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Михаил (19.04.2017 - 06:11:11)
книге:  Петля и камень на зелёной траве

Потрясающая книга. Не понравится только нацистам.

Антихрист666 (18.04.2017 - 21:05:58)
книге:  Дом чудовищ (Подвал)

Классное чтиво!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Ладно, теперь поспешили вы... (18.04.2017 - 20:50:34)
книге:  Физики шутят

"Не для сайта!" – это не имя. Я пытался завершить нашу затянувшуюся неудачную переписку, оставшуюся за окном сайта, а вы вын... >>

Роман (18.04.2017 - 18:12:26)
книге:  Если хочешь быть богатым и счастливым не ходи в школу?

Прочитал все его книги! Великий человек, кардинально изменил мою жизнь.

АНДРЕЙ (18.04.2017 - 16:42:55)
книге:  Технология власти

ПОЛЕЗНАЯ КНИГА. Жаль, что мало в России тех, кто прочитал...

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По-моему сказали спьяну,
что человек от обезьяны.
Ну как мартышка не трудилась,
А в девушку не превратилась.
И лень нас (есть такой изъян)
Не превратила в обезьян.

29.08.10 - 11:25
Наталья Городецкая nata62

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Danse Macabre   ::   Кинг Стивен

Страница: 2 из 142
 
Further along in this book I have written my belief that no one is exactly sure of what they mean on any given subject until they have written their thoughts down; I similarly believe that we have very little understanding of what we have thought until we have submitted those thoughts to others who are at least as intelligent as ourselves. So, yeah, I was nervous at the prospect of stepping into that Barrows Hall classroom, and I spent too much of an otherwise lovely vacation in St. Thomas that year agonizing over Stoker's use of humor in Dracula and the paranoia quotient of Jack Finney's Body Snatchers .

In the days following Bill's call, I began to think more and more that if my series of talks (I don't quite have balls enough to call them lectures) on the horror-supernatural-gothic field seemed well received-by myself as well as by my students-then perhaps writing a book on the subject would complete the circle. Finally I called Bill and told him I would try to write the book. And as you can see, I did.

All this is by way of acknowledging Bill Thompson, who created the concept of this book. The idea was and is a good one. If you like the book which follows, thank Bill, who thought it up. If you don't, blame the author, who screwed it up.

It is also an acknowledgment of those one hundred Eh-90 students who listened patiently (and sometimes forgivingly) as I worked out my ideas. As a result of that class, many of these ideas cannot even be said to be my own, for they were modified during class discussions, challenged, and, in many cases, changed.

During that class, an English professor at the University of Maine, Burton Hatlen, came in to lecture one day on Stoker's Dracula , and you will find that his insightful thoughts on horror as a potent part of a myth-pool in which we all bathe communally also form a part of this book's spine. So, thanks, Burt.

My agent, Kirby McCauley, a fantasy/horror fan and unregenerate Minnesotan, also deserves thanks for reading this manuscript, pointing out errors of fact, arguing conclusions . . . and most of all for sitting up with me one fine drunk night in the U.N. Plaza Hotel in New York and helping me to make up the list of recommended horror films during the years 1950-1980 which forms Appendix 1 of this book. I owe Kirby for more than that, much more, but for now that will have to do.

I've also drawn upon a good many outside sources during the course of my work in Danse Macabre , and have tried as conscientiously as I can to acknowledge these on a pay-as-you-go basis, but I must mention a few that were invaluable: Carlos Clarens's seminal work on the horror film, An Illustrated History of the Horror Film ; the careful episode-by-episode rundown of The Twilight Zone in Starlog; The Science Fiction Encyclopedia , edited by Peter Nichols, which was particularly helpful in making sense (or trying to, anyway) of the works of Harlan Ellison and of the TV program The Outer Limits ; and countless other odd byways that I happened to wander down.

Lastly, thanks are due to the writers-Ray Bradbury, Harlan Ellison, Richard Matheson, Jack Finney, Peter Straub, and Anne Rivers Siddons among them-who were kind enough to answer my letters of enquiry and to provide information about the genesis of the works discussed here. Their voices provide a dimension to this work which would otherwise be sadly lacking.

I guess that's about it . . . except I wouldn't want to leave you with any idea whatsoever that I believe what follows even approaches perfection. I suspect plenty of errors still remain in spite of careful combing; I can only hope that they are not too serious or too many. If you find such errors, I hope you'll write to me and point them out, so I can make corrections in any future editions. And, you know, I hope you have some fun with this book. Nosh and nibble at the corners or read the mother straight through, but enjoy. That's what it's for, as much as any of the novels. Maybe there will be something here to make you think or make you laugh or just make you mad. Any of those reactions would please me. Boredom, however, would be a bummer.

For me, writing this book has been both an exasperation and a deep pleasure, a duty on some days and a labor of .love on others. As a result, I suppose you will find the course you are about to follow bumpy and uneven. I can only hope that you will also find, as I have, that the trip has not been without its compensations.

STEPHEN KING Center Lovell, Maine "What was the worst thing you've ever done?” "I won't tell you that, but I'll tell you the worst thing that ever happened to me . . . the most dreadful thing . . . PETER STRAUB, Ghost Story "Well we'll really have a party but we gotta post a guard outside . . . EDDIE COCHRAN, "Come On Everybody”



CHAPTER I

October 4, 1957, and an Invitation to Dance

FOR ME, the terror-the real terror, as opposed to whatever demons and boogeys which might have been living in my own mind-began on an afternoon in October of 1957. I had just turned ten. And, as was only fitting, I was in a movie theater: the Stratford Theater in downtown Stratford, Connecticut.

The movie that day was and is one of my all-time favorites, and the fact that it-rather than a Randolph Scott western or a John Wayne war movie-was playing was also only fitting. The Saturday matinee on that day when the real terror began was Earth vs. the Flying Saucers , starring Hugh Marlowe, who at the time was perhaps best known for his role as Patricia Neal's jilted and rabidly xenophobic boyfriend in The Day the Earth Stood Still -a slightly older and altogether more rational science fiction movie.

In The Day the Earth Stood Still , an alien named Klaatu (Michael Rennie in a bright white intergalactic leisure suit) lands on The Mall in Washington, D.C., in a flying saucer (which, when under power, glows like one of those plastic Jesuses they used to give out at Vacation Bible School for memorizing Bible verses). Klaatu strides down the gangway and pauses there at the foot, the focus of every horrified eye and the muzzles of several hundred Army guns. It is a moment of memorable tension, a moment that is sweet in retrospect-the sort of moment that makes people like me simple movie fans for life. Klaatu begins fooling with some sort of gadget-it looked kind of like a Weed-Eater, as I recall-and a trigger-happy soldier-boy promptly shoots him in the arm. It turns out, of course, that the gadget was a gift for the President. No death ray here; just a simple star-to-star communicator.

That was in 1951. On that Saturday afternoon in Connecticut some six years later, the folks in the flying saucers looked and acted a good deal less friendly. Far from the noble and rather sad good looks of Michael Rennie as Klaatu, the space people in Earth vs.

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