by Stephen King
ages: adult
First sentence: “Hapscomb’s Texaco sat on US 93 just north of Arnette, a pissant four-street burg about 110 miles from Houston.”
This one definitely takes some doing to wrap your brain around. It’s huge (even though I read the “original” version — the one that was published in 1978 — and not the “definitive” version — the one that King went back and added 200 pages to). It’s sprawling. It’s weird and wild and wacky. It’s dystopian, political, religious, horrific, gross, amazing.
It’s… well… Stephen King.
This was my first experience with King (aside from his Entertainment Weekly reviews, and reading The Lawnmower Man in 6th grade, which I don’t remember at all). And what an experience. I was blown away by the sheer craft of the man: not the plotting (which I felt dragged in spots), but the imagination (warped) and the world building, and the characterization, and just the fact that he. made. this. book. work. Not many people could imagine something so sprawling and huge and you’d be able to say that in the end.
The basic plot (in case you haven’t read the book, or seen the miniseries, which I have to admit I’m curious about now): a superflu (something which threw me for a loop: “Government heath officials emphasize that this is Russian-A flue, not the more dangerous swine flu.”) virus gets out and, because it has a 99.4% mortality rate, wipes out most of the population of the country. How or why you survive isn’t known; you either don’t catch it, or you’re dead. The first part of the book is the horror: watching people die terrible, horrible, gross, pathetic deaths not only is difficult, but incredibly unsettling. Shoot: it’s terrifying, especially with H1N1 floating around. King is brilliant in this part: he gives people names, occupations, dialogue, a history… and then kills them off. It’s brilliant watching the spread of the virus, and terrifying how it affects the world, and the reader.
Then, once everyone who is going to die is dead, the book changes tone. It becomes a political book as the survivors gather — either around Mother Abigail in Boulder, Colorado (the good team) or around Randall Flagg, aka The Dark Man (the bad team), in Las Vegas. There’s a whole section, and this is where the book (for me, at least) lags, about setting up a community, how the Free Zone works, about the human race’s urge to gather and organize and build. There’s this one character, Glen, who is the sociologist (he’s the Hermione of the book) who explains everything. And explains. And explains. Yawn.
Then — because having a horror book and a political commentary isn’t enough — King decided to turn religious on us, and has a showdown — though not in the way I expected — between the good and evil forces. Once the focus switches away from the community in Boulder, once Stu, Glen, Ralph and Larry — they’re the leaders, of sorts, of the Free Zone — begin their quest as commanded by Mother Abagail on her deathbed — and once we see what the Dark Man’s been up to in Vegas, the action picks up again. Perhaps King is only brilliant when he’s twisted? I was fascinated with the downfall of Randall’s society, with twists and turns of the plot, and with the climax.
Then — and why do authors feel a need to do this? — the book went on for 50 more pages. Yeah, sure, I suppose we need some sort of denouement, some sort of resolution, but honestly, 50 pages worth? (I was actually glad I got the 1978 version by this point.)
It was an uneven book: when it was on, it was brilliant; when it was off, it was incredibly boring. But, now that I’ve forayed into the world of Stephen King, I have to admit I’m curious to read more. He’s an amazing writer.
Warped and weird, yes. But definitely amazing.