The Chasm — A Reader’s Guide

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In Category - Other Worlds
Walton, Bryce, 1918-1988 Project Gutenberg 2019 Not confirmed
Science fiction; Short stories; Conflict of generations -- Fiction; Older men -- Fiction; Apocalyptic fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 5,661
Reading time 25 min
Text sections 1

For The Chasm — A Reader’s Guide, the stored edition analysis reports 5,661 words, 25 min estimated reading time, and 1 detected text section.

The text analysis averages about 16.2 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 a war between the elderly and children, 94-year-old Sal Lemmon scouts a ruined town, grappling with failing senses and memories of a granddaughter, in a story that uses physical decay to mirror generational conflict.
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Editorial Edition Score 4.3/5

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

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  • 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.

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Read the Text

Sal was still resting in the corner of the old warehouse by the river. A lantern hung on a beam and the dank floor was covered with deep moving shadows.

Captain Murphy was pacing in a circle, looking like something sewn quickly together by a nervous seamstress. Doctor Cartley sat on a canvas chair, elbows on knees, chin in his hands. He kept looking at the floor. He was in his early eighties and sometimes seemed like a young man to Sal. His ideas maybe. He thought differently about the Children and where things were going.

"We're going to get out tonight," Captain Murphy said again. "We'll get that barge loaded and we'll get out."

Sal sat up. The pills had made his heart settle down a bit, and his hands were comparatively calm.

"Is the barge almost loaded now? It better be," Sal said. "They'll attack any minute now. I know that much."

"Another hour's all we need. If they attack before then we can hold them off long enough to get that barge into the river. Once we get into the river with it, we'll be safe. We can float her down and into the sea. Somewhere along the coast we'll land and wherever it is will be fine for us. We'll have licked the Children. They know we've found the only eatable food stores in God knows how many thousands of miles in this goddamned wasteland. They can't live another month without this stuff, and we're taking it all down the river. That's right isn't it, Doc?"

Cartley looked up. "But as I said before, squeezing a little more life out of ourselves doesn't mean anything to me. What do we want to get away and live a little longer for? It doesn't make sense, except in a ridiculous selfish way. So we live another month, maybe six months, or a year longer? What for?"

Sal glanced at Murphy who finally sat down.

"We want to live," Murphy said thickly, and he gripped his hands together. "Survival. It's a natural law."

"What about the survival of the species?" Cartley asked. "By running out and taking the food, we're killing ourselves anyway. So I don't think I'll be with you, Murphy."

"What are you going to do? Stay here? They'll torture you to death. They'll do to you what they did to Donaldson, and all the others they've caught. You want to stay for that kind of treatment?"

"We ought to try. Running off, taking all this food, that means they're sure to die inside a few weeks. They might catch a few rats or birds, but there aren't even enough of those around to sustain life beyond a few days. So we kill the future just so we can go on living for a little longer. We've got no reason to live when we know the race will die. My wife refused to fight them. They killed her, that's true, but I still think she was right. We've got to make one more attempt to establish some kind of truce with the Children. If we had that, then we might be able to start building up some kind of relationship. The only way they can survive, even if they had food, is to absorb our knowledge. You know that. Without our knowledge and experience, they'll die anyway, even if they had a thousand years of food supplies."

"It can't be done," Murphy said.

Cartley looked at the shadows for a long time. Finally he shook his head. "I don't have any idea how to do it. But we should try. We can't use discipline and power because we're too weak. And too outnumbered. We'd have to do that first in order to teach them, and we can't. So there has to be some other way."

"Faith?" Sal said. He shook his head. "They don't believe in anything. You can't make any appeal to them through faith, or ethics, any kind of code of honor, nothing like that. They're worse than animals."

Cartley stood up wearily and started to walk away. "They hate us," he said. "That's the one thing we're sure of. We're the means and they're the ends. We made them what they are. They're brutalized and motivated almost completely by hatred. And what's underneath hatred?" He fumed back toward Murphy. "Fear."

Sal stood up. "I never thought of them as being afraid," he said.

The story opens with a 94-year-old Home Guard scout named Sal Lemmon moving through a ruined town, his body failing him: his hands quiver, his eyes water in the glare, and a "deadly catching pain" threatens his chest. The setting is a war of survival between "Children" and old men, but the excerpts never explain what caused this conflict or how long it has lasted. Instead, the narrative focuses on Sal's physical limitations and his memories of a granddaughter he once knew.

A War Fought Through the Senses

The excerpts convey the war almost entirely through sensory details of decay and limitation. Sal's vision is unreliable: he sees "an odd fluttery movement" but cannot be sure. His hearing is strained—he listens for a "creeping rustle." The environment is hostile: "heat waves radiated up," a "dust devil danced," and the sun makes his eyes smart. The old men's bodies are their primary antagonists. Captain Murphy, "two months short of being a hundred," still has a strong voice, but others like Max are missing or dead. The story does not show battles or tactics; it shows old men struggling to perceive a threat they may be too worn out to fight.

Memory as a Bridge Across the Chasm

Sal's memories of his granddaughter interrupt the reconnaissance. He recalls her calling him "granpa" and a moment when he comforted her. The excerpts suggest that this personal connection—a child who remembered her grandfather—might be "the beginning of the bridge across the chasm." The catalog subject "Conflict of generations" is thus rendered not as abstract ideology but as a single, fragile relationship. The story does not reveal whether the granddaughter is alive or dead, or whether the bridge is literal or metaphorical. The evidence only shows that Sal's memory of her softens his view of the enemy.

The Ruined Town as a Character

The setting is not just background but an active presence. Sal moves through "rubble," "jagged holes," and "broken walls" that were once Main Street. A pile of slag was once "the iron statue of some important historical figure." The town's destruction is total, yet its former life is hinted at in fragments. The story does not explain how the town was destroyed—by the war, by time, or by something else. The excerpts use the physical decay to mirror the old men's bodies: both are crumbling, both retain traces of what they were. The chasm of the title may be the gap between generations, but it is also the literal chasm of a ruined landscape.

The excerpts leave many questions unanswered: the cause of the war, the nature of the Children, the fate of Sal's granddaughter. Readers should pay attention to how the story uses physical details—a quivering hand, a dust devil, a remembered lullaby—to build its world. The conflict is not explained but felt through the body of an old man who cannot see clearly but keeps moving forward.

Sal’s ruined town, her granddaughter’s face half-remembered—that ache stuck with me long after closing the book. Failing senses can still hold a fierce kind of love, I think. Somehow, turning to The Elroom — Reading Notes felt less like moving on and more like sitting with that same quiet, fading light. A bittersooth companion, nothing more.

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