Extraterrestrial parasites

The Possessors
by John Christopher.
Sphere Books 1978 (1965)

The Possessors had a long memory, but not long enough to encompass their origins.

With this opening sentence Sam Youd, writing as John Christopher, establishes that this is speculative fiction. But for all its SF credentials, The Possessors is grounded in human relationships and idiosyncrasies, exposing how a disparate group of individuals isolated in a skiing chalet cope with personal demons and with each other when the chips are down.

With its setting in the Swiss Alps near the fictional village of Nidenhaut we are at times reminded of Mary Shelley’s Frankenstein; but when an avalanche cuts the chalet off from the village the group quickly have to develop a siege mentality as, one by one, the residents start to become other, forming a threat to those left and, ultimately, humankind. Are they changed because of a physical trauma, a psychological weakness, an unknown virus or, as the two locals fear, possession by devils?

Make no mistake, the author is misdirecting us with the title, for this novel is not really about the Possessors: it’s about the possessed.

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What the rules are

© C A Lovegrove

A Palace of Strangers by Sam Youd.
The SYLE Press 2019 (1954)

When I have read novels chronicling family life over years, over generations, I think the thing I have most admired has been the way the incidents were set, in time. It is not until one rises to tell such a story that one realizes the art involved — the art, and the artifice. For events do not fall out as conveniently as one would like.

‘A Palace of Strangers’ Part Two, Chapter V

Hinted at by its quote from the prophet Isaiah in the title, A Palace of Strangers explores the disconnect between two of the Abrahamic religions as it affects one particular family, the Rosenbaums. But there are other disconnects too, between siblings and between cultures during times of piece as well as war. And there are those who inhabit a No Man’s Land — agnostics and atheists, and second generation immigrants — who find neutrality is often no different from being regarded as in opposition.

Though it covers barely a half century Sam Youd’s family saga is intense, absorbing and believable, all the more impressive for its apparently accurate portrayal of religious cultures — Catholicism and Judaism — which he wasn’t himself a part of. Though at times the author’s and the narrator’s lives may have overlapped I didn’t get a sense of the latter merely being a mouthpiece of the former; in fact I was largely unaware of the ‘art and artifice’ that Youd has his narrator admire in real memoir writing.

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