“ But there is one thing I do know: the way to get a better world, or anyhow the first step, is to clear the road ahead. And that means getting rid of the fools, idiots, maniacs, blockheads, morons, psychopaths, paranoids, timidity-ridden, fear-worshipers, fanatics, thieves, criminals and a whole lot more.“Get rid of them?” Lou’s voice said.Well, Malone thought, I don’t mean they’ve got to be killed or driven out of the civilized world. You’ve just got to get them out of any place where their influence is heavily felt on society as a whole. ”
Randall Garrett
Summary
Randall Garrett’s Supermind (1963) is a speculative fiction novel set in the United States, blending Cold War espionage with psychic phenomena. Centered on protagonist Malone and his interactions with figures like O’Connor, Petkoff, and Burris, the narrative explores themes of telepathy, teleportation, and psionics through the lens of the Psychical Research Society.
The story weaves together covert operations, moral dilemmas about societal reform, and surreal encounters—such as Victorian-era clubs and challenges involving “teleportation”—highlighting Garrett’s ability to merge scientific intrigue with human vulnerability. The novel ultimately examines the tension between individual agency and collective progress in a world grappling with hidden forces.
Quotes from Supermind (Randall Garrett)
“ Malone spent a second or two digesting O’Connor’s reply.“Well,” he said at last, “I’m not sure that’s what I meant. I mean, I’m not sure I meant to ask that question.” He took a breath and decided to start all over. “It’s not like a mob,” he said, “with everybody all doing the same thing at the same time. It’s more like a group of men, all separated, without any apparent connections between any of the men. And they’re all working toward a common goal. All doing different things, but all with the same objective. See?”“Of course I do,” O’Connor said flatly. ”
“ But there were the musicians, in the same Victorian outfits as the doorman: three fiddlers, a cellist, and a man who played piano. “Just like in night-clubs in bourgeois Paris,” Petkoff said, following Malone’s gaze with every evidence of pride.Between the musicians and Malone were a lot of tables and chairs and ancient, proud-looking waiters who appeared to have been hired when Trotkin’s had opened—and that, Malone thought, had been a long, long time ago. He felt like those two ladies, whose names he couldn’t remember, who said they’d slipped back in time. ”
