Is Jack Finney’s book ‘The Body Snatchers’ about paranoia?

Ominous vendetta mask in a forest
Share on facebook
Share on twitter
Share on reddit
Share on pocket
Share on email
Share on facebook
Share on twitter
Share on reddit
Share on pocket
Share on email

Published in 1955, Jack Finney’s novel The Body Snatchers captures a community – and country – gripped by fear and mistrust. Contains spoilers.

What is The Body Snatchers about?

When Becky Driscoll turns up at his surgery, her visit draws Dr Miles Bennell into a bizarre mystery. Becky’s cousin Wilma says someone – or something – has secretly replaced her uncle.

Then Miles hears of other patients in Santa Mira, California saying the same thing. It sounds like a mass delusion until Miles sees one of the ‘imposters’ for himself. The discovery that drags him in mortal danger.

The Body Snatchers drips with paranoia. What makes it particularly effective is the way it’s woven throughout the book.

1. Paranoia in The Body Snatchers

What do we mean by paranoia? At the broadest level, we’re talking about delusion, typically underpinned by a sense of persecution. It can also be a deep sense of fear, particularly of the motivations of others. Either way, paranoia defines the spirit of Finney’s novel.

To be fair, protagonists Miles and Becky have much to be mistrustful about. Alien spores have drifted through the furthest reaches of space, and land in Santa Mira. The spores then infiltrate and take over the bodies of local residents. (This kind of body swapping is also key to The Stepford Wives.)

Once Miles and Becky suspect what’s happening, they can trust no one. Worse, their cloned family and friends in turn try to capture and clone any remaining humans. The aliens want to colonise and consume the entire country, then the world.

And yet, when the invasion begins, Miles tells the first witnesses that they’re delusional. He tells Wilma:

‘I don’t expect you to stop feeling emotionally that this isn’t your uncle. But I do want you to realize he’s your uncle, no matter what you feel, and that the trouble is inside you.’

The supporting cast of the story are doctors and psychiatrists – trusted professions. This comes to bite later on. Psychiatrist Mannie Kaufmann (or his clone) says it’s Miles who is imagining things:

‘You saw nothing, Miles.’ He shrugged. ‘Except a rolled-up rug, maybe on a shelf in Becky’s basement. Or a pile of sheets or laundry; almost anything at all, or nothing at all, would do.’

These are the main drivers of fear and terror in the book. But at a more intimate level, the characters are already paranoid. For example, Miles is in love with Becky, but thinks a relationship would only end in another divorce. He won’t even let himself acknowledge how he feels about her until it’s almost too late.

Until that point, Miles is a fatalist. It’s only by standing up to the aliens that he realises things aren’t always set in stone.

2. Cold War tensions and the threat of modernity

Finney’s book and the 1956 film adaptation, Invasion of the Body Snatchers, are often called political allegories. In fact, this isn’t always clear-cut (see this Screenprism.com article). Either way, the book reflect the tensions of the time, especially Cold War paranoia.

Fears about Communism are visible in Santa Mira’s slow commercial decay:

‘You can’t get an order any more.’ The Salesman shrugged. ‘Not to amount to anything, anyway.’

Rubbish piles up. People disappear. Buildings fall into disrepair, and Miles Bennell’s hometown becomes strange and unkempt. This isn’t just alien invasion – it’s the end of the American way of life.

Moreover, the way the aliens pretend to be their hosts is also what we imagine spies do. Spies were a subject on everyone’s minds in 1950s America.

It’s also interesting that the alien invasion happens in Santa Mira, and not a bustling city. In Santa Mira, people know each other, and have grown up together. Finney’s tale takes place in unspoilt, nostalgic location – that’s what give it its impact.

In this sense, it’s not Communism that’s a threat; it’s modernity itself. Regardless of aliens, too, the small-town American life Finney describes was already changing. This is what Bennell means when he says:

But now we have dial phones, marvellously efficient, saving you a full second or more every time you call, inhumanly perfect, and utterly brainless; and none of them will ever remember where the doctor is at night, when a child is sick and needs him. Sometimes I think we’re refining all humanity out of our lives.

Of course, this is exactly what’s happening. The aliens seek to push ‘all humanity’ out of existence.

3. Guilty echoes in Western society

‘History has lessons to teach us about first encounters between civilizations. As a rule the less advanced civilization is either exterminated or enslaved.’

Regina Jackson, The Day the Earth Stood Still

In The Day the Earth Stood Still (2008), US Secretary of Defence Regina Jackson (Kathy Bates) explains why we should fear alien contact. History shows civilisations are always destroyed by more advanced societies. Often it’s a fight for resources, sometimes just for kicks and bigotry.

What Jackon’s polemic overlooks is that – as far as we know – these are human traits. We wipe out other species and societies, or enslave them, or take their land and resources. The dominant culture then paints themselves as ‘the real victim’ – of cowboy films. Or else, somehow at risk of annihilation (think racism, or fears of immigration).

Finney turns the spotlight onto this kind of doublethink. Still, it’s ambiguous whether his is an ironic or deliberate comment.

In Chapter 13, Miles recalls that a ‘middle-aged Negro had a shoeshine stand’. Billy supposedly loves cleaning shoes and playing up to white people. Then one day Miles witnesses the real Billy; a man filled with bitterness and anger at the role he’s trapped in.

Perhaps it’s easier for those who create or profit from inequality to believe the victims somehow ‘enjoy’ their slavery. It doesn’t take much empathy to realise that of course Billy would hate performing his blackness and poverty to his white masters.

Miles gets an insight into this this when he hears the aliens mocking him. He hears their real, unadorned opinions, the kind that can only said in private. Miles also recognises – fleetingly – that he shares a responsibility for Billy’s fate:

I turned away and walked on, ashamed of him, of Billy, of myself, and of the whole human race.

This is as far as Miles is willing to explore collective guilt. Still, the projection of that guilt is writ large in The Body Snatchers. Aliens come to Earth, overcome a community, destroy their way of life, and murder them en mass. It’s a familiar history turned into future speculation. But, by casting the residents of Santa Mira as victims, Finney’s story is exactly the kind of social mythology that overlooks atrocity. It excuses it, then turns it into entertainment for people who have far less to fear in reality.

Read as an unmasking of our true nature, the novel ends with a chilling prediction. The aliens intend to suck the Earth dry to support their own species. Once the Earth is used up, the spores will move on to some other planet, and repeat the cycle.

[P]arasites. Parasites of the universe, and they’ll be the last and final survivors in it.

Now, 60 years later, humans are only just beginning to face the consequences of this attitude to the Earth. At the same time, we hold onto the idea that our species will jettison this planet when the time is right, and find another world to destroy.


Jack Finney, The Body Snatchers (1955). Gollancz, 2010

Other books like The Body Snatchers
  • The Stepford Wives, by Ira Levin (invasion from within)
  • I am Legend, by Richard Matheson (invasion from within)
  • The Day of the Triffids, by John Wyndham (alien invasion)
  • War of the Worlds, by H.G. Wells (alien invasion)

Picture credit: Javardh