Part of my “holiday reads” for grown ups. What better Halloween author than Stephen King?
The Plot: Four stories.
In 1922, a man who loves his farm decides that his wife is what stands between him and a happy life farming. He involves his son, and winds up losing and he wanted to hold onto.
Big Driver is about the victim of a violent rape who decides to take justice into her own hands. The victim happens to be a writer of cozy murder mysteries and discovers that difference between real life and fiction.
In Fair Extension, a man makes a deal to have everything he ever wanted, and part of what he wants is his “best friend” to not be successful. It’s schadenfreude taken to an extreme level. What’s the price paid for such a deal?
Finally, the woman in A Good Marriage believes she has a good marriage, and the proof is the long marriage, the two successful children. What’s a good wife to do when she realizes her husband is a serial killer?
The Good: Each of these four stories has a vaguely supernatural air about it. The story with the strongest supernatural quality, 1922, can also be read as a psychological horror story — the Tell Tale Heart. Only with rats.
I enjoy Stephen King’s books; when I compare books I read to him, it’s a very big complement. If I had to pick only one author that would still be read a hundred years from now, it would be Stephen King. For all that, for all that I love The Stand and The Shining and his other books, I think it’s his short stories that are his most powerful. Building a world in hundreds of pages? Easy, you have hundreds of pages! Building that same world in a handful of pages? Now that is talent. King writes horror, and I enjoy the horror he writes, but some of his most terrifying writing has not been about vampires and killer cars but about the loss of a child, the death of a sibling. These are the types of stories in Full Dark, No Stars. They scare the reader because they hold up a mirror to show something the reader doesn’t want to see, a window into what they fear is happening in the house next door.
What is really scary, for each of the stories, is not the ghosts or devil or other fantastical elements — it’s the everyday aspects of the stories. A man angry at his wife, who convinces his son to take sides, concerned only with “winning” his child, “winning” his farm, and is so focused on hurting his wife in order to “win” that he doesn’t realize the hurt he inflicts on his son and himself. A woman, beaten, raped, left for dead, who doesn’t want to go through life labelled a victim so takes the law into her own hands. The jealousy and resentment one feels towards one friends. And, the dilemma being between a rock and a hard place: expose a husband’s crimes and destroy the lives of your children who will forever be known as killer’s kids. All of those are about the real fears and temptations and choices people face. This is why Stephen King is a magnificent writer: because he gets into people’s heads, is fearless about showing the good, the bad, the gray, the dark wishes and dark choices.
In the Afterword, King writes that “I felt that the best fiction was both propulsive and assaultive. It gets in your face. Sometimes it shouts in your face. I have no quarrel with literary fiction, which usually concerns itself with extraordinary people in ordinary situations, but as a reader and a writer, I’m much more interested by ordinary people in extraordinary situations. i want to provoke an emotional, even visceral, reaction in my readers. Making them think as they read is not my deal. I put that in italics, because if the tale is good enough and the characters vivid enough, thinking will supplant emotion when the tale has been told and the book set aside (sometimes with relief.”
The book has been set aside, and now the thinking . . . . It is not fearing a vampire child floating outside the window; it is fearing at what point one loses ones soul because they delight in the downfall of another. It is in discovering the consequences of taking a wrong detour. What would one do to survive?