Danse Macabre

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This really comes to light in The Green Mile, where an aged Paul Edgcomb writes the first few chapters as though Coffey did murder those girls, despite the main plot point in the last half being the fact that he's actually innocent. He wrote the novel in installments, and admitted in the foreword of the first book that he himself may not even know how this thing ends. The resolution to the subplot with Mr. Jingles the mouse was added at the last minute when his wife asked what happened to him; King himself had completely forgotten he'd written a seemingly immortal mouse into the story. we need ghost stories because we, in fact, are the ghosts.” ― Stephen King, quote from Danse Macabre

All First-Person Narrators Write Like Novelists: Various stories end as if it's someone writing up their memoirs. Dark Scribe Magazine - 4th Annual - Nominees". Dark Scribe Magazine. December 2, 2010 . Retrieved February 26, 2021. Stephen King Accepts the 2003 Medal for Distinguished Contribution to American Letters". National Book Foundation. February 25, 2016 . Retrieved March 2, 2021. SK discusses his childhood , films and their impact on him , Westerns , and archetypes in "Danse Macabre". I personally find "Danse Macabre" FAR more useful for understanding his work than "On Writing" despite the fact that "Danse Macabre" is ostensibly about horror films and literature. But on another, more potent level, the work of horror really is a dance—a moving, rhythmic search. And what it’s looking for is the place where you, the viewer or the reader, live at your most primitive level. The work of horror is not interested in the civilized furniture of our lives. Such a work dances through these rooms which we have fitted out one piece at a time, each piece expressing—we hope!—our socially acceptable and pleasantly enlightened character. It is in search of another place, a room which may sometimes resemble the secret den of a Victorian gentleman, sometimes the torture chamber of the Spanish Inquisition . . . but perhaps most frequently and most successfully, the simple and brutally plain hole of a Stone Age cave-dweller. Is horror art? On this second level, the work of horror can be nothing else; it achieves the level of art simply because it is looking for something beyond art, something that predates art: it is looking for what I would call phobic pressure points. The good horror tale will dance its way to the center of your life and find the secret door to the room you believed no one but you knew of—as both Albert Camus and Billy Joel have pointed out. The Stranger makes us nervous . . . but we love to try on his face in secret.”Announcing the Winners of the 2012 Goodreads Choice Awards!". Goodreads . Retrieved February 27, 2021.

Cozy Voice for Catastrophes: King is acclaimed for his folksy, down-home prose, often compared to a someone telling a stories around a campfire. He uses a lot of slang, a lot of pungent metaphor, and makes frequent reference to pop culture. The Long Walk (1979) — In a dystopian alternate version of 1980s America, the government runs a grueling endurance contest every year, with a grisly end for those who can't finish. The story follows one year's Walk, with predictable results. After decades in Development Hell, in 2019 director Andre Ovredal was tapped to film an adaptation. Desperation (1996) — AU version of The Regulators. Travelers get caught in the wrong desert, in the wrong little town, at the absolute worst time. Made into a TV movie featuring Ron Perlman as the crazy demon-possessed sheriff. Has ties to the Dark Tower series.

Novels, novellas, and short stories

Ax-Crazy: His favorite type of villains seem to be ones who are just frothing, sadistic lunatics. Even if they start out stable and polite on the surface, they often devolve into this by the end. Lccn 79028056 Ocr tesseract 4.1.1 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_module_version 0.0.5 Ocr_parameters -l eng Openlibrary OL4423438M Openlibrary_edition The final chapter works as a conclusion of sorts, offering a final analysis of why people feel the need to watch and read horror. However I got a little spark of a thought. Could there be a case for another tarot card - the Frankenstein's Monster? A monster that is not intrinsically evil, but is by its actions or human prejudice is perceived to be evil. The monster is really just trying to survive the only way it knows and humans are not really that important to it, although it will cause harm and deaths (otherwise it wouldn't be a monster)? In this case Frankenstein's monster is probably a bad example - he becomes evil to get revenge on his maker, so is it really a 'Thing'...