Frederik Pohl commented on the imaginary universe of Linebarger's fiction: Linebarger's identity as "Cordwainer Smith" was a secret until his death.
Cordwainer is an archaic word for "a worker in cordwain or
cordovan leather; a
shoemaker", and a
smith is "one who works in
iron or other metals; esp. a
blacksmith or
farrier"; But Linebarger's daughter Rosana Hart has indicated that he did not become Anglican until 1950 and was not strongly interested in religion until later. In his introduction to the collection
The Rediscovery of Man, James. A. Mann notes that Linebarger became more devout starting around 1960 and expressed this change in his writing. Linebarger's works are sometimes included in analyses of Christianity in fiction, along with the works of authors such as
C. S. Lewis and
J.R.R. Tolkien. Most of Smith's stories are set in the distant future, between 4,000 and 14,000 years after the twentieth century. In this future, after the Ancient Wars devastate Earth, humans—ruled by the
Instrumentality of Mankind—rebuild and expand to the stars in the Second Age of Space (around 6000 AD). Over the next few thousand years, humanity spreads to thousands of worlds, and human life becomes safe but sterile, as robots and the animal-derived Underpeople take over many human jobs, and humans themselves are genetically programmed as embryos to perform specified duties. Toward the end of this period, the Instrumentality attempts to revive old cultures and languages in a process known as the Rediscovery of Man, where humans emerge from their mundane utopia and Underpeople are liberated from slavery. For years, Linebarger kept a pocket notebook that he filled with ideas about the Instrumentality and additional stories for the series. But while in a small boat on a lake or bay during the mid-1960s, he leaned over the side, and the notebook fell out of his breast pocket into the water, where it was permanently lost. Another story claims that he accidentally left the notebook in a restaurant in
Rhodes in 1965. With the notebook gone, he felt empty of ideas, so he decided to start a new series that was an allegory of Middle Eastern politics. Smith's stories describe a long
future history of Earth. One setting is a
postapocalyptic landscape with
walled cities, defended by agents of the Instrumentality; another setting is a sterile utopia, in which freedom can be found only far below the surface of the planet, in long-forgotten and buried
anthropogenic strata. These features may place Smith's works within the
Dying Earth subgenre of science fiction, but his stories are ultimately more optimistic and distinctive. Smith's most celebrated short story is the first one that he published, "
Scanners Live in Vain"; this led many of its earliest readers to assume that Cordwainer Smith was a new pen name for an established giant of the genre. It was selected as one of the best science fiction short stories of the pre-
Nebula Award period by the
Science Fiction and Fantasy Writers of America, appearing in
The Science Fiction Hall of Fame Volume One, 1929-1964. "
The Ballad of Lost C'Mell" was similarly honored, appearing in
The Science Fiction Hall of Fame, Volume Two. After "Scanners Live in Vain", Smith's next story did not appear for several years; but from 1955 until his death in 1966, his stories appeared regularly, most often in
Galaxy Science Fiction. His universe featured creations such as the following: •
The planet Norstrilia (Old North Australia), a semi-arid planet where an immortality drug called '''' is harvested from gigantic, virus-infected sheep, each weighing more than 100 tons. Norstrilians are nominally the galaxy's richest people, and they defend their immensely valuable with sophisticated weapons (in the story "
Mother Hitton's Littul Kittons"). However, extremely high taxes ensure that all Norstrilians live frugal rural lives, like the farmers of old Australia, to keep the residents tough. •
The punishment world Shayol (cf.
Sheol), where criminals are punished by the regrowth and harvesting of their organs for transplanting. •
Planoforming spacecraft, which are crewed by humans telepathically linked with cats to defend against attacks by malevolent entities in space, which are perceived by humans as dragons and by cats as gigantic rats (in the story "
The Game of Rat and Dragon"). •
The Underpeople, animals modified into human form and intelligence, fill service roles and are treated as property. Several stories feature clandestine efforts to liberate the Underpeople and grant them
civil rights. They are seen throughout regions controlled by the Instrumentality. An Underperson's name starts with a one-letter prefix that is based on their animal species. Thus C'Mell (in "The Ballad of Lost C'Mell") is derived from cats; D'Joan (in "
The Dead Lady of Clown Town"), a character recalling
Joan of Arc, is descended from dogs; and B'dikkat (in "
A Planet Named Shayol") has bovine ancestry. •
Habermans and their supervisors, Scanners, who are essential for space travel—but at the cost of having their sensory
nerves cut to block the "pain of space", and who perceive the world only through vision and various life-support implants. A technological breakthrough removes the need for this treatment, but resistance among the Scanners to their perceived loss of status ensues, forming the basis of the story "Scanners Live in Vain". •
Neologisms from works early in the timeline are not explained to any great extent, but they serve to create an atmosphere of strangeness. These words are usually derived from languages other than English. For instance, the term
manshonyagger derives from two German words
— (meaning "men" or "mankind") and (meaning a hunter)—and refers to war machines that roam the wild lands between walled cities and prey on men, except for those that can be identified as Germans. Another example is
Meeya Meefla, the only city to have preserved its name from the pre-atomic era; this is evidently Miami, Florida, from the abbreviated form "Miami Fla" (as shown on road signs). •
Character names in the stories are often derived from non-English languages. Smith seemed particularly fond of using numbers for this purpose. • For instance, the name of the Lord
Sto Odin in the story "Under Old Earth" is derived from the Russian words for 'One hundred and one', ; the name also recalls the Norse god
Odin. • Several of the names mean 'five-six' in different languages, as follows: the robot Fisi (fi[ve]-si[x]); the dead Lady Panc Ashash (in Sanskrit [] is 'five' and [] is 'six'); Limaono (
lima-
ono in Hawaiian and/or Fijian); Englok (ng5-luk6
五-
六] in Cantonese); Goroke (
五-
六] Japanese); Femtiosex ('
fifty-
six' in Swedish) in "The Dead Lady of Clown Town"; the main character in "
Think Blue, Count Two", Veesey-koosey, which is an English transcription of the Finnish words "
viisi" (five) and "
kuusi" (six). • Four of the characters in the story "Think Blue, Count Two" are called "Thirteen" in different languages: Tiga-belas (both in
Indonesian and
Malay); Trece (
Spanish); Talatashar (based on an Arabic dialect form , ); and Sh'san (based on Mandarin 十三,
shísān, where the 'i' is never pronounced). • Other names, notably that of Lord Jestocost (from the Russian , which means 'cruelty'), are neither English nor numeric. •
Remnants of twentieth-century culture in the real world are shown as valued antiquities or sometimes unrecognized relics, giving an unusual feeling of nostalgia for the actual present in the fictional world. ==Works==