EVERY lesson has a reflection in the last 5 minutes. WHAT - SO WHAT - NOW WHAT?
By Harlan Ellison
TV and movie scripter Harlan Ellison is a small, intense, muscular 'young man, something like a miniature Rod Serling, who never gets anywhere on time.' Here is a story written to the rhythm of a clock without a balance wheel, out of whack, out of sync, tock-tick, tick-tock.
"'Repent, Harlequin!' Said the Ticktockman" is a science fiction short story by American writer Harlan Ellison published in 1965. It is nonlinear in that the narrative begins in the middle, then moves to the beginning, then the end, without the use of flashbacks. First appearing in the science fiction magazine Galaxy in December 1965, it won the 1966 Hugo Award, the 1965 Nebula Award and the 2015 Prometheus Hall of Fame Award. The story has been translated into numerous foreign languages. "'Repent, Harlequin!' Said the Ticktockman" was written in 1965 in a single six-hour session as a submission to a Milford Writer's Workshop the following day. A version of the story, read by Ellison, was recorded and issued on vinyl, but has long been out of print. The audio recording has since been reissued with other stories, by Blackstone Audio, under the title "The Voice From the Edge, Vol. 1". It was first collected in Ellison's Paingod and Other Delusions and has also appeared in several retrospective volumes of Ellison's work, including Alone Against Tomorrow, The Fantasies of Harlan Ellison, The Essential Ellison, Troublemakers and The Top of the Volcano.
Stylistically, the story deliberately ignores many "rules of good writing", including a paragraph about jelly beans which is almost entirely one run-on sentence.
There are always those who ask, what is it all about? For those who need to ask, for those who need points sharply made, who need to know "where it's at," this:
The mass of men serve the state thus, not as men mainly, but as machines, with their bodies. They are the standing army, and the militia, jailors, constables, possee comitatus, etc. In most cases there is no free exercise whatever of the judgment or of the moral sense; but they put themselves on a level with wood and earth and stones; and wooden men can perhaps be manufactured that will serve the purpose as well. Such command no more respect than men of straw or a lump of dirt. They have the same sort of worth only as horses and dogs. Yet such as these even are commonly esteemed good citizens. Others--as most legislators, politicians, lawyers, ministers, and officeholders--serve the state chiefly with their heads; and, as they rarely make any moral distinctions, they are as likely to serve the Devil, without intending it, as God. A very few, as heroes, patriots, martyrs, reformers in the great sense, and men, serve the state with their consciences also, and so necessarily resist it for the most part; and they are commonly treated as enemies by it.*
That is the heart of it. Now begin in the middle, and later learn the beginning; the end will take care of itself.
But because it was the very world it was, the very world they had allowed it to become, for months his activities did not come to the alarmed attention of The Ones Who Kept the Machine Functioning Smoothly, the ones who poured the very best butter over the cams and mainsprings of the culture. Not until it had become obvious that somehow, someway, he had become a notoriety, a celebrity, perhaps even a hero for (what Officialdom inescapably tagged) "an emotionally disturbed segment of the populace," did they turn it over to the Ticktockman and his legal machinery. But by then, because it was the very world it was, and they had no way to predict he would happen--possibly a strain of disease long defunct, now, suddenly reborn in a system where immunity had been forgotten, had lapsed--he had been allowed to become too real. Now he had form and substance.
He had become a personality, something they had filtered out of the system many decades ago. But there it was, and there he was, a very definitely imposing personality. In certain circles--middle-class circles--it was thought disgusting. Vulgar ostentation. Anarchistic. Shameful.
In others, there was only sniggering, those strata where thought is subjugated to form and ritual, niceties, proprieties. But down below, ah, down below, where the people always needed their saints and sinners, their bread and circuses, their heroes and villains, he was considered a Bolivar; a Napoleon; a Robin Hood; a Dick Bong (Ace of Aces); a Jesus; a Jomo Kenyatta.
And at the top--where, like socially attuned Shipwreck Kellys, every tremor and vibration threatens to dislodge the wealthy, powerful and titled from their flagpoles--he was considered a menace; a heretic; a rebel; a disgrace; a peril. He was known down the line, to the very heartmeat core, but the important reactions were high above and far below. At the very top, at the very bottom.
So his file was turned over, along with his time-card and his cardioplate, to the office of the Ticktockman.
The Ticktockman: very much over six feet tall, often silent, a soft purring man when things went timewise. The Ticktockman.
Even in the cubicles of the hierarchy, where fear was generated, seldom suffered, he was called the Ticktockman. But no one called him that to his mask.
You don't call a man a hated name, not when that man, behind his mask, is capable of revoking the minutes, the hours, the days and nights, the years of your life. He was called the Master Timekeeper to his mask. It was safer that way.
"This is what he is," said the Ticktockman with genuine softness, "but not who he is? This time-card I'm holding in my left hand has a name on it, but it is the name of what he is, not who he is. This cardioplate here in my right hand is also named, but not whom named, merely what named. Before I can exercise proper revocation I have to know who this what is."
To his staff, all the ferrets, all the loggers, all the finks, all the commex, even the mineez, he said, "Who is this Harlequin?"
He was not purring smoothly. Timewise, it was jangle.
However, it was the longest single speech they had ever heard him utter at one time, the staff, the ferrets, the loggers, the finks, the commex, but not the mineez, who usually weren't around to know, in any case. But even they scurried to find out--
Who is the Harlequin?
High above the third level of the city, he crouched on the humming aluminum-frame platform of the air-boat (foof! air-boat, indeed! swizzleskid is what it was, with a tow-rack jerry-rigged) and stared down at the neat Mondrian arrangement of the buildings.
Somewhere nearby, he could hear the metronomic left-right-left of the 2:47 p.m. shift, entering the Timkin roller-bearing plant in their sneakers. A minute later, precisely, he heard the softer right-left-right of the 5:00 a.m. formation going home.
An elfish grin spread across his tanned features, and his dimples appeared for a moment. Then, scratching at his thatch of auburn hair, he shrugged within his motley, as though girding himself for what came next, and threw the joystick forward, and bent into the wind as the air-boat dropped. He skimmed over a slidewalk, purposely dropping a few feet to crease the tassels of the ladies of fashion, and--inserting thumbs in large ears--he stuck out his tongue, rolled his eyes and went wugga-wugga-wugga. It was a minor diversion. One pedestrian skittered and tumbled, sending parcels everywhichway, another wet herself, a third keeled slantwise and the walk was stopped automatically by the servitors till she could be resuscitated. It was a minor diversion.
Then he swirled away on a vagrant breeze and was gone. Hi-ho.
As he rounded the cornice of the Time-Motion Study Building, he saw the shift, just boarding the slidewalk. With practiced motion and an absolute conservation of movement, they sidestepped up onto the slowstrip and (in a chorus line reminiscent of a Busby Berkeley film of the antediluvian 1930's) advanced across the strips ostrich-walking till they were lined up on the expresstrip.
Once more, in anticipation, the elfin grin spread, and there was a tooth missing back there on the left side. He dipped, skimmed, and swooped over them; and then, scrunching about on the air-boat, he released the holding pins that fastened shut the ends of the homemade pouring troughs that kept his cargo from dumping prematurely. And as he pulled the trough-pins, the air-boat slid over the factory workers and one hundred and fifty thousand dollars worth of jelly beans cascaded down on the expresstrip.
Jelly beans! Millions and billions of purples and yellows and greens and licorice and grape and raspberry and mint and round and smooth and crunchy outside and soft-mealy inside and sugary and bouncing jouncing tumbling clittering clattering skittering fell on the heads and shoulders and hardhats and carapaces of the Timkin workers, tinkling on the slidewalk and bouncing away and rolling about underfoot and filling the sky on their way down with all the colors of joy and childhood and holidays. coming down in a steady rain, a solid wash, a torrent of color and sweetness out of the sky from above, and entering a universe of sanity and metronomic order with quite-mad coocoo newness. Jelly beans!
The shift workers howled and laughed and were pelted, and broke ranks, and the jelly beans managed to work their way into the mechanism of the slidewalks; after which there was a hideous scraping as the sound of a million fingernails rasped down a quarter of a million blackboards, followed by a coughing and a sputtering, and then the slidewalks all stopped and everyone was dumped thisawayandthataway in a jackstraw tumble, and still laughing and popping little jelly-bean eggs of childish color into their mouths. It was a holiday, and a jollity, an absolute insanity, a giggle. But...
The shift was delayed seven minutes.
They did not get home for seven minutes.
The master schedule was thrown off by seven minutes.
Quotas were delayed by inoperative slidewalks for seven minutes.
He had tapped the first domino in the line, and one after another, like chik chik chik, the others had fallen.
The System had been seven minutes worth of disrupted. It was a tiny matter, one hardly worthy of note, but in a society where the single driving force was order and unity and promptness and clocklike precision and attention to the clock, reverence of the gods of the passage of time, it was a disaster of major importance.
So he was ordered to appear before the Ticktockman. It was broadcast across every channel of the communications web. He was ordered to be there at 7:00 dammit on time. And they waited, and they waited, but he didn't show up till almost ten-thirty at which time he merely sang a little song about moonlight in a place no one had ever heard of, called Vermont, and vanished again. But they had all been waiting since seven, and it wrecked hell with their schedules. So the question remained: Who is the Harlequin?
But the unasked question (more important of the two) was: how did we get into this position, where a laughing, irresponsible japer of jabberwocky and jive could disrupt our entire economic and cultural life with a hundred and fifty thousand dollars worth of jelly beans?
Jelly for God's sake beans! This is madness! Where did he get the money to buy a hundred and fifty thousand dollars worth of jelly beans? (They knew it would have cost that much, because they had a team of Situation Analysts pulled off another assignment, and rushed to the slidewalk scene to sweep up and count the candies, and produce findings, which disrupted their schedules and threw their entire branch at least a day behind.) Jelly beans! Jelly... beans? Now wait a second-- second accounted for--no one has manufactured jelly beans for over a hundred years. Where did he get jelly beans?
That's another good question. More than likely it will never be answered to your complete satisfaction. But then, how many questions ever are?
The middle you know. Here is the beginning. How it starts:
A desk pad. Day for day, and turn each day. 9:00--open the mail. 9:45--appointment with planning commission board. 10:30--discuss installation progress charts with J.L. 11:15--pray for rain. 12:00--lunch. And so it goes.
"I'm sorry, Miss Grant, but the time for interviews was set at 2:30, and it's almost five now. I'm sorry you're late, but those are the rules. You'll have to wait till next year to submit application for this college again." And so it goes.
The 10:10 local stops at Cresthaven, Galesville, Tonawanda Junction, Selby and Farnhurst, but not at Indiana City, except on Sunday. The 10:35 express stops at Galesville, Selby and Indiana City, except on Sundays & Holidays, at which time it stops at... and so it goes.
"I couldn't wait, Fred. I had to be at Pierre Cartain's by 3:00, and you said you'd meet me under the clock in the terminal at 2:45, and you weren't there, so I had to go on. You're always late, Fred. If you'd been there, we could have sewed it up together, but as it was, well, I took the order alone..." And so it goes.
Dear Mr. and Mrs. Atterley: in reference to your son Gerold's constant tardiness, I am afraid we will have to suspend him from school unless some more reliable method can be instituted guaranteeing he will arrive at his classes on time. Granted he is an exemplary student, and his marks are high, his constant flouting of the schedules of this school makes it impractical to maintain him in a system where the other children seem capable of getting where they are supposed to be on time and so it goes.
YOU CANNOT VOTE UNLESS YOU APPEAR AT 8:45 A.M.
"I don't care if the script is good, I need it Thursday!"
CHECK-OUT TIME IS 2:00 P.M.
"You got here late. The job's taken. Sorry."
YOUR SALARY HAS BEEN DOCKED FOR TWENTY MINUTES TIME LOST.
"God, what time is it, I've gotta run!"
And so it goes. And so it goes. And so it goes. And so it goes goes goes goes goes tick tock tick tock tick tock and one day we no longer let time serve us, we serve time and we are slaves of the schedule, worshippers of the sun's passing, bound into a life predicated on restrictions because the system will not function if we don't keep the schedule tight.
Until it becomes more than a minor inconvenience to be late. It becomes a sin. Then a crime. Then a crime punishable by this:
EFFECTIVE 15 JULY 2389, 12:00:00 midnight, the office of the Master Timekeeper will require all citizens to submit their time-cards and cardioplates for processing. In accordance with Statute 5557-SGH-999 governing the revocation of time per capita, all cardioplates will be keyed to the individual holder and--
What they had done was devise a method of curtailing the amount of life a person could have. If he was ten minutes late, he lost ten minutes of his life. An hour was proportionately worth more revocation. If someone was consistently tardy, he might find himself, on a Sunday night, receiving a communique from the Master Timekeeper that his time had run out, and he would be "turned off" at high noon on Monday, please straighten your affairs, sir.
And so, by this simple scientific expedient (utilizing a scientific process held dearly secret by the Ticktockman's office) the system was maintained. It was the only expedient thing to do. It was, after all, patriotic. The schedules had to be met. After all, there was a war on!
But wasn't there always?
"Now that is really disgusting," the Harlequin said, when pretty Alice showed him the wanted poster. "Disgusting and highly improbable. After all, this isn't the days of desperadoes. A wanted poster!"
"You know," Alice noted, "you speak with a great deal of inflection."
"I'm sorry," said the Harlequin humbly.
"No need to be sorry. You're always saying 'I'm sorry.' You have such massive guilt, Everett, it's really very sad."
"I'm sorry," he repeated, then pursed his lips so the dimples appeared momentarily. He hadn't wanted to say that at all. "I have to go out again. I have to do something."
Alice slammed her coffee-bulb down on the counter "Oh for God's sake, Everett, can't you stay home just one night! Must you always be out in that ghastly clown suit, running around annoying people?"
"I'm--" he stopped, and clapped the jester's hat onto his auburn thatch with a tiny tingling of bells. He rose, rinsed out his coffeebulb at the tap, and put it into the drier for a moment. "I have to go."
She didn't answer. The faxbox was purring and she pulled a sheet out, read it, threw it toward him on the counter. "It's about you. Of course. You're ridiculous."
He read it quickly. It said the Ticktockman was trying to locate him. He didn't care, he was going out to be late again. At the door, dredging for an exit line, he hurled back petulantly, "Well, you speak with inflection, too!"
Alice rolled her pretty eyes heavenward. "You're ridiculous." The Harlequin stalked out, slamming the door, which sighed shut softly, and locked itself.
There was a gentle knock, and Alice got up with an exhalation of exasperated breath, and opened the door. He stood there. "I'll be back about ten-thirty, okay?"
She pulled a rueful face. "Why do you tell me that? Why? You know you'll be late! You know it! You're always late, so why do you tell me these dumb things?" She closed the door.
On the other side, the Harlequin nodded to himself. She's right. She's always right. I'll be late. I'm always late. Why do I tell her these dumb things?
He shrugged again, and went off to be late once more.
He had fired off the firecracker rockets that said: I will attend the ll5th annual International Medical Association Invocation at 8:00 p.m. precisely. I do hope you will all be able to join me.
The words had burned in the sky, and of course the authorities were there, lying in wait for him. They assumed, naturally, that he would be late. He arrived twenty minutes early, while they were setting up the spiderwebs to trap and hold him, and blowing a large bullhorn, he frightened and unnerved them so that their own moisturized encirclement webs sucked closed, and they were hauled up, kicking and shrieking, high above the amphitheater's floor. The Harlequin laughed and laughed, and apologized profusely. The physicians, gathered in solemn conclave, roared with laughter, and accepted the Harlequin's apologies with exaggerated bowing and posturing, and a merry time was had by all, who thought the Harlequin was a regular foofaraw in fancy pants; all, that is, but the authorities, who had been sent out by the office of the Ticktockman, who hung there like so much dockside cargo, hauled up above the floor of the amphitheater in a most unseemly fashion.
(In another part of the same city where the Harlequin carried on his "activities," totally unrelated in every way to what concerns here, save that it illustrates the Ticktockman's power and import, a man named Marshall Delahanty received his turn-off notice from the Ticktockman's office. His wife received the notification from the graysuited minee who delivered it, with the traditional "look of sorrow" plastered hideously across his face. She knew what it was, even without unsealing it. It was a billet-doux of immediate recognition to everyone these days. She gasped, and held it as though it were a glass slide tingled with botulism, and prayed it was not for her. Let it be for Marsh, she thought, brutally, realistically, or one of the kids, but not for me, please dear God, not for me. And then she opened it, and it was for Marsh, and she was at one and the same time horrified and relieved. The next trooper in the line had caught the bullet. "Marshall,'' she screamed, "Marshall! Termination, Marshall! OhmiGod, Marshall, whattl we do, whattl we do, Marshall, omigodmarshall..." and in their home that night was the sound of tearing paper and fear, and the stink of madness went up the flue and there was nothing, absolutely nothing they could do about it.
(But Marshall Delahanty tried to run. And early the next day, when turn-off time came, he was deep in the forest two hundred miles away, and the offices of the Ticktockman blanked his cardioplate, and Marshall Delahanty keeled over, running, and his heart stopped, and the blood dried up on its way to his brain, and he was dead that's all. One light went out on his sector map in the office of the Master Timekeeper, while notification was entered for fax reproduction, and Georgette Delahanty's name was entered on the dole rolls till she could re-marry. Which is the end of the footnote, and all the point that need be made, except don't laugh, because that is what would happen to the Harlequin if ever the Ticktockman found out his real name. It isn't funny.)
The shopping level of the city was thronged with the Thursdaycolors of the buyers. Women in canary yellow chitons and men in pseudo-Tyrolean outfits that were jade and leather and fit very tightly, save for the balloon pants.
When the Harlequin appeared on the still-being-constructed shell of the new Efficiency Shopping Center, his bullhorn to his elfishly laughing lips, everyone pointed and stared. He berated them.
"Why let them order you about? Why let them tell you to hurry and scurry like ants or maggots? Take your time! Saunter a while! Enjoy the sunshine, enjoy the breeze, let life carry you at your own pace! Don't be slaves of time, it's a helluva way to die, slowly, by degrees... down with the Ticktockman!"
Who's the nut? most of the shoppers wanted to know. Who's the nut oh wow I'm gonna be late I gotta run...
And the construction gang on the Shopping Center received an urgent order from the office of the Master Timekeeper that the dangerous criminal known as the Harlequin was atop their spire, and their aid was urgently needed in apprehending him. The work crew said no, they would lose time on their construction schedule, but the Ticktockman managed to pull the proper threads of governmental webbing, and they were told to cease work and catch that nitwit up there on the spire with the bullhorn. So a dozen and more burly workers began climbing into their construction platforms, releasing the a-grav plates, and rising toward the Harlequin.
After the debacle (in which, through the Harlequin's attention to personal safety, no one was seriously injured), the workers tried to re-assemble and assault him again, but it was too late. He had, vanished. It had attracted quite a crowd, however, and the shopping cycle was thrown off by hours, simply hours. The purchasing needs of the system were therefore falling behind, and so measures were taken to accelerate the cycle for the rest of the day, but it got bogged down and speeded up and they sold too many float-valves and not nearly enough wegglers, which meant that the popli ratio was off, which made it necessary to rush cases and cases of spoiling Smash-0 to stores that usually needed a case only every three or four hours. The shipments were bollixed, the transshipments were misrouted, and in the end, even the swizzleskid industries felt it.
"Don't come back till you have him!" the Ticktockman said, very quietly, very sincerely, extremely dangerously.
They used dogs. They used probes. They used cardioplate crossoffs. They used teepers. They used bribery. They used stiktytes. They used intimidation. They used torment. They used torture. They used finks. They used cops. They used search & seizure. They used fallaron. They used betterment incentive. They used fingerprints. They used Bertillon. They used cunning. They used guile. They used treachery. They used Raoul Mitgong, but he didn't help much. They used applied physics. They used techniques of criminology.
And what the hell: they caught him.
After all, his name was Everett C. Marm, and he wasn't much to begin with, except a man who had no sense of time.
"Repent, Harlequin!" said the Ticktockman.
"Get stuffed!" the Harlequin replied, sneering.
"You've been late a total of sixty-three years, five months, three weeks, two days, twelve hours, forty-one minutes, fifty-nine seconds, point oh three six one one one microseconds. You've used up everything you can, and more. I'm going to turn you off."
"Scare someone else. I'd rather be dead than live in a dumb world with a bogey man like you."
"It's my job."
"You're full of it. You're a tyrant. You have no right to order people around and kill them if they show up late."
"You can't adjust. You can't fit in."
"Unstrap me and I'll fit my fist into your mouth."
"You're a non-conformist."
"That didn't used to be a felony."
"It is now. Live in the world around you."
"I hate it. It's a terrible world."
"Not everyone thinks so. Most people enjoy order."
"I don't, and most of the people I know don't."
"That's not true. How do you think we caught you?"
"I'm not interested."
"A girl named pretty Alice told us who you were."
"That's a lie."
"It's true. You unnerve her. She wants to belong, she wants to conform, I'm going to turn you off."
"Then do it already, and stop arguing with me."
"I'm not going to turn you off."
"You're an idiot!"
"Repent, Harlequin," said the Ticktockman.
"Get stuffed."
So they sent him to Coventry. And in Coventry they worked him over. It was just like what they did to Winston Smith in "1984," which was a book none of them knew about, but the techniques are really quite ancient, and so they did it to Everett C. Marm, and one day quite a long time later, the Harlequin appeared on the communications web, appearing elfish and dimpled and bright-eyed, and not at all brainwashed, and he said he had been wrong, that it was a good, a very good thing indeed, to belong, and be right on time hip-ho and away we go, and everyone stared up at him on the public screens that covered an entire city block, and they said to themselves, well, you see, he was just a nut after all, and if that's the way the system is run, then let's do it that way, because it doesn't pay to fight city hall, or in this case, the Ticktockman. So Everett C. Marm was destroyed, which was a loss, because of what Thoreau said earlier, but you can't make an omelette without breaking a few eggs, and in every revolution, a few die who shouldn't, but they have to, because that's the way it happens, and if you make only a little change, then it seems to be worthwhile. Or, to make the point lucidly:
"Uh, excuse me, sir, I, uh, don't know how to uh, to tell you this, but you were three minutes late. The schedule is a little, uh, bit off."
He grinned sheepishly.
"That's ridiculous!" murmured the Ticktockman behind his mask. "Check your watch." And then he went into his office, going mrmee, mrmee, mrmee, mrmee.
*From "Civil Disobedience" by Henry David Thoreau.
1. Why do you think the author begins with a quotation from Henry David Thoreau’s “Civil Disobedience” essay?
2. What are the different reactions to the Harlequin at different socio-economic levels of society?
3. The author refers to several historical figures when he says that to the people ‘down below’ (the lowest-class people) the Harlequin was a hero, like Simon Bolivar (who helped free Latin America from rule by Spain), Napoleon, Robin Hood, Richard Bong (who is the U.S.’s highest-scoring air ace, having shot down at least forty Japanese planes during WWII), Jesus, and Jomo Kenyatta, the founder, Prime Minister, and President of Kenya, who fought against colonialism in Africa. The author also refers to the wealthy of this future society (who regard Harlequin as a menace) being similar to Shipwreck Kelly, a famous football player (and later coach) who was so nicknamed because he made a ‘shipwreck’ of opposing defensive lines. Given the kinds of figures to whom the author compares Harlequin—revolutionaries, rebels, founders of nations, war heroes—and the one figure to which the author compares those who are at the top, a man nicknamed for reducing his opposition to ‘shipwrecks,’ what could we infer will probably be the fate of the Harlequin, even before we’ve read the end of this story?
4. What is the official title of the Ticktockman, and why does no one call him Ticktockman to his mask?
5. From his air-boat, what does Harlequin observe about what this society values?
6. What does the Harlequin do to disrupt the order and punctuality of the shift workers at the Time-Motion Study Building, a disruption that has ripple effects far beyond that particular business?
7. Why do you think the author uses a deliberate run-on sentence to describe the scene of Harlequin dropping those jellybeans? What effect does this run-on sentence structure have on the tone of that scene and how does it reflect the Harlequin’s personality?
8. When Harlequin’s ordered to appear before the Ticktockman at 7 PM, what does Harlequin do and when does he do it?
9. The author abruptly shifts to telling us about the beginnings of this time-obsessed society. How does that society begin; how does it come about?
10. How does the Master Timekeeper aka Ticktockman keep everyone punctual?
11. Why is being punctual considered patriotic?
12. The author only mentions once that this society is waging a war. He does not mention with what other country or countries, or what the war is supposedly about, or any other details. It is only mentioned once. Looking at these three sentences, “The schedules had to be met. After all, there was a war on! But, wasn’t there always?”, what can we infer about this society?
13. How does Harlequin’s girlfriend Pretty Alice feel about his being late on purpose?
14. How does Harlequin fool the authorities at the 115th International Medical Association Invocation, and how do the physicians respond to his antics?
15. What ‘footnote’ scene is described in parentheses regarding Marshall Delahanty and his wife? 16. When Marshall’s wife sees and recognizes the turn-off notice, she prays it’s for her husband or one of the kids and is not for her; how do you feel about her reaction?
17. When Marshall’s wife opens the turn-off notice and sees it’s for him, not for her, what is the significance of the line “The next trooper in the line had caught the bullet”?
18. Why was it futile for Marshall Delahanty to run away?
19. Oftentimes, authors let you make up your own mind about how to feel about what they have written. At the end of this little section about Marshall Delahanty, the author speaks directly to the reader and tells the reader not to laugh and says, “It isn’t funny.” How do you feel about the author doing this?
20. What does Harlequin say to the shoppers at the Efficiency Shopping Center?
21. How do you feel about the author doing this?
22. Why are the construction workers reluctant to help apprehend Harlequin when they are ordered to do so by the office of the Master Timekeeper?
23. Why is it that no one was injured in the debacle that happens when the construction workers tried to capture Harlequin?
24. The spectacle of the (unsuccessful) attempt to capture Harlequin attracts quite a crowd; what are the results of this
25. What methods do the authorities use to capture Harlequin aka Everett C. Marm?
26. If Everett Marm’s been late a total of sixty-three years, what can we infer about how long people generally live (assuming that they are always on time) in this future society in the twenty-fourth century?
27. Why doesn’t Ticktockman just ‘turn off’ (kill) Everett?
28. What do they do to Everett Marm, and why?
29. What is the effect on the public of seeing Everett Marm on the communications web saying he had been wrong before and that it is good to conform and be punctual?
30. It was often said of Benito Mussolini, the former police officer who created Fascism and became the Fascist dictator of Italy, that he made Italy’s trains run on time. In fact, this is not actually true; Italy’s trains were still occasionally late, even under the rule of Mussolini (although the Italian train system was improved from its state after World War I, but most of that was done before the Fascists came to power). So instead of being an example of the ‘efficiency’ of Fascism, this claim has now come to be associated with the exaggerated claims, dishonesty, and hypocrisy of totalitarian regimes. How is this reflected in the final lines of this short story?
31. Someone points out to the Master Timekeeper that he himself was late; the Master Timekeeper dismisses this. He can get away with being late; no one will be able to hold him accountable for his hypocrisy or his lateness. How do you feel when people are late for things that you have planned?
32. If in the future human beings can live much longer than they do now due to advances in medicine/technology, as seems to be the case in this short story, how do you think that would affect people’s perceptions of and feelings about time? If people were able to live for two hundred or more years, and feel young and healthy and vibrant for the majority of that time, how would they look at and feel about time itself?
On September 14, 2011, acclaimed science fiction writer Harlan Ellison filed a copyright infringement lawsuit against Regency Productions alleging infringement of his copyright by the soon-to-be-released film In Time starring Justin Timberlake. Ellison previously filed a similar action against Orion Pictures asserting that the 1984 film Terminator directed by James Cameron infringed his copyright in an episode called Soldier written by Ellison for the series The Outer Limits. That case ended in a settlement where Orion Pictures agreed to give Ellison credit in future copies of the work and to pay an undisclosed amount to Ellison.
The film In Time is set in a dystopian future controlled by corporate conglomerates where citizens are allotted a specific amount of time to live. A person’s remaining amount of time is displayed by an illuminated clock on the person’s arm. At age 25, a person stops aging but has only one year to live, unless the person earns or inherits additional time. The rich typically have many years to live, while the poor have only days or hours. The film’s protagonist rebels against and is pursed by the authoritarian regime.
Ellison claims that In Time is similar to a short story written he wrote in 1965 titled “Repent Harlequin!” Said the Ticktockman. In support of his claim, Ellison points to a statement made in a movie preview by film critic Richard Roeper that “In Time is based on a brilliant story by the great Harlan Ellison…” Indeed, the two works have many similarities including:
Both works are set in a dystopian future where citizens are allotted an amount of time to live by an authoritarian regime.
In both works, the remaining amount of time a person has to live is displayed in some fashion.
In both works, a government entity called a Timekeeper tracks the amount of time each person has to live and uses an implanted device to stop the person’s heart when his/her time expires.
In both works, the government can manipulate a person’s remaining time to punish citizens for breaking rules of society and to enforce conformity to its rules. For example, a person can be punished for being tardy to work by having a commensurate amount of time deducted from the person’s remaining time.
In both works, the protagonist rebels against the regime and is pursued by government agents.
While there are many parallels between the two works, enough apparently to confuse film critics, it is not certain that the similarities will be enough to sustain the claim for copyright infringement. This case highlights an important principal of copyright law known as the idea/expression dichotomy. Copyright protection for a work does not extend to ideas contained in the work, but only to the author’s particular expression of the ideas. Common themes and customary treatments of a topic, known as scènes à faire, fall into the category of unprotected ideas. It is permissible to copy ideas from a protected works so long as the copying does not appropriate the protected expression in the prior work. Thus, if the similarities between the two works relate to ideas rather than to protected expression, the copying does not constitute copyright infringement
The underlying premise in the two works of a dystopian future in which an authoritarian regime allots its citizens a specific amount of time to live appears in other works (e.g., Logans’s Run) and is an unprotectible idea. Elements such as a timekeeper to track a person’s time to live, and a display for displaying the time to live, follow naturally from the starting premise and probably constitute scènes à faire. Likewise, the rebellion of the protagonist against the authoritarian regime is a standard element in stories about dystopian futures (e.g., 1984). On the other hand, some elements in the works, such as the use of an implanted device to stop a person’s heart and the manipulation of a person’s time to live by the government to enforce conformity and punish wrongdoers, do not necessarily follow from the starting premise. A court could find that these elements cross the line from unprotectible idea to protected expression. As the case proceeds, other similarities could emerge.
Given the past success of Ellison in his earlier dispute with Orion Pictures and the large stakes in this case, it appears likely that the parties will reach some settlement before a court is given a chance to rule on the question whether the movie In Time borrowed too heavily from Ellison’s work. If a settlement is not reached, time could be running out on Regency Productions.
Cultural commentary and criticism is a longstanding trope of science fiction, particularly the stories that are set in a dystopia—a society that is failing or exploitative of its citizens, often depicted by Western writers as a society under totalitarian rule in which personal liberties and issues of individual identity are repressed or outlawed. Often the protagonists in dystopian fiction are themselves individuals, thinkers or revolutionaries who have a sense of purpose, moral rightness, and separation from society. In contrast are the masses, often depicted as a gray herd complicit in their own repression who are either unaware of their condition or beaten into submission by an oppressive and powerful government or by a deteriorated civilization in which basic necessities are difficult to procure. Individuals in these fictional worlds become symbols of freedom, nonconformity, and uniqueness, while the masses become symbols of hegemony, repression, and a reflection of that world’s social order. Harlan Ellison’s “‘Repent, Harlequin!’ Said the Ticktockman” uses the symbols of the Harlequin and the masses to advance the theme of the individual versus society.
The themes in the story of individuality versus society are first established in the quote from Henry David Toreau’s “Civil Disobedience” that prefaces the opening of the story. Thoreau calls society a “mass of men” who are “machines” and are in opposition to “heroes, patriots, martyrs, reformers in the great sense.” Ellison uses these ideas in his art of storytelling, casting the Ticktockman as the leader of the machine of bodies that make up society and the Harlequin who represents one of the heroes and reformers in the story. Literary critic Michael White explains this notion further. “‘Repent, Harlequin!,’ complete with its citation from Thoreau’s ‘Civil Disobedience,’ suggests that [most people are] necessarily relegated to the status of machines... In this maxim, martyrs, masses and the revolutionary process of history are all grist for the indefatigable mills of the State” (White). The large theme that Ellison is developing in the story is about the decisions that people make to conform or not conform and the coercive powers of the state to make coercion natural and preferable to the discomfort of nonconformity. Critic Alan Wolfheil concurs, noting that stories such as “Repent, Harlequin!” give “insights… into the structure of the social sciences and history applied to the extrapolated of these disciplines in the near and distant future as seen by science fiction authors” (301). In other words, the theme of individual through society can be studied and applied to social conditions today in a unique way because of the novelty and uniqueness that the fictional society has, allowing it to be analyzed thoughtfully.
Ellison’s story world is set in a society that worships time and productivity to the extent that tardiness is punishable by instantaneous death, and the person in charge of scheduling and time is revered as a spiritual leader or monarch. Ellison relates the conditions and behaviors that led to the world in its present state, marking periods of time with life events, such as applying for college, getting a job, and attending school, all of it a pattern and cycle that Ellison explains with, “And so it goes… tick tock tick tock… and one day we no longer let time serve us, we serve time and we are slaves of the schedule… bound into a life predicated on restrictions because the system will not function if we don’t keep the schedule tight” (5). The “we” in the story is society, and Ellison has established the symbol of society as being the machinery that keeps time flowing, like a clock. In this world, the hegemony of the society is based around punctuality and service to a master schedule that has happened through degrees, self-enforced until society reached a tipping point in which people became the “slaves” to a select ruling class. Like many other dystopian fictions such as those created by Orwell or Bradbury, Ellison creates a society that is ruled by a totalitarian government and the general population is technically free but enslaved to some ideological position or political rules that favor a few people over the multitude of society.
The Harlequin is an identity that the protagonist, Everett Marm, adopts as a way of disrupting the machinery of society and its adherence to a master schedule by asserting an on-threatening identity that connotes childhood and play. The harlequin is a cultural symbol of frivolity, mischief, and also mystery. The Harlequin’s frivolity and mischief is meant to awaken the people from the monotony of their existence, to rekindle a spark of play and surprise, which is the opposite of orderly conformity. For example, in the scene where the Harlequin showers a group of people with jellybeans, the property damage and cultural effect is minimal, but the real triumph in the cultural battle was within the hearts and minds of the people passing by. “[E]veryone was dumped this away and that away in a jackstraw tumble, and still laughing and popping little jelly bean eggs of childish color into their mouths. It was a holiday, and a jollity, an absolute insanity, a giggle” (Ellison 4). Ellison’s language playfully describes the scene, underscoring the play and mischief in the act as a benign but powerful form of non-comformity, an act that delayed the world by seven minutes, and “in a society where the single driving force was order and unity and promptness and clocklike precision and attention to the clock, reverence of the gods of the passage of time, it was a disaster of major importance” (4). Earle Bryant picks up on this scene and explains, “Accordingly, when Marm swoops down… and showers [the workers] with jellybeans, he is attempting to show them that life can and should be a joyous affair and not the government-mandated robotic existence they are leading. In this scene, as well as throughout the story, Ellison wants us to see Marm as a comic rebel-hero” (164).
As stated earlier, one of the themes of Western dystopia fiction is the theme that a loss of personal liberty is akin to dying. Oscar De Los Santos succinctly states how the Harlequin as a symbol supports that theme in the story: “The Harlequin… realizes that a society that relinquishes control of its existence to one entity or one small governing body—mechanical or otherwise—is in grave danger of becoming extinct” (8). The extinction that De Los Santos refers to is the extinction of the personality, as relinquishing control of one’s sense of self to the social machine is tantamount to a meaningless existence, and the Harlequin, who dresses in motley, makes himself a singular spectacle so as to disrupt the conformity. During his trial, Everett Marm clearly but flippantly states the position of the individual: “’Scare someone else. I’d rather be dead than live in a dumb world with a bogeyman like you’” (Ellison 9). Though his words are not lofty, Everett is bravely asserting his individuality in the face death as a rebuke of the system and the “bogeyman” that the Ticktockman and his regime represents.
The control that the Ticktockman has over people partially comes from advanced, futuristic technology. The Ticktockman has the power to kill someone remotely through manipulation of their cardioplates, an invented technology that is not explained and serves as a symbol of the Ticktockman’s authority. As Charles Sullivan notes, science storytelling often “presents machines, or aspects of machines, that we fear, and machines, or aspects thereof, that we desire.” Sullivan continues to explore the themes in Ellison’s stories that involve the type of machines that cause fear, and in this case the Ticktockman is an extension of his fearful technology, and the story “a hard-hitting piece of social criticism” that “attempt to depict the unpleasant consequences of present-day attitudes or trends” (Sullivan). Technology is a tool used to repress, and so it is fitting that the Harlequin shows no concern for the technology, goading the Ticktockman into using the cardioplate to kill him (Ellison 10).
The end of the story, like most dystopian fiction, ends with the protagonist having made some revolutionary change at the cost of his life. Because of the comic nature of the story, the revolution is that the Ticktockman, the symbol of the ideological beliefs of the state, is made three minutes late (Ellison 11). This event is tragically comic, as it points out how absurd the social order is and how unimportant adherence to time can be in comparison to the sanctity and dignity of life. Just as the Harlequin uses lighthearted pranks to disrupt the master schedule, the real importance of maintaining a schedule is ephemeral, and the system is rigid and draconian because it is easier to conform than to be inconvenienced by some of the messy outcomes of an unexpected event, such as being showered with millions of jellybeans. The Harlequin is a comic individual who is caught up in a comical society that, but for the oppression and cold brutality, would make the story almost lighthearted.
Harlan Ellison’s “‘Repent, Harlequin!’ Said the Ticktockman” is a story that expresses the theme of individuals versus society by using the symbols of the masses of people and the symbol of the Harlequin as an individual. Like Henry David Thoreau’s “Civil Disobedience,” Ellison’s “Repent, Harlequin!” examines the consequences when people stop functioning as individuals and begin functioning as machines for the vested interests of the few. Ellison clearly sides with the individual, championing the idea that personality is vital in living a life of meaning and value, and that the best society is one that is not enslaved to consumption, productivity, or conformity but instead to the expression of individuality and play.
Works Cited
Bryant, Earle V. "Ellison's "REPENT HARLEQUIN!" SAID THE TICKTOCKMAN." Explicator, vol. 59, no. 3, 2001, p. 163.
De Los Santos, Oscar. “Clogging Up the (In)Human Works: Harlan Ellison's Apocalyptic Postmodern Visions.” Extrapolation, vol. 40, issue 1, n.d., p. 5
Ellison, Harlan. “‘REPENT, HARLEQUIN!’ SAID THE TICKTOCKMAN.” 1965. http://www.harlanellison.com/forum/viewtopic.php?t=932
Sullivan, Charles. “Harlan Ellison and Robert A. Heinlein: The Paradigm Makers.” Clockwork Worlds: Mechanized Environments in SF. Ed. Richard Erlich and Thomas Dunn. Westport: Greenwood Press, 1983, pp. 97–103.
White, Michael. “Ellison’s Harlequin: Irrational Moral Action in Static Time.” Science Fiction Studies, vol. 4, no. 2, 1977, pp. 161–165.
Wohlfeil, Alan. “Science Fiction Stories in the Social Studies.” The Clearing House, vol. 44, no 5, 1970, pp. 300–304