Book Review: The Institute by Stephen King

Photo Credit: The Hardcover's Cover, from Goodreads

I've got all of King's books, and I've been writing that his stuff lately is okay, but that we need to accept that the genius is...resting. Producing, but resting. I've been writing that his stuff is "compulsively readable" for so long now, I can't remember when that wasn't the best that I had to say. REVIVAL was a rare exception, but for a long time before that, and now for a long time after, "compulsively readable," and that I read his newest book in X number days, were the best I could say. But then I read that The New York Times, and that Kirkus, had given THE INSTITUTE rave reviews. They said he was back to form, that he hadn't written about kids this well since IT (but with the release of IT Part 2, what else would they say?), and that this novel was extremely well structured--all rare positive review bits, especially from the NYT and Kirkus, who are not always enamored with King's stuff. So I bought it, as I would've anyway, because I own all of his books in hardcover, and because I knew I'd read it swiftly (check) and that I'd at least find it compulsively readable. But this time--THIS TIME!!!--I felt confident I'd have more positive things to say.

And, well...I read THE INSTITUTE's 561 pages in about 2 1/2 days. And...it's compulsively readable.

It isn't IT, and he doesn't write about kids as well in this as he did in IT. It's possible that this is the best he's written about them since IT, but how many of his recent books have only been about kids? Maybe, none of them---since IT.

The book starts off with a drifter, and a small town, and how the drifter ingratiates himself in this small town...but King has done that millions of times, and can possibly write that now in his sleep. (Which he possibly did, here.) Then it switches rather abruptly to The Institute, which seems suspiciously like The Shop, from FIRESTARTER. But this ain't FIRESTARTER, and the baddies from The Shop are much more so than the ones here. (There are similarities, too. There's a John Rainbird character here, of the opposite gender, but Rainbird was a badass that nobody here approaches.) Nobody here is Charlie McGee, either. Those were better written characters than anyone here. I mean that in the kindest of all positive ways.

This book is really about Hannah Arendt's "banality of evil." The whole book, in fact, could've been from the point of view of those who work for The Institute, and maybe that would've been a better book. (Sounds like a helluva good idea to me.) Here, there's a cleaning lady who could've been fleshed out better, and at the end there's an 81-year old woman who seemed very interesting. Why did she stick around, and with such gusto? THE INSTITUTE tries to go there, but mostly doesn't, which is a shame. The baddest badass of them all gets short shrift at the end, to the extent that King himself suddenly seems to give up on her, and all she gets is the other characters calling her "the queen bitch." She was badder than that, and deserved better, if you know what I mean. She could've been this book's Rainbird. The one who gets that honor doesn't deserve it, and in fact seems kind of lame. At the end, you won't care too much what happens to him.

In the meantime, the kids are drawn out well enough, and you will care about what happens to them. But, A) they're kids, so that's maybe automatic, and B) it's really their book, so they get the most airtime. Still, you get caught up in the going's-on, and it is compelling in a slow-moving train kind of way. It'll pass the time, and it is compulsively readable.

But it could've been so much more. The people who work at The Institute have their reasons for doing so, and King strongly insinuates that these reasons are compelling--but never appropriate, of course. The ends don't justify the means, here, and that's really the point of the book. But why do such people work for such banal evil? Many of them are obviously deranged, but some are maybe almost good people, or those who could've been. This book could've been essentially the same story, with that theme been better pondered and shown. It's never answered, not even close, but King seems like he wants to go there, that he wants to try and answer it--but then just drops it.

And so ultimately it's a good read. 561 pages in just short of 3 days means the book is good on some level. Yet maybe this is what's lacking in King's work now. The why. The big themes. King was never "deep," per se, which he takes pride in, and on some levels he's right. He wants to entertain more than he wants to instruct (he could've stayed on as an English teacher if that's all he'd wanted), but the fact remains that THE SHINING, CARRIE, IT and many others had more depth to them, more heft, without ever sacrificing story. Lately his stuff is about 95% story, to the exclusion of perhaps all else, and that's why they seem lesser. CARRIE, for example, never tried to explain how religious mania could screw up a family and a kid, but it sure did show it very well. THE SHINING showed how a very, very flawed man could redeem himself to save his wife and son. THE SHINING therefore had a hefty thing to say about personal redemption. I could go on...

King's stuff now frankly just lacks this heft. It's all story, all the time, and it doesn't have too much to show, or to say, about things that it could, and should, show and say about. In this case, Arendt's "banality of evil." That's too bad, because it could've easily gone there, and it would've made this book a lot better. It's not as bad as the Bill Hodges fiascoes, but...you won't want to read this one again. It'll sit in my bookcase with all the others, but...it probably won't come out of it again.

Too bad. THE INSTITUTE is okay, but it could've been one of his better ones in a long, long time.

We're All In This Together by Owen King -- A Book Review

Photo: Book's cover, from its Goodreads page

Extremely good writing here, in Owen King's first effort, which I decided to read after having read his recent collaboration with his more-famous father, Sleeping Beauties. The self-titled novella is a bit over-written about in the promos, and it took awhile to grow on me, but the shorter stories are excellent.

More Jack Ketchum than Stephen King, Owen King does sad and weird very well, which I mean as a compliment. (I'm thinking of Ketchum's excellent and sad zombie stories as I write this.) The stories here, though, also have an odd scariness, more of the everyday and common-to-life variety, I guess. There's a 1930s ballplayer who's bringing his kind-of girlfriend to an alley abortionist and wondering if he's a decent person: "Wonders." (That scene isn't to be missed--and it's not grisly at all.) There's a tooth-pulling in a locale straight out of The Revenant--and this in 2006, long before that movie: "Frozen Animals." There's a sad and strange story about life-drifting people who would seem like losers if they weren't like so many of us, and perhaps most of us: "My Second Wife." As I said, the novella picks up steam halfway through and is touching and meaningful by the end, and has perhaps the best fleshed-out characters. One story, about a lost teenage boy running into a shyster and his snake at a hole-in-the-wall mall didn't really work for me, but has things in common with the other stories that worked in those.

The end result is a memorable read, with scenes very Tarantino-like, more of a build-up to a tense payoff than anything horrifying. The writing and characterization are really very good, up to par with his father's characterization at his best, and frankly the overall writing is better here--though Stephen King is a much better storyteller. Overall I prefer Owen King here to anything Joe Hill, his more-famous brother, has written, though in fairness I haven't given Hill's stuff a very serious look. I have given it a serious effort, though--and just can't get into it. Owen King's stuff was much easier to dive into. One wonders why Owen King hasn't become more popular, especially since he shares the famous last name that Hill has gone out of his way to distance himself from. Maybe Owen King hasn't written as much, and not in the same genre. 

A Very, Very Short Book Review -- The Sleep Room

Photo: from the Washington Post's review of the book

Very good, pleasant read that will make you feel you are there, and maybe make you feel a little smarter, without taking that much out of you. As usual with Tallis, he excels at place and time, is a little short on female characters, is heavy on the psychology and philosophy, maybe mentions Freud a little too much, and adds a wrinkle that you should see coming but that you appreciate nonetheless. Such has been the case with the Leibermann series set in Vienna--actually with Freud--and the two non-mysteries I've read. The end result is a pleasant excursion that leaves you with something to think about. Especially interesting is the Cartesian confusion of reality versus dreams. Cogito ergo sum, I think therefore I am, but how do you know you're not dreaming of thinking that? What if, in fact, what we think are our dreams are actually our reality, and our reality is nothing but slumber?

The book is set in a supposedly haunted mental health facility, which is run by a well-known and well-connected guy who believes in putting his patients to sleep for many months for therapuetic reasons. (This is all supposedly based on a real guy and a real place, according to Tallis's notes at the end.) But the discerning reader is a little wary right away, especially this one, who has seen The Others and such films, and is ready to be psychologically waylaid. When the patient reports start coming, and one of them refers to a report (one of two) that isn't presented with it, you should know what to expect at the end, in the last report.

When it comes, though, you're not dissatisfied, exactly. I think this is because Tallis doesn't seem to think that he's pulling a fast one on us. He knows we know what's coming, but it's in the getting there that matters. Tallis treats the reader intelligently, and writes intelligent stories that never become highbrow or condescending, so for that we're willing to go along for the ride, even if we know how the ride will end. It's a pleasant enough journey, and the ideas presented are interesting. It's not as depressing an ending as it could've been, either, because you saw it coming miles away.

For the record, I disagree with the "extreme paranoia" mentioned at the end, as I don't think the character's misgivings go too far, but that's perhaps the point in this made-up world of his. I think it would've perhaps been a little more interesting and convincing to have one of the other characters in that situation at the end, which would've led to more interesting world-building. But this could've also been messed-up big-time by Tallis, at which point the whole book would've perhaps felt like a waste, or maybe it would've seemed like it had a condescending tone, like it was over-reaching. Read it, and decide, and leave me a message if you'd like. Makes me want to write my own take on this whole thing in my own story or novel, and end it the way I say. We'll see.

The Bazaar of Bad Dreams by Stephen King

Photo: First Edition front cover, from the book's Wikipedia page.

Quick note: I'm just the 27th to publish a review of this book on Goodreads, as of 10.10.2015.  Though I'm sure someone will have typed one up and posted it before I finish mine.  Mine, as you know, are long.

Very good short story collection, but then again they all are.  (Except maybe Everything's Eventual, which I dimly remember had more misses than hits for me.)  This one has more hits than misses--many, many more--and even the misses miss in just minor ways for me.  My biggest beef with them is that they were maybe insignificant to me.  They might not be to you.  To each his own.

The book begins with a disclaimer that most of the stories have, of course, been previously published.  There's some claptrap about how a story is never finished, but he's got to write something there, I guess.  The fact is, these stories have been published before, and only a couple have been extensively revised, and he's publishing them now because that's the cool thing about short stories: you get paid for them once, and then if you're a name that anyone cares about, you can collect them in a book and get paid for them again.  Much more this time for King, I assure you.  I wonder if he's still getting $10M per book, if he ever was.

In front of each story is a short comment about the genesis of each.  Entertainment Weekly said these were reason enough to read the book.  These are usually distracting for me, so I read them all at once, before I read any of the stories, and then I started reading the stories the next day.  Again, to each his own.  But he's written better intros than any of these.  (My fave's probably the one with The Bachman Books.)

Anyway, some quick thoughts about some (stop now if you don't want to know anything about a few of the stories):

"Mile 81" reads well, as all his stuff does.  You're maybe sick of reading the phrase "compulsively readable" in my reviews of King's stuff by now, but I'll continue typing it as long as it stays true.  Such is the case with this story, except that it's one of my "insignificant" ones in this book, which is not necessarily a terrible thing.  Who doesn't need a good, irrelevant story?  But I read this book (impulsively and compulsively) when I perhaps should have been doing something else, so I felt badly when I felt that tinge of "So what?"  In this one, an alien vehicle kills some better drawn-out characters than usual for this kind of story, and then flies away.  And that's what happens at creepy and abandoned rest areas.  A better story could be made of this.

"Premium Harmony" is a very effective story about a guy and his wife (who very much don't get along), and a dog that prefers her over him.  This one's very memorable and very well-written, and could actually happen.  Good voice and good ending--not always a King strong-suit.  I read this one before somewhere.  Maybe in Details?  Atlantic Monthly?  There's usually a Previously Published In... page, but not this time.

"Batman and Robin..." is okay, a good story that passes the time.  Won't stick in my noggin' but it may in yours.

"The Dune" is a very good story about a judge who sees names in a sand dune, and when he does, that person drops dead soon.  Clever little ending, reminiscent of King's Night Shift days.

"Bad Little Kid" was okay.  The kid in question is sort of representative of all evil, in a ghostly kind of way.  Stands in for Death itself, too.  This is actually a common theme in this collection.

"A Death" is an extremely successful little story that'll leave you guessing until the end.  Written in a different style and tone for King, and he pulls it off.  Very good detail, and it'll make you question your belief system--even if you know how far people will go to deny, and to save their own skin, even from themselves.  I've seen way too much of that, and I was still surprised.  Created a long conversation between myself and my better half.  I read this one somewhere before, and was still impressed when I re-read it again here.  Very memorable.

"Morality" is an effective, nasty long story.  Sort of like a more shrill take on Indecent Proposal.  I read this, and "Blockade Billy," in the limited-release book that had just those two stories, and something originally written for his son, if I remember right.  Anyway, this one says something about the human condition, though I'm not sure what.  Maybe that you can't run away from your own guilt, but he's done that better elsewhere.  What was that short story about the farmer who killed his wife and tried to run away from it but kept seeing and hearing the rats?

"Afterlife" was entertaining and okay.  Probably not memorable for me.

"Ur" was also good, and a welcome back to the men in yellow coats and a bit of the Tower.  Good.  No surprises.  One of the longest in here.

I'd read "Herman Wouk Is Still Alive" somewhere before and just skimmed it here.  Very good story.  A bit of a head-scratcher about life, about depression, about poverty.  About how some find peace and some don't.  Memorable.

"Under the Weather" is probably the most effective and memorable for me.  What does one do when someone you've placed your heart and soul to dies?  So effective because I can imagine this actually happening, in exactly the way that it does here.  And I think you will, too.

For "Blockade Billy," see "Morality" comment.  This is a good story that maybe baseball fans--especially those who like the game from the early 1900s like I do--will better appreciate.

"Mister Yummy" is a bittersweet take on the same themes as the bad kid story.  This one worked better for me, but again it's about getting old and dying, and about what might come next.  There's a lot of that in this collection.

"The Little Green God of Agony" didn't work for me.  Not a bad story, exactly.  A shoulder-shrugger.

"That Bus Is Another World" could have been titled "Kitty Genovese."  I liked it's point more than I liked the story, and it doesn't go with King's intro for it at all.

"Obits" worked for me, but the love-interest tie-in didn't, and it sort of peters out at the end.  Good idea; bad follow-through.  Okay story.

"Drunken Fireworks" was the clunker of the collection for me.  Skip it.

"Summer Thunder" is the bummer of the collection, but still a very good story and very memorable, though the ending is never in doubt, and there really wasn't any other ending King could've given it.  Because of all this, it's a huge victory that this story is still so readable and memorable and sad.  It tries for a strong human will ending that was just more sad for me, though it may register a little better for you.

All in all, this is a great short story collection that shows some of King's best writing in years.  Worth your money and time.  Get it.

"The Saddest Dog in the World"--Read On for Happier Ending

Before I show the picture, know that the dog is out of the shelter now, and is happier and doing much better, but still only in a temporary foster home.  As of this writing, she's still looking for her "forever home."

Photo: © Courtesy: Rescue Dogs Match via www.rescuedogsmatch.com The picture of Lana that went viral as the 'Saddest dog in the world'.

For the video, go to this address from msn.com

Excerpted from the msn.com article, until the drawn line:

Lana, also known as the "saddest dog in the world", is currently in a foster home waiting for her forever home thanks to an outpouring of support after her story went viral. 

The one-and-a-half-year lab mix is a foster dog with Rescue Dogs Match. She originally arrived in Toronto, Canada, when she was a puppy. 

Recently, Lana was returned to Rescue Dogs Match, a volunteer organization, after it did not work out with the family who took her in at five-and-a-half months old.

Mighty Mutts, which trains dogs, posted on Facebook that Lana had some guarding issues that were worked on when she was a puppy. "However, a year later she is exhibiting those guarding behaviors around food with people she is not completely familiar with," Mighty Mutts posted. 

Although her guarding issues were "non-existent when she was adopted," they began to surface, Mighty Mutts added on Facebook. 

"Because there were children in the family it was decided that it would be best for Lana to come back to our rescue so that we could find an adult only home with an experienced handler," Mighty Mutts wrote on Facebook.  [Go to this site to learn about these awesome people, and the godly work they do to save animals.]

Upon her return, a photo was taken of Lana and shared on Facebook of the dog appearing despondent, with her head down, leaning against the wall in a boarding kennel.  

Mighty Mutts posted that she would only come out of her kennel for two people. "She just shut down," Dahlia Ayoub, owner of Mighty Mutts and a volunteer dog program coordinator for Rescue Dogs Match, told The Dodo. "It's almost like her world shut down." 

She remained unresponsive for a day, The Dodo reported. No one could move her to go for a walk. 

__________________

But this is Lana, "The Unhappiest Dog in the World," now:

[Me, now.]  Lana is currently in a temporary foster home and is working with Mighty Mutts Training to fix her guarding issues.  (This means she gets testy when she's eating because she had to defend her food against 12 other dogs when she was younger.)  She'll soon be ready for adoption to a "furever" home--someone who can take her permanently.  

Well, I'll just show you the updated Facebook message, taken from the Mighty Mutts Dog Training Facebook page: 

For now, Lana will continue to stay with her foster mom. This week, she will begin her strict training regime to correct her guarding issues with Mighty Mutts Training. Lana came from a terrible place as a tiny pup. She had to compete with 13 other pups for food. Although her guarding behaviours were non-existent when she was adopted, they did recently come back. We know she will do well with her training because she is, after-all, such a sweet and smart young girl. Mighty Mutts already has a plan of action for Lana's training and is confident that she will soon be ready for adoption.

We, again, want to thank everyone for their offer to help Lana. If you were touched by Lana's story and are not located in Ontario, Canada but would like to help, PLEASE check out your local shelter/rescues or trywww.petfinder.com . There are so many Lana's out there waiting for their big break. Lana is just one of millions of homeless animals that long for a family that will love them. If you are located within Ontario and interested in adopting Lana, please pop us an email to complete an application at info@mightymutt.ca

We will be looking for a home for Lana with the following requirements:

Lana is a timid girl in unknown environments. When she is with people she knows and trusts, she is silly and sweet. Lana is great left alone, good with other animals (cats & dogs), however, she may exhibit guarding behaviours around food with other animals. She loves to go hiking and is very good on a leash. The perfect home for Lana would be with one or two people who are experienced with guarding behaviours. No children. A quiet, routine home is a must. More to follow as we continue to work with Lana.

If you would like to make a donation so that we can continue to help dogs Like Lana, please click on this link (the amount raised is an accumulation of donations starting from January 2015):

https://www.gofundme.com/754zok

Please share Lana's story and help other dogs like Lana find their furever home!

[Me, again.]  I'm the super-proud owner of a saved greyhound--who just turned 13 on Halloween!!!  Happy Birthday, Jackson!!!

But I digress...There are a ton of dogs and other animals out there who need help. Lana, for example: think of what she went through to go from Mexico, where she was born, to a place that saved her in Canada.  The video said she's been with other people but saved from them, too!  Then she was at her last place for a year, and (perhaps understandably, since kids, other animals, and food guarding issues were involved) had to be sent back.  She's been sent back and forth so many times!  She must feel so unwanted and unloved!  So I saw this story, and the photo (Doesn't she look so hopeless and depressed?) and I decided I'd post the whole story and pass it on to my readers.

Please consider donating to the program that saves these animals and always, always, always takes them back.  Animals like her are at least saved for life, and are not put down or caged, or treated inhumanely. (I donate a lot to the ASPCA, who also do angelic work.)  Or consider going to your local shelter and adopting a pet there.  Adopting Jackson the Greyhound is literally one of the best things I've ever done, for too many reasons to go into.

If you live in Ontario, Canada, please consider adopting Lana when she is ready.

Please share this story on your blog, Facebook, Instagram, etc.  Your reader could be the one to help this dog.

Thank you.

My Newest Short Story Is Up!!!

If you're looking for a very, very short story about a private detective profiling and following a possible rapist, then my newest short story, "Pink Lemonade," is for you.  It's free right now at OverMyDeadBody.com.  (It's also about letting people be; see: the last sentence and the title.)

And if you have a moment, please take a look at another Brad Foster story, "Everything's Connected," published last year at OMDB!, which the publisher was nice enough to link to this story.

I'm interested in what you think about "Pink Lemonade," so please send me an email or a comment and opine!

Thanks again for reading my stuff.  It means a lot to me.

BTW, I can log onto the website directly from my Microsoft Edge (Explorer) but not from my Google Chrome.  Can anyone explain this?

HAPPY HALLOWEEN, EVERYONE!!!

Finders Keepers by Stephen King

Photo: from the book's Goodreads page.  (Yes, I review there as well.  Feel free them up.)

After finishing this book, which was essentially a good book and an okay way to pass the reading time of three days (in my case, anyway), I am nonetheless compelled to write the following:

Things That Have Annoyed Me in Stephen King's Latest Novels:

--His tendency to focus almost exclusively, at least for the first half, on the character normally considered to be the antagonist.  In this case, Morris Bellamy, who kills John Rothstein (a thinly-disguised combination of J.D. Salinger and John Updike) and steals his money and notebooks.  This is not ruining anything, by the way, because the inside flap tells you this faster than I just did.

Anyway, there are problems with doing this.  As I've mentioned in other recent reviews of King's work, the tendency to do this insinuates to the reader (again, at least this one) that King finds his antagonists more interesting than his protagonists.  (Or, at least, that he feels his readers will.)  This reminds me of actors who say they prefer playing the bad guy because he's usually more interesting than the bland good guy.  If this is the case, the answer here is to simply make the protagonist more convincing, or less bland, or whatever.  Often, an interesting protagonist will come to mirror the antagonist, thereby creating some depth.  (Hopefully this is what happens in my with-beta-readers-WIP).  King has done this focus-on-the-character-who's-normally-the-antagonist thing so frequently lately that it has to be by design.

The other problem with this is that it creates a cartoonish novel.  This novel will be compulsively-readable--which this one certainly is, as I finished it in a few days--but that doesn't mean it's satisfying.  I mentioned in a recent King review that his books have satisfied me less and less even though I'm reading them as quickly--if not more quickly--than ever.  I don't mean this as a snotty criticism, but I do mean it with seriousness.  By starting off with the antagonist, and by staying with him for so long, it creates the mirage (or, not, if you're strict about this sort of semantic thing) that the antagonist is actually the protagonist, and the protagonist, who's out to stop the bad-guy protagonist from doing bad things, is actually the antagonist, by definition.  This is how the old Tom & Jerry cartoons worked.

And it sucks, because it feels fake.  Because, really, it's backstory made into story, and you compulsively read it because it's there and that's all there is, but...it's not satisfying.  There's something wrong.  I'm not critical because it's not literature (somebody hit me upside the head if I ever get that snotty); I'm critical because it's not story.  Though story is what happens, and maybe why it happens, there's something more that story's supposed to be.  Something more real.  More weighty, perhaps, but that's entering Elitist Land, maybe.  But really it's just like watching a Tom & Jerry cartoon, which I tired of in my teens.  And I've tired of it here.

I'm sure King has done this purposely lately because it also falsely creates momentary cliffhangers at the end of every section.  And that's not done with realness, either.  It works like this: Protagonist, who's doing bad things that you want to read because we all want to see the dead body under the sheet at the car accident (King's frequently-used comparison, not mine), does bad things but comes upon some roadblock that stops him and allows the writer to introduce the protagonist--who's actually the antagonist here, by definition, because he's trying to stop the main character.  (Morris Bellamy, book advertising aside, is the main character here.  The cop from Mr. Mercedes, who's advertised as the main character and the star of this trilogy, does not appear in this one until literally half-way through.  And he's got remarkably little to do.  He really could be any retired cop from anywhere, from any novel from any writer.)  In this case, that roadblock is jail time.  Bellamy gets out and the game's afoot.  He does something.  Bill Hodges, the retired cop, does something, and catches up a little with the program.  In the meantime, other characters become more important and do more important things than Hodges does, and do so right until the end.  In this case, Pete Saubers is the other main character here.  Hodges is maybe third or fourth in line.  Anyway, the sections get shorter (yet another fake way to create tension: James Patterson-like short chapters or sections--and lots of them) and the back-and-forth gets more frequent and creates tension even when the story itself doesn't.

Fakery, I tell you.

If you've read King's books before, especially the recent ones, there's never any doubt about what's going to happen.  If you've read Misery, there's never any doubt about how it's going to happen.  And the little ironic twist in the last 5% of the book, that part about where the notebooks were after all--well, it made me roll my eyes.  Let me know if it did the same for you.

Bleh.  Compulsively readable bleh, but bleh nonetheless.

You expect something more.  And maybe that's part of the problem.  Maybe we shouldn't be expecting more from him anymore.  Can I say that out loud?

The other thing that needs to be said out loud: His stuff isn't scary anymore.  It's not even chilly.  (The ending of Revival is a blessed exception here.)  The only part of the novel that does that is the very, very end--an ending with a character that was in this book for .01% of it--and never in a relevant to this story kind of way.  That part--smack!--is the only even closely resembling creepy part of this whole thing.

That's what we want from King, right?  If I'm not going to get the real-life creeps and genius of "Rita Hayworth and the Shawshank Redemption," "The Body" or even Misery, than I want the creepiness of The Shining and IT.  The stuff he's giving us lately is nothing more than bad Dean Koontz.  This was especially true of Mr. Sleep, which was so bad I literally got angry.  (And was reminded of Dorothy Parker's quip, about another bad book, that it wasn't something to be put aside--but should instead be thrown with great force.)  But I don't want the back-and-forth of guns and robbers and that stuff.  I want little boys crawling underneath the snow, being chased by an unseen something that sticks its hand out of the snow, very suddenly.  I want he thrusts his fists against the posts and still insists he sees the ghosts.  This is TV show crap we're getting now, since Under the Dome did so well (in the ratings, during the summer, anyway), and I don't want it.  (Under the Dome is a classic example of King focusing almost-exclusively on the character who normally would be the antagonist, but isn't because of King's POV focus on him.  And the "protagonist" of Under the Dome was surely a bore--Steven Seagall in Under Seige.  A special-op hiding out, in retirement or not, as a cook.)

Anyway, this wasn't scary.  It wasn't intense.  It wasn't creepy.  It wasn't memorable.  It was compulsively readable--but I could say the same about my journal entries and even my shopping list.

And I'm still optimistic enough to want more out of Stephen King than this.  But maybe I shouldn't be.

Free Contest and Pics--The Zombie's Lament in Black Chaos II

 

On page 65 of Black Chaos II, edited by Bill Olver and published by Big Pulp Publications, you'll find my short story, "The Zombie's Lament." 

 

The cover looks great: bright colors, cool image from a known artist--Ken Knudtsen, who has worked on Wolverine for Marvel Comics, and on projects for David Geffen. 

 

I've been very lucky with covers of magazines and books for my short stories.  "Hide the Weird" was in an issue of Space and Time Magazine.  That cover was really cool, too.  Not too nerdy, very bright and colorful, and a skeleton is laying back, chilling out on the beach, having a drink--as the nuclear apocalypse mushrooms in the distance.  What else can you ask for?

 

The book's print is in good shape.  The ink is solid and it doesn't look unprofessional or cheap.  The author bio came out great.  There aren't any typos anywhere, and the book as a whole just looks good.

 

Anyway, the ISBN for Black Chaos II: More Tales of the Zombie, is 978-0-9896812-2-3.  It's available via bookstores, both brick-and-mortar and online.  The stories and poems are about zombies in relationships, zombies in the circus, zombies in a Christmas special, a mother-in-law zombie, and pissed-off zombies.  In short, if you like your zombies a little bit different, you'll like this book.

 

So, now, the contest!

 

On my published works blog (just click the tab above), you'll find "Everything's Connected" and "So Many Reasons to Celebrate the Season."  These stories were written by me and purchased and published by OverMyDeadBody.com and OnThePremises.com.  And they're free!  The first one is a very short, light detective piece and the latter is a very short (and, IMO, very funny--yet very not) slice-of-life piece about a writer coming home to a failing marriage and a houseload of people on Christmas Eve.  Jack Nicholson in full The Shining mode makes a brief appearance in that one.

 

Anyway, to enter the contest, all you have to do is go to my Published Works page, choose one of those two free stories, click the link, read it, and leave a thought or two about the story as a comment on my Published Works blog beneath that story.  Read both stories and comment on each and you get entered into the contest twice!  The winner gets a free copy of Black Chaos II: More Tales of the Zombie.  You don't pay for the book and you don't pay for the postage.

 

The contest will run until the end of June.  I'll notify the winner via email and get the mailing address at that time.  And because I have many readers outside the U.S., I'll leave the contest open to anyone in the world who wants to enter!

 

Thanks very much for doing so, and good luck!

 

And, by the way, if you've read "The Zombie's Lament," and you've found this blog entry from my author bio in the book, please feel free to leave a comment here and let me know what you thought of the story.  Please and thank you, and thanks for reading my work! 

Notes from A Stephen King Interview, Part 2

Photo: Stephen King at The Harvard Bookstore, June 6, 2005.  From his Wikipedia page.

[This is Part 2 of a blog started a few days ago, which you can go to here if you don't want to scroll.]

[Stephen King gave this sort of loose interview to The Atlantic on April 12, 2011.  The interview was in conjunction with a new-at-the-time short story, "Herman Wouk Is Still Alive," which you can read here.  (You should read the story first before continuing on with this blog entry.)]

To another vein.  You know how your writing and English teachers always tell you to walk around with pen and paper (or, today, an iPhone, or an iPad, or just talk into your cell, or--) because you must write down that great idea or you'll forget it?  Well, the guy who has sold more books than anyone currently alive says:

I never write ideas down. Because all you do when you write ideas down is kind of immortalize something that should go away. If they're bad ideas, they go away on their own.

For the record, I also believe this, and I very rarely write anything down.  When I do, I hardly ever use them.  I also believe that ideas you'll use will germinate in your head and simply not leave until you write them into a story.  All the other ideas are unwanted guests who are correctly shown the door.  The more I practice this, the more writing I get done.  The more I let every single idea take root, I stray or the elevator stops.

Out of nowhere, practically, King gives a pretty good description of what poetry is good for:

[Poetry] takes ordinary life, it takes things that we all see, and concentrates them in this beautiful gem. When the good ones do that, that's what you get. When the Philip Larkins or the James Dickeys do that, you get something that is heightened, that says to us that reality is finer and more beautiful and more mysterious than we could ever possibly express ourselves. Which is why we need poetry.

Indeed so.  I'm not a good enough poet to do this myself--I've only managed to sell one poem, though it's also true that I've only sent out one poem--but I agree that this is what good poetry can do.  It's life, super-concentrated, super-compact.  I wrote a line that says, "A poem is a thought shared in compacted time."  I believe this to be true.

But I respectfully disagree with King on one point.  When asked to compare the short story markets of his youth to the ones today, King said:

All those magazines published short fiction. And it started to dry up. And now you can number literally on two hands the number of magazines that are not little presses that publish short fiction.

While this may be true in terms of physical, tangible magazines you hold in your hands, this is not true overall.  There are a ton of markets--many of them big, that pay well--on the Web.  They're called e-magazines.  I've been published in a few of them, and they often pay better than the hand-held, paper ones.  A sign of the times, but a fact nonetheless.

In fact, when King says that people don't read short stories (or much else) anymore, I would politely disagree with that, as well.  Those online mags wouldn't be able to pay what they do if nobody was reading them.  And there's a ton of decent-paying online mags. Again, I know: I've been in them.

And, finally, here's an interesting irony:

JP: It is odd, though, if you think about it, that with all the speeding-up that we're being told about, and the dwindling of the attention span and all that, that people would rather chomp their way through a 400-pager than just get zapped by a little story ...

SK: And so many of the 400-pagers are disposable in themselves. When I see books by some of the suspense writers that are popular now, I think to myself: "These are basically books for people who don't want to read at all." It just kind of passes through the system. It's like some kind of fast-food treat that takes the express right from your mouth to your bowels, without ever stopping to nourish any part of you. I don't want to name names, but we know who we're talking about.

This is also true.  I'll name names for him: James Patterson.  Many of the heart-felt vampire books, or young-heroine dystopias.  But, I should also add, in all honesty: Stephen King himself, sometimes.

I think he would admit that, most of the time.  He was just having a negative, cranky interview.

Notes from A Stephen King Interview, Part 1

Photo: Stephen King's house in Bangor, Maine.  From his Wikipedia page.

Stephen King gave this sort of loose interview to The Atlantic on April 12, 2011.  (I don't know why I'm reading it now, four years after the fact.  And...It's not called The Atlantic Monthly anymore?  Was I napping when that happened?)  The interview was in conjunction with a new-at-the-time short story, "Herman Wouk Is Still Alive," which you can read here.  (You should read the story first before continuing on with this blog entry.)

King said a couple of things I thought were interesting, things I didn't always agree with.  So, without further ado...

James Parker: Would you mind filling our readers in just a little bit on the back story to "Herman Wouk Is Still Alive"?

Stephen King: Every year my son Owen and I have a bet on the NCAA March Madness Tournament, and last year the stakes were that the loser would have to write a story [with a title] the winner gave to him. And I lost. Except I really won, because I got this story that I really like. The title that he gave me for the story was "Herman Wouk Is Still Alive," because he'd just a read a piece saying that the guy was still alive and he's still writing even though he's 95 or 96 years old.
So I thought about it a lot--believe me, I thought about it a lot. The tournament was over by the first of April that year, and I mulled that over in my mind until about July. So there was a period of about four months when I thought, "What am I gonna write, what am I gonna write?" Usually you get an idea yourself and then you write a story -- you don't think of a title and then write a story to go with it. So it was kind of an ass-backwards kind of thing. And my first thought was to write a story about a guy in a mental asylum who believed that he was keeping certain writers alive by brainpower. And it was going to be kind of a funny story, and there was going to be a list of writers that he'd gotten tired of and that he had allowed to die.

Belanger: These are the minds of writers.  He started with a title and no story (99.9% of the time it's the other way around) and then had a thought about a mentally unbalanced guy who thought he was keeping writers alive out of his own will.  And when he tires of the writer's stuff--boom, the writer's gone.  Now, that's not normal thinking--on the part of the character and on King himself.  But that is how the minds of writers work.

Stephen King offers another moment of how he gets ideas for his writing:

The other day I went out to the mailbox at the end of the road and there was a flyer in there, one of these things where they give you coupons and you get a dollar off mouthwash or makeup or whatever, and on the back there's a number of pictures of children, missing children. It says: "Have you seen me?" It's just a sort of throwaway -- you get it and you don't really look at it. And I was looking at it on the walk back from the mailbox, and I thought: "What if there was a guy who got one of these and one of the pictures started to talk to him and say 'I was killed and I'm buried here in this location or that location, in a gravel pit or stuffed into a culvert ...'"? And I thought: "You know, a guy like that, who could find bodies, would be under a lot of suspicion from the police. And there's a story there.

Now, that's messed up.  But, interesting, right?  I mean, that's not a bad story idea, right there.  But it's still messed up.  King always calls such moments his "What If?" moments.

I've had these moments.  Not to the same degree, of course.  (Or to the same benefit.)  But these are indeed very cool moments.

Writers speak differently, too, because they think differently--and, hopefully, we've all learned to think before we speak.  Here's what he said about having too many good story ideas at once:

In the old days, it would seem like ideas were crammed in like people in an elevator. And my head was sometimes a very noisy place to be.

Now that's a great comparison!  I'm going to bet that your average intelligent person (the question of whether the average person is intelligent is a different conversation) wouldn't be able to have that thought or explain it in quite that way.  And, by the way, he's right: This is exactly how that feels.  To this I would add the extended metaphor that, when the small elevator gets too crowded with ideas, the elevator gets stuck between floors.  At least, mine does.  They're all so busy pushing and jostling everyone aside to get to the front, closer to the doors, that nobody ever presses any buttons, and the damn elevator can't move.

And what happens when all these ideas come at you, but you're busy working on something that's going very well?

The other thing that happens with that is, say you're working on something and it's going along pretty well, and two or three ideas occur, and they're all yelling "You should write this! You should write this!" It's almost like being married and all of a sudden your life is full of beautiful women. You have to stay faithful to what you're working on. But it can be uncomfortable.

Again, just not a thought, comparison, or verbal explanation that most people would have.  And, again, he's perfectly right.  My problem is that I've "cheated" and, sometimes, I've just run away from all of them, because there was just too many.  This is why novels take years and years...

To be continued, in another blog entry, in a couple of days...

Black Chaos 2 and "The Zombie's Lament" Now Available!

 

Black Chaos II is on the way!  You can get my story--"The Zombie's Lament"--and 24 other great zombie stories for just $4.99 on Kindle and other devices.
 

The e-book versions are currently up for pre-order at Smashwords and Amazon. The print edition also will be available directly from Big Pulp and through any bookstore.  Links to those will follow.

 

Please support me by sharing this message and the links on your blog or Facebook page.  Thanks!

 

The premise of my story: It's about a guy who loses the love of his life, gets bitten in the face by a zombie, and tries to apologize to his beloved before he turns--or dies. 

  

Interactive Blog and April's Published Story

Short and simple this time:

1.  My short story, "The Zombie's Lament," is in an anthology of short zombie stories (that is, short stories about zombies, not stories about short zombies).  The anthology is called Black Chaos II, and it's published by Big Pulp.  Please see my published works blog for more information.  There'll be a contest to win a free copy of this book after its release.

2.  I've started a blog, called Approximate Word Count (see the tab above or just click here), to push me, motivate me, or prod me to write more words, more frequently.  The premise is simple: When I write, I state my [see title].  On Sundays I post my word count for the week.  A friend of mine has joined in.  You'll notice from yesterday's entry that she roundly kicked my butt.  To the point of shaming me, really.  But that's okay, because now I'm motivated to write at least as many words as she did last week.  (She says that it was a bad week for her, so I expect to get my butt kicked again this week, but the point here is simply to be productive and to produce.)  So please feel free to join us on that blog, if you're a serious writer--or, at least, serious about your writing.  Email me (see email above) if you want the rules.  If not, join us and just leave your approximate word count!  Welcome!

3.  Ted Cruz announced he will run for president.  Calls of congratulations came from every single comic in the country--and quite a few Democrats.

Night Shift by Stephen King

Photo: First edition hardcover, from the book's Wikipedia site.


Very successful collection of short stories that spawned some (really bad) movies.  I'd read this book as a much younger guy, but had forgotten most of the stories, so I went back to it and appreciated it all over again.  I've lost somewhere my original copy--the one shown here--and so I've had to make do with the "Children of the Corn," movie tie-in version I have here now.  Somebody, probably me, had switched copies over the years, and I can't tell you why.  Odd.  And I want the original one back.

The ones I remembered from (literally) my youth were: "The Last Rung on the Ladder" (still my favorite here), "Jerusalem's Lot," "Graveyard Shift," "Strawberry Spring," "The Bogeyman," "Gray Matter," and, because of the incredibly bad movies, "Children of the Corn" and "Lawnmower Man."

"The Last Rung on the Ladder" and "The Woman in the Room" work especially well because there's nothing supernatural in them.  Both stories--especially the former--read well because they are of the "Nothing's More Scary than Real Life" genre--which should be a genre if it isn't.

All of the stories are either good or very good, but I was pleased to discover a couple more.  "One for the Road" works really well, and is one of the scarier ones here.  If "Jerusalem's Lot" was originally a chapter in Salem's Lot--I think I got this right from King, who said it opened his book and was taken out just like Stoker's "Dracula's Guest" opened up Dracula and was taken out--then "One for the Road" takes place after Salem's Lot ends.  It's mentioned in the story that Ben Mears had burned the town down.  I would've put this story last in the collection, rather than second-to-last.  "Jerusalem's Lot" opens it up, so it would've been nice book-ending to have "One for the Road" end it.  Or perhaps that's too-slick serendipity, like the similar paths taken by Stoker's and King's vampire stories.

"One for the Road," "Strawberry Spring" and "The Last Rung on the Ladder" are the best-written stories here.  Almost all of these stories, by the way, were originally published in Cavalier magazine, a now-defunct magazine of a certain sort, if you know what I mean.  I wonder what men of the 70s made out of these well-written, and sometimes philosophically-bent, ruminations next to those explicitly explicit pictures of...well, you know.  It'd be a little jolting, I'd imagine.  He also got paid a few hundred bucks, per story, by that magazine, which is really good money for short stories, especially in the 70s.  My guess is that the magazine was trying to become the next glossy picture and literary high-end magazine of one of its bunny-themed competitors, and failing miserably.  (That bunny magazine, by the way, still pays a few thousand dollars for a short story, and always has.  So the lie could also be "I was reading the stories!" instead of "I buy it for the articles!")

Anyway, what I've learned here is that King has an idea and he writes it.  The simplicity of that is sort of shocking to me.  So here we have a story about a possessed laundry-pressing machine; a story about monstrous and blind rats; a story about trucks taking over the world; a story of a company that hurts those you love to help you quit smoking; a story about a hitman done in by the toys sent by the mother of his latest victim...and they all work, in varying degrees.

Think it, write it; think it, write it; think it, write it.  And why not?

"A Matter of Principle" by Charles W. Chesnutt, Library of America

Photo: Charles Chesnutt, at 40.  From his Wikipedia page. The reason I include his picture will be apparent when you read below.

I haven't read one of the short stories sent to me, for free, from the Library of America.  This is a service I recommend, and I've written about a few of the stories (Charles W. Chesnutt's "Baxter's Procrustes," one of my most-read blog entries, can be read here; another, Henry James's "Paste," can be read here).  I've fallen almost two years behind on these, as they're sent to an email I rarely check, and I have trouble finishing things (::cough::--novel-::cough::) besides.

These Library of America emails highlight a short story, short novel, article, or other piece of writing that the Library of America has collected in a volume of that author.  I own a couple of these, and can say that they are worth the price--though a high price it is.  I didn't say I could afford it; I just said each was worth it.  Anyway, these are high-quality and important stories, diary entries (soon I'll read Gideon Welles's diary entries about his first-hand knowledge of Lincoln's assassination) and other things.  They're short, often between five and twenty pages, so they don't take long to read.  Sign up for this service here.

The story of this blog entry, Week 264 (like I said, I'm several years behind) is Charles W. Chesnutt's "A Matter of Principle."  (The Library of America apparently loves Charles W. Chesnutt.)  You can read this story on your own here--but before you do, read the following disclaimer.  The story is about what, at the time, was called...Well, here's how the Library of America introduced the story, and its author:

Several of his stories and novels deal with the comic—and occasionally tragic—effects of the social confusion and legal complications that result from attempts to determine or avoid this “color line.” As a light-skinned African American, Chesnutt particularly reserved what he called “a very kindly irony” for those of his fellow Cleveland residents who were regarded as black by white society yet who presented themselves as superior to their darker neighbors. Or, as biographer William L. Andrews writes, Chesnutt satirized “an assimilationist philosophy among upwardly mobile, light-skinned Afro-Americans which implied ‘absorption’ into the white race as its goal.”
Why would Chesnutt write about this, and what exactly is it?  This explains it, from Chesnutt's Wikipedia page:

"Chesnutt was born in Cleveland, Ohio, to Andrew Chesnutt and Ann Maria (née Sampson) Chesnutt, both "free persons of color" from Fayetteville, North Carolina. His paternal grandfather was known to be a white slaveholder and, based on his appearance, Chesnutt likely had other white ancestors. He claimed to be seven-eighths white, and identified as African American. Given his overwhelming European ancestry, Chesnutt could "pass" as a white man, although he never chose to do so. In the 19th century and in many southern states at the time of his birth, Chesnutt was considered legally white. Under the one drop rule later adopted into law by the 1920s in most of the South, he would have been classified as legally black because of having some known African ancestry."  Check out Chesnutt's Wikipedia page for other interesting things about an interesting guy during interesting times.  A talented and creative author could not make up the "one drop rule."

Back to my disclaimer: The story is all about race, which some people find iffy, and it contains language that is simply not acceptable today--more stinging in this story, to me, because it's used by African-Americans in judgment of other African-Americans.  Chesnutt's writing was written in a light-hearted way, and this story was meant to be seen that way when it was published in 1899.  It may not seem light-hearted to the reader today; or, at least, some of its words and tone may not.  So consider yourself forewarned.

Anyway, the bottom line for this blog entry is this.  I got to thinking that the main characters of this story, as well as the Congressman in it, and the story's author, Charles Chesnutt--and, say, Derek Jeter--would have had no problem at all walking into a southern restaurant, in the 50s, let's say, that had a sign saying it would not serve African-Americans.  Why?  Because they didn't look African-American.  But what does that even mean?  (This is the essential question behind Chesnutt's story.)  One could legally answer that question, apparently, by using the 1920s "one drop rule" of the South.  But, I mean, what does it mean, really, since one can't always tell, by sight, who is, and who is not, African-American?  If Chesnutt, or Derek Jeter, or countless others who don't look African-American, can walk into a restaurant that didn't serve African-Americans--and then get served--well, then, the whole racial divide is unnecessary and undefinable, isn't it?  If it's possible that you can serve an African-American, and not know it, then what's your problem, exactly?

Now fast-forward to today, to some states, like Arizona, where, by law, businesses don't have to serve any member of the lesbian, gay, trans-gendered community.  Or to Kansas, where, by law, business owners don't have to hire someone (or, they can fire someone) based solely on his sexual orientation.

(I know you can see where I'm going with this.)

It's the same thing, isn't it?  Can you always tell who's gay and who isn't?  Is anyone's gay-dar that perfect?  Isn't it possible that some gay men and women could walk into a bakery that won't serve gay people--and get served?  If so, then isn't the whole thing as unnecessary and undefinable as the situation above?  If a gay person who doesn't "look" or "act" like a gay person can walk into a restaurant that doesn't serve gay people--and then get served--then isn't it all ridiculous?  If it's possible that you can serve a gay person in a business you own, that you proudly exclaim doesn't serve gay people, and still not know that you're serving gay people, than what's your problem, exactly?

Doesn't sound reasonable or logical to me.

P.S.--This is why literature is important.  A story from 1899 will have relevance to racist America, 1930-1960 (rough estimate), and also have the exact same relevance to something happening today.

I'm just sayin'.

Just After Sunset by Stephen King -- A Book Review

Photo: Hardcover edition (and the one I read) from its Wikipedia page.

Very entertaining collection of short stories, which I apparently bought, put on the shelf with my collection of all his books, and then completely forgot about and never read.  A recent article in Entertainment Weekly informed me that a movie (or show, I forget) would be made of one of them, "The Things They Left Behind."  (It's an okay story about objects left behind by those who died on 9/11.  They create psychic damage to those who own them--and they suddenly turn up out of nowhere.  He did what he could with this one.  Nice little story.)  This story sounded unfamiliar. I can't say that I can recall the plot of all of King's 200+ short stories, but I'll at least remember the title.  Not this time.  Turns out, never read the book.  Just a little blip to remind me of my old age...

Anyway, this book of short stories is best remembered for the ideas behind the stories, rather than for the awesomeness of the stories themselves.  I don't mean this as a slight, but there's nothing in here that rivals "Jerusalem's Lot," or any of the truly good and freaky short stories from Night Shift or Skeleton Crew.  But there are some good ones here; just not great ones.

I've already written a blog entry about "Willa," which is maybe my favorite here.  He does everything with it that he could, which I can't say for some of the other good ones.  Anyway, this one is more about happy resignation in the...waystation between here and there, I guess.  I think an entire novel could be written about this waystation, where time is elastic, and the people are in denial.  But there's a really good honkytonk bar nearby, and you can dance all night if you let yourself...Great idea, fully realized.

"Stationary Bike" is another good one, but I don't feel he did everything with this he could have.  (So much so that I've written some notes for what I think will be a good short story of my own.  There won't be a stationary bike in it, and...Well, hopefully, you'll see.  In a magazine someday.)  A man needs to lose weight and is a bit lonely after a loved one dies.  He buys (see title) and, because those things really are as boring as hell, imagines himself on a road to a little town he used to love.  This being a Stephen King story, you know his imagination gets away from him, and weird things happen.  This could go in a million directions (a la Duma Key, or a story about a traveling guy in a painting that I hated...the story, I mean), but it ends with...well, I won't ruin it for you.  But for me it was a letdown.  A metaphorical letdown, no less.  But some great ideas and images.

"N." is a very good story that could have been so much more.  A psychiatrist gets rained in by his suicidal / OCD patient who kills himself in defense of a Lovecraftian horror that's got a Lovecraftian name--and a field named after early schlock writer Forrest Ackerman.  The psychiatrist then descends into "Sole Survivor" mode.  He doesn't eat his own foot, but...essentially the same.  This one could easily be made into an episode of some series, or maybe a really bad movie.  But good story.

"The Cat from Hell" is a short story you might remember from 1990's Tales from the Darkside: The Movie.  An evil cat kills those who live with a guy who owned a company that tested its meds on thousands of cats, killing them all.  He hires a hitman to kill it, but he fails.  In a rather gruesome way, a la the old guy with the cockroaches in the last segment of Creepshow.  This is a story from King's early days, and it shows.  It's amusingly gross, but...(nitpick alert!) there's a sentence towards the end that begins: "And the last thing he heard was..." and then a paragraph later, he sees and hears a great many things until the end.  Oh, well.  Early shock stuff, with badguys twirling their mustaches and reaching appropriate ends.

"Ayana" is a very good story with nostalgic sadness, like the last third of Insomnia.  This is probably the best-written story here, and a very good premise.  This is immediately followed by a story of an old guy who gets trapped inside a Port-A-Potty, and is covered in what you might expect.
Opposite ends of the King spectrum.  But you like that, or you wouldn't consider reading his stuff in the first place.

Lastly, a little nod to Stephen King, who gets paid at least $10 million per novel.  Or, maybe, per novel manuscript.  As you know, he turns those out like I get sinus infections.  It takes a lot of short stories to equal one novel manuscript, but he turns them out by the hundreds anyway, though in terms of time taken, it's undoubtedly not worth his time, financially, to do so.  But he does anyway, because he likes them.  Short stories are making a little bit of a comeback these days.  This is due in a small way to writers like King and Joyce Carol Oates (though she's more known for her short stories than for her novels, I think) who have kept the flame alive and passed the torch.

Willa

Photo: Bus depot in, I assume, Clifton, Arizona, considering this article where I filched the image.

I've been trying different things to get back in the writing groove again, and nothing's been working.  I slipped off the rails when I got sick about ten days ago, and though I'm much improved--I can breathe, and I can somewhat function--I'm still not up to par.  This at a bad time in the job, too, when I especially need energy and focus.  So I laid off the allergy pills for a few days--they dry me out, like they're supposed to, but I have a serious sinus infection, probably from being too dried out for too long.  Anyway, I've been very foggy-headed, and the pillow has been too comfy and too cool.  I'm sleeping like I haven't in years, but it's not a good sleep.  Long and dream-filled, which is good--but too long, too heavy, too dreamy, and all of it caused by allergies and exhaustion.  I'm yawning all the time, feeling exhausted and drained, blowing my nose, which I don't normally do because I'm so congested all the time, and everything's clear because I need an antihistamine--but to get one, I'll get congested, and around we go.  I've also been on strike against the antibiotics I got four days ago, but I'm taking them now...

Anyway, all this to say that I'm in a fairly confused place, with my novel's unwritten Chapter 41 staring me in the face, so I reverted finally to a tactic that spurred some writing a few years ago: read a short story, then write a chapter, then read another short story, then write something besides my main book--maybe another book's chapter, or a short story, or one of my very many nonfiction things...or even a blog entry.  Lots of writing to do for a guy who hasn't done any in awhile.

So I remembered a little snippet in this week's Entertainment Weekly (a friend of mine lets me read hers) that said that a show, or a movie, or something, was being made of Stephen King's short story, "The Things They Left Behind."  And I remember thinking, What the hell was that?  King has written literally hundreds of short stories, so nobody--including King himself, I'll bet--can remember them all.  But even if I've forgotten about something, I usually remember that I used to remember it, if you know what I mean.  My memory is good enough so that some kind of bell rings.  But not this time.

(What did I do--buy the book and never read it?  You know, two things go when you get older: the first thing's your memory, and I can't remember what the second thing is.)

I picked up the book collection--Just After Sunset--and read the story, which is in the middle of the book.  (It'll be reviewed in another post.  Suffice it to say it's a quick little story about the nightmare and guilt of 9/11.)  Then I remembered that reading short stories used to jumpstart my writing, so I read the first story, and--yeah, it worked again, thank God.  Chapter 41 is done, for those who care, and I like it.  (I don't always.  No writer likes his work all the time.)

Now I'll do this every day until it doesn't work anymore and I've been derailed again.  And while I'm at it, I figured I'd write a post about any of the short stories it jives me to do so.  And so...

Speaking of being derailed--

"Willa" is the first story in the book, and it's very good.  It involves a group of people who are dead (this is Stephen King, remember) from a train derailment.  Most of them know it, though just one allows herself to fully let it sink in.  Her fiancée lets it sink into him, too, finally.

But this story is more than just that.  In this genre, there are thousands of stories where the characters are dead--so much so that editors openly say they don't want any more stories where the characters find out in the end that they're dead.  (See that list of Please No More of These Plots in this entry.)  Stephen King can do what he wants, of course, and he'll get published, but he gives us more because he knows his readers have seen that before.  And maybe because he has, too.

This story is more about being different.  About walking your own road.  The Amtrak train derails and they all die, but everyone stands around in an old train depot while Willa walks away and enters a honkytonk dive in the middle of Nowhere, Wyoming.  She wants people, and music.  She wants to live.  David, her fiancée, wants to find her, but everyone tells him not to go.  He'll get lost.  He'll get eaten by wolves.  He'll miss the recovery train...One even says his fiancée doesn't give a damn about him--if she did, she wouldn't have just walked off, right?

But Willa sees what's in front of her face, even if everyone hates her for it.  He finds her, accepts that he's dead, and they both go back to tell everyone else.  (Various things happen in the story to prove they're dead.)  But nobody believes them, and after many insults they start walking back to the bar.

The story ends with a lot of nice, wistful images.  Everyone's standing in that bus depot, that now we know really isn't in operation (it's about 30 years after their train accident, but time's elastic in death) and they're all wasting their time, not doing anything, not moving on, not living--even in death.  Get it?  All stories of all genres have themes and points.  This one: You can't move on if you can't accept harsh truths.  The story ends with the knowledge that the depot will be demolished soon...and what will happen to those unknowing ghosts then?  Will they just wisp away in the desert wind?

Very good story.  Makes me think of a few to write myself.

Check it out if you haven't already.  Or, even if you have.

P.S.--I often wonder how authors come up with their characters' names.  I try to come up with a name (I have one tried and true--and...different...method) and I see if it matches the character's traits in any way.  If it's too obvious--well, that might be okay.  So I'll guess Willa's origin:

1.  The story takes place in the desert prairie of Wyoming.  Willa Cather (or, how many other Willas are there?) wrote novels and stories that took place on the open prairie, though usually in Nebraska.  (Though she lived mostly in NYC and, before that, in Pittsburgh.  And she was born in Virginia.  But, whatever.)  Stephen King--a former English teacher and a very literate (if not literary) writer--would know this.

2.  Willa Cather's stories were often about headstrong women, a century ahead of their time.  Willa Cather herself was a headstrong woman well ahead of her time, for many reasons.  The Willa in King's story is a very headstrong woman, different from everyone else derailed in the train.

3.  They both had a very strong will.  I mean, c'mon.