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It is a book as extravagantly inventive as any in King's pantheon, and a careful study of self-haunting: "You take yourself with you, wherever you go.
If he hesitated to write in this much depth about AA, it was only because he wanted to get it right.
To write what you know about any particular situation. And I never say to anybody, 'This is all from my experience in AA,' because you don't say that.
And they say, 'That's the end; we're not going to drink any more. You ought to see Dan at his worst. Something where you actually hit rock bottom. Of course, in a novel, you're looking for something that's really harsh. Harshly lit. I'll keep that one to myself. The tentacle reach of history has always interested King — "What's inside your head grows. And you don't have any sense of proportion until you see how other people react to it" — as has the futility of trying to escape it. And I wanted to see what would happen with that.
I had a busy public life and a lot of those things got a bit ragged by the end. I didn't go out and drink in bars, because they were full of assholes like me.
He felt under such tremendous pressure during those years, he says, that it was as if "battery cables were hooked up to your head. And then I had to correct papers — more of the same.
And there was very little time left for my own work. There was no discussion of me quitting. We would have had nothing to live on. It was like somebody yelled, 'Fire! Most of his friends weren't even married.
He bursts out laughing. Tabby was And then it seemed like a great idea to give Naomi a brother or sister. During one particularly frenzied period, King bashed out The Running Man in a week. A week! I was white hot, I was burning. That was quite a week, because Tabby was trying to get back and forth to Dunkin' Donuts and I had the kids.
It seemed like it snowed the whole week, and I wrote the book. Couldn't sell it. The better question, Bill says, is why do they come in that particular form? Why horror?
King has always recoiled from glib readings of a childhood rift in his psyche: a father who left when King was an infant, never to return.
But it was through his father that he discovered writing: a book he found in the attic, which his father left behind.
King read it as a boy and something pinged in his brain. That was enough for the Kings to download a new car. In Dr Sleep, the serial killers appear with "faces like old apples and the moon shone right through". Danny, in the hospice, observes of a dead patient, "inside was all the clockless silence of death".
It's what King does best, matching dim fears with indelible images, and it is recognised these days as a rare talent.
For a long time this wasn't the case. Condescension and a certain amount of hostility used to mark the critical reaction, and because of that, perhaps, he is belligerently against what he sees as rarefied writing types.
Stuttering Bill Denbrough in It storms out of a college writing class when the instructor sneers at his horror story. I mean… can't you guys just let a story be a story? She's dense, she's allusive. She's a gorgeous storyteller.
But three books in 30 years?
That makes me want to go to that person and grab her by the shoulders and look into her face and say, 'Do you realise how little time you have in the scheme of things? He smiles. He also thought Jack Nicholson hammed it up appallingly, and Shelley Duvall as Wendy was "insulting to women.
It's a bit like that. It's fucking nasty. Get A Copy.
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