By Tim Underwood

During this revealing and sundry choice of interviews, Stephen King talks approximately his existence, family members, movies and specifically approximately his macabre novels of the unknown that experience made him so good known.

"My soul needs to be very black, indeed," observes King, virtuoso of horror fiction, yet those 30-odd interviews don't lay naked his soul. They do, besides the fact that, show a few attention-grabbing issues approximately his insomnia and protracted fears (he hates darkness), his literary resources, paintings conduct (he writes hours an afternoon, seven days every week) and the way his frightening novels are associated with his early life insecurities and emotions of inadequacy. The interviews, performed by means of numerous newshounds during the last decade, initially ran in media starting from Penthouse to the Baltimore solar. Shrugging off critics who push aside his paintings as spinoff, King explains his fascination with the terrible and calls himself an excellent author, now not a superb one. His reviews on his novels and their motion picture diversifications are usually astute, as whilst he translates Carrie as a parable of women's recognition or pans Stanley Kubrick's frigid path of The Shining.

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So dunkel, wie es draußen war, hätte sie gedacht, dass es schon viel später war. Die tiefen Wolken, die unter dem Gipfel hingen, hatten eine frühe, bedrohliche Dämmerung geschaffen. Inzwischen war der Boden mit einer durchgehenden Hagelschicht bedeckt. Immer noch fielen Hagelkörner, vermischt mit Eisregen und dem, was die Meteorologen als Graupel bezeichnen, winzigen Eiskörnern, die wesentlich heimtückischer aussehen als ihre spitzenbesetzten Cousins. Schon jetzt waren alle Äste in Eispanzer gehüllt, die sichtbar dicker wurden.

Ursprünglich waren sie hergekommen, um an den Wochenenden und in den Ferien dem hektischen Leben in Atlanta zu entfliehen. Später wollten sie hier allem entfliehen. Sie war dabei, all das einzupacken, was sie an persönlichen Dingen mitnehmen würde, wenn sie heute abfuhr. Sie würde nicht wieder herkommen. Genauso wenig wie Dutch. Dies war das Schlusskapitel - genauer gesagt der Epilog - zu ihrem gemeinsamen Leben. Sie hatte gehofft, dass ihr letzter Abschied so unsentimental wie möglich vonstatten gehen würde.

Sie mögen mich. « �Das ist wunderbar, Dutch. Ich möchte, dass du hier Erfolg hast. « Sie wollte wirklich, dass er hier Erfolg hatte, und zwar nicht nur seinet-, sondern auch ihretwegen. Bis Dutch wieder als guter Polizist angesehen wurde und sich vor allem selbst so sah, würde sie nicht von ihm loskommen. Erst wenn er mit sich und seiner Arbeit wieder im Reinen war, würde er es auch ohne sie schaffen, neues Selbstbewusstsein aufzubauen. Cleary als kleine Gemeinde bot ihm die Möglichkeit dazu. Sie hoffte bei Gott, dass alles gut ausgehen würde.

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