Four Past Midnight - Stephen King [312]
If real meaning !!SOMETHING THAT COULD ACTUALLY HAPPEN!! - is your definition of serious, you are in the wrong place and you should by all means leave the building. But please remember as you go that I'm not the only one doing business at this particular site; Franz Kafka had an office here, and George Orwell, and Shirley Jackson, and Jorge Luis Borges, and Jonathan Swift, and Lewis Carroll. A glance at the directory in the lobby shows the present tenants include Thomas Berger, Ray Bradbury, Jonathan Carroll, Thomas Pynchon, Thomas Disch, Kurt Vonnegut, jr, Peter Straub, Joyce Carol Oates, Isaac Bashevis Singer, Katherine Dunn, and Mark Halpern.
I am doing what I do for the most serious reasons: love, money, and obsession. The tale of the irrational is the sanest way I know of expressing the world in which I live. These tales have served me as instruments of both metaphor and morality; they continue to offer the best window I know on the question of how we perceive things and the corollary question of how we do or do not behave on the basis of our perceptions. I have explored these questions as well as I can within the limits of my talent and intelligence. I am no one's National Book Award or Pulitzer Prize winner, but I'm serious, all right. If you don't believe anything else, believe this: when I take you by your hand and begin to talk, my friend, I believe every word I say.
A lot of the things I have to say - those Really Serious Things - have to do with the small-town world in which I was raised and where I still live. Stories and novels are scale models of what we laughingly call 'real life,' and I believe that lives as they are lived in small towns are scale models of what we laughingly call 'society.' This idea is certainly open to argument, and argument is perfectly fine (without it, a lot of literature teachers and critics would be looking for work); I'm just saying that a writer needs some sort of launching pad, and aside from the firm belief that a story may exist with honor for its own self, the idea of the small town as social and psychological microcosm is mine. I began experimenting with this sort of thing in Came, and continued on a more ambitious level with 'Salem's Lot. I never really hit my stride, however, until The Dead Zone.
That was, I think, the first of my Castle Rock stories (and Castle Rock is really just the town of Jerusalem's Lot without the vampires). In the years since it was written, Castle Rock has increasingly become 'my town,' in the sense that the mythical city of Isola is Ed McBain's town and the West Virginia village of Glory was Davis Grubb's town. I have been called back there time and time again to examine the lives of its residents and the geographies which seem to rule their lives - Castle Hill and Castle View, Castle Lake and the Town Roads which lie around it in a tangle at the western end of the town.
As the years passed, I became more and more interested in - almost entranced by - the secret life of this town, by the hidden relationships which seemed to come clearer and clearer to me. Much of this history remains either unwritten or unpublished:- how the late Sheriff George Bannerman lost his virginity in the back seat of his dead father's car, how Ophelia Todd's husband was killed by a walking windmill, how Deputy Andy Clutterbuck lost the index finger on his left hand (it was cut off in a fan and the family dog ate it).
Following The Dead Zone, which is partly the story of the psychotic Frank Dodd, I wrote a novella called 'The Body'; Cujo, the novel in which good old Sheriff Bannerman bit the dust; and a number of short stories and novelettes about the town (the best of them, at least in my mind, are 'Mrs Todd's Shortcut' and 'Uncle Otto's Truck'). All of which is very well, but a state of entrancement with a fictional setting may not be the best thing in the world for a writer. It was for Faulkner and J. R. R. Tolkien, but sometimes a couple of exceptions just prove