- Stephen King has always been regarded as more of a pop fiction writer than a literary author--but in 1975 he turned out a book which, although overshadowed by the massive success of his later work, will stand the test: 'SALEM'S LOT. Simple yet multi-layered, elegant yet grotesque, this is the book that shows what King can really do when he sets his mind to it.
The story opens with Ben Mears, an author who has come to his childhood home of 'Salem's Lot with the idea of writing a novel about the small town's "haunted house" of note. As he observes the town, he also becomes a part of it, meeting a young woman who might be more than a passing interest, making new friends and renewing old acquaintances. But there is something--indefinable. Something that is slowly going wrong in the town. And it is connected with the "haunted house" of his childhood memories.
King is clearly drawing from several sources for inspiration, most particularly Bram Stoker's DRACULA and Shirley Jackson's THE HAUNTING OF HILL HOUSE, as well as from traditional vampire lore. But what he does with this story of a vampire infestation in a quiet New England town is completely original, peeling back the lives of the townfolk in layers and then showing their gradual corruption as the plague spreads.
'SALEM'S LOT is more subtle than most King novels. It builds with a deliberate slowness and gradually develops a sense of paranoia--that suddenly explodes into a classic horror that keeps you reading through the night with every light in the house turned on. And King's style here is extraordinary: everything about the book is very precise with not a word out of place, the plot at once fantastic and disturbingly logical. There are several Stephen King novels on my bookshelf, and I enjoy them... but this is the one to which I most often return. If you've never read it, prepare yourself for Stephen King at his best. If you have read it, it's time to read it again.
- Stephen King's second book... starring the small Maine town of Jerusalem's Lot and the pervasive evil that comes to inhabit it. The town knows horror, of course. Years before, a man named Hubie Marsten (prisoner to psychosexual disorders he can't control) committed a murder, and now his house stands empty, seeming to watch over the town. The Marsten House becomes the symbol of evil, a central place from which terror and death resonate.
Introduced to the town are three strangers: Ben Mears, a writer who lived there as a child, Mark Petrie, a kid obsessed with monsters and horror movies, and Mr. Barlow, a mysterious figure who opens up a shop in town (a precursor to Leland Gaunt in Needful Things?). Though Barlow doesn't make an appearance in the novel until more than halfway through, his assistant, Mr. Straker, takes care of his business while Barlow takes care of the town's business.
Following the arrival of these strangers, a young boy is found dead. The scene at the funeral in which the boy's father throws himself at the coffin screaming for his son to wake up is perhaps King's most gut-wrenching. Then, when darkness falls on the town, the boy emerges from his coffin and his father's wish becomes prophecy - though not the way he would have wished.
Death invades the town. Worse than death, Salem's Lot is gripped by the ravages of the undead. By the time Ben Mears, Mark Petrie and their friends discover the truth, the town is almost beyond hope. Their only chance is to destroy Barlow, burn the town, and escape.
The novel begins and ends with Ben and Mark leaving to once again visit the Lot, as they have discovered the vampire threat hasn't vanished. Salem's Lot ends with a cliffhanger that will probably never be balanced. What we have, though, is one of King's most intense and scary books. After the steady buildup, the moments of terror come in one-two knockout style, and King's mastery of vampire myths and legends is first class, especially the way he infuses them into modern-day society. The fact that the major villain stays behind the scenes for the first half of the novel only adds to the excitement and anxiety.
Salem's Lot is not just a vampire novel. It is a novel of pure and unbridled fear, a truly scary book. It is about small towns and the nature of evil. It is about love found, love lost, and the persistance of hope. And, well, it has those vampires...
Wednesday, July 22, 2009
- Throughout the last century, there were many authors who wrote haunted house stories. In 1977, Stephen King beat 'em all with a haunted hotel story. You see, this is not just *any* haunted hotel story; this is THE SHINING.
THE SHINING is about several things, all tied up into one complex and multilayered whole. It is about a five-year-old boy who is impossibly mature and wise beyond his years, and who has a terrifying gift that seems as much a curse.
It is about his father, a recovering alcoholic with demons in his soul and skeletons in his closet, who is battling both in order to keep his family financially afloat. It is about his wife, a doting mother who has braved the ups & downs of her husband's turbulence, who loves him, and who wants to trust him beyond his past mistakes but is just on this side of being unable to do so. It is about a classic, Art Deco hotel tucked deep within the Rocky Mountains of Colorado, whose name is respected but nevertheless has a mysteriously chequered past.
It is about the ghosts that occupy this hotel, that wish to possess the above family but can only be seen by the boy and the head cook. It is about the head cook, an older black man who shares the same gift with the boy, and who develops a special friendship with him as a result. It is about a family who begin at their last chance for hope & unity, who end up fighting for their last chance at survival. This is THE SHINING.THE SHINING is a true gestalt entity: it is more than the sum of its parts. Stephen King masterly intertwines all of the above elements, plus some truly frightening imagery, to create a novel of several hundred compulsively-turning pages that add up to one of the greatest experiences that I've ever had as a reader of fiction.
MOST RECOMMENDED; AGES 15 & UP
- Twenty-seven years after its publication, The Shining remains a visceral, gripping read that showcases Stephen King's unfathomable powers to hypnotize and terrify readers, a power King had in abundance in the early stages of his career. Coming on the heels of Carrie and 'Salem's Lot, The Shining truly established King as a modern master of horror and an unequaled purveyor of a literary mirror into pop culture.
The plot should be quite familiar to one and all by this point. The Torrance family embarks on a months-long retreat into complete isolation when Jack Torrance signs on to be the winter custodian of the Overlook Hotel in Colorado. Jack takes some personal demons with him to a hotel chock-full of malevolent, ghostly spirits; he is a recovering alcoholic who, in the last couple of years, lost his job and broke his little boy's arm in a state of drunken fury. He thinks the months alone with his wife and son will allow him to find peace - and to finally finish the play he has been working on. His long-suffering wife has some misgivings, but the only person really clued into the dreadful possibilities is his son Danny.
Danny has "the shine," a gift which allows him to see and know things he cannot possibly know; it is a powerful gift which the Overlook (which really is an entity unto itself) jealously desires for itself.
As the days pass, the Overlook exerts more and more of an influence on Jack, exploiting his weaknesses, exacerbating his paranoia and persecution complex, and basically turning him into a murderous new tool at the hotel's disposal. Danny sees what is happening, although he cannot really understand much of it given his very young age. He can certainly understand the terror of the Overlook, however, as he sees images of the hotel's murderous past and very dark near future in a number of unsettling scenes interspersed throughout the novel.
This is a harrowing tale of survival against incredible odds of a supernatural nature, and King brings every nuance of the story to vivid life, capturing perfectly the internalization and externalization of fear among exceedingly real, believable characters that the reader gets to know very well indeed. As has always been the case with Stephen King, it is his incomparable powers of characterization that make the supernatural elements of his story work so amazingly well. You can't help but be emotionally committed to these characters.
- Before I get to the meat of my review, I feel I should provide a little bit of perspective. First, I am not a die-hard Stephen King fan. In fact, aside from "The Stand", I have only read collections of his short stories, so I can assure you my review isn't the rabid defense of an overly loyal admirer. Second, I am not a fan of horror and I wouldn't classify "The Stand" as such. Finally, I am a big fan of the "apocalyptic fiction" genre, and I believe I have a pretty good basis for my evaluation of this novel.
That said, "The Stand" is an incredible novel; perhaps one of the best I have ever read, by any author or in any genre. The story is predicated on the accidental release of a "super-flu" that wipes out 99% of the humans on the planet. The survivors find themselves drawn into a battle between good and evil that will determine the future of the entire planet.
As one might expect, a novel with such an ambitious plot and of such prodigious length touches upon numerous themes. In order to simplify my review, I am going to break down the novel's strengths into the following categories, and then consider them one at a time: world-building, plot, characters and themes.
First is world-building. In most apocalyptic fiction, one (if not both) of two things will be true: 1. The characters stay in one place or 2. The action picks up after the disaster. An example of the first is "Earth Abides" and of the latter "On the Beach". There's nothing wrong with either plot device, but in "The Stand" King injects a remarkable level of detail into his novel by covering the super-flu from start to finish. The novel starts at the very beginning of the outbreak, and many key plot lines are developed before the epidemic ever rears its head. King charts the breakdown and eventual destruction of civilization, and then offers a short, but remarkable, picture of the survivors in the immediate days after the flu has run its course. He makes the subtle observation that many survivors would die in a second wave of suicides, accidents and depression that would weed out many of those unequipped for an empty world. Finally, as the story progresses, King makes remarkable (but not overbearing) predictions about how nature would reshape the U.S. in the absence of man.
Second to consider is the plot. As I alluded to earlier, King has used the emptied United States as a battleground between good and evil. Soon after the flu has run its course, the survivors begin having dreams about an old woman (Mother Abigail) who seems to be marshalling the forces of good, and a malign presence (Randall Flagg) who is gathering those who would serve him and his ends. Insofar as the reader knows, the choice is clear-cut, irrevocable and mandatory. It is very much a "are you with us or against us" type of situation. That said, much of the book is devoted to the characters traveling across country to Boulder or Las Vegas (guess which side is where), no mean feat in a world without mass transit, hotels, etc. In fact, King's writing is so effective, the novel would be fascinating if the characters did nothing but travel around and attempt to reestablish society. The second, metaphysical, layer just makes it all the more interesting.
Thirdly, we have the characters to consider; I'll won't name names or speak in specifics to avoid ruining the plot, but there are a few general points worth mentioning. To start, the cast of characters in "The Stand" rivals that of "Lord of the Rings", and King handles it every bit as well as Tolkien. One might expect that a novel with a story this complex would skimp on character development, but the opposite is actually true. King took a huge idea (good vs. evil) and reduced it to a human element that the reader could digest. His characters show an incredible range of emotion, and even their flaws serve to enhance the reader's view of them. They struggle and fail and are rarely sure of themselves, in other words, they are human. As such, their actions take on a level of realism that is astonishing.
Finally, we come to the themes of the book. The way I see it there are three: the dualistic nature of good and evil, redemption and hope. The first is the most obvious, King correctly points out that good cannot be appreciated or striven for in the absence of bad. We can strive to limit the effects of evil, but it will never be overcome, as King sees greed and hate as intrinsic to the human condition in general, and civilization specifically. The second theme, of redemption, is subtler and offsets the first. King does not paint anyone is irretrievably lost, and along the same lines, he considers how good intentions are frequently misdirected through ignorance and fear. King seems to believe that given the opportunity and support, anyone can salvage their lives. Which brings us to the final theme of hope. As the novel ends, the reader knows that evil has not been vanquished, but also that it can never triumph because within its very nature are the seeds of its destruction. Over time, evil empires have gained power because they have torn down their enemies (see Nazi Germany), but as the saying goes, live by the sword, die by the sword. There is always hope, because evil cannot win.
There are so many other points to touch on, I could write indefinitely, but what it all comes down to is this: if you're looking for a novel that will entertain you even as it makes you think, "The Stand" is for you.
Enjoy!
- THE STAND was the first Stephen King novel I read (I think it was in 1985). The similarities to biblical prophecy in this marvelous story are hard to miss for even the the novice student of the book of Revelation. That fact played a large role in my interest in The Stand. The book is so enthralling that even when I became aware that King had veered a long way from the scriptural story, I didn't really care. And after all, no other writer had managed to figure out what all those seals, and trumpets, and vials of the Apocalypse were either.
Continuing my interest in the subject, I have read a number of other books in the same general vein. Or perhaps I should say that I started to read several. The problem is that every writer that tries to stick with the original concept of end-times prophecy is also out to force a load of preaching down your throat. Their stories are less coherent that comic books and they seem to think their relationship with God makes up for the fact that they can't write.
I have very recently found an exception to this rule and I wanted to recommend it. It's THE CHRIST CLONE TRILOGY by James BeauSeigneur. BeauSeigneur does an incredible job of story telling while sticking very exactly to biblical prophecy. He even blends in prophecies from several other religions! An interesting difference is that in THE CHRIST CLONE TRILOGY the antichrist/Flagg character plays his role and tell his lies so well that you can't help but sorta be pulling for him even though you know he's the bad guy. Or is he?
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