I’ve pulled no punches about the fact that I am not a fan of many of Stephen King’s post-1990 novels. Last year, I was less than thrilled with the overlong and rambling Fairy Tale.
In recent decades (King’s career is now so long that this is the most meaningful unit of measurement), his best work has often been his collections of short fiction.
And most recently: You Like It Darker (2024). I purchased this book in hardcover within days of my disappointing read of Fairy Tale, because—when King is at his best, he hits them out of the park.
I only recently got around to reading this latest short story collection, though. (I have a rather large TBR backlog.) I am happy to report that You Like It Darker is one of his best short story collections in years—probably since the aforementioned Everything’s Eventual. Not every story in You Like it Darker is a home run. But a handful of them are.
“Danny Coughlin’s Bad Dream” is a long short story about a man who is framed for a murder he did not commit. The whole thing starts with a recurring bad dream about a buried body.
“On Slide Inn Road” is a shorter tale about a family trip gone wrong. It reverses some of the usual age dynamics that you see in stories. This one is more of a crime story than a horror tale. (There are no supernatural elements.) But it’s a good one.
Rattlesnakes is a novella set in Florida. This is also a sequel to Cujo (1981). The main protagonist of that book, Vic Trenton, is now in his seventies, and he’s been through a lot in the intervening years. He goes through a lot in this story, too.
The Answer Man is another novella. In 1937, a young man meets a roadside hawker who can foresee the future—for a price. The young man interacts with “the Answer Man” over the next sixty years.
This is ultimately a story about finding meaning in life’s unexpected challenges and tragedies. This one is an absolute gem, and worth the entire price of the book.
***
Stephen King is now 77. I started reading his books in the 1980s, when he was only in his thirties, and I was in my teens. (Note: I’ve gotten older since then, too.)
I hope that Stephen King continues to write for many years to come. That was my overriding thought, as I finished this collection.
Kindle Unlimited is Amazon’s main subscription ebook reading program. Kindle Unlimited gives you virtually unlimited (hence the name) reading privileges to a wide variety of titles, for a low monthly fee.
Not every title listed on Amazon is enrolled in Kindle Unlimited. Literary fiction from the big New York publishing houses generally is not included. You likely won’t find the latest Jonathan Franzen novel in Kindle Unlimited anytime in the near future.
Kindle Unlimited is heavy on genre fiction. This means: romance, space opera, LitRPG, fantasy, and horror.
I have a fair number of horror titles in Kindle Unlimited. I write supernatural horror, in the tradition of Peter Straub, H.P. Lovecraft, Bentley Little and E.F. Benson.
And yes (I know this sounds a bit pretentious) Stephen King. I have achieved barely a gazillionth fraction of King’s commercial success. But his formula of character-based, fast-moving horror is always on my mind when I sit down to write a horror tale.
What kind of horror don’t I write? If you want splatterpunk, or “extreme” horror (aka “torture porn”), then you should skip my books and stories. I have no interest in writing horror fiction that is endlessly grim and/or sadistic. My horror fiction is more akin to the campfire ghost story.
Below are the horror titles that I presently have enrolled in Amazon’s Kindle Unlimited program. This means that you can read them for free if you’re a Kindle Unlimited subscriber.
To view one of these titles on Amazon, simply click on the image of any book, or any hyperlink below.
(Don’t have a Kindle Unlimited membership? Click here.)
A college student takes a walk down the most haunted road in rural Ohio for a cash prize. This is a “haunted road” story, basically a tale of being stuck on a cursed country road at night. Ghosts, evil spirits, and hellhounds abound. Also, an evil witch that inhabits a covered bridge.
A coming-of-age story set on Halloween night, 1980. This is a tale of supernatural events in the American suburb. A classic horror tale for Generation X.
The year is 1976, and the Headless Horseman rides again. This coming-of-age horror thriller is sure to please readers who appreciate character-based supernatural fiction with lots of twists and turns.
The basic idea is: the ghosts of American history coming back to haunt Middle America in 1976, the year of the American Bicentennial. (And yes, I’m old enough to remember the Bicentennial, although I was rather young at the time.)
In early 2016, I read an article in The Economist about the luk thep “spirit dolls” of Thailand.
Manufactured and sold in Thailand, these are factory-made dolls with a unique sales point: each doll is supposedly infused with the spirit of a young child that passed prematurely.
The luk thep are intended to bring comfort to their owners. (They are marketed to childless women.) To me, though, the whole idea sounded rather macabre.
And I couldn’t help thinking: what if one of the dolls was infused with a child spirit that wasn’t very nice? What if that same doll ended up in the possession of an American woman who happened to visit Thailand on a business trip? Luk Thep is a fast-paced ghost tale that spans two continents.
Looking for horror stories you can read online for free?
While I recommend Kindle Unlimited for fans of horror fiction and ebooks, I should also point out that I have a number of horror stories you can read online here for FREE.
From classic ghost tales to creature features, you’ll find a considerable range. Check them out!
Some time ago I purchased Where I’m Calling From, the final collection of short stories from Raymond Carver (1938 – 1988). The collection also includes some of Carver’s early published stories.
I have just gotten around to reading this collection. Overall, I would rate these stories quite favorably, for work produced during the mid-20th century.
That doesn’t mean that Carver’s stories will suit everyone’s taste. This is not genre fiction. These are not tales of horror, crime, adventure, romantic fantasy, or alien invasions. Carver’s fiction has been described as minimalist and realist. Kind of like Hemingway at his driest, on steroids. Carver mostly wrote stories about working-class life. And when you add in the generation gap, some of these stories can seem a little dated.
And yes, there are a few that are…not exactly boring…but you finish them wondering, “Now, what was the point of that?”
That said, Carver was a master of bringing narrative passages to life. He was a master of microtension. Even when he is writing about outwardly mundane circumstances, you want to read on, to find out what will happen next.
Raymond Carver lived only 50 years, and published fiction for about 20 years. He wrote only poems, short stories, and screenplays. No novels. As a result, he did not leave a massive body of work behind. But what he did leave is well worth exploring.
If you want to maintain your abilities in a foreign language, you have to use the language regularly. And one of the best ways to practice a foreign language is by reading.
Forget the “apps”—read an old-fashioned book.
(Note: Yes, certain apps can be helpful when you are first learning a language. I’m not anti-app. But once you’re proficient, real-world materials will help you make the most progress. If you’ve been studying a language for years, you should be well beyond the Duolingo stage.)
I first read Pet Sematary—in English—in 1984. Back then, the book was new to all readers, and widely billed as, “the novel that scared Stephen King while he was writing it.”
Like The Dead Zone, which I recently discussed, I remembered the basic plot line and main characters of Pet Sematary. But I have forgotten enough to make the book entertaining the second time around. Also, when I first read this novel, I was a teenager. I’m now in my mid-50s. That makes a big difference.
What about the Spanish?
I sometimes get tongue-tied when chatting in Spanish, but my reading and aural comprehension abilities are quite high. I can read just about any modern text in Spanish, with only an occasional reference to a dictionary.
Lest this strike you as braggadocio, I will also point out that I had my first exposure to Spanish as a high school student more than 40 years ago. I took one year of intermediate Spanish in college. I used Spanish on the job during frequent trips to Mexico in the 1990s and 2000s.
My Spanish is good, by the standard gringo yardstick, and it should be, after all this time. I’m not a language-learning virtuoso, by any means. But I am a dedicated language learner, and one who has been at it for a number of years now.
I can recall the first time that I was actually scared by something that I read.
It was the summer of 1977. Somehow a book of short horror stories had come into my possession: Stories of Ghosts, Witches, and Demons. This slender 80-page volume, edited by Freya Littledale, was published by Scholastic in 1971.
Although I read the book cover-to-cover, I have forgotten all of the stories—except one: an especially creepy tale called, “The Demon of Detroit”.
This is the story of a married couple, Mr. and Mrs. Adams, who move into a house in the Motor City. They soon discover that they aren’t alone. Something horrible inhabits their back bedroom.
After a series of disturbing events, the couple decides to move out of the house. The last lines of the story are particularly haunting: They indicate that the Adamses “admit defeat”. Whatever lurks in the back bedroom will now have the rest of the home to itself, too.
The full text of the story (along with a clip of the artwork appearing in the original Scholastic publication) is available online. I do recognize the artwork. I can’t say for certain if the transcription of the 1971 text is one hundred percent faithful. (I was nine years old in 1977, after all.)
“The Demon of Detroit” seems to be based on an urban legend from the 1960s, which has enjoyed a modest contemporary revival. Urban legends, I’ve found, often make good source material for horror films and short stories, because urban legends are instantly relatable and easy to grasp. They aren’t overly complex. That’s important in horror film and fiction.
“The Demon of Detroit” also demonstrates the effectiveness of the short form in horror. This short story is perhaps a thousand words long. Obviously, they won’t all be that short. But as a rule of thumb with horror: the longer the story, the harder it is to maintain the suspension of disbelief. (Notice that Poe, Lovecraft, and even Stephen King are at their best when writing in the short form.)
“The Demon of Detroit” is a story that begins with a subtle atmosphere of darkness, and builds, over about a thousand words, to something truly malevolent.
“The Demon of Detroit” scared the bejesus out of me in 1977. I reread it today (the online version). It still brings a chill to my spine, forty-three years later.
At the end of 2024 I read Stephen King’s The Dead Zone for the second time.
I had read this book for the first time back in 1984, when I was fifteen going on sixteen. In the intervening years, I had never revisitedthe book. (I did see the 1983 film adaptation starring Christopher Walken. While this was a valiant effort on Hollywood’s part, the movie simply didn’t capture the essence of the complex, multilayered source material of the novel.)
‘The Dead Zone’: an experiment in rereading
I decided in December 2024 that forty years was enough time to wait between readings of The Dead Zone. I therefore gave the book another reading. While I remembered most of the major plot points, I had forgotten enough that the book was “fresh” in my rereading.
I also did this as an experiment of sorts. I have been disappointed by Stephen King’s recent novels. Last year I plodded my way through the meandering Fairy Tale (2022), and I struggled to finish it. I was glad when Fairy Tale was over. I nearly gave up on The Outsider (2018) and Doctor Sleep (2013). I did give up on Cell (2006), Under the Dome (2009), and Lisey’s Story (2006), abandoning all three books midway through.
And yet, I recalled loving Stephen King’s early novels so much. Seemingly everything published under his name between 1974 and 1983 was pure gold. Carrie, The Shining, Cujo, The Stand…I had gone through all of those books like a hot knife through butter. And that was back when I had the distracted mind of a teenager.
I wondered if my tastes had changed, or maybe matured. For example, I still enjoy the music of the Canadian rock group Rush. But I have backed off from my teenage assertions that Neil Peart’s lyrics are absolutely brilliant, a complete system of philosophy set to music.
The fifty-something eye can simply not see the world through the teenage lens. Therefore, a rereading of The Dead Zone would be a worthwhile test. Had Stephen King changed? Or had I changed?
‘The Dead Zone’: not quite a horror novel
The Dead Zone is the story of Johnny Smith, a Maine English teacher who emerges from a car accident and a four-year coma with psychic powers. Not long after his awakening, Smith discovers that he has an important mission to perform, one involving an act of political violence. But in committing this one act, Smith will literally save the world.
Although there is a serial murderer subplot, The Dead Zone is not a horror novel in the conventional sense. If Stephen King hadn’t written it, The Dead Zone would have been shelved in the science fiction section. The Dead Zone reminds me of something the late Michael Crichton would have written.
So what did I think? Forty years later, I will tell you the same thing I would have told you in 1984: The Dead Zone is an absolutely brilliant novel. I enjoyed The Dead Zone just as much as a 56-year-old as I did at the age of not-quite-sixteen. In fact, I enjoyed it more, because there were some layers and references that went over my head forty years ago, that I appreciated this time around.
The power of narrative drive
Why is The Dead Zone such a good novel? The premise? Well, yes, the premise is an intriguing one. But Stephen King, in the early years, made magic with vampires in ’Salem’s Lot, his second novel. Vampires were hardly original by the time ’Salem’s Lot was published in 1975. Bram Stoker had already done them seventy-eight years earlier.
The Dead Zone has a compelling premise and strong central characters. More than that, though, The Dead Zone has a strong narrative drive. Although by no means a short book, there is not a single wasted scene in The Dead Zone. There are no meandering subplots.
The problem of the Frankenstory
Fairy Tale, by contrast, is what I would call a Frankenstory. It lacks a coherent wholeness. If you read the book, you’ll find that it is actually two novels in one. There is the “in-this-world” story that comes in the first half of the book. And then there is the portal fantasy.
Or, no…that isn’t exactly right. It would be more accurate to say that Stephen King devotes a full novel’s worth of space setting up the main story premise in Fairy Tale.
I first noticed that Stephen King’s style had changed back in 1986, when I read It. Whereas before his novels and stories had moved along a straight narrative throughline, now they meandered to and fro.
What else makes a novel a Frankenstory? A story with too many characters, especially point-of-view characters. (This is a particularly pernicious trap for many fantasy authors.)
***
Anyway, I very much enjoyed my reread of The Dead Zone. The book really is that good. I recommend it for those who would like to read Stephen King at the top of his game.
How I wrote a horror novel called Revolutionary Ghosts
Or…
Can an ordinary teenager defeat the Headless Horseman, and a host of other vengeful spirits from America’s revolutionary past?
The big idea
I love history, and I love supernatural horror tales.“The Legend of Sleepy Hollow” was therefore always one of my favorite short stories. This classic tale by Washington Irving describes how a Hessian artillery officer terrorized the young American republic several decades after his death.
The Hessian was decapitated by a Continental Army cannonball at the Battle of White Plains, New York, on October 28, 1776. According to some historical accounts, a Hessian artillery officer really did meet such an end at the Battle of White Plains. I’ve read several books about warfare in the 1700s and through the Age of Napoleon. Armies in those days obviously did not have access to machine guns, flamethrowers, and the like. But those 18th-century cannons could inflict some horrific forms of death, decapitation among them.
I was first exposed to the “The Legend of Sleepy Hollow” via the 1949 Disney film of the same name. The Disney adaptation was already close to 30 years old, but still popular, when I saw it as a kid sometime during the 1970s.
Headless Horsemen from around the world
While doing a bit of research for Revolutionary Ghosts, I discovered that the Headless Horseman is a folklore motif that reappears in various cultures throughout the world.
In Irish folklore, the dullahan or dulachán (“dark man”) is a headless, demonic fairy that rides a horse through the countryside at night. The dullahan carries his head under his arm. When the dullahan stops riding, someone dies.
Scottish folklore includes a tale about a headless horseman named Ewen. Ewen wasbeheaded when he lost a clan battle at Glen Cainnir on the Isle of Mull. His death prevented him from becoming a chieftain. He roams the hills at night, seeking to reclaim his right to rule.
Finally, in English folklore, there is the 14th century epic poem, “Sir Gawain and the Green Knight”. After Gawain kills the green knight in living form (by beheading him) the knight lifts his head, rides off, and challenges Gawain to a rematch the following year.
But Revolutionary Ghosts is focused on the Headless Horseman of American lore: the headless horseman who chased Ichabod Crane through the New York countryside in the mid-1790s.
The Headless Horseman isn’t the only historical spirit to stir up trouble in the novel. John André, the executed British spy, makes an appearance, too. (John André was a real historical figure.)
I also created the character of Marie Trumbull, a Loyalist whom the Continental Army sentenced to death for betraying her country’s secrets to the British. But Marie managed to slit her own throat while still in her cell, thereby cheating the hangman. Marie Trumbull was a dark-haired beauty in life. In death, she appears as a desiccated, reanimated corpse. She carries the blade that she used to take her own life, all those years ago.
Oh, and Revolutionary Ghosts also has an army of spectral Hessian soldiers. I had a lot of fun with them!
The Spirit of ’76
Most of the novel is set in the summer of 1976. An Ohio teenager, Steve Wagner, begins to sense that something strange is going on near his home. There are slime-covered hoofprints in the grass. There are unusual sounds on the road at night. People are disappearing.
Steve gradually comes to an awareness of what is going on….But can he convince anyone else, and stop the Headless Horseman, before it’s too late?
I decided to set the novel in 1976 for a number of reasons. First of all, this was the year of the American Bicentennial. The “Spirit of ’76 was everywhere in 1976. That created an obvious tie-in with the American Revolution.
Nineteen seventy-six was also a year in which Vietnam, Watergate, and the turmoil of the 1960s were all recent memories. The mid-1970s were a time of national anxiety and pessimism (kind of like now). The economy was not good. This was the era of energy crises and stagflation.
Reading the reader reviews of Revolutionary Ghosts, I am flattered to get appreciative remarks from people who were themselves about the same age as the main character in 1976:
“…I am 62 years old now and 1976 being the year I graduated high school, I remember it pretty well. Everything the main character mentions (except the ghostly stuff), I lived through and remember. So that was an added bonus for me.”
“I’m 2 years younger than the main character so I could really relate to almost every thing about him.”
I’m actually a bit younger than the main character. In 1976 I was eight years old. But as regular readers of this blog will know, I’m nostalgic by nature. I haven’t forgotten the 1970s or the 1980s, because I still spend a lot of time in those decades.
If you like the 1970s, you’ll find plenty of nostalgic nuggets in Revolutionary Ghosts, like Bicentennial Quarters, and the McDonald’s Arctic Orange Shakes of 1976.
***
Also, there’s something spooky about the past, just because it is the past. As L.P. Hartley said, “The past is a foreign country; they do things differently there.”
For me, 1976 is a year I can clearly remember. And yet—it is shrouded in a certain haziness. There wasn’t nearly as much technology. Many aspects of daily life were more “primitive” then.
It isn’t at all difficult to believe that during that long-ago summer, the Headless Horseman might have come back from the dead to terrorize the American heartland…
One day in 2004, I was browsing through the bargain books bin at my local Borders bookstore. (Yes, we still had brick-and-mortar bookstores back then, though only for a few more years.)
I came across a hardcover copy of a mystery novel, Chasing the Dime. The author was Michael Connelly, whose name I recognized, but whose books I had yet to read. The price of the hardcover book was cheap, even by 2004 standards: $5.99, or something like that. I decided to give Chasing the Dime a try.
Drawn in by the story, I read Chasing the Dime in a few days. I then moved on to Michael Connelly’s series mysteries: those of Harry Bosch and Jack McEvoy, and then Mickey Haller, aka the Lincoln Lawyer.
Chasing the Dime is a standalone novel, of the “amateur sleuth” genre. Originally published in 2002, this is the story of a tech entrepreneur, Henry Pierce, who gets a new phone number after he changes his residence. The new phone number was recently held by a woman named “Lilly”.
Pierce gets numerous calls from men, many who are phoning from Los Angeles-area hotels. These men all seem eager to make evening appointments with Lilly.
Pierce quickly determines that Lilly is an escort. He also learns that Lilly went missing about two months ago. The phone company reassigned her number when she failed to pay the bill.
Pierce becomes obsessed with finding Lilly, or discovering what happened to her. (Not far into his investigation, Pierce concludes that foul play is involved.) This leads him to neglect his work and personal life. The search for Lilly also leads him to risk his physical safety.
Twenty years have gone by since I first read the novel. I recently decided to listen to the audiobook version of Chasing the Dime. As is often the case when I watch a film or read a story for the second time, I noticed things.
There are two major challenges in any “amateur sleuth” story. The first is: how does the amateur sleuth become involved in the mystery? The second: what motivates the amateur sleuth to investigate?
Michael Connelly plausibly answers the first question. In a big city like Los Angeles, just before the iPhone era, it is easy enough to imagine the phone company quickly recycling abandoned phone numbers, with some odd coincidences resulting.
The amateur sleuth’s motivation is less believable here. Connelly does create a childhood backstory for Pierce that partially explains his sudden obsession with Lilly’s fate. Also, Pierce has just broken up with his girlfriend, so he is emotionally vulnerable.
But as numerous secondary characters tell him, missing persons cases are best left to the police, or a trained private investigator. Also, Henry Pierce is a very busy man in the middle of some all-consuming, high-stakes endeavors. Would such a man really devote so much time to investigate the whereabouts of a stranger?
But that’s a flaw I noticed on the second reading/listening. There is no such thing as a perfect story, and Chasing the Dime is not a perfect novel. But this was the book that got me hooked on Michael Connelly. Twenty years later, I’ve been a fan ever since.
I was poking around on YouTube when I discovered the above trailer. Apparently Max (formerly HBO Max) has created a new screen adaptation of ‘Salem’s Lot, Stephen King’s 1975 novel about vampires taking over a small town in Maine.
I saw the original TV miniseries when it aired back in November 1979. I was 11 years old, in the sixth grade. There were some scenes in the 1979 original adaptation that were genuinely creepy–especially to the 11-year-old me.
When I started reading Stephen King’s novels in 1984, ‘Salem’s Lot was the one I started with. About five years had passed since my viewing of the miniseries. And I was then a sophomore in high school instead of a sixth-grader.
I read ‘Salem’s Lot in about three days. I found the book an absolute page-turner. (I seem to recall doing poorly on a geometry test, because I was reading ‘Salem’s Lot when I should have been studying!)
I’ve reread the book several times since then. From my more critical (and more jaundiced) adult perspective, I can see some flaws that I didn’t notice back then. But no matter. ‘Salem’s Lot is still a humdinger of a story, at the end of the day.
‘Salem’s Lot has a modern (1970s modern, anyway) feel to it. You don’t get the sense that you’re reading a story set in a remote location in 19th-century Europe, like Bram Stoker’s Dracula (1897). ‘Salem’s Lot therefore seems like a story that could happen. (If vampires existed, that is!)
Moreover, ‘Salem’s Lot is a real vampire story. Not a fake, teen girl romance tale masquerading as a vampire story, like that Twilight nonsense. (Don’t even get me started on Stephenie Meyer’s high crimes against the vampire genre.)
The 1970s/80s paperback version of ‘Salem’s Lot that I read in 1984
The new Max film version of ‘Salem’s Lot looks scary, based on the trailer. I will doubtless get around to seeing it a some point, but this is one that can wait, in my case.
‘Salem’s Lot, great story that it is, is one that has been with me for 45 years now, in one form or another. I watched the original TV miniseries at age 11. I read the novel for the first time at age 15. I’m now 56, and I know this story so well that I cannot help anticipating all the major plot points before they occur.
But such are the vagaries of age, and of rereading books, and watching their screen adaptations over decades. If your history with ‘Salem’s Lot is less extensive than mine (and it probably is), you’ll want to rush to the new Max version of it. A younger version of me would have felt the same way.
A down-on-their-luck young couple take advantage of an opportunity to strike it rich at a Southern Indiana casino. Instead they find themselves in the middle of a struggle between two ruthless criminal factions.
Many years ago, I watched the movie adaptation of Pat Conroy’s 1986 novel, The Prince of Tides. I only recently got around to reading the book.
The 1991 movie stars Nick Nolte as Tom Wingo, a South Carolinian who finds himself a fish out of water in New York City.
Why is Tom Wingo in NYC? His famous sister, poet Savannah Wingo, has just had a psychotic episode. Savannah requires the intervention of psychiatrist Susan Lowenstein, played by Barbara Streisand.
The Prince of Tides movie poster, 1991
The movie revolves around the resultant romance between Tom Wingo and Susan Lowenstein. The movie poster collage even features an image of Streisand and Nolte in a moment of what appears to be post-coital tenderness.
This was done, no doubt, so that Hollywood could bill the movie as a romantic drama, targeted at the then middle-aged Baby Boomer demographic. But this represented a vast departure from the emphasis of Pat Conroy’s long novel.
The novel does include a romantic, adulterous interlude between Wingo and Lowenstein, both of whom are trapped in unfulfilling, ill-fitting marriages. (A very middle-aged Baby Boomer theme.) But most of the novel consists of flashback stories from Wingo’s troubled, colorful childhood.
Tom Wingo, his twin sister Savannah, and his brother Luke were all scarred by their formative years in South Carolina. The 600-page novel is mostly a long series of flashback stories that drive home this point, again and again. This is all that happened to them…This is why Tom Wingo and his siblings went so very wrong…
As a result, The Prince of Tides is less a single novel than a series of loosely connected stories, which Wingo revisits in memory during his extended stay in New York City. Some of these stories are interesting, or at least have the potential to be interesting. Far too many of them, though, come across as random and far-fetched.
For example, there is a subplot in which the Wingo siblings, as adolescents, abduct an albino porpoise from a public aquarium. The elements of this side tale are so improbable as to resemble slapstick.
There is an early flashback story in which the children’s coarse, abusive father, Henry Wingo, is a downed pilot behind German lines in World War II. This story seems rushed, and almost as improbable as the subsequent white porpoise tale.
And then there are the really weird subplots involving miscarried infants and the Wingo siblings’ grandparents. I’ll leave those for the reader to explore on her own, if she decides to read the book.
The Prince of Tides would have been much better if Conroy had written it as a series of books. Or, perhaps, a series of long short stories about the same characters. But the publishing industry of the mid-1980s was focused on delivering thick, standalone novels for the shelves of B. Dalton and Waldenbooks. That’s what The Prince of Tides is, in terms of its packaging. The storytelling suffers as a result.
The Prince of Tides lacks a central narrative drive. Look here! Conroy tells the reader. No—now look over here at this!
Pat Conroy’s novels tend to be hit or miss for me. I loved The Lords of Discipline (1980). I found South of Broad (2009) to be a slog. The Prince of Tides is a novel that I do not regret reading once, but not one that I am ever likely to read again.
Conroy grew up in South Carolina, the son of a harsh military father. Just like so many of his characters. All of his novels, in one way or another, tend to be autobiographical. Conroy seems to be revisiting his own troubled childhood in fiction, again and again.
Self-focused fiction can be both beautifully authentic and numbingly self-indulgent. The Prince of Tides is some of both.
**When walking down lonely roads at night, beware the hellhounds!**
Jason Kelley is a college filmmaker who has accepted a challenge: walk eleven miles down the most haunted road in rural Ohio, the so-called Shaman’s Highway.
If Jason completes his task, he’ll win a $2,000 prize.
But before he reaches his destination, he’ll have to cope with evil spirits, trees that come to life, an undead witch, and packs of roving hellhounds!
A creepy supernatural thriller! Not for the faint of heart!
I’ve barely sampled Isaac Asimov’s fiction. (I own a book of his short stories.) But I caught a few interviews of the late science fiction author on YouTube, and found him to be an interesting character.
I was therefore open to reading his second autobiography, I, Asimov: a Memoir. (The title is a pun on his novel, I, Robot).
I’m finishing the book up now. Isaac Asimov (1920-1992) seems to have been a powerful combination of strong intellect with an engaging personality. Reading his biography, I almost felt as if I knew him. I regretted that I never met him, in fact.
Born in the Soviet Union, Asimov and his parents emigrated to New York when the future author was only three years old. (He notes several times, with regret, that he never learned Russian.)
I, Asimov will be of most interest to fans of his fiction, and to readers who want to learn something of his prolific writing habits. I fell into the latter category.
Asimov wrote or edited more than 500 books in his lifetime. He was certainly prolific. Asimov describes writing in addictive terms. Nothing, Asimov claimed, made him as happy as the time he spent at his typewriter.
Why the emphasis on “typewriter”? Asimov lived well into the personal computer/word processor age, but he preferred working on physical sheets of paper. He eventually acquired a word processor, but he used it mostly for typesetting his manuscripts before final submission.
Asimov did not survive into the age of truly modern word processing software (beginning around 1995). He did not live long enough to experience the Internet or social media, either. One suspects that he would have been an active blogger. (Asimov also wrote thousands of essays, letters, and postcards.)
He did not like to travel, and often turned down speaking engagements that would have required him to leave New York City. On this point I can sympathize with him; I have never enjoyed the logistics of travel, whether by car or by plane.
Asimov was an atheist, but he was not annoying in his atheism. He simply didn’t believe in God, or in a reality beyond the purely material. He was an avowed humanist, and had a strong (if irreligious) sense of right and wrong.
I, Asimov consists of 166 easy-to-read essays, arranged in more or less chronological order. I enjoyed Asimov’s memoir, and this book has made me want to take a deeper dive into his fiction.
I recently received an email from a reader of 12 Hours of Halloween, asking me about “Devil’s Night” and the 1980s. The reader wanted to know if I participated in any Devil’s Night mayhem as a youth.
For those of you who don’t know the term: Devil’s Night, aka Damage Night, or Mischief Night, is traditionally the night before Halloween, October 30.
The observance apparently dates back tothe 1790s. In the 1800s, this was a night when children engaged in innocent pranks, like soaping neighbors’ windows.
But nothing remains innocent for long, does it? By the time I was a kid, in the late 1970s, Devil’s Night had acquired a bad reputation. This was largely owing to the destructive arson sprees that took place in cities like Detroit on October 30, starting in the 1960s.
Strait-laced suburban youth that I was, I wanted no part of any of that. Nor did I hear much about such pranks during my trick-or-treating years. I think a few kids may have toilet-papered trees. But that’s about the extent of it.
My maternal grandfather, mid-1930s
In my personal circle, I have been acquainted with exactly one person who admitted to serious Devil’s Night misconduct: my maternal grandfather.
My maternal grandfather (who loved Halloween) was one of my favorite people. He was also a World War II veteran.
But before all of that, he was a youth in rural Southern Ohio, on the westernmost fringes of Appalachia. He grew up in the 1930s. And if you think those were innocent times, then you’ve been watching too many episodes of The Waltons.
On Devil’s Night, my grandfather and his friends used to engage in some marginally malicious hijinks. Much of this consisted of tipping over outhouses
My grandfather told me about one Devil’s Night on which a crotchety old man (who was the bane of local children) fired a shotgun at him and his friends in the dark.
No one was harmed. According to my grandfather, though, the man had fired his shotgun with the intent of doing serious bodily injury to the trespassers. (And they had just tipped over his outhouse.)
Do I approve of what my grandfather and his friends did that night? No, of course not. But I’m quite grateful that that old man’s aim was off. Otherwise, I might not be here to write this post.
-ET
**12 HOURS OF HALLOWEEN**
Halloween night 1980 will be unlike any other!
On Halloween night 1980, three young friends face the perils of a supernatural curse.
Their familiar suburban environment is transformed into a nightmare hellscape of witches, evil spirits, and unimaginable creatures.
A terrifying coming-of-age tale for Generation X, or anyone nostalgic for the 1980s!
These are very good stories, on the whole. I enjoy Benson’s work somewhat more than I like that of his contemporary, M.R. James. Benson’s tales are more lurid, prefiguring the pulp writers of the 1930s and 1940s.
E.F. Benson’s ghost stories influenced H.P. Lovecraft, who influenced Stephen King.
Benson’s stories do follow a pattern, however. A single male protagonist travels to a location where supernatural events are known to take place. Often this is a resort, an old manor, or a guest house.
Strange things happen, and the action builds to a not unpredictable climax. The haunted location is usually the scene of a gruesome murder in the distant past.
So yes, there is a formula, but an entertaining one. If you like ghost stories with an old-fashioned feel to them, you might want to give this collection a try.
