Thirsty blades — Reading Companion

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In Category - Folklore
Kline, Otis Adelbert, 1891-1946, Price, E. Hoffmann, 1898-1988, Rankin, Hugh, 1878-1956 [Illustrator] Project Gutenberg 2024 Not confirmed
Fantasy fiction; Adventure stories; Swordsmen -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 14,075
Reading time 62 min
Text sections 2

This digital edition of Thirsty blades — Reading Companion is described by source-level measurements including 14,075 words, 1 hr 2 min estimated reading time, and 2 detected text sections.

The text analysis averages about 14.9 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 “Fantasy fiction,” connecting these edition facts with the source record’s subject description.

An editorial note examining the authorial choices in Otis Adelbert Kline and E. Hoffmann Price's 'Thirsty Blades,' focusing on the precise diction, rhythmic dialogue, and descriptive details that shape the sword-and-sorcery narrative.
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Editorial Edition Score 4.5/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

Someone had worked fast and skilfully as Rankin reclined in the _souk_ that afternoon, smoking a _narghileh_, sipping bitter Abyssinian coffee, and pondering on how to extricate the lady Azizah from the peril that was descending from the mountains of Kurdistan.

Shoulder to shoulder the assailants advanced. Their steps were deliberate, now that they were certain rather than hopeful that the .45 had not been reloaded. Six lean swordsmen from the desert, grim phantoms whose curved blades gleamed frostily in the moonlight; curved scimitars whose drawing cut shears from shoulder to hip with one swift stroke.

Rankin drew his scimitar, cursed the disguise that had forbidden his favorite saber, and came on guard. The six paused a moment in their advance. _One_ of them, they knew, must close with their prey, while the other five hacked him to pieces. And the sentence of that _one_ was written; for their victim's frenzy would not be tempered with any hope of escape. _One_ of them was even now a dead man....

One ... two ... three paces....

Rankin dropped his point and laughed.

The line wavered. It takes courage to assault a madman.

A long, fierce lunge, and a deadly swift flicker of steel; and Rankin withdrew from the mêlée, on guard again. That sudden assault from beyond probable striking-distance had caught them off balance; _one_ of them was even now a dead man, shorn half asunder.

Then they closed in. Rankin's footwork saved him, and during that instant of grace, his blade again hit deep as he evaded the charge.

_"Mashallah!"_ gasped the red-bearded chief as he spurred his horse a pace forward.

There were only four to continue the attack, but their assault would be a reckless whirlwind of steel. No more sidestepping or retreating for Rankin.

"----hacked to pieces in some side street of Tekrit----" flashed through his mind. Ismeddin the Darvish was right.

And then he saw the chief draw his blade.

"Horse and foot! Christ, if I could only get _him_!" prayed Rankin.

Time had ceased. He remembered how very slowly a swift blade approaches when one is in the last extremity. He could parry, cut, retreat, parry again, cut--and then the chief on horse would cut him down. But there was plenty of time....

Then something on the wall behind Rankin cast its shadow over him: attack from the rear.

"They are thorough in Tekrit!" flashed through his mind as the very end of that interminable instant came in an irresistibly flailing mill of blades.

Clack-clack-click! And a silent stroke that bit flesh. Clack-clack----

"Halt!" roared the chief from his Barbary horse.

His upraised blade swept down. In response to his signal, something soft and clinging dropped from the wall and enveloped Rankin. Snared in a net!

The three surviving footmen sheathed their blades, seized Rankin, now firmly enmeshed in the silken net, shouldered him, and followed their chief.

"Well," reflected Rankin, as he resigned himself to captivity, "if I'm hacked to pieces at all, it probably won't be in a side street.... I wonder if Ismeddin foresaw _this_?

"And this only the 11th of Nisan ... two more like this, and I'll be in good training for that black swordsman in the vault....

"They expected me--just staring at that girl had nothing to do with it," Rankin assured himself by way of minimizing the folly of having stared too intently into the eyes of the veiled woman who had that afternoon appraised him from the height of her glittering litter.

But Rankin knew that there was a direct connection between the sanguinary combat of a few moments ago, and the exchange of glances between him and the veiled girl whose gorgeously adorned litter had followed the red-bearded dignitary through the _souk_. There was but one conclusion: the girl had called the redbeard's attention to Rankin.

Well, and so be it then! For those were the eyes of Azizah who so often had accompanied Suleiman Baalshem in that haunting, recurring dream that for twenty years had driven Rankin the length and breadth of Asia, and across all the lands of Islam. He was attaining his goal, even if only to meet the thirsty blades whereof Ismeddin had spoken.

The chief of his assailants, then, must be the Shareef, Sayyid Yussuf, the girl's uncle and guardian. In which case, all the better: at least Rankin was not in the hands of the devil-worshipers who had been filtering out of Kurdistan to celebrate their dreadful _sabbat_ in that ravine two days' ride from Tekrit ... and thus and thus Rankin speculated ... with never a passer-by to intrude on the unreality of it all.

From the opening alleyway confrontation, Kline and Price establish a voice that balances pulp urgency with deliberate, almost ritualistic description. The narrator notes that the six swordsmen advance with steps that are 'deliberate, now that they were certain rather than hopeful that the .45 had not been reloaded'—a line that reveals both the assailants' tactical patience and the protagonist's dire predicament. The authors favor concrete, sensory details: the 'henna red' beard of the commander, the 'frostily' gleaming scimitars, and the 'click-click-click' of an empty revolver hammer. These choices ground the fantasy in a tactile, immediate world.

Diction and the Rhythm of Peril

The prose in Thirsty Blades relies on short, staccato sentences during action sequences, mimicking the clash of blades. For instance, 'One ... two ... three paces.... Rankin dropped his point and laughed.' The ellipses and abrupt full stops create a breathless tempo. Conversely, descriptive passages adopt a more measured cadence, as when the narrator details the 'smooth, black stairs' and the 'great hall whose floor was paved with tiles of lapis lazuli.' This alternation between haste and stillness mirrors the protagonist's shifts between combat and cunning. The authors also employ foreign terms—'narghileh,' 'takht rawan,' 'meharis'—without translation, trusting the reader to infer meaning from context, which adds an exotic texture without breaking immersion.

Dialogue as Incantation and Command

Dialogue in the excerpts serves dual purposes: advancing the plot and reinforcing the supernatural atmosphere. The cultists' chant—'Lord of many brazen hells, Lord of the Painted Fan'—uses parallel structure and archaic address to evoke ritual. Commands are terse and authoritative: Zantut's 'Follow me!' and 'Ready?' demand immediate action. Notably, the red-bearded chief speaks only a single word—'Mashallah!'—a gasp that conveys surprise and respect. This economy of speech contrasts with the verbose incantations, highlighting the divide between worldly and otherworldly power. The authors avoid lengthy exchanges, letting action and description carry narrative weight.

Setting as a Character: The Valley of the Djinn

The setting is rendered through precise, evocative details that suggest a layered history. The 'Valley of the Djinn' is described as a 'desolate, narrow valley' with 'shattered columns' and a 'black-tiled circular court.' The copper image that 'gleamed dully on its basalt pedestal' and the 'dust of the weary centuries' imply a forgotten civilization. The authors anchor the fantastical in the physical: the image is tapped with a 'small copper mallet,' producing different notes, and the hidden entrance swings 'noiselessly aside.' These mechanical specifics lend credibility to the supernatural. The moonless night and the 'abysmal blacknesses' of the vault heighten the sense of descent into a realm outside normal time, where 'Iblis sits dreaming of ancient days.'

Narrative Structure and Point of View

The story employs a close third-person perspective, primarily following Rankin. However, the narration occasionally shifts to the antagonists, as when Zantut 'parted the curtains and by the light of a torch looked in.' This limited omniscience allows readers to perceive the cult's preparations without losing the protagonist's vulnerability. The structure alternates between external action and internal reflection—Rankin recalls 'Ismeddin the Darvish' and his prophecy—creating a layered timeline. The authors also use foreshadowing through the protagonist's own thoughts: 'hacked to pieces in some side street of Tekrit' flashes through his mind, a premonition that raises stakes. The pacing is tight, with each scene advancing the plot while revealing character through reaction, not introspection.

Readers attentive to authorial craft will find in Thirsty Blades a model of economical storytelling. Kline and Price prioritize momentum over exposition, trusting the reader to piece together the world from scattered clues. The result is a narrative that feels both swift and substantial, where every word serves the scene. Approach this text as a study in how pulp fiction can achieve density through precise language and deliberate structure.

Reading the note on Thirsty Blades, I remembered sitting on my grandfather’s porch, tracing the rhythm of a duel in my head—how each clang felt timed like a heartbeat. Another afternoon, Smith and the Pharaohs, and other Tales — Inside the Classic gave me that same hush, the desert’s weight between words. Precise diction, I think, is just a quiet way of making space.

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