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Science Fiction and Other Suspect Ruminations @[email protected] · 2026-04-17 · 23:39 UTC

Short Story Review: Richard Wilson’s “Strike” (1953)

Milton Luros’ cover for Future Science Fiction, ed. Robert W. Lowndes (July 1953)

3.25/5 (Above Average)

“One by one the cargo-liners blew up, most conveniently for I.C. in its squabble with the union. In fact, these accidents were too convenient…”

Richard Wilson’s “Strike” (1953) first appeared in Future Science Fiction, ed. Robert W. Lowndes (July 1953). Unfortunately, this issue of Future Science Fiction has not been digitized yet. Please reach out in the comments if you want a copy. I purchased the magazine in order to feature it on the site.

“Strike” is the third story in the “Dateline Mars” sequence by Richard Wilson (1920-1987). To the best of my knowledge, this sequence follows the investigative career of Reporter Scott Warren, chief of the Iopa bureau of the Galactic News Service on Mars.1 I am unsure how many stories appeared in this sequence as they have not yet been grouped as a unit on The Internet Speculative Fiction Database.2 Regardless, there’s an appealing simplicity to the general framework of the series — how news agencies attempt to provide objective reporting in a future in which humanity has settled Mars. “Strike” also clocks in as an unabashedly pro-labor union tale. From the stories I’ve gathered so far, this is somewhat rare for the 1950s.

The Nature of the Union

The crisis? After the Interplanetary Spacemen’s Union goes on strike for “higher pay and better retirement benefits” (35), two cargo-liners on the dangerous route between Earth and Mars explode, leaving no survivors. The I. S. Union, comprised not only “pilots but crewman, mechanics and maintenance workers at the spaceports” (25), blame Interstellar Carriers’ use of scabs, in particular “supervisory personnel” long retired from spaceflight (41). The company, predictably, blames the Union for sabotage. The Union holds a powerful card as the cargo-ships supply Mars with luxury goods, medicine, and passenger service. Interstellar Carriers does what all big businesses do when threatened–pour resources into a PR campaign and attempt to influence the Martian Parliament to change the law to permit “union-busting” (38). But labor “hasn’t got a lobby, much less influence” to fight the long political game (39). The World Government does nothing but encourage mediation. Only with the truth of the explosions revealed will the crises be averted. In steps the necessary independent press!

The story follows Scott Warren’s journalistic investigation and write-up of the story as the events unfold. He manufactures a personal emergency as cover to send a reporter, Art Roper, on one of the limited cargo runs crewed by scabs back to Earth. Roper discovers a strange pattern of insurance claims. And his careful questions, and lubricating lips with alcohol, soon reveals the true nature of things.

Final Thoughts

Wilson’s straightforwardly positive take on organized labor clashes with many other 50s authors — who swing mostly between social satire and criticism of unions and their leaders to outright ridicule. I will cover stories in both camps later in this project. Wilson even imagines future in which unions were legally able to conduct a strike without restrictions. This isn’t a future with a Taft-Hartley Act (1947). In addition, he equates anti-union mentality with anti-democratic actions. The journalistic investigation of Interstellar Carriers’ Sargin, the chief agent of political and PR campaign against the union, reveals his previous history as a “silent partner of the old Rockhead dictatorship on Mars” (43). Sargin used his political influence and connections to be cleared of political wrongdoing after a new, more democratic, government came to power.

According to Wilson’s story, unions protect workers and a free press, invested in reporting the truth, can challenge the anti-democratic machinations of big business. At its heart, “Strike” is a functional, not terribly riveting, thriller with a surprising stance. Recommended for fans of science fiction that addresses labor issues.

Notes

The sequence was inaugurated with the story “Dateline: Mars” (1951). I’ve identified a few more including “Incident in Iopa” (1953), and “New Weapon” (1953). “Mary Hell’s” (1954) takes place on Iopa but doesn’t seem to be part of the sequence. ↩︎
Wilson’s listing. ↩︎

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ChasingART @[email protected] · 2024-11-30 · 03:00 UTC

Who Was Richard Wilson?

Richard Wilson (1714–1782) was a prominent Welsh landscape painter, often considered one of the leading figures in British art during the 18th century. He was known for his ability to convey the beauty of natural scenery and the interplay of light and shadow. Wilson’s works typically reflect the influence of the Italian Renaissance, particularly the landscapes of painters like Claude Lorrain and the rich color palettes found in works by the Old Masters.

Richard Wilson By Anton Raphael Mengs, National Museum of Wales (Public Domain via Wikimedia Common)

Throughout his career, Wilson traveled extensively throughout Europe, studying various artistic styles and techniques. He spent a significant period in Italy, which greatly influenced his work. Upon returning to Britain, he became known for his picturesque views and inspired many later Romantic artists.

Holt Bridge on the River Dee before 1762 by Richard Wilson Oil on canvas, 148.5 × 193 cmBought, 1953 NG6196 https://www.nationalgallery.org.uk/paintings/NG6196

Richard Wilson influenced a number of prominent artists and movements, particularly in the realm of landscape painting. Some of the key figures and movements he impacted included Joseph Mallory William Turner, who was inspired by Wilson’s ability to capture dramatic effects of light and atmosphere. John Constable admired Wilson’s handling of natural scenes which influenced his own approach to painting the English landscape.

The Valley of the Dee, with Chester in the Distance about 1761 by Richard Wilson Oil on canvas, 148 × 193.5 cmBought, 1953NG6197https://www.nationalgallery.org.uk/paintings/NG6197

Richard Wilson’s contributions to the genre of landscape painting laid the groundwork for future generations, and he is often referred to as the father of British landscape painting.

For more visual insight into his life and works, you can view the National Gallery “Behind the Scenes” video:

https://youtu.be/DdmVbIiCcMk?si=4nntFivY5vaLhzeL

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Horror Nerd Online @[email protected] · 2024-08-26 · 17:48 UTC

Halloween Girl Book Three: Gods & Monsters Available September 6

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