Top Ten Stephen King Books

For the past year, I've been reading a lot of Stephen King books. I've been a fan of King over the years. But I guess I recently got the King bug, especially after reading 'Salem's Lot last summer. To this day, I've read almost half of King's novels. There's still so much more to explore, given the amount of books, novellas, and short stories he has published over the years. But I thought it would be fun to list my ten favorite books thus far - no particular ranking.

Growing up as a GenX-er, the commercial for the uncut version of this book aired all the time on TV. This was the first book of his I read way back in 1996, and was taken by how much heart and melodrama it had, or what I describe as "horror with heart." It might also be the longest book I have ever read! But never a dull moment. Some of my favorite characters are Trashcan Man, Larry Underwood, and Nick Andros. I also loved Harold Emery Lauder, as tragic as he was.

Next to The Stand, I think 'Salem's Lot is one of King's best novels. There's so much to say about it. For one, the story takes some of the narrative structure from Bram Stoker's masterpiece. Of course, there is a number of scary and suspenseful moments. But what took me by surprise is the small town that King creates for the reader. Early in the book, King describes an entire day and doings of 'Salem's Lot. Knowing that something supernatural is about to take over this town made this section of the book so frightening. In certain ways, 'Salem's Lot is an invasion narrative.

First and foremost, the movie version is one my favorite films. The Shining was what made me go to film school. And like everyone else who loves the film, we all know that King was not a fan of Kubrick's version. I read the book way later in my life, mainly because I was curious about what Kubrick left out from the novel, and why King was not happy about the film version. I think both the film and novel are extraordinary. I have found myself equally scared by both.

This book took me by surprise. It was the first book I read of his during his later years of writing. I felt his writing style was leaner and direct, rather than what Matt Thorne in The Guardian called the "baroque" category of King. I think Rose The Hat is one of King's top villains. And I thought Rebecca Ferguson was amazing in the film. But what struck me about Doctor Sleep was its exploration of alcoholism. This book is not only a sequel to The Shining, it is also a story about recovery. And having read about King's own battles with addiction made this book even more poignant.

I found myself recently reading a lot of 1990s King. Next to Gerald's Game (in terms of graphic horror), it is one of the more gory novels of his. Desperation also demonstrates King's interest in putting a bunch of characters who don't know each other in one setting over a long stretch of time (e.g. Maximum Overdrive). This was a topic I explored in my book Cinema of Confinement. The novel also involves King playing with language, such as Tak! Very cool book.

I am unsure what novel I enjoyed the most out of the series. Perhaps Wolves of the Calla or  The Waste Lands? I was not such a fan of The Drawing of the Three and had stopped reading the series. But after my father died in 2017, I went back to The Dark Tower story. I was in the Hudson Valley and wanted to read something that would take me out of the funk of my father's sudden death. I purchased The Waste Lands and it was everything I expected and more. I think The Dark Tower series is one of King's greatest achievements. I guess that's all I'll say. But I was very much touched by Roland's journey. So glad I stuck with it. I encourage you to read it if you haven't.

I read that King came up with this story when he accidentally slipped and fell down a hill behind a gas station. I was surprised by the tone of the book, where Pennsylvania State Troopers tell their stories of the Buick 8 that they impounded. The Buick 8 is a supernatural vehicle that appears to be a gateway into another world. Again, I loved how the narrative focuses primarily on the barracks and garage were the Buick is kept. I felt that King allows you to ponder the mystery of the car, without explaining too much. It's a strange book that I often think about.

I loved this book and believe it to be in the same vein as Salem's Lot and Needful Things - all about a large cast of characters in a small town dealing with some strange unexplained / supernatural event. The book is very engaging and never slow. It is also a great tale about how leaders can turn into authoritarians. Under the Dome is well worth your time.

I had seen the films The Shawshank Redemption, Stand By Me, and Apt Pupil before reading Different Seasons. This is a great collection of novellas. My favorite might be Apt Pupil. I was surprised by how dark and disturbing the story was, much different than the movie, which I was not such a fan of.

King mentioned that this book was him trying too hard. I think this is an amazing fantasy book about elderly people. I thought the length and pacing of the book reflected the characters - not to be rude about getting old. Maybe more importantly is the book's connection to The Dark Tower and why I enjoyed the book so much. Unlike King's approach to sci-fi, I think he takes his approach to fantasy quite seriously, exploring very intriguing aspects of out of body experiences as well as playing with time and space, which can be traced back to The Dark Tower story, or even Lisey's Story. Insomnia is a slow burn, but I think it is worth checking out.

I would also like to mention King's book On Writing. This book had such a tremendous impact on me as a writer. It inspired me to write with the door closed, and not be afraid to write even when you don't know the entire structure of your story, or even know where your story is heading. Everybody has their own approaches to writing. But for me, I like to discover things about the characters and their situations as I write.

For academic analysis, check out Tony Magistrale's books on King.

Suburban Tales and The Mansion

Coming soon! Suburban Tales Last year, I wrote a bunch of short stories that focus on the supernatural, fantasy and horror. I picked three stories and thought it would be fun to independently publish them as a book series. The stories are entitled, "The Rock Star," The Piano," and "The Decorator." All three stories focus on Eden Gardens, a fictional neighborhood in the San Fernando Valley.

I was surprised to see a number of well-known authors like Joe Hill and Paul Tremblay were publishing short reads and short stories under the Kindle Short Reads category. I wonder how this has impacted print journals that publish short stories. As always with digital technology, there are pluses and minuses.

I also wrote the third book in my Hudson Valley trilogy called The Mansion. I hope to have it ready later in the year. The other two books in the trilogy are The Postcard and The Bells - both available through Amazon.

My academic books, Capturing Digital Media (Bloomsbury Academic) and Cinema of Confinement (Northwestern University Press), are also available for purchase.

Follow me on Twitter and Instagram @Ivyscobie

www.tomconnellyfiction.com

 

Bong Joon-ho

It was so exciting to see Bong Joon-ho win all those Academy Awards for Parasite this year. It was definitely one of the best films of the year. I had some other favorites such as The Irishman, Marriage Story, 1917, Once Upon a Time in Hollywood, Joker, and Jo Jo Rabbit.

I've been teaching Bong Joon-Ho in my Global Cinema class for the past three years. When I first proposed my course, I didn't know much about Korean cinema. I was directed toward Park Chan-wook's Oldboy by a number of my students. This was the first Korean film I watched, and it is an incredible and visceral movie that will stick with you for a long time.

Bong and Park are part of a number of directors known as New Korean Wave. 

What is unique about these filmmakers is they work within genre to get at social concerns. This is clearly the case in Bong's films The Host and Snowpiercer. 

For example, The Host addresses a number of topics, such as youth unemployment after the Asian financial crisis in 1997.

Or "the right of the hungry" (seo-ri), which is connected to the film's theme of consumption.

At the same time, The Host is a very entertaining and scary film. I think horror and Gothic films are particularly good at generating social commentary, such as Night of the Living Dead, Get Out, Dawn of the Dead, and The Devil's Backbone.

But one film I highly recommend is Bong's Memories of Murder. Christina Klein wrote an excellent article on Memories and The Host called, "Why American Studies Need to Think About Korean Cinema, or Transnational Genres in the Films of Bong Joon-ho."

Klein argues that Memories and The Host have the traditional Hollywood conventions of the serial killer and the monster genre, respectively. At the same time, both films speak to Korean social concerns. She identifies these two registers through surface and deep crime.

Klein states: “Bong does not mimic Hollywood but appropriates and reworks genre conventions, using them as a framework for exploring and critiquing South Korea social and political issues” (873).

 
She argues that the surface crime launches the story and motivates the action. The process of investigating the surface crime often produces a deep crime, which is a pervasive wrongdoing that lies beneath the surface of everyday life (881). 

This deep crime, for example, points toward the Chun regime during the 1980s. The film capture life under the Chun dictatorship as the detectives attempt to find the serial killer.

Of course, Klein's surface and deep crime reading can certainly apply to Bong's new film, Parasite and its commentary on wealth and inequality. At the same time, the film has surface traits of a thriller and, to some degree, horror.

Lastly, there are many great films from South Korea. Below are a few I recommend:

 

 Be sure to check out Darcy Paquet's great introduction to New Korean Cinema

The Monsters Are Due on Maple Street - The Twilight Zone

"The Monsters Are Due on Maple Street" is an episode I have shown many times in my television courses. Rod Serling is an artistic force, especially when you consider the TV anthologies he wrote in the 1950s, such as Patterns and Requiem for Heavyweight. Although the term "showrunner" was not used during the time when The Twilight Zone aired, Serling arguable meets all the traits of a television auteur.

The plot of "The Monsters Are Due on Maple Street" is simple: neighbors conversing on a sun-drenched suburban street are suddenly disrupted when a strange-sounding object flies over with a loud roar and a flash of light. Some think it might have been a meteor. No one really knows for sure. No need to panic. But when they discover they have no electrical power, and lawn mowers and cars no longer work, a meeting is called on the street as the paranoia begins.

 

The episode offers a number of insights into late 1950s America (albeit allegorically).

 

As residents of Maple Street gather together, young Tommy references his comic books as a source of explanation for the strange occurrence. He says aliens may have already sent their people to earth, who look just like humans, a possible reference to Invasion of the Bodysnatchers (1956). 

 
Of course, this film and others of the 1950s are often discussed as allegories of an outside threat such as communism or McCarthyism and the Red Scare, which speaks to the height of the Cold War era.

The neighbors blow Tommy off, saying that he's been reading too many comic books. It is interesting to note that in 1954 the Comics Code Authority was established as a way for the comic book industry to police itself.

The Comics Code Authority was created because of the concern of graphic content and its impact on the youth. Poor Tommy is certainly a target.

Although the episode suggests social harmony before the strange thing flew by and knocked out their power, the neighbors, in fact, were already aware of their peculiarities. Thinking aliens have infiltrated Maple Street, the neighbors scrutinize all idiosyncrasies.

These differences are brought out into the open as a way to see who's an alien and who's not. At one point, one of the neighbors points out that Steve is always using his ham radio at night. 

Steve's ham radio takes on qualities of what Jeffrey Sconce terms a "haunted media." But in this case, the radio is not identified as communicating with a supernatural being or the undead as depicted in Poltergeist (1982), but to communicate with aliens. Of course, Steve laughs at this assertion. 

Rodney Hill's excellent article, "Mapping The Twilight Zone: Cultural and Mythological Terrain," notes that “A chief character found in all of these issues [such as threat of nuclear war, the red scare, and the ever-present danger that suburban conformity might deteriorate into fascism] is fear."

Steve's calls the neighbor's inquisitions a kangaroo court, which is an appropriate description of the situation. But it is also a reference to fascism, a topic that Serling also explored in "Eye of the Beholder."

And it is fear that causes Charlie to shoot and kill Jim, thinking he was one of the aliens. It is at this point where logic and rationality collapses as a mob of violence ensues on Maple Street. What they do not know is that aliens are responsible for cutting their power and electricity.  But can we assign the paranoia of Maple Street to the aliens?

 

The closing narration of Serling demonstrates why he is considered one of television's best writers: "The tools of conquest do not necessarily come with bombs and explosions and fallout. There are weapons that are simply thoughts, attitudes, prejudices. . . to be found only in the minds of men. For the record, prejudices can kill. . . and suspicion can destroy. . . and a thoughtless, frightened search for a scapegoat has a fallout all of its own – for the children and the children yet unborn. And the pity of it is that these things cannot be confined to the Twilight Zone."

 

Reading Lost's Walkabout

In my television theory class, we watch the episode "Walkabout" from the series Lost as an approach to studying semiotics - the study of signs. This posting contains spoilers!!

Roland Barthes:

Using semiotics is the basis on how to conduct a close analysis of a film or a television series. Roland Barthes's work on Mythologies is one of the founding texts for this type of analysis. And to keep things simple, I will focus on the terms: denotative and connotative. 

Denotative Meanings:

Denotative is the surface level of a sign. For example, if I see a stop sign while driving, I know to stop my car. It is a sign that we can all agree upon - at least I hope we do.

Connotative Meanings:

Connotative is the secondary level of a sign. This means there can be multiple meanings of a sign. For example, I could read the sign "snake" not only as a slimy reptile, but as "sin." The surface reading (denotative) of a snake means a reptile and it slithers. The secondary reading (connotative) of a snake could mean "sin," or it could mean "friend." I preferably would not like to think about snakes at all! But you get the point...

Rhetoric: Making Your Case Convincingly

Rhetoric is the art of persuasion. A connotative approach to studying film or television involves how well you can argue your case. This means when you unpack secondary meanings (connotations), you have to make your case convincingly. To do this, you must inventory the signs of a film and or television episode.

"Walkabout" Example

Lost is a television series about the survivors of Oceanic 815 stranded on a mysterious island. "Walkabout" is an early episode in the first season that focuses on John Locke (Terry O'Quinn), a mysterious man who decides to hunt for a boar after learning the survivors had ran out of food.

"Walkabout" involves Locke's journey into the mysterious island. This odyssey entails a physical component (find and kill the boar), and an interior component (Locke's re-birth). We can track these two registers by inventorying the episode's signs.

Locke's Wheel Chair

The wheel chair is more than simply a means of transportation; it is also about Locke's backstory and his internal struggles before he crashed on the island, which is told through flashbacks. His wheel chair has an added charge of meaning when we learn that Locke can walk after surviving the airplane crash at the end of the episode.

Movement and Stillness

Locke is shown a number of times lying on his back, looking at his feet. Movement has multiples meanings, especially when you consider the title of the episode: "walkabout." It is a spiritual renewal for Locke.

Re-Birth

Locke is re-born as he learns to walk again. The fire framed by his wheelchair at the end of the episode helps to communicate this at the connotative level. He is no longer the same person we saw in the episode's flashbacks.

There are many connotations I could have discussed in this episode. But I chose signs that are tied to a specific theme: Locke's re-birth as a "walkabout" in his hunt for the boar. At the end, he successfully kills the boar and provides food for the survivors. At the same time, Locke's soul is nourished by the hunt in the form of a walkabout.