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.

Kim Davis and Issuing Marriage Licenses

A few thoughts about Kim Davis:

1. She's being called a martyr by some, but I'm not so sure she is.  Why?  Well, she's obviously enjoying herself here, proud of her self-righteousness and her popularity.  I guarantee you that the second nobody cares about her situation anymore, she'll say okay and get out of there.

And, oh yeah--Martyrs don't typically enjoy their punishment as much as she clearly is.  Getting crucified, stoned to death, or hanged upside-down on a cross are not enjoyable experiences.

2. This is not about her religious beliefs.  It's about her.  In a narcissistic way.

3. And it's about her power.  Her mother issued marriage licenses for 37 years, and she was her deputy clerk for 27 of those years.  She's been issuing licenses herself for who knows how long, and her son has been her deputy clerk for years.  I'll bet she's thinking, Nobody...Nobody, not even a federal judge, can tell me who I have to marry.  In this way, it's not at all about religion.  It's about power.

4. Speaking of power, it's also about the power of judges--in the Supreme Court, and in other courts who have ruled on this--who don't like it when someone stands in front of them and tells them she is not going to follow their law.  No Supreme Court, or Superior Court, or any other type of judge will appreciate this.

5. Anyone notice that she looks like Carrie White's mother, minus the blonde hair?  Look at her eyes.

6. Someone find me the New Testament passage where Jesus says that marriage is only between a man and a woman.  What was Jesus's stance on this?  I don't know.  I guarantee you, Kim Davis doesn't, either.  Apparently, she's blipped on the passage where He says to do unto others as you would have them do unto you.  After all, she has been married four times.  And what about those who are without sin casting the first stone?

7. Speaking of that, I like how her husband has been taking her side on this from the comfort of his own home.  He's behind her, all right--way behind her.

8. It's very disconcerting to see almost every Republican candidate for President publicly siding with her on this.  I didn't expect them to suddenly be for the gay community, but I'm surprised they are all so openly and blissfully unaware of the democratic dictum of Separation of Church and State.

9. I would not vote for anyone who so clearly did not understand the importance of separating Church and State.  Our Founding Fathers--who were very, very religious men--still put democracy over their religion.  They did this for a reason: Because when Religion rules the State, history has shown us that we'd have something really, really bad.  Look at many news stories today in some parts of the world.

10. Her lawyer is clearly not giving her quality legal advice, and may be purposely throwing fuel on the fire, which lawyers are not supposed to do.  His law firm is a Christian firm, and only has Christian clients with Christian issues.  He's clearly espousing his own agenda here, and not giving his client good legal advice.  This is the man who compared this woman's jail stay to that of Martin Luther King's.

11. Some politicians, judges and lawyers are saying that she should be excluded from issuing these licenses because of her religious beliefs.  They are trying to pass legislation that would exempt someone from doing any part of their job that they say violates their religious beliefs.

This is, of course, impossible, and ridiculous, for many reasons.

a) You can't decide what part of a job you will do and won't do.  In this case, her public is her employer, and she therefore has to follow the law that governs her public.  As one of the men seeking a license said, he was a taxpayer who was paying her to oppress him.  That is obviously a violation of his    civil rights, and is obviously unconstitutional.

b) Can I say that every single aspect of my job violates my religious beliefs, and therefore I will not do them?  Can I say that the parts I mostly don't like violates my religious beliefs? Cuz if so, I'm doin' it.  And still getting my paycheck.

c) Where is the line for the term religious beliefs?  Can Creationists flat-out refuse to teach evolution at all, not even mentioning it as a theory?  What would atheists say?  How about people who don't want to work with--or serve--divorced people?

12. Does the phrase, "...the right to Life, Liberty, and the Pursuit of Happiness" mean anything to anyone?  I mean, really, can anyone tell people that they can't get married?

13. Marriage comes with some good tax breaks, insurance benefits, and ability to inherit money and land from a loved one.  It is not constitutional to prohibit marriage to someone for this reason alone.

14. Beware of someone whose life revolves around one person or thing.  Her religion is not that one thing.  Her beliefs are.  It's important to understand this distinction.  Because of this, her happiness predominates, to the point that she does not consider the happiness of others relevant.

Like I said, Narcissism.

Making Money Writing and Secret Windows

Photo: Hardcover art, from the book's Wikipedia site.  (Go there to see the Contents page; one chapter is called "Great Hookers I Have Known," but if you remember your remedial writing days, you'll see right through that.)  I read the paperback with the building on the cover.  This cover is terrible and just a little creepy.  But it's what Wikipedia had.  The building cover is better.

Described as "a companion book to On Writing," this volume reads more as a long interview with King, done over maybe 10 to 12 years, with a couple of never-before-seen stories thrown in. 

It is worth your time.

I put off reading this for awhile because I thought it was, frankly, a cheap attempt to cash-in on his On Writing success.  But that didn't turn out to be the case.  This book is actually much different.  On Writing is, as its title says, at least mostly memoir.  Part writing tutorial, part memoir, is how I speak of it.  But Secret Windows is a book of questions King doesn't answer in On Writing, and as such is, as I said, more of a long interview, over 10-12 years, on a variety of topics--much of them, surprisingly, not about writing, per se.

This book is more for writers, in some ways, than On Writing is.  While that book is mostly memoir and sometimes a writing primer, this one is about the more minute parts of the business.  Did you know that King got an agent to hawk his novels and short stories?  I didn't, because agents don't sell short stories anymore--well, unless you're a Stephen King level writer, that is.  Then they'll be more than happy to sell your underwear or shopping list, just to keep you happy--and their client.  But for you and me, they won't sell our short stories today.  We'd have to do that for ourselves. (I know, because I do.)

Did you know that King sent out a query to agents before he'd finished his manuscript for Carrie?  I didn't, because that's a huge no-no today--and must've been then, too.  Because writers, like everyone else, won't finish something when they say they will, and agents know this.  So they all say--today and, I'm sure, then--that you have to finish the manuscript, perfect it, and then solicit them.  King was more ballsy than that.  He pitched them when he was almost done with his manuscript--for Carrie, I think--and his selling point was the huge list--I'm talking 20 or more here--of short stories he'd sold and been paid well for in just two years.  At $200 per story, times 20 stories--that's $400.  10% of that is $40, so 15% of that is $60.  Many agents in 1974 would take $60 to send out a couple of quick letters to publishers about a client's work.  It would take them about an hour, maybe.  If that.  Probably half an hour.  $60 p/h, max, in 1974 would sound good.  The bottom line is: King essentially was ballsy enough to say to these prospective agents: "Even with my short story sales, I can make money for you."  And then, more importantly, he finished his novel manuscript, just as he said he would.  That's good business, and that turns on agents, too.

So what's to be learned from this?  Be ballsy.  But also be productive, so you have something to be ballsy about.  And then, be good at the business, and finish the manuscript when you say you will.  Lost in all the millions Stephen King makes is that he has always produced, even pre-Carrie, and at a very high level of both quality (ie--it'll sell) and production.  In other words, he's always been bankable, and very good at the business.

You won't learn this kind of thing from On Writing.

You will from Secret Windows.

If you dream of a writing career like I do, you should read it.  And read On Writing, too, of course.

What Do You Do To Keep Hope Alive?

The question asked to me was: What do you do to keep hope alive while you wait?  The insinuation was: While I wait for the reply from a literary agent, or while I wait for the editor of a magazine I'd just sent my story to, or while I wait for my taking-forever novel to be done.

My response:

1. I look around at others who are only their jobs.  I remind myself that I don't want to look like that, for they often look miserable.

2. I write for myself.  To better understand my world.  To better understand me.

3. I don't feel bitter about the success of others because they don't write what I write and I don't write what they write.  Each artist and his work are a unique tandem, and so I remind myself that such comparisons are impossible.

4. I don't write because of my dreams.  I write towards my dreams.

5. I remind myself that, although agents are not infallible (re: J.K. Rowling), they are also not idiots.  They have to take on projects they believe they can sell, period.  They have mortgages, too.

6. I write different things.  Though my current novel is taking beyond forever, I have finished and sold some short stories.  Though only Alice Munro and two or three lucky others can make careers out of selling short stories, the fact remains that I have sold some, and this gives me confidence--which is invaluable, and can't be taught.

7. I think, "Why not me?"  Stephen King used to work in a laundry.  He lived in a trailer and typed Carrie on a laptop--a busted, old typewriter on his lap. J.K. Rowling was a single mom on welfare with three kids.

8. I remember that it's a business.  Dreams don't sell.  Good writing does.

9. I always have something to work on next.  After I send out a short story, or a query letter, etc., I get busy on the next page of my story and novel.  I don't leave myself time to worry about the stuff I just sent out.  I'm not J.D. Salinger or Harper Lee anyway: One novel probably won't make a career for me.  Best to be working.

10. I write.

What do you do to keep your hope alive?  What are you hoping for?

Casablanca, Hamlet and AHS: Coven, Episode 2

Photo: Kathy Bates and Jessica Lange, at ew.com.  Go to this link to read the interesting interview with Ryan Murphy, referenced below.


What follows is an example of what you can find on my new blog about American Horror Story: Coven.

A little late with this entry.  Not good for a blog about a tv show.  Who wouldn't want to read about a show two days after it aired?  Finally had time to see the DVRed show.  Had to watch the Sox in the ALCS, of course, on Wednesday.  Horrible game, too.  Oh, well.  Had I world enough, and time. 

Here are some quick thoughts about this episode:

--It begins with Lily Rabe's character Misty Day (great character name, BTW) killing two gator poachers.  Not that there's anything wrong with that.  Very realistic-looking second alligator pulling the guy into the water.  I'm guessing a radio-controlled gator, or thing in a real gator's mouth.  I'll have to wait for the DVD, I guess.

--Almost the entire episode was shot with ocean wave-like camera movements.  Distracting, after awhile.  This has always been a very director-focused show, and there's always been that attention to directorial style, but this one almost made me seasick.  Well, that's an exaggeration, but it was bothersome enough for me to comment on.

--Anyone catch the commercials for Stephen King's Dr. Sleep, followed by the third movie version of his Carrie?  I guess he knows which show his fans are watching--besides the terrible Under the Dome, that is.

--I hope I look as good at her age as Jessica Lange does now.

--Ditto for Angela Bassett.

--Emma Roberts is arguably prettier at her age than her famous aunt, Julia Roberts, was--but here's to hoping that she turns out more like her aunt than she does her addict father, Eric Roberts.  Time will tell.

--This episode was titled "Boy Parts," but it could've been called "Franken-boyfriend."

--Part of the spell, towards the end, to reanimate Kyle had the phrase "this mortal coil."  Which came first in this show's universe: That spell, or Shakespeare's Hamlet, where that phrase originated?  Well, I can tell you that Hamlet first said his famous "To Be or Not to Be" soliloquy in 1600-1601, if that means anything.

--I enjoy seeing the many homages in this show's history to other famous movies and shows of the same genre.  But I have newfound respect for it if it's going to pay homage Hamlet, as well.  Unless it sees Hamlet as another example of its genre, which Shakespeare's play may very well be.  Ghosts, incest, brother murdering brother, insinuated incest between mother and son, insanity, spying and intrigue, a possible devil in disguise (notice the devil's appearance yet again in this series, during this episode), and four murders / deaths in about thirty seconds at the end?  Yup--Hamlet sounds quite a bit like American Horror Story to me.

--Listening to the dialogue between Jessica Lange and Angela Bassett in the hair salon was a little disconcerting.  I wonder what the actresses thought about having to say all that hocus-pocus stuff.

--Then again, Jessica Lange has said worse dialogue in a movie.  I'm very vividly remembering her pounding on King Kong's fist in 1976 and, after calling him a "male chauvinist ape," screaming two words that didn't sound at all like the movie-makers were intending.  See it here on YouTube.

--If you saw the clip, you'd have to agree--Now that's some bad dialogue.

--Rabe's Misty Day character is amusing.  Not only does she look great for someone burned at the stake, but she thinks Stevie Nicks is a prophet.

--I wonder how much, if anything, Stevie Nicks got paid for allowing them to use her name like that.  And the music, too.

--Whoa, just found out the answers at ew.com, here.  Interesting interview with the series co-creator, Ryan Murphy.

--I have to listen to the lyrics to that song now, just to know what the hell Misty Day was talking about.

--Lots of witches doing unwise things, all of which violated Frankenstein's Law: Don't play God.

--Overall, a very entertaining episode, especially Lange's character acclimating Kathy Bates's character about cellphones, and the danger of crossing the street without first looking for cars.  They walked down the center of the street like Bogie and Claude Rains at the end of Casablanca.  Except I don't think it's the beginning of a beautiful friendship for the ladies.  If you don't know the reference--and shame on you if you don't--you can watch the famous clip here.  (And notice the "usual suspects" line, as well.)

See you next week.

Carrie by Stephen King

photo: First edition cover, from its Wikipedia page

So this is the first adult book I ever read, when I was 7.  Which possibly explains a lot.  When I finished reading this, I thought, "I can do this!  I can do BETTER than this."  (See my profile for more on this.)  I've been writing stories and novels ever since, proving myself right, and wrong, at less than even intervals.  The phrase "a crow among swans" has stayed with me, for some reason.  Frankly, it's in one of the few really well-written sentences in the whole book.  Now-famous story of how his wife saved this from the trash and made him finish it, thereby leading eventually to the $400,000 advance from Doubleday, is perhaps better than the novel itself.  Made me realize that I've always needed a woman in my life to support my writing the same way--and to welcome the task of sifting through my own garbage, both mental and physical.  Made "dirtypillows" a common word in my vocabulary.  Carrie's mom now seems like your typical right-wing conservative--very scary, indeed, and very prescient.  Some of those guys and gals out there today, including Christine the non-witch, make Carrie White's mother seem completely normal by comparison.

Stephen King himself says he's a bit embarrassed about this one, as he perhaps should be.  Obviously an underwritten novella pushed to barely novel-length by some "interviews," "articles" and crude desk-carvings.  Some of the scenes are brilliant, if not brilliantly written, but they clearly formed the vision of De Palma's movie, which was almost brilliant.  And it started the whole career rolling, didn't it?  (And not just for King, but for De Palma, Sissy Spacek and John Travolta, as well.)  Ultimately an okay read that showed great promise, which is what most first-time books this side of Catcher in the Rye and To Kill A Mockingbird usually are.