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When the heart answers the soul, 25. Juni 2000
Stephen King's huge success is the result of several parameters. 1- Supernatural elements that are always ancillary elements in the dramatic and realistic structure of the stories. 2- Simple metaphysics : Good and Evil, deeply founded on a spiritual approach of the Christian religion, and on a dichotomic vision of humanity as containing both good and evil. History helps him here to identify those good and evil elements. 3- Some privileged individuals who are victimized or handicapped (physically, mentally, by young age, by old age, by their sex, by their social status, by their intellectualism, by their artistic activities, etc), or both, and who are the tools to regeneration. 4- This cycle of returning evil and antagonistic good and evil is never ending, just suspended or contained for a while, before evil comes back and starts its disruption of the world again. 5- The whole fiction is always situated in a world that is directly and realistically connected to our everyday world. Even when we move to a fantasy world like in The Dark Tower or The Eyes of the Dragon, or The Talisman, we are still perfectly connected to the present world, to the present world pushed back into some past, to the present world destroyed by savagery and repression, to an identifiable past revived into the present. There is no non-human fantasy world like in Tolkien, or no futuristic intercosmic world like in Hubbard and others. Even the worlds of Insomnia or The Regulators are connected to our world. In the first case it is doctors that are the model of the evil beings (and some reference to the Erynies of Greek mythology), and in the second case it is the world of electronic games, toy robots and transformers of old, etc. What I have shown with these three books, works of fiction, is that historical events of dramatic value are used to dramatize the plot : the Shoah, Hitler, the American Constitution, Jesus's sacrifice and crucifixion, etc... History is the core of Stephen King's world of fiction and imagination. This book explains all that and a lot more, indeed. Dr Jacques COULARDEAU, Universities of Paris IX and II.
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King's "Danse" never fails to please, even after 18 years, 28. Juli 1998
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Of all the Stephen King books that I've read ("The Shining" continues to be my favorite), Danse Macabre is the one that I've reread the most times. In fact, I've lost count of the number of times I've pulled this book off my shelf with the intent of reading a chapter or two and ended up rereading the entire book.Let me first say that Mr. King's memory is not the greatest. He gets many details wrong in this book, and even the updated version that King released in the mid-80's did not catch all the mistakes. This, however, can be forgiven, because King wrote a very readable and enjoyable (if brief and sketchy) history of horror in literature, the movies, radio, and TV. This is by no means a definitive book on the genre, but it is arguably the most fun you may ever have reading about the subject. Even with the errors (most involve plots of movies that King does not remember correctly), and even though this is a non-fiction work, Danse Macabre sets a defi! nite mood that many writers of horror fiction have tried, but failed, to create. King's frame of reference in writing this book is based on his own early experience with the genre. He talks of listening to the classic radio program "Lights Out" with his aging grandfather, of the movie theatre manager who stopped the film "Earth vs the Flying Saucers" to announce the launching of the Russian satellite Sputnik, of an incident that his mother told him about horrifying experience he had as a child, an incident so terrible that he does not remember it to this day. This book, by necessity, is rooted in King's childhood, the place where the ghosts and the goblins and all the other unnamable terrors are usually born in children. If you love the horror genre and would like King's unique insight on the definitive books, television shows and movies of the genre, this book is highly recommended.
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The Master of Horror submits his Dissertation (1981), 6. Juli 2005
In a perfect world Stephen King would revise "Danse Macabre" and offer us an updated edition of his look at the world of horror in literature and films. After all, it has been two decades since "Danse Macabre" was first published and horror is bigger business than ever. Since then King has published several dozen books, including his magnum opus "It," while several notable authors in the field, such as Clive Barker and Laurell K. Hamilton, have emerged. Certainly it would be fascinating to see where King places Pinhead and Anita Blake in the rich tapestry of horror. King professes that this analysis of horror is "a moving, rhythmic search" for "The place where we live at our most primitive level." But "Danse Macabre" is not just an academic colloquium because there are large measures of autobiography and criticism thrown into the mix as well. For King everything is fair game and he is as likely to talk about "Tourist Trap," a personal favorite film that the rest of us have never heard about, as he is "The Exorcist" and "Rosemary's Baby." This is a book where you can pick it up and start reading at any point and find it interesting. After all, this has clearly been the man's life. I have been reading through "Danse Macabre" again, looking for ideas for a reading list for a class on Modern Fantasy in which Horror literature is a large component. However, in addition to commenting on or at least mentioning dozens of horror novels and short stories, King also sets up a basic schema for considering such works. In his chapters on "Tales of the Hook" and "Tales of the Tarot," he lays out what are basically genres, focusing on archetypes that are revealed by "Frankenstein," "Dracula" and "Dr. Jekyll and Mr. Hyde" (although I think he could have overlooked the liabilities of "The Turn of the Screw" or found a better alternative so he could include the ghost story in his tarot). Consequently, if it were more up to date I would seriously consider having this as the "textbook" for a class on horror. Certainly King will provoke students of horror into some sort of a response, and if you were to use the book as it now stands you might even be able to get the cherubs to extend King's analysis or fill in the gaps given the past twenty years of horror in film, literature and television.
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