Kill Me if You Can! — Reading Companion

Hypnotic Restraint and Interior Conflict

The most striking feature of the opening is the gap between Bartol's internal thoughts and his outward actions. He cannot deny being the Autarch, even to himself: 'But I'm not the Autarch! Bartol thought. I'm just plain Rad Bartol! But he couldn't speak the words.' This interior monologue is the story's primary source of tension, as the reader experiences his frustration through italicized thoughts that contrast with his obedient behavior.

The hypnosis is not merely a plot device but a structural constraint. It limits what Bartol can say or do, forcing the narrative to rely on physical description and action rather than dialogue. When the Commander speaks with 'deep sarcasm,' Bartol can only stand and wait. This dynamic creates a claustrophobic atmosphere, where the protagonist is a prisoner inside his own mind.

Garrett uses repetition to reinforce the hypnosis: Bartol 'trying to break the bonds that held his mind' echoes earlier struggles. The effect is cumulative, building a sense of desperation that makes the later escape more cathartic.

Mechanized Enemies and Tactical Pacing

As Bartol gains freedom, the story's pace accelerates. The androids are described in mechanical terms: 'rubbery hands,' 'metal skulls,' 'metal-colloid brain.' Their movements are precise but predictable, allowing Bartol to exploit their limitations. The fight scenes are choreographed with technical specificity—'two quick blows' to knock skulls against the floor—which lends a procedural, almost instructional quality to the violence.

The narrative shifts from passive endurance to active problem-solving. Bartol's helmet analyzes force fields, synchronizes frequencies, and melts through walls. Garrett breaks down each action into timed steps: 'It was slow work; it would take a full twenty seconds.' This countdown creates urgency, while the androids' beam-rifles and semiportable weapons raise the stakes. The prose becomes more fragmented, with short paragraphs and abrupt transitions that mirror the chaos of the chase.

Notably, the Autarch's citadel is described as 'stupid' in its design, a judgment that reflects Bartol's growing confidence. The shift in tone—from helplessness to contempt—marks a turning point in the narrative voice.

Revelation and Reversal of Power

The confrontation with Lavod Quom, the true Autarch, reverses the power dynamic. Quom is 'thin and old-looking,' cowering and pleading: 'Don't kill me! I'll do anything!' The language becomes theatrical, with Quom's 'shrill' voice and 'hatred and fear' blazing in his eyes. Bartol, by contrast, speaks in calm, declarative sentences, explaining the conspiracy with clinical detachment.

Garrett uses exposition to clarify the plot, but the dialogue remains tense. Quom's repeated 'How did you know?' and Bartol's vague 'We have our ways' maintain an air of mystery. The revelation that the Commander was a remote-control robot and that Autarchs were androids or doubles adds a layer of mechanical deception to the political structure.

The story's conclusion is abrupt, with Bartol arresting Quom 'in the name of the Galactic League.' The legalistic phrasing—'according to your own laws'—introduces a note of bureaucratic order that contrasts with the earlier chaos. The final lines suggest a larger galactic context, but the narrative stops before exploring it, leaving the reader with a sense of resolution that is both satisfying and slightly incomplete.

Readers should pay attention to how Garrett uses hypnosis as both a constraint and a catalyst for action. The story's brevity (7,411 words) means every scene serves a dual purpose: advancing the plot while revealing character through limitation. The mechanical imagery—androids, force fields, remote controls—is not mere decoration but a reflection of the autocracy's dehumanizing logic. Bartol's eventual triumph comes not through brute force but through understanding and exploiting that logic, a theme that rewards careful reading.