The Hand — A Reader’s Guide

(4 User reviews)   1070
Sohl, Jerry, 1913-2002 Project Gutenberg 2010 Not confirmed
Science fiction; Short stories; Human-alien encounters -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,258
Reading time 32 min
Text sections 1

The source record for The Hand — A Reader’s Guide measures this digital text at 7,258 words, 32 min estimated reading time, and 1 detected text section.

The text analysis averages about 16.9 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.

Jerry Sohl's 1955 story uses a farmwife's perspective to build tension around a dog's grisly discovery, then shifts to a stark confrontation between human cruelty and alien need. The narrative voice tightens as domestic realism gives way to science fiction.
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Editorial Edition Score 4.3/5

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She looked around, saw a milk pail, put it open end down over the hand and carried two large rocks from the garden border to put on top to secure it. She didn't want it to be gone when she brought Mac back to see it.

She heard her ring on the telephone--rather early for Mrs. Swearingen or Mrs. Abbey wasn't it?--but ignored it. There was something else she had to do and do quickly. For the first time in months she felt thankful for Mac's presence. Surely he would know what to do. Though it was cold, she was unmindful of the fact that she did not wear a coat as she hurried to the barn; she was thinking instead that perhaps she should have answered the phone in case it might have been someone other than her women friends, possibly something in connection with the severed hand. She shuddered as she remembered how it had looked.

Alice found Mac in the loft. He had a forkful of hay over the opening when he saw her below. He stopped, narrowed his eyes before he slowly brought the hay back to the loft floor and leaned on the pitchfork.

"Dobie's found something," she said and wished her voice hadn't quavered so.

Mac spat a blob of tobacco on the floor above her. "He's a no-good dog," he said. "Scares the pigs. Always sneakin' around. Ought to be rid of him. Should have got 'round to it before this. What did he find?"

"A hand." She swallowed ... and shivered.

"A hand. A human hand." She suddenly took pride in the fact that she was telling him something he didn't know and that he was interested. "I don't know where he got it."

Mac put down the fork and lowered his burly frame over the edge of the opening and came down the ladder without a word. He followed her up to the house and she was thankful Dobie was nowhere around. When he kicked over the pail she was gratified to hear his sharp intake of breath.

"By God!" he said, staring down at it. Then he flicked it over with his boot. "By God!" he said again. Alice had never seen him so agitated.

He turned to her, his eyes narrower than she had ever seen them. "You take a good look at it?"

She nodded, looked down at the way the fingers were bent upward as if the hand were holding an invisible ball. She heard Mac spit, looked at him running his fingers along his stubbled jaw.

"It ain't human," he said. "Anybody with any sense could see that. It's got six fingers."

Just then the phone rang again. It seemed to come from a long way off and Alice hadn't consciously noticed it until her husband said. "Ain't you goin' to answer the phone?" And then she went to the door, dazed and wondering. She turned before she went in.

"What are you going to do with it?" she asked.

"You just go in and gab with those women folks," he said. "I'll take care of it."

"Shouldn't we call the sheriff?"

His eyes came up level with hers. "We ain't goin' to call nobody. I don't want no trouble. And don't you go talkin' about it with _them_ either."

The phone was Mrs. Swearingen who told her that she had been trying to get her for the last half hour ever since she heard about that ship that crashed and wasn't it awful and that a person wasn't safe in his bed asleep any more with these planes flying around and crashing--and so far from an airport, too. Mrs. Swearingen was surprised that Alice had noticed no smoke and didn't she know the wreck was closer to the McNearby place than it was to the Swearingens?

"It's right south of your lower forty on the old Carnahan land, Alice. I'd figure it at about a mile from your place. Lots of people down there."

And then there was the call from Mrs. Abbey who told her she'd come from the crash site and wasn't it a peculiar plane with those funny windows and that once-broken-one somebody had patched up from the inside.

"The sheriff won't let anybody go near it," Mrs. Abbey said. "He says it's a space ship and the army ought to have a look at it first. But I saw him trying to find where to get in. Except for that broken window and that crumpled nose it don't look too bad off. Big clouds of smoke were shooting out the tail when I first got there but it's not smoking any more. Really, you ought to go down and see it, Alice."

The story opens with a deceptively ordinary scene: Alice McNearby washing breakfast dishes and watching her dog Dobie sneak toward the house. The prose moves at a domestic pace, lingering on her worry about Mac's temper and Dobie's hunting habits. When Dobie drops a human hand on the ground, the language abruptly sharpens—'her blood stopped'—and the reader is pulled into a horror that remains grounded in the farm setting. Sohl builds the first half through Alice's constrained perspective, her attempts to manage both her husband and the evidence of the dog's kill.

A Voice Constrained by Domesticity

The narrative is filtered almost entirely through Alice's consciousness, and her voice is marked by worry and self-doubt. She 'tried to put down the suspicion that gnawed at the edge of her mind' and 'found herself unable to put her heart in' scolding Dobie. The language stays close to her sensory experience—the cold ground, the milk pail used to cover the hand, the queasiness when Mac handles it. Sohl rarely steps outside her limited knowledge; even the alien is described only as 'the creature from another world somewhere.' This tight focalization makes the reader share her helplessness as events spiral beyond her control.

Pace as a Tool of Tension

The story's rhythm shifts markedly after the hand appears. Early paragraphs are leisurely, filled with backstory about Dobie's kills and Mac's threats. But once Alice sees the hand, sentences shorten: 'It was a human hand, blood still oozing from the severed wrist.' The pace accelerates through the discovery, the hiding, and the confrontation with Mac. Later, when Mac burns the hand and takes the shotgun outside, the narrative slows again, stretching time as Alice waits at the window. The final section—Alice waking at dawn to find Mac missing—returns to a quiet, almost exhausted tempo, punctuated by the discovery of the shotgun on the doorstep.

Recurring Details That Anchor the Fantastic

Sohl anchors the alien encounter in concrete, farm-specific details. The hand is not described with clinical detachment; it is 'limp, palm down,' and later wrapped in newspaper. The alien's voice is 'calm, whistling'—a small, precise detail that sets it apart from Mac's raving. The windmill light burning through the night, the shotgun on the doorstep, Dobie nuzzling Alice's hand—these recurring images tie the extraordinary to the ordinary. The story never explains the aliens' purpose or technology; the hand itself becomes the sole object of negotiation, and its destruction by fire is the irreversible act that drives the ending.

The final image—Alice following Dobie to find Mac 'in a state of sh...' (the excerpt cuts off)—leaves the resolution ambiguous. Readers should attend to how Sohl withholds information, keeping the alien's motives and Mac's fate uncertain. The story rewards attention to its small, telling gestures: a dog's nuzzle, a husband's laugh, a hand burning in the stove. These details, not grand explanations, carry the weight of the narrative.

That Sohl story stayed with me for how quietly it turns, how the farmwife’s dread becomes something far stranger. It reminded me of the old wonder in Skylark Three — Story, Setting & Ideas—that same sense of a world shifting beneath familiar ground, leaving you just holding your breath.

Lucas Lewis
3 weeks ago

Olivia Harris
2 weeks ago

Scarlett Nguyen
1 week ago

Camila Taylor
1 month ago

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5 out of 5 (4 User reviews )

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  • ...
    Megan Jennifer Woods - 1 month ago
    "The Hand" is a misfire. The story starts with an intriguing concept but fails to develop it fully. The writing is simplistic, and the plot is predictable. The characters are flat, and the twist is underwhelming. It feels more like a rough draft than a polished piece of fiction. Save your time and look elsewhere for a good thriller.

  • ...
    Adam Burton - 3 weeks ago
    "The Hand" is a gripping tale that keeps you on the edge of your seat from start to finish. The author's writing is concise yet powerful, creating a palpable sense of dread and mystery. The plot twists are unexpected and satisfying, and the characters are well-crafted. It's a short read that packs a punch, leaving a lasting impression. Highly recommended for fans of psychological thrillers.

  • ...
    Chelsea Combs - 1 week ago
    "The Hand" offers a fast-paced narrative with a compelling premise that immediately draws you in. The atmosphere is tense and well-maintained, but the ending may feel rushed for some. The character development is adequate for the story's length, providing enough depth to keep you engaged. A decent read for a quick dose of suspense.


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