Early January Stephen King wrote a short story on his official Twitter account. It was a joke that made fun of the zombie genre and started a simple idea. The tweet immediately went viral, with many commenters claiming it was the first horror story of the year. This is the latest evidence that interest in the writer’s work remains relevant.

Especially for a whole new generation of readers who find their way of storytelling important to understanding the genre. Each of his stories has a common element: the translation of the supernatural into a small layer. These are no longer demons and no longer battles for the souls of wounded children. The landscape of the mystery is a strip of garden leading to a pet cemetery built by children. To the room of a red-haired teenager who can move objects with the power of death. An admirer of a writer who brandishes a two-handed sword to break ankles.

For Stephen King, it is important that what causes fear is in the most unexpected places. Which makes most of his novels grim reimaginings of normality.

Especially those that were taken to the movies. With more than three hundred adaptations, he has managed to create a style that can be analyzed for its most famous aspects. From his descriptions of deceptively peaceful settings, including idyllic North American rural towns, to his flawed characters full of nuance and flaws. Stephen King’s vision of horror manages to create an air of ambiguity.

Who is good or bad in the story in which the drunken father raises his gun? What happens when a man touches his nurse’s hands and can predict his future? It doesn’t seem as big as monsters that tear cities apart or ghosts that need to be summoned by exorcism. In the author’s world, the terrible is not obvious and not immediately explainable. Something that keeps his approach always fresh.

Fear manifests itself inside the house

IN adversity, directed by Rob Reiner, the monster is not a ghost or a creature with dangerous jaws. Is Annie, a woman whom actress Kathy Bates endows with almost kindness during the first episodes. Just as in the book on which it is based, the hero may be frightened by something other than that which connects him to extraordinary situations. After all, this is a nurse who goes out of her way to take care of her patient. This is the first thing the writer describes, and from there he takes the story to an unexpected place.

The story delves into how cruelty is hidden in an ordinary home and in a woman who can be anyone. When Paul (James Kahn) realizes the violence his caretaker is capable of, the sense of horror in the premise is fully revealed. Even a figure that was considered harmless can be the embodiment of evil.

For Stephen King, this type of scenario—an ordinary person facing a fatal or evil act—is central. He also used it in the novel Carriefilmed Brian De Palma, in which the main character is a teenager who is bullied at school. A circumstance that is described in detail by both the screenwriter and the director. But little by little, the book and the feature film indicate that the character has inexplicable abilities.

Except that he’s capable of using them and what he’ll do if he loses control of his emotions. What begins as an exploration of pain, isolation, and exclusion quickly turns into a bloody argument. What’s more, when Carrie is publicly humiliated, it ends up pushing her into all sorts of violent acts.

Stephen King: Writer Exploring the Darkness of the Human Mind

Stephen King reflects on the chilling situations that can be found everywhere. That supernatural events are actually just another aspect of the physical and believable. Even when he leaves such places, the reflection of the author’s creativity remains the same. In novel and film cujonarrates through a dog infected with rabies, the siege of the family and the invasion of the house. There is no group of thugs, murderers or creatures from the underworld here. Only St. Bernard goes through all the stages of a deadly infection.

Actually in classic Christine Directed by John Carpenter, supernatural scenes have been waiting for us for a long time. Like the book it’s based on, the script pays special attention to its characters. First of all, delve into the bullying that Arnie (Keith Gordon), the driver of the haunted car, endured, and how this situation will affect his behavior. The horror is hidden in plain sight: in a broken car, in a teenager’s obsession to fix it, and in the atrocities that the latter can commit out of revenge.

Stephen King/Christine

When horror meets everyday life

During the first twenty minutes vampire hour (1979) directed by Tobe Hooper, no bloodthirsty creature appears. Instead, an adaptation of the book The Secret of Salem Lot, spends a fair amount of footage introducing the titular city. Its streets and avenues, the tension faced by the neighbors and the places that surround this place.

The adaptation tries to show that this is an ordinary city, a rural enclave, no different from many others. Maybe it’s at the moment when the first attack occurs, so anxious and stormy. Suddenly, a sense of undermining normality becomes a major element of the plot.

Something that gets accentuated as the plot gets more violent. Most of the undead are neighbors, friends, and relatives of the main characters. A feature that gives the film a creepy and almost philosophical background. Will you be able to kill those you love and save them from eternal painful life?

The future has become a threat

IN Dead zone David Cronenberg, the script uses the collective fears of a decade to set the stage, an idea that is taken directly from the original text. In both stories, Johnny (Christopher Walken) is able to see into the future. What begins as a brief and unimportant prediction turns into a vision of the apocalypse. The possibility of a president capable of unleashing a nuclear offensive leading to a global cataclysm becomes a threat. To such an extreme that the protagonist sacrifices his life to avoid it.

In the book His, the series of events that lead to an encounter with a fear-eating monster begins with a suicide. Stephen King describes the suffering that torments him for more than twenty pages. What is repeated in the film directed by Andres Muschietti. While not the same setting, both focus on devastating the loss that death brings. Something that allows his works, which reach cinema and television, to explore the finiteness of life and the nature of intimate fears.

Stephen King / It

The oldest anxiety reaches the literary world

For Stephen King, death is a recurring element in his stories. Not only to instill concern, but at the same time to ask how our culture responds to loss and desolation. animal cemetery, one of the writer’s most popular novels, explores the premise of the loss of a loved one as a door to the supernatural. “What would you do to bring back those you love?” asks Jude Crandall, one of the central figures of the plot.

Interestingly, this is the same line that is repeated in the film adaptations. The first, released in 1992, featured the death of a child as the trigger for a catastrophic circumstance. But first, as in the original material, it all starts with the death of a family pet. The same is happening in 2019. Both of them reflect on the concept of a supernatural event that gradually escalates into danger and violence. This is from small domestic scenes that get more violent as the story progresses.

Stephen King

glow, perhaps the most personal story of Stephen King, tells, first of all, about a tense job interview. Jack Torrance needs to get a job that will allow him to resume his writing and give up drinking, which, paradoxically, will push him into the supernatural realms. Stanley Kubrick’s iconic performance also casts doubt on the character’s (played by Jack Nicholson) commitment to coping with setbacks, but chronicles his gradual descent into madness. Despite the differences, both deal with an element that drives horror. Jack is a victim of his own suffering and what will happen will be a spiral of domestic violence turned into something dark. Seemingly ordinary situations that end up involving the paranormal.

Stephen King and everyday fear

In the preface to his book night threshold, a writer behind some of the most successful contemporary horror films, sums up, perhaps casually, the secret to his success. “There is no need to be so afraid of the darkness as of what is hidden in it when we are not looking.” In other words, what happens when life shows its darkest and most denigrating sides.

The specific presupposition that leads to fear as a part of daily life and its connection with the supposed is a reality. It’s what makes his stories enduring.

Source: Hiper Textual

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