Stephen King is the world's best-selling horror writer. His work is ubiquitous on bookstore, supermarket, and personal library shelves and has been faithfully adapted into some of the most iconic horror films of the twentieth century. This study explores his writing through the lenses of contemporary literary and cultural theory. Through analyses of some of his best-known work, including "Carrie" and "Misery," the authors argue that King offers ways of encountering and understanding some of our deepest fears about life and death, the past and the future, technological change, other people, monsters, ghosts, and the supernatural.This is the first extended critical-theoretical engagement with King's writing, and will be of interest to students, academics, and fans of horror fiction.

In a thoughtful, well-informed study exploring fiction from throughout Stephen King's immense oeuvre, Heidi Strengell shows how this popular writer enriches his unique brand of horror by building on the traditions of his literary heritage. Tapping into the wellsprings of the gothic to reveal contemporary phobias, King invokes the abnormal and repressed sexuality of the vampire, the hubris of Frankenstein, the split identity of the werewolf, the domestic melodrama of the ghost tale. Drawing on myths and fairy tales, he creates characters who, like the heroic Roland the Gunslinger and the villainous Randall Flagg, may either reinforce or subvert the reader's childlike faith in society. And in the manner of the naturalist tradition, he reinforces a tension between the free will of the individual and the daunting hand of fate. Ultimately, Strengell shows how King shatters our illusions of safety and control: "King places his decent and basically good characters at the mercy of indifferent forces, survival depending on their moral strength and the responsibility they may take for their fellow men."

Defining the American gothic tradition both within the context of the major movements of intellectual history over the past three-hundred years, as well as within the issues critical to American culture, this comprehensive volume covers a diverse terrain of well-known American writers, from Poe to Faulkner to Toni Morrison and Cormac McCarthy. Charles L. Crow demonstrates how the gothic provides a forum for discussing key issues of changing American culture, explores forbidden subjects, and provides a voice for the repressed and silenced.

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Trier, course: Der englische Schauerroman, language: English, abstract: Stephen King is one of the most published contemporary authors. He has written more than 50 novels and movie scripts, some of them under the pseudonym of Richard Bachmann. His stories deal with the supernatural, with aliens or the abysses of the human mind. Due to his topics, his books are often regarded as trivial literature by many of his readers and also by people who have never read a single one of his books and who only judge him by his name. But what these critics seem to miss is the fact that Stephen King has adapted many themes and motifs from highly regarded authors of classic Gothic fiction, such as Horace Walpole, Ann Radcliffe and Bram Stoker, to mention just a few. In each of Stephen King’s books, the reader can identify traces of classic Gothic fiction, although the topics and settings are normally adapted to modern times. Stephen King says of himself that ‘most of my [Stephen King’s] books have been derivative to some extent...’ (Bloom, p.96), which is not surprising regarding his educational background: After studying English at the University of Maine, Stephen King worked as a high school teacher, although he did not get too much teaching practice due to the commercial success of his books. Therefore, it is not very surprising that Stephen King uses the sources he has become acquainted with during his studies. He uses the motifs of Gothic novels in different ways and in many of his books. In fact, he says that ‘what I [Stephen King] try to do...is to pour new wine from old bottles’ (Bloom, p.96). What I would like to do in this term paper is to show some of the Gothic motifs Stephen King uses in his books and in what way he uses them. For this purpose, I have chosen two novels from Stephen King’s earlier working period: Salem’s Lot and The Shining. But before actually beginning the comparison between Stephen King’s books and classic Gothic novels I will give an overview over the characteristic features of Gothic writing in order to enable the reader to identify the tradition Stephen King’s writing stands in.

Set in the fictional town of Castle Rock, Maine A "wondrously frightening" (Publishers Weekly) tale of terror and #1 national bestseller about a writer's pseudonym that comes alive and destroys everyone on the path that leads to the man who created him. Thad Beaumont is a writer, and for a dozen years he has secretly published violent bestsellers under the name of George Stark. But Thad is a healthier and happier man now, the father of infant twins, and starting to write as himself again. He no longer needs George Stark and so, with nationwide publicity, the pseudonym is retired. But George Stark won't go willingly. And now Thad would like to say he is innocent. He'd like to say he has nothing to do with the twisted imagination that produced his bestselling novels. He'd like to say he has nothing to do with the series of monstrous murders that keep coming closer to his home. But how can Thad deny the ultimate embodiment of evil that goes by the name he gave it--and signs its crimes with Thad's bloody fingerprints? The Dark Half is "a chiller" (The New York Times Book Review), so real and fascinating that you'll find yourself squirming in Stephen King's heart-stopping, blood-curdling grip--and loving every minute of it.

Many readers know Stephen King for his early works of horror, from his fiction debut Carrie to his blockbuster novels The Shining, The Stand, and Misery, among others. While he continues to be a best-selling author, King’s more recent fiction has not received the kind of critical attention that his books from the 1970s and 1980s enjoyed. Recent novels like Duma Key and 1/22/63 have been marginalized and, arguably, cast aside as anomalies within the author’s extensive canon. In Stephen King’s Contemporary Classics: Reflections on the Modern Master of Horror, Philip L. Simpson and Patrick McAleer present a collection of essays that analyze, assess, and critique King’s post-1995 compositions. Purposefully side-stepping studies of earlier work, these essays are arranged into three main parts: the first section examines five King novels published between 2009 and 2013, offering genuinely fresh scholarship on King; the second part looks at the development of King’s distinct brand of horror; the third section departs from probing the content of King’s writing and instead focuses on King’s process. By concentrating on King’s most recent writings, this collection offers provocative insights into the author’s work, featuring essays on Dr. Sleep, Duma Key, The Girl Who Loved Tom Gordon, Joyland, Under the Dome, and others. As such, Stephen King’s Contemporary Classics will appeal to general fans of the author’s work as well as scholars of Stephen King and modern literature.

#1 NEW YORK TIMES BESTSELLER • WITH A NEW INTRODUCTION BY MARGARET ATWOOD • Stephen King's legendary debut, the bestselling smash hit that put him on the map as one of America's favorite writers • In a world where bullies rule, one girl holds a secret power. Unpopular and tormented, Carrie White's life takes a terrifying turn when her hidden abilities become a weapon of horror. “A master storyteller.” —The Los Angeles Times • “Guaranteed to chill you.” —The New York Times • "Gory and horrifying. . . . You can't put it down." —Chicago Tribune Unpopular at school and subjected to her mother's religious fanaticism at home, Carrie White does not have it easy. But while she may be picked on by her classmates, she has a gift she's kept secret since she was a little girl: she can move things with her mind. Doors lock. Candles fall. Her ability has been both a power and a problem. And when she finds herself the recipient of a sudden act of kindness, Carrie feels like she's finally been given a chance to be normal. She hopes that the nightmare of her classmates' vicious taunts is over . . . but an unexpected and cruel prank turns her gift into a weapon of horror so destructive that the town may never recover.