Like most writers of horror fiction, I can trace my roots
directly to Stephen King. The first
time I picked up "The Stand," the hook was set. After finishing "It," that hook
was swallowed and securely wrapped around my gizzard. The only way to disgorge my devotion to his writing would be to
jam a screwdriver down my gullet and twist until all my internal organs are
ripped loose.
Unfortunately, because of stories like "Salem's
Lot," "Silver Bullet," and "Needful Things," his place
as a horror writer is cemented. Not a
writer, but a horror writer. To
paraphrase a line from Dennis Miller, being the top horror writer is a lot like
being valedictorian at summer school.
Folks who would praise Melville's work on "Moby
Dick" ad nauseum will turn up their collective snoots at anything bearing
King's seal. Personally I find this
funny, as Melville's tale is essentially a horror story highlighting a big white
waterborne monster.
From my perspective, King isn't a master of horror -- he's a
master of the written word. Upon closer
inspection, even his most famous books aren't horror themes; they're universal
themes we can all relate to, which is why it's such an injustice to pigeonhole
him into a very narrow slot. Carrie,
his first published novel, wasn't as much about immolated prom-goers as it was
about a scared, bullied, and abused teenager.
Firestarter was less about pyrokinesis and more about a connection
between child and parent and what happens when that trust is broken. Stand By Me is the seminal pre-teen
adventure story. Bag of Bones is a love
story. And of course you have the Dark
Tower series, which is the truest quest literature since Alfred Lord Tennyson's
12-part saga of King Arthur. Take out
the lobstrosities, and most of the Gunslinger books wouldn't ring the horror
bell among even the most delicate observers.
The fact that Roland's tale isn't taught in middle school
English classes alongside J.R.R. Tolkien and Melville is more a testament to
the pervasive level of bias that still discards even great modern American
writers to the slough pile if they are in any way tainted by a populist horror
label.
I've experienced the anti-horror bias even in my own novel,
"Howl of a Thousand Winds." A
bank teller recently asked me about my book after it reached the number one
spot on the Sunbury Press bestsellers list.
I made the mistake of opening with "it's a horror novel that asks
'what if the people dying in snowstorms aren't really being killed by the cold
and the snow?'" She got as far as
the "errr" sound in "horror" before her face switched off
and the shutter doors slammed down over her ear canals. "I don't read horror," she
answered. When I tried to explain that
it wasn't a gore-fest like a lot of today's "horror" movies that rely
on tanker trucks full of fake blood and gratuitous dismemberments to jump start
movie-goer senses, it didn't matter.
She wouldn't read it because I used the "hor" word.
Ironically, I'd bet a box full of chocolate-covered goat
eyeballs that the woman has seen at least three Stephen King movies in her
lifetime without running them through her anti-horror filter. It's not really the genre that turns her
off, it's the generalization.
And that's the point.
King isn't a horror writer. He's
a writer that includes horror in some of his work. It would be like labeling Peter Benchley a pornographer because
he included a sex scene in "Jaws."
In real life, people often use pejoratives to seine out
others as an expedient way to codify an individual instead of taking time
getting to know the person. If we're
guilty of doing that to other humans, we're even more ruthless in assigning
labels to their various words and works.
In the sifting, we miss opportunities for broader and more
enlightening experiences, which is the greatest of all life's ironies. We watch movies and TV shows about
out-of-the-ordinary incidents, then curse our own lives made mundane by a lack
of extraordinary events -- precisely the kind of events that can only be found
when we veer off the sanctimoniously marked trails.
Of all my reasons for gratitude toward Stephen King --
inspiring me to be a writer, entertaining me for thousands of hours with his
books and movies, teaching me courage by never apologizing for what he writes
-- his greatest gift was opening the eyes of a non-horror fan to the
mesmerizing writing that transcends tags.
So here's to Stephen King...the master of non-horror.