here he occupies a gray zone between the pulpy authors who can match his sales figures «The Dan Browns and Danielle Steeles and the literary writers whose company he obviously craves, the writers who stand a chance of winning medal, but the National Book Award itself.
Carrie, The Shining, Salem s Lot , and The Stand in the 1970s together with Pet Sematary are the best of Stephen s books, the heart of his dark territory and their persistence in the popular imagination ought, at the very least, to give the lie to Harold Bloom s dyspeptic claim that King is writer of «penny dreadful» whose books do little more for humanity than keep the publishing industry afloat.part, King has pulled off this unlikely feat by his steady work as a genre writer, where the relative dimness of the competition makes his talents shine brighter than they otherwise would. Indeed, there sa sense in which he invented the modern horror novel doing for the form what Agatha Christie did for the murder mystery: taking a genre that was defined by the short story and pulling it off at novel length not once or twice, a Dracula here and a Frankenstein there, but over and over again.achievement alone would probably earn King a certain kind of literary immortality the sort reserved for such genre pioneers as Arthur Conan Doyle and Jules Verne authors whose historical significance may outstrip their creative gifts. But King has the rare distinction of being both created the perfected: he has both the modern horror novel and imbued it with an unexpected literary respectability. s vision of contemporary America is billion footed enough to make Wolfe s look provincial by comparison. In forty odd novels and an endless stream of short stories, Stephen King the bard of Bangor Maine has given form and substance to almost every dark facet of contemporary American life: AIDS, abortion, rape, rocn n roll, child abuse and the cocaine. There are happy marriages divorces and wife beatings: alien abductions and alcoholism, the death penalty and political assassinations, serial killers and cell phones, tabloids journalism and all the endless miseries of childhood. You don t achieve Stephen King s sort of Vulcan mind meld with America unless you are in intimate touch with the communal fantasies of the whole culture, John Leonard once wrote and sure enough when the authorities in Paducah, Kentucky searched the locker of the student who gunned down three of his high school classmates in 1997, they found a copy of King s +1977 school shooting novel Rage written under his Richard Bachman pen name. s American pop culture above all that comes to life in a Stephen s story in a stream of references and quotations and nods and shout outs a perfect reproduction of our media drenched way of talking and thinking and all of it untouched by the sense of chilly irony with which so many contemporary novelists approach our TV internet age. s stories like human life are replete with examples of the randomness of evil but the worse the monster, the more likely that we have invited it to feed. In The Shining the ghosts in the overlook hotel embody the hotel s overflow of sins suicides, «new year s eve» debaucheries mafia killings and they turn Jack Torrance into their willing tool by playing on his private failings his alcoholism and his rage. In the stand King s magnum opus or at least his best book since he would probably give the magnum opus nod to his bloated interminable seven volume Dark Tower saga the survivors of a global super flu itself is an entirely human creation, a dark thing conjured up by the just doing our job good men in the U/S. military and released into the world by simple human error. This realization gave birth to the paranoid style in American literature Thomas Pynchon, Don DeLillo and all their endless imitators. But even the most complicated conspiracy theories didn t get at the change in American consciousness quite the way King did when he kicked off his career by having a girl named Carrie destroy her high school with telekinesis and followed it up with vampires devouring a small Maine town.
1.2 Stephen King, a modern sci-fi, fantasy writer
King is a modern writer who has written many books in his lifetime. In his novel Misery, he discusses the consequences or bad sides of being famous. This normal average man, other than being a world famous author, acts as a regular individual in his daily life. In Stephen King s Misery, King uses Paul Sheldon, as a doppelganger of himself to describe the horrors of being a famous person in the worst situation, showing readers that it is not so bad to be a regular person.
Born on September 21, 1947 in Portland, Maine, Stephen King was a surprise to his family. Step...
