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Books : Horror : Authors : Contemporary Authors : King, Stephen : Complete List
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Ghostly bursts of plaster dust. A low, rhythmic sound in the background: Red rum-RED RUM-red rum-RED RUM. A sense of something evil swirling inward on itself, like a whirlpool of black ectoplasmic energy. The experience of being inside the actual consciousness ("come out and take your medicine!") of a frightened little boy. Echoes of Shirley Jackson ("whatever walked there, walked alone"), of Poe's Masque of the Red Death and of creepy folk tales (Hansel and Gretel).How do we love The Shining? Let us count the ways. In 1977, The Shining was the first widely read novel to confront alcoholism and child abuse in baby-boomer families--especially the way alcoholism, a will toward failure in one's work, and abusing one's kids are passed down from generation to generation. The heart of the book is not an evil hotel but a pair of father-son relationships: Jack and his father, Jack and his son. This was both daring and insightful for its time, long before "dysfunctional family" was a cliché.
The Shining was written in a frenzy. Stephen King imagined the whole novel in his head while sitting up all night in the dark, in the very Colorado hotel where the story takes place. He then transcribed it (that's how he puts it) in a burst of sustained energy. He could pull that off because, even at that early point in his career, King had figured out a successful way of structuring a popular novel. The speed of its composition gives the writing a powerful flow that sweeps you along past the awkward wording.
The Shining is one of those rare novels that can burn its images--such as Room 217--into your brain. Time alone will tell, but The Shining may well turn out to be one of the best horror novels ever written. By the way, you know that film starring Jack Nicholson? Stephen King says, "I have my days when I think I gave Kubrick a live grenade on which he heroically threw his body." --Fiona Webster
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In 1978, science fiction writer Spider Robinson wrote a scathing review of The Stand in which he exhorted his readers to grab strangers in bookshops and beg them not to buy it.The Stand is like that. You either love it or hate it, but you can't ignore it. Stephen King's most popular book, according to polls of his fans, is an end-of-the-world scenario: a rapidly mutating flu virus is accidentally released from a U.S. military facility and wipes out 99 and 44/100 percent of the world's population, thus setting the stage for an apocalyptic confrontation between Good and Evil.
"I love to burn things up," King says. "It's the werewolf in me, I guess.... The Stand was particularly fulfilling, because there I got a chance to scrub the whole human race, and man, it was fun! ... Much of the compulsive, driven feeling I had while I worked on The Stand came from the vicarious thrill of imagining an entire entrenched social order destroyed in one stroke."
There is much to admire in The Stand: the vivid thumbnail sketches with which King populates a whole landscape with dozens of believable characters; the deep sense of nostalgia for things left behind; the way it subverts our sense of reality by showing us a world we find familiar, then flipping it over to reveal the darkness underneath. Anyone who wants to know, or claims to know, the heart of the
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When the full moon shines, a paralysing fear descends on the isolated Maine town of Tarker Mills. No one knows who will be attacked next, but snarls that sound like human words can be heard and all around are the footprints of a monster whose hunger cannot be sated.
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Stephen King's collection of five stories about '60s kids reads like a novel. The best is "Low Men in Yellow Coats," about Bobby Garfield of Harwich, Connecticut, who craves a Schwinn for his 11th birthday. But his widowed mum is impoverished and so bitter that she barely loves him. King is as good as Spielberg or Steven Millhauser at depicting an enchanted kid's-eye view of the world, and his Harwich is realistically luminous to the tiniest detail: kids bashing caps with a smoke-blackened rock; a car grille "like the sneery mouth of a chrome catfish"; a Wild Mouse carnival ride that makes kids "simultaneously sure they were going to live forever and die immediately."Bobby's mum takes in a lodger, Ted Brautigan, who turns the boy on to great books such as Lord of the Flies. Unfortunately, Ted is being hunted by yellow-jacketed men--monsters from King's Dark Tower novels who take over the shady part of town. They close in on Ted and Bobby, just as a gang of older kids menace Bobby and his girlfriend, Carol. This pointedly echoes the theme of Lord of the Flies (the one book King says he wishes he'd written): war is the human condition. Ted's mind-reading powers rub off a bit on Bobby, granting nightmare glimpses of his mum's assault by her rich, vile, jaunty boss. King packs plenty into 250 pages, using the same trick Bobby discerns in the film V
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Stephen King's idea for It came from a favorite childhood image: the entire cast of the Bugs Bunny Show coming on at the beginning. He thought of bringing on all the monsters, one last time: Dracula, Frankenstein's creature, the Werewolf, the Crawling Eye, Rodan, It Came from Outer Space.It is about a group of adults who were once troubled children in the late '50s--"The Losers." One of them is a best selling horror writer much like Stephen King (or his friend and collaborator Peter Straub). In order to defeat the protean "It" that threatens their hometown, they have to go back- -not only to the town itself, but deep into their childhood memories, to regain the talent for magic they once had. King says It is for "the buried child in us, but I'm writing for the grown-up, too. I want grown-ups to look at the child long enough to be able to give him up."
This huge, baggy beast of a novel is a favorite of Stephen King fans--second in popularity only to The Stand. Perhaps longtime fans develop mental filters for King's sloppy storytelling to tune out the repetitions and silliness. King is like the pointillist painter Seurat: if you stand too close to the little dots, the picture falls apart, and it looks meaningless. That's why he makes the storyscape so big--to take you up to that macro-level where you like the book in spite of its flaw
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Stephen King's second book, 'Salem's Lot--about the slow takeover of an insular hamlet called Jerusalem's Lot by a vampire patterned after Bram Stoker's Dracula--has two elements that he also uses to good effect in later novels: a small American town, usually in Maine, where people are disconnected from each other, quietly nursing their potential for evil; and a mixed bag of rational, goodhearted people, including a writer, who band together to fight that evil.Simply taken as a contemporary vampire novel, 'Salem's Lotis great fun to read, and has been very influential in the horror genre. But it's also a sly piece of social commentary. As King said in 1983, "In 'Salem's Lot, the thing that really scared me was not vampires, but the town in the daytime, the town that was empty, knowing that there were things in closets, that there were people tucked under beds, under the concrete pilings of all those trailers. And all the time I was writing that, the Watergate hearings were pouring out of the TV.... Howard Baker kept asking, 'What I want to know is, what did you know and when did you know it?' That line haunts me, it stays in my mind.... During that time I was thinking about secrets, things that have been hidden and were being dragged out into the light." Sounds quite a bit like the idea behind his 1998 novel of a Maine hamlet haunted by unsightly secrets, Ba
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A notice to those who feel that Stephen King has lost his magic touch: Desperation is the genuine goods. The ensemble cast of ordinary Americans thrown together by chance, including a disgruntled alcoholic writer and a child who is wise beyond his years, may be a bit too familiar. But the nearly deserted Nevada mining town with an enormous haunted mine pit and an abandoned movie theatre where the survivors hang out makes for a striking battleground, and the grisly action rarely flags. Best of all, though, are the characters of Tak, the ancient body-hopping evil who emerges from the mine, and of "God"--whom the New York Times describes as "the edgiest creation in Desperation. Remote, isolated, ironic, shrouded behind disguises, perhaps ‘another legendary shadow,' this deity forms a sly foil, and an icy mirror, to Tak."
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After 14 years of being beaten, Rose Daniels wakes up one morning and leaves her husband -- but she keeps looking over her shoulder, because Norman has the instincts of a predator. And what is the strange work of art that has Rose in a kind of spell? In this brilliant dark-hued fable of the gender wars, Stephen King has fashioned yet another suspense thriller to keep readers right on the edge.
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More of a mystery than a horror novel, Dolores Claiborne contains only the briefest glances at the supernatural. The novel presents Stephen King as a writer experimenting with style and narrative, time and perspective. Fans looking for a skin-crawling, page-turning fright or an undead bloodbath will be disappointed, but a patient reader willing to savour King's leisurely study of character and island life will find many rewards. And all of this is not to say that the book is without suspense.The story unfolds in one continuous chapter, told in the first person by the cranky, 65-year-old housekeeper, Dolores, who is explaining to police officers and a stenographer how and why she killed her husband, Joe, 30 years ago. At the same time, in her rambling monologue, she insists that she did not kill her longtime employer, Vera Donovan--notwithstanding what the residents of Little Tall Island may be whispering. Joe was a drinker, and, as Dolores gradually argues, he deserved to die for the horrifying crimes he committed against his family. But Vera, despite her cantankerous disposition as a lady governing her decaying estate with her precise rules about even the most mundane household chore ("Six pins! Remember to use six pins! Don't you let the wind blow my good sheets down to the corner of the yard!"), was a good woman--or at least not an evil one. She was the woman who hired
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