by Стивен Кинг
Now, the ominous jocularity of Harlan Ellison: E is for ELEVATOR PEOPLE They never speak, and they cannot meet your gaze. There are five hundred buildings in the United States whose elevators go deeper than the basement. When you have pressed the basement button and reached the bottom, you must press the basement button twice more. The elevator doors will close and you will hear the sound of special relays being thrown, and the elevator will descend. Into the caverns. Chance has not looked favorably on occasional voyagers in those five hundred cages. They have pressed the wrong button, too many times. They have been seized by those who shuffle through the caverns, and they have been . . . treated. Now they ride the cages. They never speak, and they cannot meet your gaze. They stare up at the numbers as they light and then go off, riding up and down even after night has fallen. Their clothes are clean. There is a special dry cleaner who does the work. Once you saw one of them, and her eyes were filled with screams.
London is a city filled with narrow, secure stairways.
And, finally: H is for HAMADRYAD The Oxford English Dictionary has three definitions of hamadryad. The first is: a wood nymph that lives and dies in her tree. The second is: a venemous, hooded serpent of India.
The third definition is improbable. None of them mentions the mythic origins of the word.
The tree in which the Serpent lived was the hamadryad. Eve was poisoned. The wood of which the cross was made was the hamadryad. Jesus did not rise, he never died. The ark was composed of cubits of lumber cut from the hamadryad. You will find no sign of the vessel on top of Mt. Ararat. It sank. Toothpicks in Chinese restaurants should be avoided at all costs.
So now . . . tell me. Did you hear it? The sound of one hand clapping in thin air?
10
I began this chapter-one hundred and twenty-four manuscript pages and two months ago-by saying that it would be impossible to effect an overview of horror fiction during the last thirty years without writing a whole book on the subject, and that is as true now as it was two months and all those pages ago. All I've been able to do here is to mention some books in the genre that I like, and hopefully draw short arrows in the direction these novels and stories seem to point. I haven't discussed I Am Legend, but if you should be intrigued enough to read The Shrinking Man as a result of what I've said here, you'll probably get to it, and find Matheson's unmistakable trademarks on that book as well: his interest in restricting character to a single person under pressure so that character can be fully examined, his emphasis on courage in adversity, his mastery of terror against what appears to be a normal, everyday backdrop. I haven't discussed the work of Roald Dahl or John Collier or Jorge Luis Borges, but if you exhaust Harlan Ellison's current stock of offbeat, jivey fantasy, you will find these others, and in them you will find many of Ellison's interests repeated, particularly his examination of man at his worst, most venal . . . and his best, most courageous and true. To read Anne Rivers Siddons's novel of domicile possession may lead you to my novel on the same subject, The Shining, or Robert Marasco's brilliant Burnt Offerings.
But a few short arrows is all I can possibly draw. To enter the world of horror fiction is to venture, small as a hobbit, through certain mountain passes ( where the only trees which will grow are undoubtedly hamadryads ) and into the equivalent of the Land of Mordor. This is the fuming, volcanic country of the Dark Lord, and if the critics who have seen it firsthand are few, the cartographers are fewer. This Land is mostly white space on the map . . . which is how it should be; I'll leave more detailed map making to those graduate students and English teachers who feel that every goose which lays gold must be dissected so that all of its quite ordinary guts can be labelled; to those figurative engineers of the imagination who cannot feel comfortable with the comfortably overgrown ( and possibly dangerous) literary wilderness until they have built a freeway composed of Cliff's Notes through it-and listen to me, you people: every English teacher who ever did a Monarch or Cliff's Notes ought to be dragged out to his or her quad, drawn and quartered, then cut up into tiny pieces, said pieces to be dried and shrunk in the sun and then sold in the college bookstore as bookmarks. I'll leave the longer arrows to those pharmacists of creativity who cannot feel totally at ease until each tale, created to hold some reader spellbound as each of us was at one time held spellbound by the story of Hansel and Gretel, Little Red Riding Hood, or The Hook, has been neatly dehydrated and poured into a gel capsule to be swallowed. That is their job-the job of dissectors, engineers, and pharmacists-and I leave it to them, along with the fervent wish that Shelob may catch them and eat them as they enter the Dark Lord's land, or that the faces in the Marsh of the Dead will first hypnotize them and then drive them mad by quoting Cleanth Brooks to them eternally in mud-choked voices, or that the Dark Lord himself will take them up to his Tower forever or cast them into the Cracks of Doom, where crocodiles of living obsidian wait to crunch up their bodies and silence their quacking, droning voices forever.
And if they avoid all that, I hope they catch poison oak.
My job is done, I think. My grandfather told me once that the best map is one that points to which way is north and shows you how much water is in your way. That's the sort of map I've tried to provide here. Literary criticism and rhetoric aren't forms I'm comfortable with, but I'd just as soon talk books for . . . well, for two months at a time is the way it looks. Somewhere in the middle of "Alice's Restaurant," Arlo Guthrie tells his audience, "I could play all night. I'm not proud . . . or tired . . ." I could say much the same thing. I haven't talked about Charles Grant's Oxrun Station books, or Manley Wade Wellman's Appalachian bard John, he of the silver-stringed guitar. I've had only a chance to touch briefly on Fritz Leiber's Our Lady of Darkness (but gentle reader, there is a pale brown thing in that book that will haunt your dreams). There are dozens of others. No, I take that back. There are hundreds.
If you need a slightly longer arrow-or if you're just not tired of talking about books yet- glance at Appendix II, where there is a list of roughly one hundred books issued during the thirty years we've been jawing over here, all of them horror, all of them excellent in one way or another. If you're new to the field, you'll find enough stuff to keep you quaking in your boots for the next year and a half. If you're not, you'll find you've read many of them already . . . but they'll give you my own hazy conception of where north lies, at least.
CHAPTER X
The Last Waltz-Horror and Morality, Horror and Magic
1
"YES, BUT HOW do you justify earning a living by feeding off people's worst fears?”
2
The police have been summoned by a neighbor who has heard a commotion of some kind.
What they find is a bloodbath-and something worse. The young man admits, quite calmly, that he has murdered his grandmother with a pipe, and then cut her throat.
"I needed her blood," the young man tells the police calmly. "I'm a vampire. Without her blood, I would have died.” In his room the police find magazine articles about vampires, vampire comic books, stories, novels.
3
We'd been having a pretty nice lunch, this reporter from the Washington Post and I, something I was grateful for. I'd just started a twelve-city tour for my novel The Dead Zone the day before in New York with a kick-off party thrown by the Viking Press at Tavern on the Green, a huge, rococo eating and drinking establishment on the edge of Central Park. I had tried to take it easy at the party, but I still managed to put away about eight beers there, and another six or so at a smaller, more relaxed party with some friends from Maine later on.
Nevertheless I was up the next morning at quarter of five to make the six o'clock Eastern shuttle to Washington so I could, in turn, make a seven o'clock TV appearance to plug my novel. Welcome to touring, friends and neighbors.
I made the shuttle handily, telling invisible beads as it took off in a pouring rainstorm (sitting next to an, overweight businessman who read the Wall Street Journal through the entire flight and ate Turns
one after another, deliberately and reflectively, as if enjoying them) and made A.M. Washington with at least ten minutes to spare. The television lights intensified the mild hangover I'd gotten up with, and I was grateful for what had been a fairly laid-back lunch with the Post reporter, whose questions had been interesting and relatively unthreatening. Then this spitball about feeding off people's fears comes out of nowhere. The reporter, a young, lanky guy, was looking at me over his sandwich, eyes bright.
4
It's 1960, and a lonely Ohio youth has left the movie theater where he has just seen Psycho for the fifth time. This young man goes home and stabs his grandmother to death. The pathologist would later count over forty separate stab wounds.
Why? the police asked.
Voices, the young man replies. Voices told me to do it.
5
"Look," I said, putting my own sandwich down. "You take any bigcity psychiatrist. He's got a marvelous home in the suburbs, a hundred thousand dollars' worth of house at the very least.
He drives a MercedesBenz, either tobacco-brown or silver-gray. His wife has got a Country Squire wagon. His kids go to private schools during the academic year and to good summer camps in New England or in the northwest every summer. Sonny has got Harvard if he can make the grades-money is certainly no problem-and his daughter can go to some reet and compleet girls' school where the sorority motto is `We don't conjugate, we decline.' And how is he making the money that produces all of these wonders? He is listening to women weep over their frigidity, he is listening to men with suicidal impulses, he is dealing with paranoia both high and low, he's maybe striking on the occasional true schizophrenic. He's dealing with people who most of all are scared shitless that their lives have somehow gotten out of control and that things are falling apart . . . and if that isn't earning a living by feeding off people's fears, I don't know what is.” I picked up my sandwich again and bit into it, convinced that if I hadn't hit the spitter he had thrown me, I'd at least managed to foul it back and stay alive at the plate. When I looked up from my Reuben, the little half-smile on the reporter's face was gone.
"I," he said softly, "happen to be in analysis.”
6
January of 1980. The woman and her mother are having a worried conference over the woman's three-month-old baby. The baby won't .stop crying. It always crier. They agree on the source of the problem: the baby ha been possessed by a demon, like that little girl in The Exorcist. They pour gasoline on the baby as it lies crying in its crib and then light the child on fire to drive the demon out. The baby lingers in a burn ward for three days. Then it dies.
7
The reporter's article was clean and fair for all of that; he was unkind about my physical appearance and I suppose he had some cause-I was in the slobbiest shape I've been in for ten years during that late summer of 1979-but other than that, I felt I got a pretty square shake. But even in the piece he wrote, you can feel the place where his path and mine diverged; there is that quiet snap which is the sound of ideas suddenly going off in two completely different directions.
"You get the impression that King likes this sort of sparring," he wrote.
8
Boston, 1977. A woman is killed by a young man who uses a number of kitchen implements to affect the murder. Police speculate that he might have gotten the idea from a movie-Brian De Palma's Carrie, from the novel by Stephen King. In the film version, Carrie kills her mother by causing all sorts of kitchen implements-including a corkscrew and a potato-peeler-to fly across the room and literally nail the woman to the wall.
9
Prime-time television survived the call by pressure groups to end the excessive, graphic depiction of violence on the tube for over ten years and House and Senate subcommittees almost without number which were convened to discuss the subject. Private eyes went on shooting bad guys and getting clopped over the head after the assassinations of John F.
Kennedy, Robert F. Kennedy, Martin Luther King; you could order up a dose of carnage at the twist of the channel selector on any night of the week, including Sundays. The undeclared war in Vietnam was heating up quite nicely, thank you; body counts were spiralling into the stratosphere. Child psychologists testified that after watching two hours of violent prime-time TV, groups of children in the test group showed a marked increase in play aggressiveness- beating the toy truck against the floor rather than rolling it back and forth, for instance.
10
Los Angeles, 1969. Janis Joplin, who will later die of a drug overdose, it belting out "Ball and Chain." Jim Morrison, who will die of a heart attack in a bathtub, is chanting "Kill, kill, kill, kill" at the end of song titled "The End"-Francis Ford Coppola will use the song ten years later to fade in the prologue of Apocalypse Now. Newsweek publishes a picture of a shyly-smiling U.S.
soldier holding up a revered human ear. And in a Los Angeles suburb, a young boy puts out his brother's eyes with his fingers. He was, he explained, only trying to imitate the old Three Stooges two-fingered boinnng! When they do it on TV, the weeping child explains, no one gets hurt.
11
Television's make-believe violence rolled on nevertheless, through the sixties, past Charles Whitman up on the Texas Tower ("There was a rumor/about a tumor," Kinky Friedman and the Texas Jewboys sang gleefully, "nestled at the base of his braiyyyyn . . .") , and what finally killed it and ushered in the Sitcom Seventies was a seemingly unimportant event when compared to the deaths of a President, a Senator, a great civil rights leader. Television execs were finally forced to rethink their position because a young girl ran out of gas in Roxbury.
She had a gas can in her trunk, unfortunately. She got it filled at a gas station, and while walking back to her beached car, she was set upon by a gang of black youths who took her gas can away from her, doused her with the gas, and then-like the woman and her mother trying to drive the demon out of the baby-lit her on fire. Days later she died. The youths were caught, and someone finally asked them the sixty-fourdollar question: Where did you get such a horrible idea?
From TV, came the response. From The ABC Movie of the Week.
Near the end of the sixties, Ed McBain (in reality novelist Evan Hunter) wrote one of his finest 87th Precinct novels of the policeman's lot. It was called Fuzz, and dealt in part with a gang of teenagers who went around dousing winos with gasoline and lighting them up. The film version, which is described by Steven Scheuer in his invaluable tubeside companion Movies on TV as a "scatterbrained comedy," starring Burt Reynolds and Raquel Welch. The biggest yocks in the movie come when several cops on stakeout dress up as nuns and then chase after a suspect, holding their habits up to reveal big, clunky workshoes. Pretty funny, right, gang? A real gut-buster.
McBain's novel isn't a gut-buster. It's grim and almost beautiful. Certainly he has never come any closer to defining exactly what the policeman's lot may be than near the end of the novel when Steve Carella, masquerading as a wino, is lit on fire himself. The producers of the movie apparently saw something between M*A*S*H and Naked City in this, and the misbegotten result is in most respects as forgettable as a Tracy Stallard fastball . . . except that one of Stallard's fastballs went out of Fenway Park to become Roger Maris's record-breaking sixty-first home run. And Fuzz, a poorly executed comedy-drama, effectively ended TV violence.
The message? You are responsible. And network TV accepted the message.
12
"How do you justify the violence of the shower scene in Psycho?" A critic once asked Sir Alfred Hitchcock.
"How do you Justify the opening scene in Hiroshima, Mon Amour?" Hitchcock is reputed to have replied. In that opening scene, which was certainly scandalous by American standards in 1959, we see Emmanuele Riva and Eliji Okada in a naked embrace.
"The opening scene was necessary to the integrity of the film," the critic answered.
"So was the shower scene in Psycho," Hitchcock said.
13
What sort of burden does the writer-particularly th
e writer of horror fiction-have to bear in all of this? Certainly there has never been a writer in the field (with the possible exception of Shirley Jackson) who has not been regarded with more than a degree of critical caution. The morality of horror fiction has been called into question for a hundred years. One of the blood-spattered forerunners of Dracula, Varney the Vampyre, was referred to as a "penny dreadful." Later on, inflation turned the penny dreadfuls into dime dreadfuls. In the 1930s there were cries that pulps such as Weird Tales and Spicy Stories (which regularly served up lip-smacking S & M covers on which lovely ladies were tied down, always in their "small clothes," and menaced by some beastly-but identifiably male-creature of the night) were ruining the morals of the youth of America. Similarly in the fifties, the comics industry choked off such outlaw growths as E.C.'s Tales from the Crypt and instituted a Comics Code when it became clear that Congress intended to clean their house for them if they would not clean it for themselves. There would be no more tales of dismemberment, corpses come back from the dead, and premature burials-or at least not for the next ten years. The return was signalled by the unpretentious birth of Creepy, a Warren Group magazine which was a complete throwback to the salad days of Bill Gaines's E.C. horror comics. Uncle Creepy, and his buddy Cousin Eerie, who came along two years or so later, were really interchangeable with the Old Witch and the Crypt-Keeper. Even some of the old artists were back-Joe Orlando, who made his debut as an E.C. artist, was also represented in the premiere issue of Creepy, if memory serves.
