On Stephen King and horror as “one of the most literary of all forms”
Here’s a really nice pair of paragraphs expressing a dead-on and truly significant point, from a review by Margaret Atwood (!) of King’s new novel Doctor Sleep, his much-heralded sequel to The Shining:
King is right at the center of an American literary taproot that goes all the way down: to the Puritans and their belief in witches, to Hawthorne, to Poe, to Melville, to the Henry James of “The Turn of the Screw,” and then to later exemplars like Ray Bradbury. In the future, I predict, theses will be written on such subjects as “American Puritan Neo-Surrealism in ‘The Scarlet Letter’ and ‘The Shining,’ ” and “Melville’s Pequod and King’s Overlook Hotel as Structures That Encapsulate American History.”
Some may look skeptically at “horror” as a subliterary genre, but in fact horror is one of the most literary of all forms. Its practitioners read widely and well — King being a pre-eminent example — since horror stories are made from other horror stories: you can’t find a real-life example of the Overlook Hotel. People do “see” some of the things King’s characters see (for a companion volume, try Oliver Sacks’s “Hallucinations”), but it is one of the functions of “horror” writing to question the reality of unreality and the unreality of reality: what exactly do we mean by “see”?