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.(He gained early expertise when hewrote a college newspaper column called King s Garbage Truck. )King s stylistic trademark, if he has a single one, is excess, saysMichael Morrison.He revels in crude behavior on the page. A literarybull in the china shop, he not only breaks glassware to get your attention,he defecates on the floor (Morrison 263).King s scatological expressionismcompares with the oral storyteller s liberal use of the agonistic, the languageof gore, grimaces, grunts, and groans.Hence King confesses in the Notes to Skeleton Crew, I got to thinking about cannibalism one day.and mymuse once more evacuated its magic bowels on my head.I know how grossthat sounds, but it s the best metaphor I know of, inelegant or not, andbelieve me when I tell you I d give the little Fornit Ex-Lax if he wanted it.Anyway, I started to wonder if a person could eat himself (571).This noteexplains the inspiration for Survivor Type, the tale of a doctor maroonedon an island who subsists on parts of his own body.King s metaphors, evenwhen describing his own style, are somatic: they seek to reinvest literaryclichés with body language.Much of King s content, as in nineteenth-century belles lettres,dramatizes and acts out the implied author s relations with his readers. 118 Linda BadleyProverbs and riddles are used in oral culture not simply to store knowledgebut to engage others in verbal and intellectual combat, and one riddle setsthe stage for another appositional or contrasting one (Ong 44).In his Afterword to Different Seasons King answers the objection that he lacks literary elegance by claiming to give instead good weight, which hetranslates thusly: if you can t run like a thoroughbred you can pull yourbrains out.A voice rises from the balcony: What brains, King.Ha! Ha, veryfunny, fella, you can leave now! (504).Joseph Reino expressesconsternation with this sort of behavior, which he calls image-mutilation and regards as compulsive (Preface [ix]).Regardless of taste or compulsion,it is one of King s tropes.Paradoxically it validates readers experience of thetexts, enhancing their sense of the voice and the person.Ultimately itrecontextualizes the writer and the reader in a site that recalls the oralcommunity.Oral literature was agonistic not only in its manner of presentation butin its content, its celebration of physical excess and its ardent descriptions ofviolence.Blood flows freely in the oral tradition.Citing psychologist J.C.Carothers, Ong points out that as literates tend to interiorize schizophrenia,people in oral cultures more often act it out: rather than psychic withdrawal,they show external confusion, leading.to violent action, including selfmutilation and violence to others. Special terms designate this behavior: the old-time Scandinavian warrior going berserk or the Southeast Asian running amok (Ong 69).The detailed depiction and ritualization ofviolence was a logical extension of this perspective.Ong notes how BooksVIII and X of The Iliad rival the most sensational of today s televisionshows and movies (Ong 44).The grisliness of the oral versions of the classical fairy tales is by now well known.Carrie s reversal of Cinderella shappy ending, for instance, recovers the gruesome revenge elements of thetale s folk originals (the stepsisters heels are sliced off and a dove pecks outtheir eyes).Carrie is Cinderella in the body language of menstrual blood andraging hormones.King s adolescent joy in grimaces and groans, the Madmagazine humor, and the staple of grue hardly need mentioning.Writingexorcises demons that would otherwise erupt, as the blocked Jack Torrenceof The Shining (1977) demonstrates.King s writer-protagonists are invariablyprone to grotesque oral or scatological performances or extreme violence,suggesting Kristevan relationships between writing and horror, the body andthe text.Misery (1987) portrays writing and reading as a grotesque physicalbattle of the sexes (with needles, axes, and typewriters) to the death.OrKing s writers produce literalized metaphors in which their characters cometo violent physical life (The Dark Half, Secret Window, Secret Garden ).Red, the narrator of Rita Hayworth and the Shawshank Redemption The Sin Eater: Orality, Postliteracy, and the Early Stephen King 119(1982) reveals to the reader that he has concealed the one-hundred-pagemanuscript about the quasi-legendary prison career of Andy Dufresne in hisrectum (enlarged by gang-banging encounters with the prison sisters ).In The Revenge of Lard Ass Hogan (in The Body, Different Seasons) a fatboy gets even with his tormentors by vomiting all over his fellow contestantsat a blueberry pie-eating contest and starts a gut-wrenching chain reaction inthe audience.In Danse Macabre, King explains his appeals to the gag instinct as a lastresort: I recognize terror as the finest emotion, and so I will try to terrorizethe reader.But if I find I cannot terrify him/her, I will try to horrify; and if Ifind I cannot horrify, I ll go for the gross-out.I m not proud (37).Theengagement with an audience undermines King s corporate image, authorialstance, and textual closure and so enhances the King phenomenon.Thedialogic text means that King is in love with his readers, as someone in hisincome bracket might well be, writes Susan Bolotin.This cozy relationshipspills over into the now countless books of Stephen King commentary,Stephen King calendars, Stephen King quiz books (Spignesi 1990 and 1992)and games, Castle Rock: The Stephen King Newsletter (Jan.1985 Dec.1989),The Stephen King Companion (Beahm), In the Darkest Night: A Student s Guideto Stephen King, Teacher s Manual: The Novels of Stephen King (Zagorski), andThe Shape Under the Sheet: The Complete Stephen King Encyclopedia (Spignesi).This phenomenon in turn spills over into the news magazines thatfollow him under the headings of Business or Show Business as often as thebook section.7 Do you know me? he asked rhetorically, looking at youthrough your TV screen.This American Express commercial assumed thatKing s face is a familiar image, a fact that makes him unique among authors.As King has asked, What does it mean when somebody who is a novelist isinvited to appear on Hollywood Squares ? King is the author not as Logos but as image.Whereas this makes amovie star unreachable, it makes an author approachable.When we read him we hear his voice and see his face.He is so much a part of the popularculture that flows through his books that he has become just like you and me.It is not merely that his books echo popular culture and advertising; it isthat Stephen King is ubiquitous.Although he now writes occasionally forThe New York Times Book Review or Life, we are more likely to see him ontelevision or (in paperback) at the local discount or grocery store [ Pobierz caÅ‚ość w formacie PDF ]
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.(He gained early expertise when hewrote a college newspaper column called King s Garbage Truck. )King s stylistic trademark, if he has a single one, is excess, saysMichael Morrison.He revels in crude behavior on the page. A literarybull in the china shop, he not only breaks glassware to get your attention,he defecates on the floor (Morrison 263).King s scatological expressionismcompares with the oral storyteller s liberal use of the agonistic, the languageof gore, grimaces, grunts, and groans.Hence King confesses in the Notes to Skeleton Crew, I got to thinking about cannibalism one day.and mymuse once more evacuated its magic bowels on my head.I know how grossthat sounds, but it s the best metaphor I know of, inelegant or not, andbelieve me when I tell you I d give the little Fornit Ex-Lax if he wanted it.Anyway, I started to wonder if a person could eat himself (571).This noteexplains the inspiration for Survivor Type, the tale of a doctor maroonedon an island who subsists on parts of his own body.King s metaphors, evenwhen describing his own style, are somatic: they seek to reinvest literaryclichés with body language.Much of King s content, as in nineteenth-century belles lettres,dramatizes and acts out the implied author s relations with his readers. 118 Linda BadleyProverbs and riddles are used in oral culture not simply to store knowledgebut to engage others in verbal and intellectual combat, and one riddle setsthe stage for another appositional or contrasting one (Ong 44).In his Afterword to Different Seasons King answers the objection that he lacks literary elegance by claiming to give instead good weight, which hetranslates thusly: if you can t run like a thoroughbred you can pull yourbrains out.A voice rises from the balcony: What brains, King.Ha! Ha, veryfunny, fella, you can leave now! (504).Joseph Reino expressesconsternation with this sort of behavior, which he calls image-mutilation and regards as compulsive (Preface [ix]).Regardless of taste or compulsion,it is one of King s tropes.Paradoxically it validates readers experience of thetexts, enhancing their sense of the voice and the person.Ultimately itrecontextualizes the writer and the reader in a site that recalls the oralcommunity.Oral literature was agonistic not only in its manner of presentation butin its content, its celebration of physical excess and its ardent descriptions ofviolence.Blood flows freely in the oral tradition.Citing psychologist J.C.Carothers, Ong points out that as literates tend to interiorize schizophrenia,people in oral cultures more often act it out: rather than psychic withdrawal,they show external confusion, leading.to violent action, including selfmutilation and violence to others. Special terms designate this behavior: the old-time Scandinavian warrior going berserk or the Southeast Asian running amok (Ong 69).The detailed depiction and ritualization ofviolence was a logical extension of this perspective.Ong notes how BooksVIII and X of The Iliad rival the most sensational of today s televisionshows and movies (Ong 44).The grisliness of the oral versions of the classical fairy tales is by now well known.Carrie s reversal of Cinderella shappy ending, for instance, recovers the gruesome revenge elements of thetale s folk originals (the stepsisters heels are sliced off and a dove pecks outtheir eyes).Carrie is Cinderella in the body language of menstrual blood andraging hormones.King s adolescent joy in grimaces and groans, the Madmagazine humor, and the staple of grue hardly need mentioning.Writingexorcises demons that would otherwise erupt, as the blocked Jack Torrenceof The Shining (1977) demonstrates.King s writer-protagonists are invariablyprone to grotesque oral or scatological performances or extreme violence,suggesting Kristevan relationships between writing and horror, the body andthe text.Misery (1987) portrays writing and reading as a grotesque physicalbattle of the sexes (with needles, axes, and typewriters) to the death.OrKing s writers produce literalized metaphors in which their characters cometo violent physical life (The Dark Half, Secret Window, Secret Garden ).Red, the narrator of Rita Hayworth and the Shawshank Redemption The Sin Eater: Orality, Postliteracy, and the Early Stephen King 119(1982) reveals to the reader that he has concealed the one-hundred-pagemanuscript about the quasi-legendary prison career of Andy Dufresne in hisrectum (enlarged by gang-banging encounters with the prison sisters ).In The Revenge of Lard Ass Hogan (in The Body, Different Seasons) a fatboy gets even with his tormentors by vomiting all over his fellow contestantsat a blueberry pie-eating contest and starts a gut-wrenching chain reaction inthe audience.In Danse Macabre, King explains his appeals to the gag instinct as a lastresort: I recognize terror as the finest emotion, and so I will try to terrorizethe reader.But if I find I cannot terrify him/her, I will try to horrify; and if Ifind I cannot horrify, I ll go for the gross-out.I m not proud (37).Theengagement with an audience undermines King s corporate image, authorialstance, and textual closure and so enhances the King phenomenon.Thedialogic text means that King is in love with his readers, as someone in hisincome bracket might well be, writes Susan Bolotin.This cozy relationshipspills over into the now countless books of Stephen King commentary,Stephen King calendars, Stephen King quiz books (Spignesi 1990 and 1992)and games, Castle Rock: The Stephen King Newsletter (Jan.1985 Dec.1989),The Stephen King Companion (Beahm), In the Darkest Night: A Student s Guideto Stephen King, Teacher s Manual: The Novels of Stephen King (Zagorski), andThe Shape Under the Sheet: The Complete Stephen King Encyclopedia (Spignesi).This phenomenon in turn spills over into the news magazines thatfollow him under the headings of Business or Show Business as often as thebook section.7 Do you know me? he asked rhetorically, looking at youthrough your TV screen.This American Express commercial assumed thatKing s face is a familiar image, a fact that makes him unique among authors.As King has asked, What does it mean when somebody who is a novelist isinvited to appear on Hollywood Squares ? King is the author not as Logos but as image.Whereas this makes amovie star unreachable, it makes an author approachable.When we read him we hear his voice and see his face.He is so much a part of the popularculture that flows through his books that he has become just like you and me.It is not merely that his books echo popular culture and advertising; it isthat Stephen King is ubiquitous.Although he now writes occasionally forThe New York Times Book Review or Life, we are more likely to see him ontelevision or (in paperback) at the local discount or grocery store [ Pobierz caÅ‚ość w formacie PDF ]