The Big Time by Fritz Leiber

The Big Time, a science fiction novel by Fritz Leiber, was published in 1958. It is a part of Leiber’s “Change War” series and delves into the concept of time travel and its consequences. The novel explores a war fought by two factions, the “Spiders” and the “Snakes,” who manipulate time by sending operatives into different eras to alter historical events for their advantage. The Big Time won the Hugo Award for Best Novel in 1958, and it is renowned for its unique blend of speculative fiction, philosophy, and psychological drama. The story is set almost entirely within a confined space outside the cosmos known as “The Place” and unfolds in the form of a play-like narrative.

Plot Summary

Greta Forzane reclines in the Place, a strange outpost situated beyond space and time, as she reflects on the endless Change War. This war rages between two factions, the Spiders and the Snakes, though most of the universe has no inkling of their existence. Soldiers from across time are recruited to alter history—changing events in the past and future to secure ultimate victory. Greta, an Entertainer, tends to these time-worn soldiers, helping them recover between battles. But as she sits in the Place, surrounded by familiar faces, she knows something is about to shift.

The war may be distant, but its impact is constant. Soldiers arrive from different eras, some from World War I, others from ancient Rome, all carrying the weight of the battles they’ve fought to bend time itself. The Place, a liminal space suspended outside the universe, serves as a Recuperation Station, where these soldiers heal their wounds and grapple with their roles in a conflict far bigger than they can comprehend.

Greta is joined by Sidney Lessingham, the commanding figure who runs the Place with calm efficiency. Sid, like all of them, was plucked from time to serve in this strange war, his past a collection of fragmented memories. Sid ensures that everything runs smoothly, though even he can’t escape the growing tensions. The Place has become a powder keg of emotions, and it’s clear to Greta that the strain of war is beginning to fray everyone’s nerves.

It begins when a new trio of soldiers steps through the Door, the mysterious portal that links the Place to the cosmos. Erich von Hohenwald, a Nazi officer, strides in with his usual arrogance, his sharp eyes scanning the room as if he owns it. At his side is Bruce Marchant, a British soldier from World War I, who has grown weary of the conflict and increasingly disillusioned with the manipulations of the Spiders. The third figure, Mark, a Roman soldier, completes the group, his stoic demeanor masking the horrors he’s endured.

As the soldiers settle in, the Place vibrates with tension. Erich, ever the provocateur, clashes with Bruce almost immediately, their arguments laced with bitterness. Bruce, a poet at heart, despises the endless cycle of violence and the lies told by their commanders. He rails against the futility of the Change War, questioning why they’re altering history only to face the same bloody conflicts again and again. Greta watches the conflict unfold, her usual charm doing little to soothe the escalating hostilities.

The war has begun to erode their sense of identity. Bruce feels as though time itself is being unraveled, each alteration to the past making the future more uncertain. The soldiers have become detached from their former selves, no longer anchored to the lives they once knew. Greta, too, feels this pull. As an Entertainer, her role is to distract, to comfort, but even she cannot escape the existential dread creeping into the hearts of those around her.

Tensions boil over when another group of soldiers bursts through the Door, accompanied by an alien satyr from the far future and Ilhilihis, a Lunan from the distant past. Among them is Kabysia Labrys, a fierce warrior from ancient Crete. The Place, usually a sanctuary from the chaos of the Change War, becomes a battleground of conflicting emotions. Kabysia’s fury is palpable as she recounts her failed mission, describing how Crete—her beloved homeland—has been destroyed and remade too many times for her to bear. She collapses, shaking with rage and sorrow, and Greta feels the weight of yet another life shattered by the war.

While Kabysia fights to retain her sanity, Bruce’s disillusionment deepens. He rails against the Spiders’ inefficiency, accusing them of playing with lives and destinies without any real plan. The Spiders, who supposedly fight to preserve the West’s victory over the East, have made a mess of history, leading to an alternate reality where Nazi Germany rules over half the world. Bruce’s anger is raw, and even Greta feels the sting of his accusations, though she tries to maintain her composure.

Sid tries to regain control, urging the soldiers to focus on their next mission, but the air is thick with unease. The Change Winds, invisible but ever-present, seem to stir more fiercely than before, hinting at disruptions yet to come. Erich, always the pragmatist, sharpens his blade and prepares for the next battle, while Bruce retreats into bitter reflection. Even Mark, the steady Roman, seems disturbed by the growing sense of doom that pervades the Place.

Suddenly, the Major Maintainer—the device that keeps the Place anchored outside time—flickers with an emergency signal. Sid moves quickly, his practiced hands adjusting the controls as the lights dim. A new distress call has arrived, and Sid prepares to open the Door once again. Everyone tenses, expecting either friend or foe to step through. When the Door opens, stale sea air wafts into the Place, followed by the appearance of two figures—one human, one extraterrestrial.

The newcomers, battle-worn and carrying a mysterious bronze chest, stumble into the Place, setting off a flurry of questions. But before answers can be given, Kabysia unleashes a scream of frustration, her voice filled with the rage of a warrior who has seen her world destroyed too many times. Her breakdown is the final crack in the fragile peace of the Place, and even Sid cannot calm her.

As the Door seals shut and the emergency signal fades, the inhabitants of the Place brace themselves for whatever comes next. The war outside may be distant, but its effects are all too real within these walls. Greta, still the ever-cheerful Entertainer, wonders how long they can all continue. The Change War is endless, and though they are outside of time, it seems they cannot escape the inevitable collapse of everything they once knew.

Main Characters

• Greta Forzane: The narrator and a key character in the story, Greta is an “Entertainer” who works at the Recuperation Station in the Place, where soldiers from the Change War come to heal. A former Chicago native, Greta is witty, charming, and insightful, revealing her inner turmoil and cynicism as she grapples with the brutalities of the war.

• Sidney Lessingham: Sid is the leader of the Recuperation Station where much of the action takes place. He is an enigmatic character with a mysterious past, having lived through various historical periods. His command over the Place and his interactions with both Entertainers and soldiers showcase his authoritative but humane nature.

• Erich von Hohenwald: A Nazi officer who died at Narvik during World War II, Erich is one of the main soldiers in the novel. He is bold, intense, and driven by the ideology of the war, constantly clashing with the other soldiers over tactics and ideals.

• Bruce Marchant: A British soldier from World War I, Bruce is a poet who becomes increasingly disillusioned with the ongoing war. His bitterness about the war’s futility and the manipulation of time deeply affects his interactions with the others.

• Mark: A Roman soldier recruited from Nero’s time, Mark brings an ancient perspective to the war. He’s stoic and resilient, balancing the diverse group dynamics with his sharp intellect and wisdom.

Theme

• The Manipulation of Time: The novel’s primary theme revolves around time manipulation as soldiers from both factions—the Spiders and the Snakes—alter past events to gain strategic advantages. This theme raises questions about free will, destiny, and the ethical implications of altering history.

• War and its Psychological Toll: The Big Time delves into the mental and emotional toll war takes on its participants. Soldiers who arrive at the Recuperation Station carry deep psychological scars, reflecting Leiber’s commentary on the dehumanizing effects of warfare and the trauma it leaves behind.

• Existentialism and Identity: The characters in the story are displaced from their natural timelines, which leads to existential crises. They struggle with their sense of identity, especially as they are pulled in and out of different eras, losing their connections to the original world they knew.

• Fate vs. Free Will: The notion of whether the characters have control over their lives or are merely pawns in a larger game plays out in their decisions and reflections. The ongoing war between the Spiders and the Snakes underscores this theme, as the manipulation of time itself blurs the line between personal agency and predestination.

Writing Style and Tone

Fritz Leiber’s writing in The Big Time is both experimental and immersive. The novel employs a first-person narrative through Greta’s voice, which offers a mix of casual, conversational tones with deeper philosophical musings. Leiber blends the surreal with the mundane, giving the novel an almost stage-like quality where the confined setting allows for intense character interactions and introspective dialogue. His use of humor, despite the bleak subject matter, and sharp, often satirical observations give the narrative a unique flavor.

The tone oscillates between darkly humorous and contemplative. The novel is filled with banter and quick-witted dialogue, yet there is an underlying sense of despair and futility, reflecting the eternal nature of the Change War. The writing style draws heavily from theater, with much of the plot unfolding like a dramatic play in a single location. Leiber’s background in theater is evident in his characters’ interactions, which often feel staged for effect, adding layers to the psychological depth of the story.