The Invaders — Story, Setting & Ideas

(0 User reviews)   29
Ferris, Benjamin, Napoli, Vincent, 1907-1981 [Illustrator] Project Gutenberg 2007 Not confirmed
Science fiction; Short stories; Horror tales Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 8,912
Reading time 39 min
Text sections 1

This digital edition of The Invaders — Story, Setting & Ideas is described by source-level measurements including 8,912 words, 39 min estimated reading time, and 1 detected text section.

The text analysis averages about 12.1 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.

In Benjamin Ferris's 1951 Weird Tales story, a dead valley begins draining life from surrounding land, forcing a small-town druggist to confront witchcraft after bullets fail against an unkillable creature.
Share
Editorial Edition Score 4.4/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

There was a step on the path. "You there?" Caruso called.

The barber sat in the other chair, hoisted his feet to the railing. "You know how kids are."

"That boy of mine, he couldn't stand it about Dark Valley. He was out there with a couple of pals, poking around."

"Yes?" Jerry didn't realize his voice was sharp.

"Oh, no trouble. But the middle fork of the river's started to run again!"

For a long time after Caruso had gone, Jerry sat with his cold pipe in his mouth. There were reasonable explanations for every one of the small oddities that had cropped up with Joe Merklos and his people. But he couldn't shake a growing feeling of uneasiness.

Jerry went to bed muttering, for he was a man trained to keep emotion and fact well separate. But the feeling was still with him when he awoke, and he recognized it later on Henderson's face.

"We got to get the boys together and talk this thing over," the feed and fuel owner said.

"This stuff that's missin'."

Jerry gave a start. He had just spent at least half an hour looking for this garage lock.

"Every day of this week," Henderson went on heavily, "I've had people in to replace some little thing that was lost. Hatchets and feeding troughs and spare parts and panes of glass and things like that. A couple of old chicken brooders that was stored. Ten salt blocks Anderson had in his barn."

Just then MacAllister stepped over from his drugstore to join them. "Dammit," he said plaintively, dusting off his store jacket, "I been in the basement the last hour looking for an old pipe wrench. I swear I left it there!"

Jerry met Henderson's glance. "All right," he said. "Let's get the gang together for lunch today."

Sheriff Watson joined them in the back room of the restaurant. When the coffee came Jerry rose to explain the purpose of the meeting. "Our problem," he began, "may amount to nothing at all. Or it could turn out to be mighty nasty. Hen and I thought it was time to talk it over."

Briefly he recapitulated Dark Valley's reawakening. He described Joe Merklos and his people--their odd clothing, their independence, their alien language.

"Point one," he said, "most people don't like strangers."

He described the tribe's arrival without cars or wagons, without even a mark on the abandoned road. He spoke of the pumps that came to life, the river that now ran again. The progress the tribe had made seemed almost beyond human capacity.

"Point two," Jerry said, "most people don't like mysteries." He turned. "Okay, Hen."

First Henderson explained that none of the tribe had bought supplies of any kind in Wide Bend. He got corroboration from other businessmen present. Then, as he summarized the missing articles, heads began to nod. Faces got red and lists were clenched. Jerry got to his feet again. "Point three, I don't need to spell out. Much more of this and carloads of men with guns will be heading for the ridge. There'll be the kind of trouble we don't want on Wide Bend's conscience."

"Should we let 'em rob us blind?" shouted Tipton.

"No wonder they do so good!" Caruso cried.

"How about the water?" Hammond asked sarcastically. "You think they stole that, too?"

Someone shouted back, and a heated discussion raged. Jerry finally banged on the table with a sugar bowl. "Let's hear from the sheriff."

Watson hoisted his big frame, and sighed. "Jerry's right, boys. We got a nasty situation building up. Right now, my old woman's so mad at the Dark Valley people she could spit. And why? Only because she can't figger 'em out."

He brushed his mustache and looked at Tipton. "Them people are human bein's, ain't they?"

Tipton scowled, but nodded.

"Anything they done that couldn't be explained by natural causes, no matter how silly or complicated?"

Tipton thought about it, and had to shake his head.

"Believe me, boys, the only thing to get excited about is the stuff that's missin'. If they're pinchin' it, we can catch 'em, and punish 'em. They may be foreigners but they sure as hell have to obey the law of the land!"

"Now," Hammond said, "we're talking sense."

"Give me a list of what's missin'," Watson added, "an' I'll go to Dark Valley this afternoon and take a look around the place."

"Everybody satisfied?" Jerry asked.

Sheriff Watson frowned at the list as Jerry drove into the first barnyard. They scattered chickens, ducks, and children--seen blurrily as they scrambled to hide. They remained a few minutes, ostensibly visiting, then went on to the next farm, and the next....

The story opens not with an invasion from space but with a land purchase: Big Joe Merklos buys Dark Valley, a dried-up farming community, and his arrival triggers a slow, creeping horror. Ferris builds unease through the mundane—a bank appraisal, a barber's joke, a druggist reading occult books. The valley itself becomes a character, its dead orchards and empty houses a stark contrast to the living land around it. The narrative moves between the businessmen's club, a ridge overlooking the valley, and a tense nighttime drive, each scene tightening the sense of threat.

A Valley That Feeds on the Living

The story's central image is Dark Valley as a parasite. Early on, a character reports that people are losing things across the county—crops shrink, water levels drop, two children vanish. The valley, long dead, seems to be drawing vitality from the surrounding land. This is not a metaphor: the text states directly that people suspect Dark Valley is 'livin' off the rest of the land. Feedin' on it, like a parasite.' Ferris grounds this supernatural idea in concrete details: the middle fork of the river dried up years ago, wells failed, and the valley became a 'bone-yard of lonely dreams.' The horror is that a place can consume life without moving, without being seen.

Bullets and Silver: The Limits of Force

When the creature attacks, the response is practical: men shoot it. But 'one slug through the heart and one through the head' do nothing. The failure of conventional weapons forces a shift in understanding. Jerry Bronson, the druggist, turns to books, reading up on witchcraft. He fashions a crude silver cross from an old tray, using a cold chisel and hammer. The detail is telling—improvised, desperate, not magical. The crucifix carried by Mike Carver, given by his mother, is presented as the only thing that might have saved him. Ferris contrasts modern skepticism with old faith, but the story does not resolve which is effective; it only shows that bullets are not enough.

Movement Through Darkness

The story's structure relies on movement between spaces: the bank, the club, the ridge, the car, the cabin. Each transition deepens the isolation. The nighttime drive is the most sustained sequence: the car's headlights dim, the motor dies, shadows press close. Ferris describes the darkness as 'thick and swirling,' shifting and dancing. The characters are trapped in a machine that fails them. The journey becomes a descent—'the night seemed colder as they started downward'—both literal and figurative. The headlights pick out a 'yawning hole' that is only a rut, but the illusion of a void suggests the valley's power to distort perception.

Voice and Vernacular

The dialogue is marked by regional speech: 'I run all the way down the ridge,' 'I figgered you ought to know,' 'Mebbe they better get started again.' Carver's old voice is 'thin,' his language plain and stubborn. The businessmen speak in clipped, knowing tones—'Dam' shame,' 'Don't look at me.' Ferris uses these voices to establish a community that is both familiar and inadequate. The horror emerges not from monsters alone but from the failure of ordinary talk to contain the extraordinary. When Jerry admits he is scared, the admission is stark: 'I'm convinced we're up against something terrible. And believe me, Mike, I'm scared.' The vernacular makes the fear immediate.

The story leaves the reader at the edge of Dark Valley, the car dead, the shadows closing in. Ferris does not explain the creature's origin or the valley's hunger; he presents only the effects. Readers should attend to the small details—the silver tray, the crucifix, the dying headlights—as clues to a logic that is never fully spelled out. The horror works through accumulation, not revelation.

I’ve shelved both of these for decades, and I still think of Ferris’s dead valley druggist whenever I hold the other volume. There’s a quiet terror in The Invaders about what drains a place dry, and The Hand — A Reader’s Guide lingers on similar shadows. Two neighbors on the same shelf, each knowing the other’s hush.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
  • ...
    Kristen Kelley - 3 weeks ago
    Furneaux's 'The Invaders' is a gripping science fiction tale that keeps you on the edge of your seat. The alien invasion plot is executed with fresh perspectives and the characters are well-developed. The pacing is perfect, with plenty of action and suspense. The ending is both satisfying and thought-provoking. A must-read for sci-fi enthusiasts.

  • ...
    Erika Gardner - 2 weeks ago
    'The Invaders' has an intriguing premise and some exciting moments, but it doesn't quite live up to its potential. The character development is decent, but some plot points feel rushed. The writing is engaging, though the technological details are sometimes glossed over. It's a decent read if you enjoy alien invasion stories, but it could be more polished.

  • ...
    Alec Jenny Stephens - 2 weeks ago
    The novel's premise is promising, but the execution is lacking. The characters are flat and the dialogue feels forced. The invasion itself is described in a way that's more confusing than terrifying. The plot drags in the middle and the climax is underwhelming. 'The Invaders' fails to deliver the excitement and depth that similar sci-fi novels have achieved.


Reader reflection

Before you leave, reflect on the book

Use these questions to collect your thoughts before moving on.

Your progress 0 / 10
1

Have you finished this book?

2

Was reading this book enjoyable?

3

Would you pass this book on to a friend?

4

How easy was the book to follow?

Related eBooks