Stephen King: A Good Marriage

Snood!

I brought the volume of Britannica to the old lady who had requested it (she wore an ermine stole, and the thing’s little black eyes regarded me bleakly). Then I simply walked out. I wandered the streets for hours, and eventually came here, to the Magnolia Hotel. And here I have been ever since, spending the money I have saved as a librarian—which doesn’t matter any longer—and writing my confession, which does. I—

One of them just nipped me on the ankle. As if to say Get on with it, time’s almost up . A little blood has begun to stain my sock. It doesn’t disturb me, not in the slightest. I have seen more blood in my time; in 1922 there was a room filled with it.

And now I think I hear… is it my imagination?

No.

Someone has come visiting.

I plugged the pipe, but the rats still escaped. I filled in the well, but she also found her way out. And this time I don’t think she’s alone. I think I hear two sets of shuffling feet, not just one. Or—

Three? Is it three? Is the girl who would have been my daughter-in-law in a better world with them as well?

I think she is. Three corpses shuffling up the hall, their faces (what remains of them) disfigured by rat-bites, Arlette’s cocked to one side as well… by the kick of a dying cow.

Another bite on the ankle.

And another!

How the management would—

Ow! Another. But they won’t have me. And my visitors won’t, either, although now I can see the doorknob turning and I can smell them, the remaining flesh hanging on their bones giving off the stench of slaughtered

slaught

The gun

god where is the

stop

OH MAKE THEM STOP BITING M

The body of Wilfred James, a librarian at the Omaha Public Library, was found in a local hotel on Sunday when efforts by hotel staff to contact him met with no response. The resident of a nearby room had complained of “a smell like bad meat,” and a hotel chambermaid reported hearing “muffled shouting or crying, like a man in pain” late Friday afternoon.

After knocking repeatedly and receiving no response, the hotel’s Chief of Security used his pass-key and discovered the body of Mr. James, slumped over the room’s writing desk. “I saw a pistol and assumed he had shot himself,” the security man said, “but no-one had reported a gunshot, and there was no smell of expended powder. When I checked the gun, I determined it was a badly maintained .25, and not loaded.

“By then, of course, I had seen the blood. I have never seen anything like that before, and never want to again. He had bitten himself all over—arms, legs, ankles, even his toes. Nor was that all. It was clear he had been busy with some sort of writing project, but he had chewed up the paper, as well. It was all over the floor. It looked like paper does when rats chew it up to make their nests. In the end, he chewed his own wrists open. I believe that’s what killed him. He certainly must have been deranged.”

Little is known of Mr. James at this writing. Ronald Quarles, the head librarian at the Omaha Public Library, took Mr. James on in late 1926. “He was obviously down on his luck, and handicapped by the loss of a hand, but he knew his books and his references were good,” Quarles said. “He was collegial but distant. I believe he had been doing factory work before applying for a position here, and he told people that before losing his hand, he had owned a small farm in Hemingford County.”

The World-Herald is interested in the unfortunate Mr. James, and solicits information from any readers who may have known him. The body is being held at the Omaha County Morgue, pending disposition by next of kin. “If no next of kin appears,” said Dr. Tattersall, the Morgue’s Chief Medical Officer, “I suppose he will be buried in public ground.”

The stories in this book are harsh. You may have found them hard to read in places. If so, be assured that I found them equally hard to write in places. When people ask me about my work, I have developed a habit of skirting the subject with jokes and humorous personal anecdotes (which you can’t quite trust; never trust anything a fiction writer says about himself). It’s a form of deflection, and a little more diplomatic than the way my Yankee forebears might have answered such questions: It’s none of your business, chummy . But beneath the jokes, I take what I do very seriously, and have since I wrote my first novel, The Long Walk, at the age of eighteen.

I have little patience with writers who don’t take the job seriously, and none at all with those who see the art of story-fiction as essentially worn out. It’s not worn out, and it’s not a literary game. It’s one of the vital ways in which we try to make sense of our lives, and the often terrible world we see around us. It’s the way we answer the question, How can such things be? Stories suggest that sometimes—not always, but sometimes—there’s a reason .

From the start—even before a young man I can now hardly comprehend started writing The Long Walk in his college dormitory room—I felt that the best fiction was both propulsive and assaultive. It gets in your face. Sometimes it shouts in your face. I have no quarrel with literary fiction, which usually concerns itself with extraordinary people in ordinary situations, but as both a reader and a writer, I’m much more interested by ordinary people in extraordinary situations. I want to provoke an emotional, even visceral, reaction in my readers. Making them think as they read is not my deal. I put that in italics, because if the tale is good enough and the characters vivid enough, thinking will supplant emotion when the tale has been told and the book set aside (sometimes with relief). I can remember reading George Orwell’s 1984 at the age of thirteen or so with growing dismay, anger, and outrage, charging through the pages and gobbling up the story as fast as I could, and what’s wrong with that? Especially since I continue to think about it to this day when some politician (I’m thinking of Sarah Palin and her scurrilous “death-panel” remarks) has some success in convincing the public that white is really black, or vice-versa.

Here’s something else I believe: if you’re going into a very dark place—like Wilf James’s Nebraska farmhouse in “1922”—then you should take a bright light, and shine it on everything. If you don’t want to see, why in God’s name would you dare the dark at all? The great naturalist writer Frank Norris has always been one of my literary idols, and I’ve kept what he said on this subject in mind for over forty years: “I never truckled; I never took off my hat to Fashion and held it out for pennies. By God, I told them the truth.”

But Steve, you say, you’ve made a great many pennies during your career, and as for truth… that’s variable, isn’t it? Yes, I’ve made a good amount of money writing my stories, but the money was a side effect, never the goal. Writing fiction for money is a mug’s game. And sure, truth is in the eye of the beholder. But when it comes to fiction, the writer’s only responsibility is to look for the truth inside his own heart. It won’t always be the reader’s truth, or the critic’s truth, but as long as it’s the writer ’s truth—as long as he or she doesn’t truckle, or hold out his or her hat to Fashion—all is well. For writers who knowingly lie, for those who substitute unbelievable human behavior for the way people really act, I have nothing but contempt. Bad writing is more than a matter of shit syntax and faulty observation; bad writing usually arises from a stubborn refusal to tell stories about what people actually do—to face the fact, let us say, that murderers sometimes help old ladies cross the street.