It’s not easy living in someone else’s world, trapped in a reality over which you have no control. But that is the story of Mike de Wolf’s life … literally.
The whole thing started at his friend Horace’s Greenwich Village apartment. Horace is a writer and he’s decided to model one of his villains after Mike. Sounds crazy … until Mike reaches to turn on a light and gets the shock of his life.
Knocked unconscious, Mike wakes up to find himself tossing in a violent ocean surf and getting slammed against the rocks. That wouldn’t be so bad if it weren’t for the bullets flying over his head, followed by the swordfight, certain to end in death … if not for the wild, beautiful woman on horseback who comes to his rescue.
This isn’t the West Village anymore. Apparently, it’s the West Indies, some three hundred years ago, and Mike de Wolf is now Miguel Saint Raoul de Lobo, pursued across the Spanish Main by pirates, Englishman, and worse.
He doesn’t know how he got here or why, but he does know he has to get out fast. Two problems: first off, the bad guys in Horace’s stories never get out alive, and second, Mike’s not all that sure he wants to leave after all. Seems he’s fallen for that wild woman on horseback… What’s a guy to do?
The answer’s written in the sky—in a wildly original, wickedly amusing novel in which, if you’re not careful, you might just find yourself getting lost.
“An adventure story written in the great style adventures should be written in.” —Clive Cussler
ABOUT THE AUTHOR
Typewriter in the Sky, the third in the trio of landmarks of speculative fiction publishing by Mr. Hubbard in 1940, appeared in the November and December issues of Unknown. [See Fear and Final Blackout, also published in 1940.]
A richly original story-within-a-story—the tale of an author and the main character in a novel he’s writing locked in a frantic, funny do-or-die battle of wits and wills.
L. Ron Hubbard took gleefully inventive liberties with the historical details of the Spanish Main. Indeed, at the time, there was a widely shared view that the novel was a masterly parody of Sabatini’s Sea Hawk and Captain Blood pirate extravaganzas. And it is also true that Hubbard certainly knew the Caribbean intimately, both from extensive research and firsthand from his motion-picture and mineralogical journeys of the early 1930s.