk said.
"Kind of young to rate that high, wouldn't you say? He couldn't have been much past forty."
The interrogation scene that opens Twelve Times Zero establishes a stark, claustrophobic atmosphere: a basement room, a spotlight aimed at a suspect's eyes, and a detective who speaks with quiet authority. The suspect, Paul Cordell, is described with a "rumpled shock of black hair" and a "gaunt face, empty at the moment of all expression," suggesting a man hollowed out by trauma. The prose is lean, relying on sensory details—the "harsh light" and "tiny beads of perspiration"—to convey tension.
As the narrative unfolds, the investigation shifts from a straightforward murder case to something far stranger. Lieutenant Kirk, initially skeptical, begins to entertain the possibility that a machine of non-terrestrial origin is involved, linked to a woman named Alma Dakin and the deaths of several scientists. The story balances hard-boiled police procedure with speculative elements, creating a hybrid of detective fiction and science fiction.
The Interrogation as Psychological Theater
The opening chapter of Twelve Times Zero is a masterclass in controlled tension. The setting—a basement room with painted concrete walls—is deliberately bare, focusing attention on the power dynamics between Lieutenant Kirk and the suspect, Cordell. Kirk's voice is described as "quiet, not especially deep," yet it "seemed to bounce off the painted concrete walls," emphasizing the room's emptiness and the psychological pressure. The spotlight, which blinds Cordell and forces his head back when he tries to look away, becomes a tool of domination. Cordell's responses are fragmented: "That light—" he mumbles, and later he cries out, "I told you the whole thing." His demeanor is not defiant but suggests "some terrible and deep-seated shock." This interrogation is less about extracting information than about observing a man unraveling, setting the stage for a mystery that transcends ordinary crime.
From Police Procedure to Cosmic Paranoia
As the story progresses, the narrative voice shifts from hard-boiled realism to a more speculative register. Lieutenant Kirk, initially a conventional detective, finds himself confronting phenomena that defy rational explanation. The text notes that "the kind of mind that could design and put together a mechanism like that was not of this planet," and that "Paul Cordell's story of a girl who floated in a ball of blue fire" no longer sounds like "the ravings of a deranged brain." This transition is marked by Kirk's internal struggle: he considers going to the Police Commissioner but fears a "padded cell," and thinks of government agencies only to imagine "red tape" allowing a suspect to reach Pakistan on foot. The prose retains its gritty edge—Kirk sits "limp as Satan's collar"—while embracing the uncanny. The juxtaposition of mundane police work (bugging an apartment, crossword puzzles) with extraterrestrial threats creates a distinctive tonal blend.
Surveillance and the Intimate Unknown
Chapter VI offers a striking shift in perspective as Kirk, hidden in a spinster's apartment, monitors Alma Dakin through a dictograph. The narration becomes almost voyeuristic: "It was like being in her room with his eyes shut." The sounds of everyday life—"drawers opening and closing," "the creak of a chair," "the rustle of a nylon slip"—are rendered with clinical precision. Yet this intimacy is undercut by the knowledge that Dakin is connected to a machine of alien origin. Kirk's vigil is both mundane and charged with dread; he wonders if he will be forced to "listen to twelve of fourteen hours of feminine snoring" while the fate of the investigation hangs in the balance. This section highlights the tension between the ordinary and the extraordinary, a recurring pattern in the excerpts. The detective's methodical approach—bugging a bedroom, removing traces of plaster—contrasts sharply with the cosmic scale of the threat he suspects.
The excerpts from Twelve Times Zero reveal a narrative that oscillates between the procedural and the speculative, grounding its more fantastical elements in the gritty details of police work. Readers should pay attention to how the author uses sensory specifics—light, sound, physical posture—to build atmosphere and convey psychological states. The incomplete nature of the excerpts leaves the full scope of the extraterrestrial machine and its connection to the murders unclear, but the tension between Kirk's rational training and the irrational evidence he encounters is a central dynamic worth following.
That rainy afternoon, Twelve Times Zero kept me turning pages past midnight, yet what lingered wasn’t the floating woman but the loneliness of Cordell’s interrogation room. Later, almost by chance, I picked up The Good Neighbors — Reading Notes and found that same quiet ache, but softer—neighbors behind closed curtains, worlds apart in one hallway. Both left me staring out the window, unsure what I’d just witnessed.
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Stephen Wood - 4 weeks ago
Twelve Times Zero presents a thought-provoking premise and some genuinely clever twists that will appeal to fans of hard science fiction. The core mystery is compelling, and the author's exploration of mathematical concepts in human terms is intriguing. However, the pacing is somewhat inconsistent, with a few sections dragging in the middle. The resolution, while satisfying, leaves some questions unanswered. Still, a worthy read for genre enthusiasts. -
Jennifer Cole - 4 weeks ago
Twelve Times Zero fails to live up to its promising concept. The narrative is often bogged down by excessive technical jargon that alienates the reader, and the characters are underdeveloped, serving more as mouthpieces for ideas than as people. The plot, while ambitious, becomes convoluted and loses its emotional impact. A more accessible approach might have made this a better book, but as it stands, it's a difficult slog for most readers. -
Amber Campos - 1 week ago
Twelve Times Zero is a masterful work of speculative fiction that tackles profound themes of identity and existence with razor-sharp intelligence. The narrative is gripping, and the philosophical underpinnings are woven seamlessly into a plot that keeps you guessing until the very end. The characters are complex and relatable, and the ending is both shocking and satisfying. A must-read for fans of cerebral sci-fi that doesn't sacrifice heart.
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Harper Nguyen
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