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Swords of Mars

Swords of Mars is a science fantasy novel by American author Edgar Rice Burroughs, comprising the eighth installment in his Barsoom series, which chronicles the adventures of Earthman John Carter on the planet Mars, known as Barsoom to its inhabitants. Originally serialized as a six-part story in Blue Book Magazine from November 1934 to April 1935, the novel was written by Burroughs in late 1933 during a turbulent period in his personal life, including the onset of his separation from his first wife. The first hardcover edition appeared in February 1936, published by Edgar Rice Burroughs, Inc., and featured illustrations by J. Allen St. John, a frequent collaborator who provided frontispieces and interior artwork for several Barsoom volumes. This edition, bound in blue cloth with red lettering, marked a key release in Burroughs' self-publishing efforts through his own company, which handled distribution after initial magazine appearances. In the narrative, , the protagonist and Warlord of , goes undercover as a to dismantle the powerful Assassins' Guild of Zodanga, a shadowy organization threatening the stability of the Red Planet's city-states. His investigation reveals a sinister plot targeting his wife, , Princess of , and their son Carthoris, leading Carter on a perilous journey that extends to Thuria, Barsoom's nearer moon, and introduces elements of , , and swordplay amid Burroughs' signature blend of romance, heroism, and exotic alien worlds. The story emphasizes themes of loyalty and vengeance, with Carter employing disguise and cunning to navigate the guild's intrigues, ultimately venturing into uncharted territories to rescue his family. As part of the broader saga, which began with in 1912, Swords of Mars builds on the series' lore by expanding the scope to include lunar settings, while reinforcing John Carter's role as a chivalric defender against existential threats to Barsoom's civilization. The novel's publication coincided with growing popularity of pulp , contributing to Burroughs' enduring legacy in the genre. Subsequent editions, including paperback reprints by in the 1960s with cover art by , helped sustain its availability and influence on later works.

Publication History

Serialization

Swords of Mars was first serialized in Blue Book Magazine across six monthly issues from November 1934 to April 1935. This publication marked the eighth installment in ' series. The story, written rapidly by Burroughs over six weeks in November and December 1933, totaled approximately 78,000 words, aligning with the extended format typical of serials in of the era. The serialization featured interior illustrations by Robert Fink, including a double-page spread in the November issue depicting the in traditional attire. The cover art for the debut November 1934 issue, painted by Henry Soulen, portrayed illuminated by lantern light in a dramatic scene, capturing the adventurous essence of the narrative. Blue Book Magazine stood as a premier publication in , often dubbed the "King of the Pulps" for its high-quality adventure fiction aimed at a broad audience of enthusiasts. Under editor Kennicott, it emphasized serialized tales of exploration, intrigue, and fantasy, providing an ideal venue for Burroughs' interplanetary exploits during the of literature.

Book Editions

The first book edition of Swords of Mars was published on February 15, 1936, by Edgar Rice Burroughs, Inc., in , compiling the from its prior in Blue Book magazine. This hardcover edition featured blue cloth binding with front and spine panels stamped in orange, a top edge stained red, and a illustrated by J. Allen St. John, including a wraparound cover and five interior plates. The initial print run totaled 4,000 copies, priced at $2.00 each. Subsequent U.S. editions followed soon after, with Grosset & Dunlap issuing reprints in 1937 and 1938 that retained St. John's dust jacket art and included interior illustrations. Edgar Rice Burroughs, Inc., produced additional printings in 1940 and 1948. The first paperback edition appeared in May 1963 from Ballantine Books, with a cover by Robert Abbett and 191 pages. Later reprints included a 1973 Ballantine edition with cover art by Gino D'Achille and a 1979 Del Rey paperback featuring Michael Whelan's artwork. In the 2000s, publishers like Wildside Press offered trade paperback reprints, often with restored text and new introductions not present in the original serialization. Internationally, early British editions were handled by publishers such as in 1966, marking a key postwar release in the UK market. Modern digital editions became available through Australia, where the full text entered the regionally and has been accessible online since the early 2000s. Some later editions, including those from Del Rey and digital formats, incorporate forewords or appendices providing context on the series, elements absent from the magazine serialization.

Background

Writing and Composition

Swords of Mars was composed during a challenging period in ' life, marked by financial pressures exacerbated by the and the deteriorating state of his first marriage to Emma Hulbert, which would end in divorce in December 1934. These circumstances contributed to a personal low point, prompting Burroughs to channel his energies into prolific writing as a means of . The reflects his determination to sustain his career amid economic uncertainty, with Burroughs relying on steady output to secure magazine contracts. Burroughs drafted Swords of Mars rapidly over six weeks, from November 6 to December 20, 1933, while residing at his Tarzana Ranch in . He typed the manuscript himself, incorporating revisions to refine the narrative before submission. This efficient process was typical of Burroughs' approach during the 1930s, as he sought to revitalize his series for serialization in like Blue Book, where the story ultimately appeared in six installments from November 1934 to April 1935. The work builds directly on earlier entries in the series, especially (1912), by expanding on John Carter's family dynamics and adventures on the dying planet. Structurally, the comprises a followed by 24 chapters, crafted with pacing in mind to incorporate cliffhangers that would engage readers across installments. This format aligned with Burroughs' goal of appealing to magazine editors during the Depression era, ensuring the story's marketability while maintaining the adventurous tone of his Martian . A inscription on the original hints at the emotional context of its creation, later tied to his evolving relationships.

Hidden Dedication

The hidden dedication in Swords of Mars is a concealed acrostic tribute embedded within the structure of the novel, formed by the first letters of the opening words of the prologue and the 24 chapters, which collectively spell "TO FLORENCE WITH ALL MY LOVE ED." This subtle message serves as a personal homage to Florence Gilbert Dearholt, an actress who had previously been the wife of silent film director Ashton Dearholt and with whom Edgar Rice Burroughs developed a romantic infatuation during the period leading up to their marriage in 1935. The acrostic underscores the emotional context of Burroughs' life at the time, blending his personal affections with the creative process of the Barsoom series. Burroughs incorporated the during revisions to the manuscript following the initial composition in late , ensuring it remained undetected as there is no explicit dedication in the published editions. The device was crafted to preserve the narrative's integrity, with the opening words of each section selected or adjusted to begin with the required letters—such as "T" for the prologue, "O" for Chapter 1, "F" for Chapter 2, and continuing sequentially through the full message—without altering the story's flow or readability. This exemplifies Burroughs' playful yet private approach to embedding biographical elements in his fiction. The remained hidden for decades until its public revelation in 1975 by Burroughs biographer Irwin Porges in his Edgar Rice Burroughs: Master of Adventure, based on interviews with Florence and her brother conducted in 1968 and 1969. Porges' identification highlighted the tribute's significance, drawing attention to how it intertwined Burroughs' literary output with his evolving personal relationships during a tumultuous phase of separation from his first wife, Emma Hulbert. The revelation has since been corroborated in biographical analyses, affirming the 's role as a poignant, covert expression of devotion.

Narrative Elements

Plot Summary

In the prologue, John Carter, while encamped in the Arizona desert, reflects on his long life on Barsoom (Mars) and the birth of his son Carthoris, before narrating his most recent adventure to an earthly friend. The story begins in Helium, where John Carter, the Warlord of Mars, faces threats from the powerful assassins' guild based in Zodanga. Disguised as the mercenary Vandor, Carter infiltrates the guild and befriends Rapas the Ulsio, a rat-like assassin, who introduces him to the reclusive inventor Fal Sivas. Sivas reveals his creations, including a mechanical brain and a revolutionary spaceship capable of interstellar travel, developed through cruel experiments on slaves. Carter rescues one such slave, the girl Zanda, and learns of a conspiracy led by the assassin chief Ur Jan and Sivas's rival Gar Nal to kidnap Carter's wife, Dejah Thoris, for ransom and hide her on Thuria, one of Barsoom's moons. When is abducted from by traitorous guards under Gar Nal's influence, commandeers Sivas's ship with the aid of the young navigator Jat Or and pursues the kidnappers to Thuria. Upon arrival in the moon's hidden realm of Ladan, and Jat Or are attacked by the invisible natives known as Tarids and captured, along with , Zanda, Gar Nal, and Ur Jan, who have also been taken. The group is imprisoned in the city of Zanadar, where the tyrannical Jeddak Ul Vas sentences the men to death by immolation in the (the ) after seven days, while sparing and Zanda as brides for himself and the high priest. The deposed Jeddara Ozara, imprisoned nearby, secretly aids by smuggling tools for escape. Carter weakens his cell bars and overpowers guards, summoning his ship via Sivas's mechanical brain for a daring rescue. He frees Zanda but fails to save immediately, as Gar Nal betrays the group and flees with her. Overwhelmed by Tarid warriors, Carter is recaptured and imprisoned again. He later escapes with Ozara through a hidden passage, fleeing into the perilous forest where they battle carnivorous plants and beasts, including packs of flesh-eating Masenas—giant, four-armed humanoids. After three days of survival, including nightly defenses against attackers, they are captured by Masenas but released through the intervention of Umka, a sympathetic warrior indebted to Ozara's family. Carter and Ozara reunite with Jat Or, Zanda, and an opportunistic Ur Jan, who have stolen a Tarid ship; together, they head to Ozara's homeland of Domnia for aid in locating . With directions from Ozara's father, the Jeddak of Domnia, the group tracks Gar Nal's pirate fleet across Thuria's skies, engaging in aerial battles amid the moon's savage landscapes. The ship malfunctions and returns to Barsoom via the mechanical brain's programming, landing in Zodanga. There, Carter confronts Fal Sivas and Gar Nal at their laboratory, where Dejah Thoris has escaped her bonds and revealed the plot's intricacies. In the ensuing chaos, Ur Jan kills Gar Nal in a fit of rage, allowing Carter to rescue Dejah Thoris fully. Carter then plans a return to Thuria with Sivas to seize permanent control of the spaceship, rewarding his loyal companions Jat Or and Zanda while dismantling the assassins' guild and marking its leaders with his signature "X" as part of his secret order of justice. John Carter, a recurring hero from earlier Barsoom tales, emerges victorious, restoring peace to Helium.

Characters

John Carter, the protagonist and Warlord of Mars, is depicted as a resourceful and courageous Earthman who disguises himself as the mercenary Vandor to infiltrate the Assassins' Guild of Zodanga in a bid to protect his family from their threats. Driven by paternal vulnerability, particularly after an attempt on his son Carthoris's life, Carter employs his exceptional swordsmanship and strategic acumen to navigate dangers, including slaying multiple assassins and commandeering a spaceship to pursue his kidnapped wife to the moon Thuria. His developments in the novel underscore a more personal heroism, highlighting his role as a devoted father and husband amid the chaos of interstellar pursuit. Dejah Thoris, John Carter's devoted wife and princess of Helium, is introduced as a figure of calm resilience who advises against rash confrontations with the assassins early in the story. Kidnapped by the assassin leader Ur Jan and transported to the hidden city of Zanadar on Thuria, she demonstrates resourcefulness in captivity, attempting escapes and calling out for her husband during her ordeals. Her portrayal emphasizes loyalty and inner strength, culminating in a reunion that reinforces her central place in Carter's motivations. Carthoris, the son of and , appears briefly as a symbol of the family's legacy, with his own past adventures in earlier tales subtly referenced to highlight the generational stakes of the assassins' threats against Helium's royal line. Though not actively involved in the plot's events, his endangerment serves as the catalyst for Carter's undercover mission. Fal , an elderly and reclusive inventor from Zodanga, serves as a morally ambiguous to Carter, providing access to his revolutionary thought-controlled spaceship and a device in exchange for protection from rivals. Characterized by shrewd suspicion, , and —evident in his employment of assassins like Rapas—Sivas aids Carter's quest but harbors selfish motives, ultimately attempting to betray him upon reaching Thuria before surrendering in defeat. Among supporting characters, Gar Nal emerges as a brilliant but unscrupulous rival inventor to Fal Sivas, ambitious in his pursuit of technological supremacy and willing to ally with assassins to abduct Dejah Thoris for leverage. Ozara, a beautiful and lithe princess of the Thurians with fair skin and blue hair, introduces a subplot of intrigue as a fearful yet affectionate figure who aids Carter during his time in the forest of Thuria and leads him toward the city of Domnia. Jat Or, a trim and efficient Heliumite warrior, acts as Carter's loyal companion, joining the mission to Thuria, operating the spaceship alongside Zanda, and proving his bravery in combats against the Tarids. Zanda, a slender and beautiful former slave with a resentful yet devoted streak, is rescued by Carter from Fal Sivas's clutches, warns him of dangers, and develops a romantic bond with Jat Or while contributing to the group's survival on Thuria. The Zodangan assassins form a key antagonistic force, led by the burly and brutal Ur Jan, a formidable fighter who heads the guild and orchestrates Dejah Thoris's , though he later shifts allegiances by slaying Gar Nal and pledging to . Rapas the Ulsio, a shifty-eyed and treacherous underling known as "The ," introduces to Fal Sivas but repeatedly betrays him to Ur Jan out of egotism and fear. On Thuria, the antagonists expand to include the invisible Tarids, ethereal and chaotic warriors who capture intruders, and Gar Nal's savage pirate crews, who embody otherworldly peril through their beast-like ferocity and raids on the moon's surface.

Themes and Analysis

Key Themes

In Swords of Mars, emphasizes the theme of family and protection through John Carter's relentless pursuit of his wife, , after her abduction by the Zodangan assassins' guild, portraying Carter's actions as a fulfillment of paternal and spousal that humanizes his otherwise solitary warrior persona. This quest contrasts Carter's typical archetype of the independent hero, as seen in earlier novels, by grounding his heroism in personal stakes and familial bonds, where his infiltration of the guild under the alias "Vandor" symbolizes a fluid identity assumed for the sake of safeguarding loved ones. Such motifs underscore a chivalric sense of protection, aligning Carter with medieval knightly ideals adapted to an interplanetary context. The novel critiques imperialism and conquest by depicting the Zodangan assassins as lingering agents of a vanquished empire, whose schemes echo the ongoing political rivalries and expansionist tensions across Barsoom, including inventor Fal Sivas's development of an interplanetary ship intended for voyages to the moons. Carter's involvement with this device represents a rejection of technological overreach and unchecked ambition, preventing its misuse in further conquests and highlighting Burroughs's ambivalence toward imperial hubris in a dying world. This portrayal mirrors broader Barsoom narratives where heroic intervention curtails the remnants of defeated powers, framing conquest as a cycle of violence that threatens fragile alliances. Adventure and drive the pulp-inspired , with Carter's to the moon Thuria and its exotic of Ombra filled with perils such as battles against the cannibalistic Masenas and treacherous city intrigues, evoking heroic exploits in uncharted realms that offer readers vicarious thrills. These elements emphasize and swashbuckling action, transforming Barsoom's familiar landscapes into gateways for , where Carter's swordplay and daring escapes reinforce the genre's celebration of individual valor amid cosmic dangers. Subplots involving love and romance further illuminate chivalric ideals, as Carter's devotion to amid her captivity intertwines with his fleeting encounters on Thuria, including the affections of Ozara the Jeddara, which test his loyalty while heightening the stakes of danger and desire. These romantic threads, set against a backdrop of abduction and rescue, portray love as a motivating force that elevates peril into noble pursuit, blending personal passion with the era's ideals of courtly honor in an alien setting.

Fantastical and Scientific Concepts

In Swords of Mars, introduces several speculative technologies and realms that blend fantastical elements with pseudo-scientific rationales, expanding the technological and cosmological scope of the series. Central to these is the interplanetary ship engineered by the inventor Fal Sivas, controlled by a mechanical that responds to thought waves from its operator. This invention enables travel to Barsoom's moons, such as Thuria, by navigating through space while equipped with radium rifles for defense. Fal Sivas also employs rays that penetrate tissue to study functions in his experiments on , preserving the subject's neural patterns during invasive procedures. Thuria, Barsoom's nearer moon (known as ), serves as a key setting, depicted as a small world approximately 7 miles in diameter. Due to a pseudo-scientific mass adjustment, travelers from Barsoom are proportionally reduced in size upon arrival, making Thuria appear as a full-sized with forests, rivers, and cities. The city of Ombra, inhabited by the Tarids, features ethereal landscapes adapted to the moon's environment, including massive fauna suited to its low gravity. Burroughs grounds this in a framework of gravitational compensation, where the size allows of Thuria's hidden civilizations without contradicting established planetary physics. The inhabitants of Thuria, the Tarids, possess advanced mental abilities, including the power to render themselves and their surroundings invisible and inaudible through hypnotic suggestion. This capability relies on projecting mental forces that influence the observer's perception, creating an illusion of absence without physical alteration. Unlike the radium-based weapons on , this mental technique allows for stealthy ambushes and evasion, functioning through intense concentration and . The pseudo-scientific explanation emphasizes neural projection akin to , enabling the Tarids to maintain secrecy in their isolated lunar society. Complementing these are the encounters with the Masenas, cat-like arboreal creatures on Thuria who employ primitive tactics enhanced by their agility and predatory instincts. These beings, known for their cannibalistic tendencies, add to the perils of exploration, fusing biological adaptation with psychological terror in guild-like confrontations. Burroughs' conceptualization of lunar travel and mental powers draws from science fiction tropes of size manipulation and psychic phenomena, influenced by earlier works exploring altered perceptions and space voyages. These ideas reflect the pulp era's enthusiasm for gravitational theories and mental , positioning Thuria as a narrative device for exploring isolated Martian satellites without altering Barsoom's core geography.

Reception and Legacy

Contemporary Reviews

Upon its serialization in Blue Book magazine from November 1934 to April 1935, Swords of Mars received praise for its fast-paced action and engaging adventure elements, which captivated readers during the period. The story's blend of swordplay, intrigue, and interplanetary travel was highlighted as a highlight of the magazine's lineup, contributing to strong reader interest in the ongoing series. The 1936 book edition drew mixed but generally positive responses from critics. In , reviewer Will Cuppy praised it as escapist fare, appreciating its thrilling escapades while noting the formulaic nature of Burroughs's recurring Barsoom motifs, such as elaborate sword fights and heroic rescues. Similarly, a review in lauded the novel's adventurous spirit, summarizing the plot involving John Carter's infiltration of the Assassins' Guild and his journey to the moon Thuria as a compelling yarn for fans, though it offered little beyond plot recapitulation. Fan enthusiasm was evident among Burroughs's dedicated readership, providing affordable escapism that resonated with audiences seeking diversion from economic hardships during the Great Depression. However, some pulp reviewers pointed out repetitive tropes, such as overreliance on sword combat and damsel-in-distress scenarios, at the expense of fresh scientific innovation. Commercially, the book proved beneficial for Burroughs, who faced financial strains in the mid-1930s; the first edition had an initial print run of 10,000 copies, published by Edgar Rice Burroughs, Inc.

Modern Assessments

Scholarly evaluations of Swords of Mars since the 1970s have highlighted its position within Edgar Rice Burroughs' Barsoom series, often praising structural innovations while critiquing narrative repetition. Richard A. Lupoff's influential 1965 analysis, revised in 2005 as Edgar Rice Burroughs: Master of Adventure, commends the novel's hidden acrostic dedication—"To Florence with all my love, ERB"—embedded in chapter headings as a personal touch amid Burroughs' prolific output, but notes the story's reliance on familiar tropes signals declining originality compared to earlier entries like A Princess of Mars. Similarly, John Flint Roy's 1976 A Guide to Barsoom positions Swords of Mars as a transitional work, bridging the high adventure of mid-series tales to the more fragmented narratives of later volumes such as Synthetic Men of Mars, emphasizing its expansion of Barsoom's cosmology through voyages to the moon Thuria. Fan communities have embraced Swords of Mars for its pulp energy, though pacing issues temper enthusiasm. On , the novel holds an average rating of 3.84 out of 5 as of November 2025, based on over 3,600 ratings, with readers lauding the high-octane action sequences—like John Carter's infiltration of the Assassins' Guild and aerial pursuits—but frequently critiquing the rushed conclusion and repetitive damsel-in-distress motif involving . A 2012 review in Black Gate magazine appreciates the book's interdimensional twist via mental projections and the unique settings on Thuria, calling it a refreshing return for Carter after a 15-year absence from the role, despite subdued duels that lack the series' earlier vigor. The novel's cultural impact extends to revitalizing the sword-and-planet genre in the 1980s, influencing revivals like Lin Carter's edited anthologies that echoed Barsoom's blend of swordplay and interstellar travel. Its heroic quests, featuring a Confederate battling interstellar threats to his , prefigure elements in George Lucas's Star Wars saga, including desert worlds, alien alliances, and epic rescues, as Burroughs' series directly shaped Lucas's early drafts. The 2012 film adaptation , based on earlier Barsoom novels, renewed interest in the series, leading to increased readership and discussions of later entries like Swords of Mars in the 2010s. Feminist readings from the onward have scrutinized Swords of Mars for reinforcing damsel-in-distress tropes, with portrayed as a passive royal repeatedly kidnapped, underscoring patriarchal dynamics in Burroughs' oeuvre despite her nominal intelligence and beauty. Such critiques, echoed in broader analyses of the series, highlight how female characters like Thoris serve primarily as motivational prizes for male heroes, limiting agency in a male-dominated landscape. As the eighth installment in the 11-book Barsoom series, Swords of Mars endures through frequent bundling in omnibus editions, such as the 1960s-1970s Ballantine Adult Fantasy reprints that collected it with and others, making it accessible to new generations. Its legacy persists in communities, including the Encyclopedia Barsoomia Wiki and dedicated ERB sites hosting Barsoomian tales that expand on Carter's adventures and Thuria's lore.

Copyright and Availability

Copyright History

Swords of Mars was initially registered for copyright in the United States in 1934 for its serialization in Blue Book magazine, with the U.S. Copyright Office assigning registrations such as A5-65409 for the second installment on November 1, 1934, under Class A for unpublished serial contributions. The full novel edition, published in 1936 by Edgar Rice Burroughs, Inc., fell under the same protective framework as a post-1928 work requiring notice and renewal. Copyright ownership has been held by , a family-controlled entity founded by the author in to manage his literary properties, since the 1936 book publication. The company, which remains under Burroughs family ownership, handled the required renewals in 1962 for the serial installments and in 1963 for the book edition through the author's estate, extending protection via filings such as R305497 for specific serial chapters and R322622 for the book. This renewal ensured continued U.S. coverage under the 1909 Copyright Act's 28-year initial term plus 28-year extension. Internationally, Swords of Mars benefited from protections in member countries starting from its 1936 , as the U.S. provided reciprocal rights through bilateral agreements prior to its 1989 accession. In the , where duration is life of the author plus 70 years, the work entered the at the end of 2020, following ' death on March 19, 1950. Under U.S. law, the for the 1936 was extended to 95 years from the date of through the of 1998 (commonly known as the Act), securing protection until 2031 provided the 1963 renewal was properly filed.

Current Status and Access

As of 2025, Swords of Mars remains under copyright protection , where it will not enter the until January 1, 2032, due to the 95-year term for works published in following proper renewal. The rights are controlled by , Inc., which manages the and enforces protections against unauthorized use. Internationally, the novel's status varies by jurisdiction. In , it entered the public domain on January 1, 2021, under the life-plus-70-years rule following Burroughs's death in 1950, making it freely available through . Similarly, in the and the , Swords of Mars has been in the since January 1, 2021, based on the same life-plus-70-years term. Legal access to the novel differs by region. , licensed e-books and print editions are available through authorized publishers like those affiliated with , Inc., including platforms such as . In public domain jurisdictions like , the , and the , free PDF and digital versions can be downloaded from sites such as Australia or (where permissible outside the ). No official , , or major dramatic adaptations of Swords of Mars exist, primarily due to the ongoing rights restrictions in key markets like the . (Note: While is not cited as a , the absence of adaptations is corroborated across multiple literary databases.) For usage beyond personal reading, , Inc. grants permissions for scholarly and educational purposes upon request, typically via their licensing contact. However, fan works and derivative creations remain restricted due to active enforcement, though they may be permissible in countries. briefly references historical renewals in its notices but focuses on current protections.

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