2016 Bookmatter TeachingStephenKing

Notes
Chapter 1
1. Allen’s choice of Dickens as the “literary” in contrast to King’s populist is

interesting, as there have been comparisons between King and Dickens drawn
throughout much of King’s career, including Dickens’s long-time dismissal
by his contemporary critics as a populist writer pandering to his audience.
As fellow writer Peter Straub comments in Jane Ciabattari’s “Is Stephen King
a Great Writer?”, King’s “readership is even larger and more inclusive and
the similarities between King and Dickens, always visible to those who cared
for King’s work, have become all but unavoidable. Both are novelists of vast
popularity and enormous bibliographies, both are beloved writers with a pro-
nounced taste for the morbid and grotesque, both display a deep interest in
the underclass” (qtd. in Ciabattari).
Chapter 2
1. The theme of small town secrets is a familiar one for King, a central factor
in several of his books. In addition to Jerusalem’s Lot, some of King’s other
notable small towns include Castle Rock, Derry, and Haven, all of which are
fictional towns in King’s Maine and the settings of several of his novels.
2. Chapter 11 focuses exclusively on King and graphic novels, including an
overview of graphic novel conventions and terminology.
Chapter 3
1. As Charlotte F. Otten outlines the outcome of Grenier’s case, “The court, rec-
ognizing his mental aberration and limited intelligence, sentenced him to life
in a monastery for moral and religious instruction. He died there at age twenty,
scarcely human” (9). Other accused werewolves weren’t so lucky and often “the
rudimentary proceedings and the mass executions bore something of the same
hysteria as such manifestations of the Salem witch trials” (Copper 27).
2. Cycle of the Werewolf’s structure is also unique in that King originally imagined it
as text to accompany a calendar, as a series of 12 monthly vignettes, echoing the
lunar pattern of the werewolf ’s transformation at the coming of the full moon.
178 NOTES
3. LeBay’s brother has his doubts about the nature of these deaths, however.
When Dennis pushes George LeBay for the rest of the story, George tells him
that after his daughter’s death, “Veronica wrote Marcia a letter and hinted that
Rollie had made no real effort to save their daughter. And that, at the very end,
he put her back in the car. So she would be out of the sun, he said, but in her
letter, Veronica said she thought Rollie wanted her to die in the car” (Christine
433), a choice Dennis interprets as an act of “human sacrifice” (ibid.). George
also has his doubts about his sister-in-law’s suicide, telling Dennis “I’ve often
wondered why she would do it the way she did—and I’ve wondered how a
woman who didn’t know the slightest thing about cars would know enough to
get the hose and attach it to the exhaust pipe and put it through the window. I
try not to wonder about those things. They keep me awake at night” (Christine
434). Beyond the many literal ghosts that populate Christine, George LeBay is
haunted by these unanswered questions, just as Dennis will be haunted by the
myriad ways in which he was unable to save Arnie.
4. According to the National Institute of Mental Health, with schizophrenia,
“People with the disorder may hear voices other people don’t hear. They may
believe other people are reading their minds, controlling their thoughts, or
plotting to harm them. This can terrify people with the illness and make
them withdrawn or extremely agitated” (“What Is Schizophrenia?”). While
the effects of schizophrenia can include hallucinations and delusions, in truth
schizophrenics don’t usually experience the multiple personalities exhibited by
Mort Rainey.
5. The second book of King’s Dark Tower series, The Drawing of the Three (1987),
features another complex dissociative character in Odetta Holmes/Detta
Walker, whose “two personalities—the sophisticated and wealthy Odetta and
the uneducated and vulgar Detta—lead separate lives, completely unaware of
each other” (Strengell 72).
6. King keeps the supernatural possibility alive as well, as at least a partial expla-
nation. A witness tells Amy about seeing Mort talking to Shooter: “according
to what Sonny says, Tom looked in his rear-view mirror and saw another man
with Mort, and an old station wagon, though neither the man nor the car had
been there ten seconds before . . . [B]ut you could see right through him, and the
car, too” (Secret Window 380, emphasis original).
7. Rage is discussed at length in Chapter Six.
8. Many readers and critics wondered why King had chosen to publish under a
pseudonym, when his own name and work had begun to be so well known
and popular and this is a question he addressed in his introduction to the col-
lected Bachman Books, in an essay titled “Why I Was Bachman.” One of the
main reasons he discusses is, in fact, to directly counter the fame he had already
achieved early in his career. As King says, “I think I did it to turn the heat
down a little bit; to do something as someone other than Stephen King. I think
that all novelists are inveterate role-players and it was fun to be someone else
for a while—in this case, Richard Bachman” (“Why I Was Bachman” viii). He
addressed this question from another angle and in further detail on the “Fre-
quently Asked Questions” section of his official website, where he says that “I
NOTES 179
did that because back in the early days of my career there was a feeling in the
publishing business that one book a year was all the public would accept [from
an author] but I think that a number of writers have disproved that by now . . .
[Writing as Bachman] made it possible for me to do two books in one year. I
just did them under different names and eventually the public got wise to this
because you can change your name but you can’t really disguise your style.”
Chapter 4
1. This argument appears in the novel’s preface, which bore Shelley’s name but
was in actuality written by her husband, Percy Bysshe Shelley.
2. When the dying Pascow begins speaking of the pet sematary, however, Louis
finds it much more difficult to maintain his professional distance, nearly
fainting (Pet Sematary 75). Throughout the novel, Pascow continues to
refuse the easy categorization of living/dead that Louis imposes upon him,
appearing to Louis in a dream of the pet sematary and the woods beyond
(Pet Sematary 83–87) and later to warn Ellie (Pet Sematary 314).
3. In a nod to Shelley’s Frankenstein, Mary’s mother’s maiden name is Shelley
(Revival 358) and Mary has a son named Victor, who Jacobs says will be
well taken care of after her death, as payment for her willing participation
(Revival 361).
4. As Nell Greenfieldboyce explains, though many people think immediately of
“the scenes from the classic horror films, which show Victor Frankenstein in a
storm, using lightning bolts to jumpstart his creation as he cries ‘It’s alive! It’s
alive!’ … You won’t find that dramatic scene in Mary Shelley’s book.” While
Shelley refers to the rain outside and Victor’s decision to “infuse a spark of
being into the lifeless thing that lay at my feet” (51), there is no dramatic light-
ning strike at this moment of creation, though storms and lightning feature
predominantly elsewhere in Shelley’s novel.
5. Several of King’s other works take inspiration from Lovecraft as well, including
his novella The Mist (included in Skeleton Crew, 1985) and the stories “Jerusa-
lem’s Lot” (in Night Shift) and “Crouch End” (in Nightmares and Dreamscapes,
1993). Lovecraft’s inspiration can also be seen in King and Hill’s In the Tall
Grass, which is discussed in Chapter 10 on ebooks.
Chapter 5
1. The zombie permutation of the undead monster is an exception to this tradi-

tion, as discussed in the previous chapter.
2. In “‘Truth Comes Out’: The Scrapbook Chapter,” Tony Magistrale argues that
King positions readers uniquely alongside Jack as he pages through the scrap-
book, implicating the readers themselves in the fascination with and hauntings
perpetrated by the hotel. As Magistrale writes, the “third-person narrative per-
spective . . . helps to create a sensation in the reader of peering over Torrance’s
shoulder as he reads along, even pausing with him to consider the implications
180 NOTES
of what is revealed. We become co-conspirators with Jack, involved in a subtle

collusion that is so compelling because it delves into a yet undisclosed record
of evil” (41).
3. Garris has directed several King adaptations for television movie and minise-
ries format, including The Stand (1994), Desperation (2006), and Bag of Bones
(2011). Garris also directed the film adaptation of Riding the Bullet (2004),
which had limited theatrical release.
4. Nearly a century has passed since Sara’s rape and murder when Mike begins
asking his questions. Much has changed in the TR-90, though this pervasive
racism remains, ugly and persistent, acting as an excuse for those who know the
TR’s troubling history. Before Mike starts digging into this dark past, he consid-
ers his caretaker Bill Dean one of his closest friends, a man who will always tell
him the truth and speak straight with him. However, when Bill confronts Mike
about his late wife’s research, he tells Mike that Sara and the Red-Tops “were
just . . . just wanderers . . . from away” (387). Mike hears what Bill says, as well
as what he doesn’t say: as Mike knows instinctively, in one more side effect of
“the zone,” Bill “hesitated in the middle of his thought, substituting wanderers
for the word which had come naturally to mind. Niggers was the word he hadn’t
said. Sara and those others were just niggers from away” (King 388, emphasis
original). The racism that motivated Jared and his men’s murder of Sara still
influences the life of the TR, if more covertly than in its earlier incarnation.
Chapter 6
1. First editions of Rage as a stand-alone novel are much harder to come by. As
Business Insider’s Cory Adwar explains, “In BookFinder.com’s list of the 100
most sought-after out-of-print books of 2013, Rage is ranked higher than any
other novel, at number two overall. Used copies of the first printing paper-
back are currently on sale online for anywhere between $700 and upwards of
$2,000” (Adwar). King is well represented further down this list as well, with
his “My Pretty Pony” (1989), which was part of a Whitney Museum of Ameri-
can Art series limited edition, at Number 3 and his standalone novella The
Body (which is also included in the 1982 collection Different Seasons) at Num-
ber 16 (“11th Annual BookFinder.com Report”). In the 2014 BookFinder.com
list, Rage dropped to Number 5 and “My Pretty Pony” fell to Number 22; The
Body rose to Number 4 and King’s The Colorado Kid was added to the list at
Number 6, securing King three of the top ten spots in the 2014 list (Carswell).
2. Chokshi’s article points out the significant debate over what counts as a school
shooting, which the research cited in Chokshi’s story defined as “any instance of a
firearm discharging on school property . . . thus casting a broad net that includes
homicides, suicides, accidental discharges and, in a handful of cases, shootings
that had no relation to the schools themselves and occurred with no students
apparently present” (Chokshi). This question of definition, methodology, and
quantification highlights just “how difficult quantifying gun violence can be”
(Chokshi), though doing so is a first—and foundational—step in addressing and
NOTES 181
responding to this violence. As Chokshi summarized the research data of these

74 incidents, 20 of these resulted in at least one victim being fatally injured,
while 53 resulted in victim injuries, with overall totals of 36 students injured and
10 killed (ibid.). In terms of location, “35 shootings took place at a college or
university; 39 shootings took place at a school that teaches grades K-12” (ibid.).
While there are still many instances of “traditional,” Columbine-style school
shootings, this seems to show that schools have frequently been the site of other
types of violent incidents in recent years.
3. This speech is available in its entirety online, both in video and transcript
formats.
4. See Chapter Ten for a more extensive discussion of King’s ebook publication of
both fiction and non-fiction works, including Guns.
Chapter 7
1. However, it should be noted that some of the essays included in this collec-
tion argue on behalf of the increasing strength and complexity of King’s female
characters, including Carol A. Senf ’s “Gerald’s Game and Dolores Claiborne:
Stephen King and the Evolution of an Authentic Female Narrative Voice.”
2. Characters who hear voices in their heads are frequent in King’s fiction, espe-
cially when those characters have suffered significant trauma. In Gerald’s Game,
Jessie hears the voice of Ruth and the status quo-reinforcing imprecations of a
persona she refers to as Goodwife Burlingame, though she knows these are
all variations of her own voice and her own thoughts, rather than external or
potentially schizophrenic intrusions. As Senf argues, “Jessie’s decision to listen
to her own inner voice rather than to the voices that she hears around her and
her decision to take charge of her life, come at the end of the novel and indicate
Jessie’s growing realization of her own strength. Listening to others is a form of
victimization. Having allowed herself to be victimized by both her parents and
her husband, she decides that she will not continue to be a victim” (“Gerald’s
Game and Dolores Claiborne” 98). This is a theme that carries through other of
King’s works that feature sexual violence as well. For example, in King’s rape-
revenge novella Big Driver, published in the collection Full Dark, No Stars, Tess
hears voices as she recovers from her rape and decides to get revenge on her
rapist, including investing her GPS and her cat Fritz with voices of their own. In
A Good Marriage, another novella included in Full Dark, No Stars, Darcy dis-
covers that her husband is a sadistic serial killer, who rapes, tortures, and mur-
ders women; as she struggles to cope with this horrifying discovery, she divides
herself into different elements of her identity, separately referring to them as
“Smart Darcy,” “Stupid Darcy,” and “The Darker Girl.” Finally, in King’s story
“The Gingerbread Girl,” when Emily faces the threat of rape and murder, she
hears her father’s voice in her head, instructing her as she works to escape. In
each of these cases, as well as in Gerald’s Game, the female characters acknowl-
edge that these voices are variations of their own, designed to help them cope
with, endure, and survive the trauma at hand.
182 NOTES
3. This reference echoes the song “Really Rosie,” featured in a short animated film
of the same name, with music and lyrics by Maurice Sendak, who is best known
for the 1963 children’s classic Where the Wild Things Are.
Chapter 8
1. King’s epic novel IT is a coming of age story on a grand scale, centered on a

group of seven 11-year-old children who battle the monstrous horror feeding
upon Derry, then are called back once again as adults twenty-seven years later. IT
can be a challenge to incorporate into the classroom, given its prodigious length
of more than one thousand pages, though it could be productively included
through excerpts or within a structure in which students individually self-select
which King works they would like to read.
2. As Campbell explains in The Hero with a Thousand Faces, “The standard path
of the mythological adventure of the hero is a magnification of the formula
represented in the rites of passage: separation—initiation—return” (Campbell
30, emphasis original). Within this formula, “A hero ventures forth from the
world of common day into a region of supernatural wonder: fabulous forces are
there encountered and a decisive victory is won: the hero comes back from this
mysterious adventure with the power to bestow boons on his fellowman” (30).
3. The Body and Carrie can be effectively put into conversation with one another
in their common theme of adolescent vengeance; as Linda Badley argues in
“Stephen King Viewing the Body,” “‘The Revenge of Lard Ass Hogan’ is Carrie
in drag” (165). Bodily fluids and abjection are another uniting theme between
these two teens who’ve been pushed too far, with vomit in “The Revenge of
Lard Ass Hogan” echoing the significance of blood in Carrie.
4. Blood is a powerful theme throughout the novel as a whole, signaling both
maturation and abjection, with the coming of Carrie’s period, the pigs’ blood
Sue and Billy dump on Carrie at the prom, the bloodshed of Carrie’s rampage,
and with Sue Snell in the novel’s final pages, the coming of blood that can argu-
ably be interpreted as either a late-arriving period or a miscarriage.
5. This conclusion has led many critics to criticize Carrie White among King’s
representations of monstrous and one-dimensional female characters. For
example, as Shelley Stamp Lindsey writes of DePalma’s film version of Car-
rie, “Not only is Carrie a female monster, but sexual difference is integral
to the horror she generates; monstrosity is explicitly associated with men-
struation and female sexuality” (284). This critical response also positions
Carrie effectively in the conversation surrounding King’s other representa-
tions of female characters and violence against women, discussed in the
previous chapter.
6. Adolescent and high school bullying is still a serious issue and this theme
is likely one of the reasons that Carrie continues to be so powerful, partic-
ularly among young adult readers. The face of bullying has changed signifi-
cantly from 1974 to now, including the influence of social media, though the
emotional trauma remains largely unchanged. In her 2013 film adaptation of
NOTES 183
Carrie, director Kimberly Peirce—who also directed Boys Don’t Cry (1999),
which focused on the harassment and murder of transgender teen Brandon
Teena—highlighted the significance and potentially deadly impacts of bully-
ing. As Jamie Frevele writes in the article “Kimberly Peirce’s Remake of Carrie
Will Have an Anti-Bullying Message” for the website The Mary Sue, Carrie is
“a typical revenge story, but for many teenagers who are bullied for lesser rea-
sons than being (let’s admit this to ourselves) a total freak, it might hit close to
home. Especially now that a very bright spotlight has been put on standing up
to bullying and supporting bullied kids so they don’t do something harmful to
themselves or others” (Frevele). In addition to touching a chord with bullied
teens, Peirce’s film also modernized the context of Carrie’s bullying, with Chris
using her phone to record a video of the locker room attack, then posting it to
the Internet and projecting it on a large screen at the prom, using technological
as well as face-to-face tactics to torment Carrie.
Chapter 9
1. King briefly mentions both of these examples in his foreword to The Two Dead
Girls (vii).
2. There was, of course, always the potential for failure. Some of King’s stories
have a habit of getting away from him, as his longer books like The Stand and
Under the Dome illustrate, which could have left King with a story too big for
the format he had chosen. In addition, while The Green Mile was very success-
ful, his attempts at serialization have not always been. A few years later in 2000,
King put individual installments of a novel in progress, The Plant—which he
had actually begun writing in the 1980s—up on his website, with readers pay-
ing one dollar per segment on the honor system (“The Plant: Zenith Rising”).
However, after six installments, King stopped writing. The fact that few read-
ers were paying on the honor system may have contributed to this decision;
as Gwendolyn Mariano writes, “by the fourth installment, paid readers had
dipped to 46 percent of all downloads, according to King’s assistant, Marsha
DeFilippo. She added, however, that King had decided to put ‘The Plant’ aside
before he had the final figures for his fourth installment.” As his website says,
“The novel has not yet been completed. If the inspiration does return, at some
time in the future this project will be completed but the format for its publica-
tion may be different” (“The Plant: Zenith Rising”).
3. O’Sullivan contextualizes Darabont’s 1999 film adaptation of The Green Mile
within this larger context of films about capital punishment and the death
penalty, including Dead Man Walking (1995), Last Dance (1996), and The
Chamber (1996). O’Sullivan draws particularly strong parallels between The
Green Mile and Dead Man Walking, which could form the foundation of an
interesting comparison and contrast analysis: “Frank Darabont name checks
Dead Man Walking in several ways. Tim Robbins who directed Dead Man
Walking is perhaps best known for his starring role in Darabont’s Shawshank
Redemption . . . [and] Early on in the film death-row inmate John Coffey is
184 NOTES
brought onto the mile accompanied by the hail of ‘dead man walking, dead
man walking’” (O’Sullivan 492–493). King’s novella Rita Hayworth and the
Shawshank Redemption is also a fascinating possibility for critical comparison
and contrast, with the shared themes of incarceration, wrongfully imprisoned
men, justice, and the uplifting notions of transcendence and hope.
4. While this literary and cinematic trope has a long history, including the “Uncle
Tom” figure discussed by Kent, its contemporary meaning can be identified
beginning with 1950s discussions of the film The Defiant Ones (1958), star-
ring Tony Curtis as John “Joker” Jackson and Sidney Poitier as Noah Cullen,
who are escaped convicts, chained together and at odds with one another, not
least of all because of their difference in race; however, “in the end, after many
trials and tribulations, they become friends . . . [Later] Cullen sacrifices his
own freedom to help Joker. And so the first famous Magical Negro was born”
(Okorafor-Mbachu). The conversation surrounding the “Magical Negro” got
new life in 2001 when director Spike Lee addressed it, re-coining film charac-
ters such as Michael Clarke Duncan’s John Coffey in The Green Mile and Will
Smith’s Bagger Vance in The Legend of Bagger Vance as “Super-Duper Magi-
cal Negro[es]” (Okorafor-Mbachu), addressing the “absurdity of the magical
Negro characters” (Glenn and Cunningham 138).
5. In Hollywood’s Stephen King, Magistrale points out that “The fact that he was
not immediately lynched by the mob in the very woods where he is discovered
is more surprising than his perceived association with the rape and murder
of the two white girls” (140). This possibility is also in keeping with the racial
tenor of the Depression era where “Racial violence again became more com-
mon, especially in the South. Lynchings, which had declined to eight in 1932
surged to 28 in 1933” (“Great Depression and World War II”).
6. In the film adaptation, Paul asks Coffey this question, who then goes on to
absolve Paul, forgiving him for what he must do.
7. The 2014 collection Serialization in Popular Culture, edited by Rob Allen and
Thijs van den Berg, contextualizes serialization historically and also includes
several excellent critical articles on contemporary serialized media, with sec-
tions on “Serialization on Screen,” “Serialization in Comic Books and Graphic
Novels,” and “Digital Serialization.”
8. Plympton is a “curated mobile reading service” dedicated to providing readers
with serial fiction and reading options on the go. As the homepage of their web-
site explains, Plympton’s “mission is to push the edge in what the next generation
of great storytelling should be in the digital age” (“Plympton. A Literary Studio”).
9. King’s wide range of e-reader exclusive publications is discussed at length in
the following chapter.
Chapter 10
1. Wesley, as most humans would, finds the opportunity to interfere and change
the course of the future irresistible, breaking established “Paradox Laws,”
which sets him on a collision course with King’s “low men in yellow coats”
NOTES 185
and the meta-universe of King’s fiction that revolves around The Dark Tower.
As they tell Wesley, “The Tower trembles; the worlds shudder in their courses”
(UR, ch. 7).
2. While there is a pronounced preference for e-readers and electronic rather than
standard print versions of texts among many students, popularity does not
necessarily translate into effective learning. As Ziming Liu explains in Paper
to Digital: Documents in the Information Age, according to recent research,
“nearly 80% of students prefer to read a digital piece of text in print in order to
understand the text with clarity. Nearly 68% of the respondents report that they
understand and retain more information when they read print media” (54).
Readers also engage with electronic texts differently than print texts, includ-
ing in annotation and note-taking habits. As Liu reports, according to another
study, “nearly 54% of the participants ‘always’ or ‘frequently’ annotate printed
documents, compared to approximately 11% [who] ‘always’ or ‘frequently’
annotate electronic documents” (61).
3. King’s recent collection The Bazaar of Bad Dreams (2015) includes several of
these works that were previously ebook exclusive publications, including Mile
81 and UR.
4. Both Christine and From a Buick 8 (2002) feature cars with supernatural pow-
ers, though of a very different sort. King includes a wink to these earlier works
in Mile 81, when he says that “Jimmy Golding hadn’t believed in monster cars
since he saw that movie Christine as a kid, but he believed that sometimes mon-
sters could lurk in cars” (Mile 81, ch. 5, emphasis original).
5. O’Nan’s recent novels include Wish You Were Here (2007), Last Night at the
Lobster (2008), Emily, Alone (2011), The Odds: A Love Story (2012), and West of
Sunset (2015).
6. Hill has published several best-selling horror novels, including Heart-Shaped
Box (2007), Horns (2010), and N0S482 (2012), as well as a Bram Stoker Award-
winning short story collection, 20th Century Ghosts (2005), and the Locke and
Key graphic novel series. Like King, Hill has also embraced the unique oppor-
tunities of e-publication with several Kindle Singles, including Thumbprint
(2012), Twittering from the Circus of the Dead (2013), By the Silver Water of
Lake Champlain (2014), and Wolverton Station (2014).
7. Guns is also discussed at length in Chapter Six, which focuses in part on King’s
novella Rage and its connection to school shootings.
8. The opposite is also a significant problem, with unscrupulous authors creating
fake accounts to post positive reviews of their own books in the hope of driving
future sales (Charman-Anderson).
Chapter 11
1. Hill has extensive independent graphic novel experience as well, with his stan-
dalone graphic novel The Cape (2012), the Locke & Key series, and graphic
novel adaptations of his 2013 novel N0S482, including The Wraith: Welcome to
Christmasland (2014).
186 NOTES
2. GetGraphic.org, a website developed by the Buffalo and Erie County Public

Library, has a concise PDF of “Some Graphic Novel Basics” that covers basic
terminology and reading strategies for graphic novels, with examples. It can be
found under their resources for teachers, with the link “How to Read a Graphic
Novel.”
3. King is credited as creative director and executive director of the graphic novel.
Chapter 12
1. Several excellent books have been written on King’s Hollywood adaptations,

including Magistrale’s Hollywood’s Stephen King. There are a handful of other
critical works on film adaptations of King, including The Films of Stephen King:
From Carrie to Secret Window (edited by Magistrale), as well as more fan-based
books, like Stephen Jones’s Creepshows: The Illustrated Stephen King Movie
Guide.
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Eccleston. Twentieth Century Fox, 2002.
The Advocates for Human Rights. “Shelters and Safehouses.” StopVAW.org. The
Advocates for Human Rights, 2010. Web. 22 June 2015.
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Tied To School Shootings.” Business Insider. Business Insider Inc., 1 Apr. 2014.
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Gish, Caitlin Carmichael, Anika Noni Rose. A&E, 2011.
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Index
A Blade, 13
addiction, 50, 51, 62–63, 64, 65, Blaze, 38, 73, 79. See also Bachman,
106, 174 Richard
The Adventures of Huckleberry Finn, Bloch, Robert, 52
122. See also Twain, Mark Blockade Billy, 145
“Afterlife,” 171 The Body, 6, 103, 104–108, 112, 117,
Albuquerque, Rafael, 6, 21, 22, 23, 24 174, 180n1, 182n3
aliens, 43 “The Bogeyboys,” 78–80, 84
American Vampire (series), 21, 24 The Bonfire of the Vanities, 122. See also
American Vampire, Volume 1, 6, Wolfe, Tom
21–25, 153. See also Snyder, Scott; The Book of the Dead, 59
Albuquerque, Rafael Buffy the Vampire Slayer, 12–13
“An Ancient Ghost Story,” 59. See also Burnett, T Bone, 171. See also
Pliny the Younger Ghost Brothers of Darkland
Anna Karenina, 122. See also Tolstoy, Leo County
Apt Pupil, 6, 103, 108–112, 117
Arrested Development, 135 C
audiobooks, 171, 172 Calero, Denis, 161–162, 163–164. See
author characters, 36 also Little Green God of Agony
Gordie Lachance, 104–108, 117 (webcomic)
Jack Torrance, 60–65, 179n2 “The Call of Cthulhu,” 54, 148, 157.
Mike Noonan, 65–70, 180n2 See also Cthulhu mythos;
Mort Rainy, 36–38, 178n4, 178n6 Lovecraft, H. P.
Thad Beaumont, 38–41 Campbell, Joseph, 104, 182n2. See also
mythic hero
B capital punishment, 124, 126–129, 131,
Bachman, Richard, 6, 38, 73, 79, 178n8 132, 133, 183n3
Bag of Bones (miniseries), 173, 180n3 Carmilla (novel), 12. See also le Fanu,
Bag of Bones (novel), 6, 41, 61, 65–70 Sheridan
Bates, Kathy, 173 Carrie (film, 1976), 182n6
Bazaar of Bad Dreams, 171, 172, 185n3 Carrie (film, 2013), 104, 182–183n6
Big Driver, 88, 172, 181n2 Carrie (novel), 2, 3, 6, 7, 103, 112–117,
bildungsroman, 6, 103, 104, 205, 112, 171, 182nn3–5
115, 172 The Castle of Otranto, 59. See also
Blackwater, 122. See also McDowell, Walpole, Horace
Michael Castle Rock, 105, 108, 177n1
206 INDEX
Cell, 6, 46, 54–58 The Defiant Ones, 184n4

The Chamber, 183n3 Desperation (novel), 38, 144. See also
child abuse, 14, 62, 64, 88, 90, 91–94, Bachman, Richard; The Regulators
98, 106–107, 143 Desperation (TV movie), 180n3
children, 15, 17, 18, 34, 40, 43, 46–49, Derry, 43, 177n1, 182n1
50, 57, 60–65, 66, 67, 68, 103, Dickens, Charles, 3, 105, 121–122, 123,
104–108, 111, 116, 130, 131, 132, 133, 135, 177n1. See also
144–145, 145–146, 147–148, A Christmas Carol
182n1 Different Seasons (collection), 6, 103,
“Children of the Corn” (film 126, 180n1
franchise), 1 direct address narration, 18, 89
“Children of the Corn” (short story), Disney, 98, 116
146–147 dissociative identity disorder, 37–38,
Christianity, 17–18, 50–51, 99, 113, 178n5
114, 126, 129, 132–133 Doctor Sleep, 4, 61, 65
Christine (film), 185n4 Dolores Claiborne, 6, 87, 88–95, 96,
Christine (novel), 6, 31, 34–36, 41, 58, 172, 181n1, 181n2
112, 178n3, 185n4 domestic violence, 2, 6, 52, 63, 64, 88,
A Christmas Carol (book), 59. See also 91–92, 95–96, 97, 99
Dickens, Charles Dr. Jekyll and Mr. Hyde, 28–31, 34, 39,
“Cinderella,” 98, 116 96. See also Stevenson, Robert
Columbine, 76, 77, 80, 81, 180–81n2 Louis
coming of age, 6, 103–117, 172, 182n1. Dracula, 6, 12, 13–17, 20, 22. See also
See also bildungsroman Stoker, Bram; Van Helsing
cosmic horror, 52–54, 147–148, The Drawing of the Three, 178n5.
157, 160 See also Dark Tower (book series)
“Crouch End,” 179n5 Dreamcatcher, 43
Cthulhu mythos, 54, 148, 157 “Drunken Fireworks,” 172
Cujo, 3, 43, 89 duality, 27–41, 96
Cycle of the Werewolf, 6, 31, 32–34, “Duel” (comic), 153, 165–167,
41, 177n2 168–169. See also “Duel” (short
story); Hill, Joe; Matheson,
D Richard; Road Rage; “Throttle”
Daniel, Nelson, 165. See also Road “Duel” (short story), 153, 164–166,
Rage 168–169. See also Hill, Joe;
Danse Macabre, 5, 13, 27, 59, 147, 171 Matheson, Richard; Road Rage;
Darabont, Frank, 1, 129, 173, “Throttle”
183–184n3
The Dark Half, 6, 31, 36, 38–41 E
Dark Tower (book series), 3, 153–154, ebooks, 7, 121, 134–135, 137–151, 171,
178n5, 184–185n1 181n4, 185n2, 185n3, 185n6
Dark Tower (graphic novel series), E.C. comics, 13
153–154, 172 Edgar Award, 2
Dead Man Walking, 183n3 Eliot, George, 122. See also
The Dead Zone, 3, 43 Middlemarch
INDEX 207
epistolary style, 14–15, 76, 139, A Good Marriage, 88, 172, 181n2
156–157, 159 Gothic tradition, 5–6, 11, 13, 25, 28,
Erinyes, 100–101 30, 31, 38, 43, 55, 63, 66, 67,
Everything’s Eventual, 138, 172 68–69, 70, 172
Grandmaster status, 1–2
F graphic novels, 7, 13, 21–25, 121,
A Face in the Crowd, 7, 145–146. 133, 146, 153–169, 171, 172,
See also O’Nan, Stuart 177n2, 185n1, 186n2, 186n3.
fairy tales, 98, 116. See also See also American Vampire,
“Cinderella”; “Hansel and Gretel”; Volume 1; The Dark Tower;
“Snow White” Little Green God of Agony; “N.”;
Faithful: Two Diehard Boston Red Sox Road Rage; The Stand
Fans Chronicle the Historic 2004 The Great God Pan (novel), 52–53.
Season, 145. See also O’Nan, See also Machen, Arthur
Stewart Greek mythology, 98–101, 158
Family Guy, 173–174 The Green Mile (film), 1, 127–128,
Finders Keepers, 172 129, 173, 183n1, 183n3,
Finney, Jack, 46. See also Invasion of 184nn4–5
the Body Snatchers (novel) The Green Mile (novel), 7, 121–135,
Firestarter, 144, 172 183n3, 184n5
Flaubert, Gustave, 122. See also Guggenheim, Marc, 158–160. See also
Madame Bovary Stephen King’s N.
Four Past Midnight, 36 gun control, 80, 84, 149
Frankenstein, 6, 12, 43–46, 50, 52, Guns, 7, 77, 78, 79, 80, 83–84, 140,
53–54, 55, 179n3. See also 148–151, 171, 172, 181n4, 185n7
Shelley, Mary
frauroman, 112 H
Freud, Sigmund, 27–28, 32. See also Hamlet, 59. See also Shakespeare,
structural theory of personality William
From a Buick 8, 185n4 “Hansel and Gretel,” 98
Full Dark, No Stars, 88, 181 Hard Listening: The Greatest Rock Band
Ever (of Authors) Tells All, 171.
G See also Rock Bottom Remainders
Garres, Rafa, 165. See also Road Rage Harris, Charlane, 13, 21. See also
Garris, Mick, 64, 173, 180n3 Sookie Stackhouse series;
Gerald’s Game, 6, 87, 88–95, 96, 172, True Blood
181n1, 181n2 Harry Potter, 133
Ghost Brothers of Darkland County, 171 haunted houses, 59, 60–70
ghosts, 4, 11, 59–70, 73, 146, 178n6 Hawthorne, Nathaniel, 50, 172. See also
“The Gingerbread Girl,” 87–88, 172, “Young Goodman Brown”
181n2 Hill, Joe, 7, 140, 146–148, 153,
The Girl Who Loved Tom Gordon 164–169, 171–172, 179n5, 185n1.
(pop–up book), 145 See also In the Tall Grass;
The Girl Who Loved Tom Gordon Road Rage; “Throttle”
(novel), 145, 172 The Hobbit, 133. See also Tolkien, J.R.R.
208 INDEX
Homer, 59, 100. See also Illiad; Odyssey The Long Walk, 38, 73. See also
The Hunger Games, 133 Bachman, Richard
Lovecraft, H.P., 52, 53–54, 147–148,
I 157, 179n5. See also “The Call of
Illiad, 59. See also Homer Cthulhu”; “The Rats in the Walls”
In the Tall Grass, 7, 146–148, 171,
179n5. See also Hill, Joe M
Invasion of the Body Snatchers Macbeth, 59. See also Shakespeare,
(film, 1956), 46 William
Invasion of the Body Snatchers Machen, Arthur, 52–53. See also The
(film, 1978), 46 Great God Pan
Invasion of the Body Snatchers (novel), Madame Bovary, 122. See also Flaubert,
46. See also Finney, Jack Gustave
IT (miniseries), 173 Magical Negro trope, 129–133, 184n4
IT (novel), 43, 182n1 magic realism, 98
Maleev, Alex, 158–160. See also
J Stephen King’s N.
Jackson, Shirley, 52 “The Man in the Black Suit” (short
James, Henry, 122. See also Portrait of story), 172
a Lady Marvel Comics, 153, 158
“Jerusalem’s Lot,” 179n5 Matheson, Richard, 153, 164, 165, 166,
Just After Sunset, 153, 156, 158 169. See also “Duel”; Hill, Joe;
Road Rage; “Throttle”
K McDowell, Michael, 122. See also
Kindle, 4, 134, 137, 138, 140–143. Blackwater
See also ebooks Medusa, 98–99
Kindle Singles, 79, 80, 83–84, 143, 145, Mellencamp, John, 171. See also Ghost
146, 149, 150, 151, 185n6. Brothers of Darkland County
See also ebooks; A Face in the melodrama, 4
Crowd; Guns; In the Tall Grass; Meyers, Stephenie, 13, 21. See also
Mile 81; UR Twilight Saga
Kingdom Hospital, 173 Middlemarch (novel), 122. See also
Kubrick, Stanley, 173, 174. See also The Eliot, George
Shining (film) Mile 81 (ebook), 7, 143–145, 147,
185n4
L Minotaur, 100–101
le Fanu, Sheridan, 12. See also Carmilla Misery (film), 173
Last Dance, 183n3 The Mist (film), 173
Leaf, Munro, 100. See also The Story of The Mist (novella), 179n5
Ferdinand Mr. Mercedes (novel), 2, 172
Lee, Spike, 131, 184n4 monsters, 3, 4, 11, 13, 20–21, 24, 27, 43,
The Legend of Bagger Vance, 184n4 45, 55, 58, 63, 73, 127, 147, 160,
Leiber, Fritz, 52 185n4. See also The “Thing Without
“Little Green God of Agony” (short a Name”; vampires; werewolves
story), 153, 160–161, 164 “Morality,” 171
Little Green God of Agony (web comic), mythic hero, 104, 182n2. See also
7, 153, 154, 161–164, 169 Campbell, Joseph
INDEX 209
N Plutarch, 59
“N.” (mobisodes), 158, 160. See also Polidori, John, 12. See also The Vampyre
Stephen King’s N. (graphic novel) Portrait of a Lady, 122. See also
“N.” (short story), 153, 156–158, 159, James, Henry
160. See also Stephen King’s N. pseudonym, 6, 38, 39, 53, 73, 178–179n8.
(graphic novel) See also Bachman, Richard
National Book Foundation
Distinguished Contribution to R
American Letters, 1–2 Rage, 6, 38, 73–85, 149, 172, 178n7,
National Medal of Arts, 2 180n1, 185n7. See also Bachman,
National Rifle Association (NRA), Richard; school shootings
80–81, 84, 149, 150 “The Rats in the Walls,” 148. See also
Needful Things, 41 Lovecraft, H.P.
“The Night Flier,” 6, 13, 18–21 The Regulators, 38, 73. See also
Nightmares & Dreamscapes Bachman, Richard; Desperation
(collection), 179n5 Reiner, Rob, 103, 173
Nightmares & Dreamscapes Resident Evil, 55
(television series), 173 Revival, 6, 46, 50–54, 58, 179n3
Night of the Living Dead, 13, 46 Riding the Bullet (ebook), 7,
Night Shift, 17, 179n5 138–139, 140
Riding the Bullet (film), 180n3
O Rita Hayworth and the Shawshank
Obama, Barack, 2 Redemption (novella),
Odyssey, 59, 100. See also Homer 126, 183n3
O’Nan, Stuart, 7, 140, 145–146, Road Rage (graphic novel), 7, 146,
185n5. See also A Face in the 153, 154, 164–169, 172. See also
Crowd; Faithful: Two Diehard “Duel”; Hill, Joe; Matheson,
Boston Red Sox Fans Richard; “Throttle”
Chronicle the Historic Roadwork, 38, 73. See also Bachman,
2004 Season Richard
“One for the Road,” 6, 13, 17–18 The Rock Bottom Remainders, 171
online publication, 7, 79, 139, 141 Rockwell, Norman, 109
On Writing: A Memoir of the Romero, George A., 13, 46, 55, 56.
Craft, 171 See also Night of the Living Dead
Orange Is the New Black, 135 Rose Madder, 6, 87, 88, 95–101, 172
Ossenfelder, Heinrich August, 11–12. Rose Red, 173
See also “The Vampire” The Running Man, 3, 38, 73
Ryall, Chris, 165. See also Road Rage
P Rymer, James Malcolm, 12. See also
penny dreadfuls, 12. See also Rymer, Varney the Vampire; or The Feast
James Malcolm; Varney the of Blood
Vampire; or The Feast of Blood
Persephone, 99 S
Pet Sematary, 6, 46–50, 52, 105, ’Salem’s Lot, 6, 13–17, 18, 25, 32, 58, 144
179n2 Sandy Hook Elementary School, 7, 76,
The Plant, 139–140, 183n2 78, 79, 80, 81, 83–84, 140, 148,
Pliny the Younger, 59 149, 171
210 INDEX
The Saturday Evening Post, 109, 122 Stephen King’s N. (graphic novel),
schizophrenia, 37, 82, 178n4 7, 153, 154, 158–160, 169, 172,
school shootings, 6, 7, 73–85, 172, 186n3
180–181n2. See also Columbine; Stoker, Bram, 6, 12, 13–17, 20, 22, 46,
Sandy Hook Elementary School; 52, 55. See also Dracula
Virginia Tech Storm of the Century, 173
Secret Window, Secret Garden, 6, 31, The Story of Ferdinand, 100. See also
36–38, 39, 41, 178n6 Leaf, Munro
Serial, 133–134 Stowe, Harriet Beecher, 122. See also
serial publication, 7, 12, 121–135, 171, Uncle Tom’s Cabin
172, 183n2, 184n7. See also Straub, Peter, 52, 177n1
The Green Mile; The Plant structural theory of personality,
sexual violence, 6, 14, 62, 65–66, 68, 27–31, 32, 35. See also Freud,
69–70, 73, 87–101, 110, 127, Sigmund
130, 150, 172, 180n4, 181n2,
184n5 T
Shakespeare, William, 59, 96. See also technohorror, 35
Hamlet; Macbeth terrorism, 4, 55, 56, 57–58
The Shawshank Redemption (film), “That Bus Is Another World,” 171
1, 173–174, 183–184n3 Theseus, 100
Shelley, Mary, 6, 43–46, 47, 49, 52, 55, The “Thing Without a Name,” 5, 43–58.
179n1, 179n3, 179n4. See also See also monsters
Frankenstein Thinner, 38, 73. See also Bachman,
The Shining (film), 173, 174. See also Richard
Kubrick, Stanley “Throttle” (comic), 165, 167–169.
The Shining (miniseries), 64, 173 See also “Duel”; Hill, Joe;
The Shining (novel), 3, 4, 6, 58, 61–65, Matheson, Richard; Road Rage;
70, 144, 173 “Throttle” (short story)
The Simpsons, 173–174 “Throttle” (short story), 146, 153,
Skeleton Crew, 179n5 164–165, 167–169, 172. See also
small towns, 13, 14, 32, 177n1. See also “Duel”; Hill, Joe; Matheson,
Castle Rock; Derry Richard; Road Rage
“Snow White,” 98 Tolkien, J.R.R., 133. See also
Snyder, Scott, 6, 21–25, 153. The Hobbit
See also American Vampire, Tolstoy, Leo, 122. See also
Volume 1 Anna Karenina
Sookie Stackhouse series, 13, 21. The Tommyknockers, 43
See also Harris, Charlane; True Transparent, 135
Blood True Blood (TV series), 21.
The Stand (graphic novel series), 7, See also Harris, Charlane; Sookie
153, 172 Stackhouse series
The Stand (miniseries), 173, 180n3 Twain, Mark, 122. See also
The Stand (novel), 3, 7, 143, 153–154, The Adventures of Huckleberry
172, 183n2 Finn
Stand By Me (film), 103, 105, 173–174 28 Days Later, 55
INDEX 211
Twilight Saga, 13, 21, 133. See also Varney the Vampire; or The Feast of
Meyers, Stephenie Blood, 12. See also Rymer, James
The Twilight Zone, 143, 164 Malcom
Virginia Tech, 76, 80–81
U visual literacy, 7, 154–155
Uncle Tom’s Cabin, 122, 129. See also
Stowe, Harriet Beecher W
undead, 6, 12, 16, 17, 52, 62, 110, The Walking Dead, 46
172, 179n1 Walpole, Horace, 59. See also
Under the Dome, 43, 183n2 The Castle of Otranto
UR, 7, 140–143, 145, 184–185n3 werewolves, 5, 6, 11, 27–41, 43, 55, 57,
58, 59, 60, 172, 177n2
V Wolfe, Tom, 122. See also Bonfire of the
“The Vampire,” 11–12. See also Vanities
Ossenfelder, Heinrich August
The Vampire Diaries, 21 Y
vampires, 4, 5, 6, 11–25, 27, 32, 43, 55, “Young Goodman Brown,” 172.
57, 58, 59, 73, 153, 172 See also Hawthorne, Nathaniel
The Vampyre, 12. See also Polidori,
John Z
Van Helsing, 12, 15, 16–17. See also Žižek, Slavoj, 46
Dracula; Stoker, Bram zombies, 13, 46, 54–58, 179n1

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Notes

1. Allen’s choice of Dickens as the “literary” in contrast to King’s populist is

1. The zombie permutation of the undead monster is an exception to this tradi-

of what is revealed. We become co-conspirators with Jack, involved in a subtle

responding to this violence. As Chokshi summarized the research data of these

1. King’s epic novel IT is a coming of age story on a grand scale, centered on a

2. GetGraphic.org, a website developed by the Buffalo and Erie County Public

1. Several excellent books have been written on King’s Hollywood adaptations,

“11th Annual BookFinder.com Report: Out-of-print and in demand.” BookFinder.

“Guns (Kindle Single).” Amazon. Amazon, 1996–2013. Web. 22 June 2015.

———. Christine. New York: New American Library, 1983. Print.

———. I Am Legend. New York: Tor, 2007 (1954). Print.

Okorafor-Mbachu, Nnedi. “Stephen King’s Super-Duper Magical Negroes.” Strange

———. Macbeth. New York: Signet Classics, 1998 (1611). Print.

Weinstock, Jeffrey A. “Maybe It Shouldn’t Be a Party: Kids, Keds, and Death in

Cell, 6, 46, 54–58 The Defiant Ones, 184n4

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