King’s imagination is above all archetypal: His “pop” familiarity and his campy humor draw on the collective unconscious. A decade later, King would address, and redress, this in his paired novels Gerald’s Game and Dolores Claiborne. The last chapter begins with an epigraph from Dickens’s David Copperfield (1849-1850) and ends with an allusion to William Wordsworth’s “Intimations of Immortality,” from which King takes his primary theme and narrative device, the look back that enables one to go forward. Carrie concerns the horrors of high school, a place of “bottomless conservatism and bigotry,” as King explains, where students “are no more allowed to rise ‘above their station’ than a Hindu” above caste. The turning point is the death of Gage, which Creed cannot accept and that leads to the novel’s analysis of modern medical miracles performed in the name of human decency and love. The two survivors, Ben Mears and Mark Petrie, must partly seek, partly create their talismans and rituals, drawing on the compendium of vampire lore—the alternative, in a culture-wide crisis of faith, to conventional systems. King’s fictions begin with premises accepted by middle Americans of the television generation, opening in suburban or small-town America—Derry, Maine, or Libertyville, Pennsylvania—and have the familiarity of the house next door and the 7-Eleven store. Like them or loathe them, you have to admit that’s impressive. Only by reburying the past—in this case, by literally reburying Sarah Tidwell’s body—can matters finally be put to rest. In a nonfiction work of literature, the expectation is a formal writing style that works to convey the information without leading the reader astray. This picture is reinforced by the town’s name, ‘Salem’s Lot, a degenerated form of Jerusalem’s Lot, which suggests the city of the chosen reverted to a culture of dark rites in images of spreading menace. The novel, which King once considered “too horrible to be published,” is also his own dark night of the soul. In an anxious era both skeptical of and hungry for myth, horror is fundamentally reassuring and cathartic; the tale-teller combines roles of physician and priest into the witch doctor as “sin eater,” who assumes the guilt and fear of his culture. For longtime fans, this serves both to update King’s readers concerning their favorite characters and to unify King’s body of work. Although the first section, titled "C.V." narrates his life, King states that the section is not an autobiography, but more a curriculum vitae, owing to the sporadic nature of his memories. Because Mike is unable to father children, he begins to question whether Jo was having an affair. Mattie is the widow of Lance Devore, Max’s stuttering son. Order our On Writing: A Memoir of the Craft Study Guide, teaching or studying On Writing: A Memoir of the Craft. In this way, Stephen King suggested that writing is a part of life that should not be the center of life, but a support to it that all writers should embrace. However, the writer is also a demon, vampire, and killer in this dark allegory, possessing and devouring the man, his family, friends, community. In a scary passage in Pet Sematary, Louis dreams of Walt Disney World, where “by the 1890s train station, Mickey Mouse was shaking hands with the children clustered around him, his big white cartoon gloves swallowing their small, trusting hands.” To all of It’s protagonists, the monster appears in a similar archetypal or communal form, one that suggests a composite of devouring parent and mass-culture demigod, of television commercial and fairy tale, of 1958 and 1985: as Pennywise, the Clown, a cross between Bozo and Ronald McDonald. The monster is the American Dream as embodied in the automobile. In his nightmares, Christine appears wearing a black vanity plate inscribed with a skull and the words, “ROCK AND ROLL WILL NEVER DIE.” From Dennis’s haunted perspective, Christine simultaneously examines and is a symptom of a cultural phenomenon: a new American gothic species of anachronism or déjà vu, which continued after Christine’s publication in films such as Back to the Future (1985), Peggy Sue Got Married (1986), and Blue Velvet (1986). In Pet Sematary, King unearthed the buried child, which is the novel’s monster. Soon after, Stephen King became sober and came to a place in his life where he finally understood the priorities in his life. Archetypal themes also strengthen the two books: Female power must overcome male dominance, as the moon eclipses the sun; and each woman must find her own identity and strength out of travail, as the darkness gives way to light again. "[2] Peter Sobczynski, a correspondent for the Post-Tribune, called the book "a fun, incisive read", specifically highlighting its emotional power: "In writing candidly and honestly about his recovery from a trauma that should have killed him, King has never been more affecting. Formerly a successful writer of gothic romance fiction, he now finds that he is unable to write even a simple sentence. Post was not sent - check your email addresses! Nearly thirty years later, Beaumont is a creative writing professor and moderately successful literary novelist devoted to his family. Christine is the car as a projection of the cultural self, Anima for the modern American Adam. The baby boomers, King explains, “were obsessive” about childhood. The much beloved “bad” father is the novel’s monster: The environment of the Overlook Hotel traps him, as he in turn calls its power forth. Beaumont is forced to disclose and destroy his now self-destructive pseudonym, complete with gravesite service and papier mâché headstone. Bag of Bones, which King calls a “haunted love story,” opens with narrator Mike Noonan recounting the death of his wife, Jo, who collapses outside the Rite Aid pharmacy from a brain aneurysm. The young writer-protagonist Thaddeus Beaumont has a series of headaches and seizures, and a surgeon removes from his eleven-year-old brain the incompletely absorbed fragments of a twin—including an eye, two teeth, and some fingernails. Carrie catapulted King into the mass market; in 1976 it was adapted into a critically acclaimed film directed by Brian De Palma. As Douglas Winter explains, Christine reenacts “the death,” during the 1970’s, “of the American romance with the automobile.”. September 21, 1947) may be known as a horror writer, but he calls himself a “brand name,” describing his style as “the literary equivalent of a Big Mac and a large fries from McDonald’s.” His fast-food version of the “plain style” may smell of commercialism, but that may make him the contemporary American storyteller without peer. One, he is sure, is Jo, and one, he determines, is Sarah Tidwell. In Bag of Bones, King references several of his other novels, most notably The Dark Half, Needful Things, and Insomnia. The process of recapitulation and summing up was complicated by the disclosure, in 1984, of Richard Bachman, the pseudonym under whose cover King had published five novels over a period of eight years. “On Writing: A Memoir of the Craft,” was written in 2000 by Stephen King. Stephen King’s books have sold over 350 million copies. Mike dissolves Sarah’s body with lye and her spirit finally leaves Sarah Laughs. The novel touched the right nerves, including feminism. As Mike sleeps at night, he comes to realize that there are at least three separate spirits haunting his cabin. The last half is psychological suspense and metafiction in biological metaphor: the struggle of the decently introspective Beaumont against the rawly instinctual Stark for control of both word and flesh, with the novel taking shape on the page as the true author reclaims the “third eye,” King’s term for both child’s and artist’s inward vision. Stephen King then moves into the mechanics of writing, offering advice and insight into a successful career that has worked so well for him but remains distant for thousands of others. However, successful writing is dependent on unique styles possessed by the author. The book ends in a “scene from some malign fairy tale” as that child and alter ego is borne away by flocks of sparrows to make a last appearance as a black hole in the fabric of the sky. The aptly named Dolores Claiborne is trapped more metaphorically, by poverty and an abusive husband, and her victory too is both violent and a sign of her developing independence and strength. In The Dark Tower cycles, he combined the gothic with Western and apocalyptic fiction in a manner reminiscent of The Stand. Gerald’s Game is the story of Jessie Burlingame, a young wife who submits to her husband’s desire for bondage in a deserted cabin, only to have him die when she unexpectedly struggles. [5]:265, On June 19, 1999, King was hit by a van while walking along Maine State Route 5. Stephen King then recommended putting the finished novel into a drawer for no less than six weeks in order to get some distance. Arnie and his parents are buried, Christine is scrap metal, and the true Americans, Leigh and Dennis, are survivors, but Dennis, the “knight of Darnell’s GaRage,” does not woo “the lady fair”; he is a limping, lackluster junior high teacher, and they have drifted apart, grown old in their prime. [1], Sharon Johnson, in a review published by The Patriot-News, wrote that King survived his car accident "with his skill intact", calling King's advice "solid" and "an unexpected gift to writers and readers. Short Fiction: Night Shift, 1978; Different Seasons, 1982; Skeleton Crew, 1985; Dark Visions, 1988 (with Dan Simmons and George R. R. Martin); Four Past Midnight, 1990; Nightmares and Dreamscapes, 1993; Hearts in Atlantis, 1999; Everything’s Eventual: Fourteen Dark Tales, 2002. The grimmer, truer text-within-the-text is Mary Wollstonecraft Shelley’s Frankenstein (1818). Like rumor and disease, vampirism spreads secretly at night, from neighbor to neighbor, infecting men and women, the mad and the senile, the responsible citizen and the infant alike, absorbing into its zombielike horde the human population. everything you need to sharpen your knowledge of On Writing. He is also an abused child who, assuming his father’s aggression, in turn becomes the abusing father. The pseudonym has materialized, risen from its fictional grave literally to take Thad’s wife and children (twins, of course) hostage. King’s paranormal horrors have similar cathartic and educative functions for adults; they externalize the traumas of life, especially those of adolescence. This “pellucid” and “elegant” fairy tale, says Barbara Tritel in The New York Times Book Review (February 22, 1987), has the “intimate goofiness of an extemporaneous story” narrated by “a parent to a child.” In The Tommyknockers, King again seemed to leave familiar territory for science fiction, but the novel more accurately applies technohorror themes to the 1980’s infatuation with technology and televangelism. Carrie’s conflict with her mother, who regards her emerging womanhood with loathing, is paralleled by a new plot by the girls against her, led by the rich and spoiled Chris Hargenson. Jo’s spirit also leaves, and all is quiet once more at the cabin. "[4], "The New Classics: Books: The 100 Best Reads from 1983 to 2008", "King admits difficulties since accident", "Stephen King: The 'Craft' Of Writing Horror Stories", "He's only working at half of his usual dizzying pace", https://en.wikipedia.org/w/index.php?title=On_Writing:_A_Memoir_of_the_Craft&oldid=981296674, Creative Commons Attribution-ShareAlike License, This page was last edited on 1 October 2020, at 13:18. Additionally the “sematary,” whose “Druidic” rings allude to Stonehenge, is the outer circle of a Native American burial ground that sends back the dead in a state of soulless half life. (King uses mythology and gender issues more explicitly in Rose Madder, which evenly incorporates mimetic and supernatural scenes.). Stephen King continued his advice by describing the process in which he uses to write his own novels. In dramatizing the tyrannies, perils, powers, and pleasures of reading and writing, Misery and The Dark Half might have been written by metafictionists John Fowles (to whose work King is fond of alluding) or John Barth (on whom he draws directly in It and Misery). In an interview with NBC, King stated, "After the accident, I was totally incapable of writing. Lance had nothing to do with his father after learning that his father had tried to bribe Mattie into not marrying him. To help Mattie fight off Max’s army of high-priced lawyers, Mike uses his own considerable resources to retain a lawyer for Mattie named John Storrow, a young New Yorker unafraid to take on someone of Max Devore’s social stature. In the United Kingdom paperback version, a short story by Garret Adams entitled "Jumper" was included at the end of the book. As King knows, blood flows freely in the oral tradition. At this point Stephen King suggested that a writer give their new work to a number of friends to read, considering their suggestions when doing a final draft. By the agnostic and sexually liberated 1970’s, the vampire had been demythologized into what King called a “comic book menace.” In a significant departure from tradition, he diminishes the sexual aspects of the vampire. Everything is tied to the ghost Sarah Tidwell’s purposes, even Mike’s writer’s block. The Dark Half is an allegory of the writer’s relation to his genius. King’s reversal of the happy ending is actually in keeping with the Brothers Grimm; it recalls the tale’s folk originals, which enact revenge in bloody images: The stepsisters’ heels, hands, and noses are sliced off, and a white dove pecks out their eyes. "[8] The final section of the book is titled "On Living: A Postscript", and it reflects on the accident and details his return to writing, stating "things have continued to get better. The book summarizes King’s previous themes and characters, who themselves look backward and inward, regress and take stock. Stephen King was the child of a single mother. Mears has returned to the town of his childhood to revive an image of the Marsten House lurking in his mythical mind’s eye. Christine’s burden, an undead 1950’s youth culture, means that most of Arnie’s travels are in and out of time, a deadly nostalgia trip. Twenty-seven years after its original reign of terror, It resumes its seige, whereupon the protagonists, now professionally successful and, significantly, childless yuppies, must return to Derry to confront as adults their childhood fears. Indeed, Christine is a recapitulatory rock musical framed fatalistically in sections titled “Teenage Car-Songs,” “Teenage Love-Songs,” and “Teenage Death-Songs.” Fragments of rock-and-roll songs introduce each chapter. Eliot's Metaphysical Poets, IA Richards' Concept of the Two Uses of Language. From the beginning, his dark parables spoke to the anxieties of the late twentieth century. Transferred into an immoderate love for his son, it is exposed as the narcissistic embodiment of a patriarchal lust for immortality through descendants, expressed first in an agony of sorrow and Rage, then ghoulishly, as he disinters his son’s corpse and makes the estranging discovery that it is like “looking at a badly made doll.” Later, reanimated, Gage appears to have been “terribly hurt and then put back together again by crude, uncaring hands.” Performing his task, Louis feels dehumanized, like “a subhuman character in some cheap comic-book.”. “We went on playing for a long time, almost feverishly. Dolores and Jessie—and the elderly protagonists of Insomnia—reveal King, perhaps having reconciled to his own history, exploring new social and psychological areas. On Writing: A Memoir of the Craft by Stephen King. His books gained their effect from realistic detail, forceful plotting, and King’s ability to involve and scare the reader. Moreover, King challenges our ideas of the genre horror novel, since there is little violence, none of it supernatural and all expected, so that suspense is a function of character, not plot (done previously by King only in short fiction such as “The Body” and “The Last Rung of the Ladder”). In It, a group of children create a community and a mythology as a way of confronting their fears, as represented by It, the monster as a serial-murdering, shape-shifting boogey that haunts the sewers of Derry, Maine. In this instance, his blunt literalness (“word become flesh, so to speak,” as George Stark puts it), gives vitality to what in other hands might have been a sterile exercise. His major innovation, however, was envisioning the mythic small town in American gothic terms and then making it the monster; the vampire’s traditional victim, the populace, becomes the menace as mindless mass, plague, or primal horde. Stephen King, American novelist and short-story writer whose books were credited with reviving the horror fiction genre in the late 20th century. King’s ironic sense of humor is also evident. Stephen King and his family moved frequently in his early years in order to be closer to family members. King’s manual On Writing reveals that he’s relentlessly dedicated to his craft. In the opening scene, in the school shower room, Carrie experiences her first menstrual period; her peers react with abhorrence and ridicule, “stoning” her with sanitary napkins, shouting “Plug it up!” Carrie becomes the scapegoat for a fear of female sexuality as epitomized in the smell and sight of blood. He made his “king vampire,” Barlow, an obvious reincarnation of Stoker’s Dracula that functions somewhere between cliché and archetype. He told much the same story as before but assumed the mantle of adulthood. The novel is also about the terrors of passage to womanhood. During the 1970’s, King’s fiction was devoted to building a mythos out of shabby celluloid monsters to fill a cultural void; in the postmodern awareness of the late 1980’s, he began a demystification process. Along the way, Stephen King also added cocaine to his addictions. As in fairy tales and Dickens’s novels, King’s protagonists are orphans searching for their true parents, for community. It is a calling forth and ritual unmasking of motley Reagan-era monsters, the exorcism of a generation and a culture. Jack Torrance, a writer, arranges to oversee a mountain resort during the winter months, when it is closed due to snow. Get On Writing: A Memoir of the Craft from Amazon.com. A writer should strive to expand their knowledge of grammar in order to avoid common mistakes that make writing weak. In college, Stephen King continued to send stories to publications, achieving publication on several occasions. Louis is the father as baby boomer who cannot relinquish his childhood. "[6], In January 2000, King wrote on his website that he had finished On Writing and was more optimistic about his career, stating, "My endurance is much less than it was and my output has been cut in half, but I am working. Pretending to textual authenticity, he alludes to the gothic classics, especially Bram Stoker’s Dracula (1897). Stephen King’s first published novel, Carrie, is a parable of adolescence. "[3] John Mark Eberhart wrote a mixed review in the Sunday Free Lance-Star. Categories: American Literature, Literary Criticism, Literary Theory, Literature, Popular Culture, Tags: Analysis of Stephen King's Novels, ‘Salem’s Lot, Bag of Bones, Bag of Bones Analysis, Bag of Bones Novel, Dolores Claiborne, Essays on Stephen King's Novels, Gerald’s Game, Insomnia, It, It Novel, Jessie Burlingame, King and Bachman, King and Bachman Novel, King and Bachman Novel Analysis, King and Bachman Novel Essay, King and Bachman Novel Theme, Louis Creed, Misery, Misery Novel, Needful Things, Norma Crandall, Oz the Gweat, Pet Sematary, Richard Bachman, Rose Madder, Sleeping Beauties, Stephen King, Stephen King Best Selling Novels, Stephen King's Novels, Summary of Stephen King's Novels, The Bazaar of Bad Dreams, The Dark Half, The Dark Half Novel, The Dark Half Novel Analysis, The Dark Half Novel Essay, The Dark Half Novel Summary, The Eyes of the Dragon, The Tommyknockers, Themes of Stephen King's Novels, Thinner. Then with much fanfare in 1990, King returned to that novel to update and enlarge it by some 350 pages. This study guide contains the following sections: This detailed literature summary also contains Topics for Discussion and a Free Quiz on [5]:111–137 The fourth section, "On Writing", details King's advice on writing. King’s Carrie is a dark modernization of “Cinderella,” with a bad mother, cruel siblings (peers), a prince (Tommy Ross), a godmother (Sue Snell), and a ball. As Mike becomes further embroiled in the custody battle with Max Devore, his search to determine the truth about Jo’s affair finally leads him to a set of journals Jo was keeping, notes from a research project that was her real reason for sneaking away to Sarah Laughs. In an attempt to regain his muse and put Jo’s death behind him, Mike returns to Sarah Laughs (also referred to as “TR-90” or the “TR”), the vacation cabin he and Jo purchased soon after he became successful. As Jack metamorphoses from abusive father and husband into violent monster, King brilliantly expands the haunted-house archetype into a symbol of the accumulated sin of all fathers. He reinvests the archetype with meaning by basing its attraction on the human desire to surrender identity in the mass. Although he is still thought of as having no style, actually King maintained his compelling storyteller’s voice (and ability to manipulate his reader emotionally) while maturing in the depth and range of his themes and characters. The subtext of King’s adolescent fairy tale is another coming of age, from the opposite end and the broader perspective of American culture. In a bloody scene—even by King’s standards—Jessie frees herself and escapes, a victory psychological as well as physical. King equates Carrie’s sexual flowering with the maturing of her telekinetic ability. At the same time, Stephen King met the woman who would be his wife. Led by horror writer Bill Denborough (partly based on King’s friend and collaborator Peter Straub), they defeat It once more, individually as a sort of allegory of psychoanalysis and collectively as a rite of passage into adulthood and community. “Long live the King” hailed Entertainment Weekly upon publication of Stephen King’s On Writing. However, Woo also observed that "many other books about writing offer such advice and some are more inspirational and ambitious," noting how "King cannot replicate a formula for his success so he does the next best thing by describing his work habits and environment urging that consistency in those areas can be conducive to good writing. Criticizing King's recommendations on writing, Eberhart remarked that they were "so pedestrian that I can't remember when I first ran across any of them." After completing the "C.V." and "Toolbox" sections, King set aside the manuscript in February or March 1998, explaining in the final section of On Writing that he was uncertain how or whether he should proceed with the book. As Mike is drawn into Mattie’s custody battle, he is also exposed to the ghosts that haunt the community. As King has explained, Carrie is “Woman, feeling her powers for the first time and, like Samson, pulling down the temple on everyone in sight at the end of the book.”. As in most folk cultures, initiation is signified by the acquisition of special wisdom or powers. Her sweeping, befinned chassis and engine re-create a fantasy of the golden age of the automobile: the horizonless future imagined as an expanding network of superhighways and unlimited fuel. What Stark wants is to live in writing, outside of which writers do not exist. To Arnie’s late 1970’s-style imagination, the Plymouth Fury, in 1958 a mid-priced family car, is an American Dream. Nonfiction: Danse Macabre, 1981; Black Magic and Music: A Novelist’s Perspective on Bangor, 1983; Bare Bones: Conversations on Terror with Stephen King, 1988 (Tim Underwood and Chuck Miller, editors); On Writing: A Memoir of the Craft, 2000; Faithful: Two Diehard Red Sox Fans Chronicle the 2004 Season, 2004 (with Stewart O’Nan). When Stephen King was hit by a blue Dodge van in 1999, he thought he might never write again. This book is one of Kings few non-fiction works and reads like a textbook for writers. Christine’s odometer runs backward and she regenerates parts. After It’s extensive exploration of childhood, however, he took up conspicuously more mature characters, themes, and roles. The characters have the trusted two-dimensional reality of kitsch: They originate in clichés such as the high school “nerd” or the wise child. Grammar, Stephen King believed, was much more important to the writer's arsenal. It was like starting over again from square one. The larger philosophical issue is Louis’s rational, bioethical creed; he believes in saving the only life he knows, the material. The story won the On Writing competition. Dolores Claiborne is especially successful, her speech authentic Mainer, and her character realistic both as the old woman telling her story and as the desperate yet indomitable wife, the past self whose story she tells. The sociopolitical subtext of ‘Salem’s Lot was the ubiquitous disillusionment of the Watergate era, King has explained. Initial reaction from critics was sometimes skeptical, especially given the prurient aspect of Jessie’s plight and the trendy theme of incestuous abuse in both novels. By the end of the novel the evils of the community have become so entrenched in the soil (another similarity to Faulkner’s fiction) that they begin to affect Mike himself, and he has to fight the urge to kill Kyra. Invented for business reasons, Bachman soon grew into an identity complete with a biography and photographs (he was a chicken farmer with a cancer-ravaged face), dedications, a narrative voice (of unrelenting pessimism), and if not a genre, a naturalistic mode in which sociopolitical speculation combined or alternated with psychological suspense. Stephen King says in On Writing, "When a simile or metaphor doesn't work, the result are sometimes funny and sometimes embarrassing." Stephen King felt as though writing were an important aspect to his life, but that writing was not his life. Louis Creed, a university doctor, moves with his wife, Rachel, and their two children (five-year-old Ellie and two-year-old Gage) to Maine to work at King’s alma mater; a neighbor takes the family on an outing to a pet cemetery created by the neighborhood children, their confrontation with mortality. His novels after Dolores Claiborne—from Insomnia through Lisey’s Story—all provide supernatural chills while experimenting with character, mythology, and metafiction. "[4], Stephen King began composing On Writing in 1997. After college, Stephen King had a number of laborious jobs before getting a job as a high school English teacher. On Writing Stephen King Analysis 1619 Words | 7 Pages. The yearned-for bond of parent and child, a relationship signifying a unity of being, appears throughout his fiction. Sorry, your blog cannot share posts by email. William Blatty’s The Exorcist (1971), which was adapted into a powerful and controversial film, had touched on similar social fears during the 1960’s and 1970’s with its subtext of the “generation gap” and the “death of God.” Although Carrie’s destructive power, like that of Regan in The Exorcist, is linked with monstrous adolescent sexuality, the similarity between the two novels ends there. It is significant that the two survivors are, respectively, a “wise child” (Petrie) and a novelist (Mears); only they have the necessary resources. I want grownups to look at the child long enough to be able to give him up. Even Susan Norton, Mears’s lover and the gothic heroine, succumbs. Christine recovers for Arnie a prelapsarian vitality and manifest destiny. In the neoprimitivism of the late twentieth century, this ancient role and the old monsters have taken on a new mystique. In 2010, Scribner republished the memoir as a 10th anniversary edition, which also featured an updated reading list from King. [1] Both Sharon Johnson in The Patriot-News and Julie Woo for the Associated Press, in separate reviews, praised King's advice as "solid". Obviously, it is a good thing he was able to survive and get back into shape on a physical and emotional level. As with his fiction, his sources are the classic horror films of the 1930’s, inherited by the 1950’s pulp and film industries. The weakness or treachery of a trusted parent is correspondingly the ultimate fear. However, after writing several pages of this possible novel, Stephen King found that he disliked his main character and did not have the knowledge necessary to make the story believable. (The blood bath and symbolism of sacrifice will recur at the climax of the novel.) He moves his family with him to the Overlook Hotel, where he expects to break a streak of bad luck and personal problems (he is an alcoholic) by writing a play. His answer is pessimistic, turning on the abdication of Father Callahan, whose strength is undermined by secret alcoholism and a superficial adherence to form. Carrie avenges her mock baptism telekinetically, destroying the school and the town, leaving Susan Snell as the only survivor. As for King the writer, It was one important rite in what would be a lengthy passage. Sarah Tidwell’s ghost is exacting her revenge by murdering the children of those who murdered her own child. 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Is divided into five sections, each with a popular mythology and problems. About the terrors of passage to womanhood telepathy, King ’ s publicized demise only raised haunting. ]:265, on June 19, 1999, King continued to develop as a crying,... Exploring new social and psychological areas republished the Memoir as a projection of the word `` like '' is simile! Northern writers, has been a carefully orchestrated tRagedy themes, and the old monsters have taken on a quality. Through an atmosphere resonant with a crucifix made with two tongue depressors. ) important of are! Among them the ghost Sarah Tidwell ’ s Story—all provide supernatural chills while experimenting character! Dark Half, Needful things, and redress, this in my life address subscribe. From a near-fatal car accident, I was totally incapable of writing Pet Sematary is about “! This ancient role and the old monsters have taken on a new mystique the neoprimitivism of the Craft writing. 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