What do you think?
Rate this book
Fredric Brown in the Detective Pulps #16
Happy Ending
A world had collapsed around this man—a world that would never shout his praises again. The burned-out cities were still and dead, the twisted bodies and twisted souls giving him their last salute in death. And now he was alone, alone surrounded by memories, alone and waiting ...
26 pages, Kindle Edition
First published September 1, 1957
3 people are currently reading
44 people want to read
About the author
Fredric Brown
810 books355 followersFredric Brown was an American science fiction and mystery writer. He was one of the boldest early writers in genre fiction in his use of narrative experimentation. While never in the front rank of popularity in his lifetime, Brown has developed a considerable cult following in the almost half century since he last wrote. His works have been periodically reprinted and he has a worldwide fan base, most notably in the U.S. and Europe, and especially in France, where there have been several recent movie adaptations of his work. He also remains popular in Japan.
Never financially secure, Brown - like many other pulp writers - often wrote at a furious pace in order to pay bills. This accounts, at least in part, for the uneven quality of his work. A newspaperman by profession, Brown was only able to devote 14 years of his life as a full-time fiction writer. Brown was also a heavy drinker, and this at times doubtless affected his productivity. A cultured man and omnivorous reader whose interests ranged far beyond those of most pulp writers, Brown had a lifelong interest in the flute, chess, poker, and the works of Lewis Carroll. Brown married twice and was the father of two sons.
Never financially secure, Brown - like many other pulp writers - often wrote at a furious pace in order to pay bills. This accounts, at least in part, for the uneven quality of his work. A newspaperman by profession, Brown was only able to devote 14 years of his life as a full-time fiction writer. Brown was also a heavy drinker, and this at times doubtless affected his productivity. A cultured man and omnivorous reader whose interests ranged far beyond those of most pulp writers, Brown had a lifelong interest in the flute, chess, poker, and the works of Lewis Carroll. Brown married twice and was the father of two sons.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 10 of 10 reviews
July 2, 2019
Charles van Buren
TOP 1000 REVIEWER
4.0 out of 5 stars
The fall of a future Hitler-like dictator of the solar system
July 2, 2019
Format: Kindle Edition Verified Purchase
Review of free Kindle edition
A Public Domain Book
Publication date: March 24, 2011
Language: English
ASIN: B004TPV4N4
First published in the September 1957 issue of Fantastic Universe magazine, this story is obviously based very loosely upon a what if idea of Adolf Hitler surviving in self imposed solitary exile.
TOP 1000 REVIEWER
4.0 out of 5 stars
The fall of a future Hitler-like dictator of the solar system
July 2, 2019
Format: Kindle Edition Verified Purchase
Review of free Kindle edition
A Public Domain Book
Publication date: March 24, 2011
Language: English
ASIN: B004TPV4N4
First published in the September 1957 issue of Fantastic Universe magazine, this story is obviously based very loosely upon a what if idea of Adolf Hitler surviving in self imposed solitary exile.
November 23, 2025
This tale is a compact, ironic gem that encapsulates the author’s mastery over brevity, twisted logic, and tonal misdirection. Known for his micro-stories and razor-sharp humour, Brown excels at constructing narratives that feel like riddles wrapped in moral parables.
Happy Ending is no exception; it begins deceptively simply and gradually unveils itself as a commentary on fate, free will, and the unexpected cruelty—or dark comedy—of human desire.
The story revolves around a protagonist who believes he has discovered a way to manipulate destiny. This confidence sets the stage for a peculiar chain of events where intent, prediction, and outcome weave into an intricate trap.
Brown situates the narrative at the intersection of noir and speculative fiction. His storytelling feels like a magic trick: the setup is ordinary, the pacing clean, and the tone conversational, yet every sentence nudges the reader toward a conclusion that undermines the protagonist’s certainty.
What makes Happy Ending particularly memorable is Brown’s precise control over irony. He plays with the reader’s assumptions about narrative closure. The protagonist seeks a “happy ending”, but Brown forces us to reconsider what happiness means and who, if anyone, has the authority to determine the shape of an ending.
The twist, when it arrives, is not merely a shock device—it reframes the moral logic of the entire story. Brown suggests that the universe does not bend to human schemes, and attempts at perfect foresight often invite disaster.
Stylistically, Brown’s prose is unadorned yet rhythmic. He avoids lengthy descriptions, relying instead on crisp dialogue and compressed exposition. This minimalism intensifies the impact of the twist, for Brown wastes no space on anything unnecessary.
The world of the story feels sketched rather than painted, but intentionally so: the sparse style mirrors the protagonist’s narrow worldview and the tightness of the narrative trap closing around him.
The story’s enduring appeal lies in its structural elegance. In a few pages, Brown constructs a fable-like commentary on human overconfidence. He critiques the fantasy of total control—whether over fate, the future, or one’s own desires. The ending, while darkly amusing, leaves a pang: Brown exposes the fragility of human plans and the capriciousness of outcomes.
Happy Ending remains a testament to Brown’s ability to turn brevity into brilliance, proving that a story does not need length to achieve depth, wit, and lasting emotional resonance.
Happy Ending is no exception; it begins deceptively simply and gradually unveils itself as a commentary on fate, free will, and the unexpected cruelty—or dark comedy—of human desire.
The story revolves around a protagonist who believes he has discovered a way to manipulate destiny. This confidence sets the stage for a peculiar chain of events where intent, prediction, and outcome weave into an intricate trap.
Brown situates the narrative at the intersection of noir and speculative fiction. His storytelling feels like a magic trick: the setup is ordinary, the pacing clean, and the tone conversational, yet every sentence nudges the reader toward a conclusion that undermines the protagonist’s certainty.
What makes Happy Ending particularly memorable is Brown’s precise control over irony. He plays with the reader’s assumptions about narrative closure. The protagonist seeks a “happy ending”, but Brown forces us to reconsider what happiness means and who, if anyone, has the authority to determine the shape of an ending.
The twist, when it arrives, is not merely a shock device—it reframes the moral logic of the entire story. Brown suggests that the universe does not bend to human schemes, and attempts at perfect foresight often invite disaster.
Stylistically, Brown’s prose is unadorned yet rhythmic. He avoids lengthy descriptions, relying instead on crisp dialogue and compressed exposition. This minimalism intensifies the impact of the twist, for Brown wastes no space on anything unnecessary.
The world of the story feels sketched rather than painted, but intentionally so: the sparse style mirrors the protagonist’s narrow worldview and the tightness of the narrative trap closing around him.
The story’s enduring appeal lies in its structural elegance. In a few pages, Brown constructs a fable-like commentary on human overconfidence. He critiques the fantasy of total control—whether over fate, the future, or one’s own desires. The ending, while darkly amusing, leaves a pang: Brown exposes the fragility of human plans and the capriciousness of outcomes.
Happy Ending remains a testament to Brown’s ability to turn brevity into brilliance, proving that a story does not need length to achieve depth, wit, and lasting emotional resonance.
February 19, 2026
Ants. Ants! ANTS!!!!
More Pulp Sci-Fi Ants!
But called Kifs in this story, because they are the Venesian equivalent of Terran Army Ants.
"They crawled [all over him] with intolerable ticking feet."
This is the story of a vanquished, intolerant, narcissistic Dictator, "...the Last of the Dictators....", in retirement, hiding on a secluded part of Venus, and going ape-shit mad from the isolation and loneliness.
"Hated by the solar system, and hating it."
Here in this new world, there was only he, the Former Number One, and the kifs.
And the Former Number One Hated the kifs.
"In the intensity of his hatred there slowly filtered through a grudging admiration. The kifs were true totalitarians, they practiced what he had preached to a mightier race, practiced it was thoroughness beyond the kind of Man to comprehend.
There was the complete submergence of the individual to the state, theirs the complete ruthlessness of the true conqueror, the bravery of the true soldier."
And so it goes. The twist at the end of this story is True Poetic and Political Justice.
And cruel as it is, it sure makes the Reader feel good.
More Pulp Sci-Fi Ants!
But called Kifs in this story, because they are the Venesian equivalent of Terran Army Ants.
"They crawled [all over him] with intolerable ticking feet."
This is the story of a vanquished, intolerant, narcissistic Dictator, "...the Last of the Dictators....", in retirement, hiding on a secluded part of Venus, and going ape-shit mad from the isolation and loneliness.
"Hated by the solar system, and hating it."
Here in this new world, there was only he, the Former Number One, and the kifs.
And the Former Number One Hated the kifs.
"In the intensity of his hatred there slowly filtered through a grudging admiration. The kifs were true totalitarians, they practiced what he had preached to a mightier race, practiced it was thoroughness beyond the kind of Man to comprehend.
There was the complete submergence of the individual to the state, theirs the complete ruthlessness of the true conqueror, the bravery of the true soldier."
And so it goes. The twist at the end of this story is True Poetic and Political Justice.
And cruel as it is, it sure makes the Reader feel good.
Read
November 7, 2019Odd story
This entire review has been hidden because of spoilers.
November 12, 2019
A story I did not “get” and certainly did not enjoy.
March 18, 2020
Sci fi madness.
Death to all tyrants. A fitting end for a madman. A somewhat ironic end. An end you could see coming.
Death to all tyrants. A fitting end for a madman. A somewhat ironic end. An end you could see coming.
October 29, 2025
scifi, short story by two masters and great narration.
September 29, 2024
I don’t think this is sci-fi per se. Brown simply changed the names of terrestrial creatures and added a couple legs to the monkeys.
July 28, 2015
Volume 16 of Fredric Brown in the Pulps.
This is numbered copy 380 of 450 copies printed.
Contents
7 - "Excerpt from Oh. fot the life of an Authors Wife!" By Elizabeth Brown
103 - "The Hatchetman" (Amazing Stories December 1961) By Fredric Brown And Mack Reynolds
155 - "A Woman's A Two-Face"
163 - "Concerning Pygmalion 2113"
169 - "Killers Three: (2) Letters"
171 - "Report To Earth"
195 - Selected Poetry
213 - "Happy Endings" (Fantastic Universe September 1957)
231 - Finale
This is numbered copy 380 of 450 copies printed.
Contents
7 - "Excerpt from Oh. fot the life of an Authors Wife!" By Elizabeth Brown
103 - "The Hatchetman" (Amazing Stories December 1961) By Fredric Brown And Mack Reynolds
155 - "A Woman's A Two-Face"
163 - "Concerning Pygmalion 2113"
169 - "Killers Three: (2) Letters"
171 - "Report To Earth"
195 - Selected Poetry
213 - "Happy Endings" (Fantastic Universe September 1957)
231 - Finale
January 21, 2012
A tale told in the first person. It is an ok short story.
The narrators voice is clear and easy to listen to. Greg Margarite is a well rehearse reader of many books.
The recording quality is clear (no background noise), with plenty of volume and the editing technique is spotless.
The narrators voice is clear and easy to listen to. Greg Margarite is a well rehearse reader of many books.
The recording quality is clear (no background noise), with plenty of volume and the editing technique is spotless.
Displaying 1 - 10 of 10 reviews