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Tag Archives: The Shining

Toppling the Stephen King Monument into ‘Castle Rock River’.

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Posted by Jonathan Mozzochi in Essay, Rant

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Ava DuVernay, Black Lives Matter, Game of Thrones, George Floyd, Pulp Fiction, Quentin Tarantino Defense, Racism and Fiction, Selma, Stephen King, The Magical Negro, The Shining, The Stand, Third Reconstruction

 

Stephen King and Racism

 

Last January Stephen King was criticized for comments he made about voting for the Academy Awards, something he is apparently entitled to do as a member of that august body. “For me, the diversity issue — as it applies to individual actors and directors, anyway — did not come up…That said, I would never consider diversity in matters of art. Only quality. It seems to me that to do otherwise would be wrong” he tweeted.

Well, Stephen King is anything if not consistent. From what I can gather his literary output reflects no concern whatsoever with ‘diversity’ other than as a license to express forms of racism so extreme they might shame a klansman.

Ava DuVernay, director of the 2015 film Selma (not nominated by the Academy for best director) described King’s comments above as “backward and ignorant.” I think that’s being charitable. Even by the standards of the 1970s and 1980s King’s novels have always trafficked in what can only be described as gratuitous bigotry. So why have his works always been so popular? How is it that so much of King’s work challenges even the Urban Dictionary in depravity and yet still rakes in millions of avid readers and millions of dollars? Why does he leaven so much of his writing with grotesque stereotypes?

The common defense takes the form of a non-denial denial, insisting that because what King writes is horror it should shock and sicken; nothing shocks and sickens like racism so that’s why there is so much of it in his novels. Implied here is that he uses such bigotries in a constructive manner; they serve a larger, more edifying purpose, or so the argument goes. But this is really the Tarantino defense: it’s just plot and character development, nothing more. The problem here is that so much bigotry in King’s novels so obviously serves no purpose. It is gratuitous; which is to say unneeded and unwarranted, therefore casual bigotries that do not forward plot or character development, or, at least go far beyond such development. There is just no way to excuse or explain away the naked racism peppered throughout King’s oeuvre (we will get to examples below).

 

So as to undermine the Tarantino defense, I’m going to quote a couple characters from a Tarantino film. Upholding King’s legacy sans his bigotry amounts to the position that John Travolta stakes out regarding eating bacon in Tarantino’s film Pulp Fiction. You know the scene. Samuel L. Jackson holds that “Pigs sleep and root in shit. That’s a filthy animal. I don’t eat nothing that ain’t got sense enough to disregard its own feces.” Travolta counters, “How about a dog? A dog eats its own feces.”  Jackson quips, “I don’t eat dog either.” To which Travolta asks whether Jackson considers dogs a filthy animal. Jackson says a dog’s “got personality. Personality goes a long way.” Travolta counters, “by that rationale if a pig had a better personality it would cease to be a filthy animal.” Jackson famously responds, “We would have to be talking about one charming motherfucking pig!”

King’s writing is as that pig wallowing in its own shit; don’t eat the bacon.

Regardless of how one answers these questions, King’s comments should come as no surprise, as his output betrays an unbearable whiteness of being, something that remains pervasive within elite and popular culture. And in this sense, no matter how charming it may be, a pig is still a filthy animal. (That there is a literary device. For what it’s worth, I consider pigs adorable).

Do you need some evidence as to rank racism in Stephen King novels? In the unfortunately titled “Stephen King Needs More Black Friends” (Scott Woods, Medium, January 15, 2020) the image of Black people in the ‘Stephen King Universe’ is made clear. And mind you, this recounting is from a fan:

King writes almost all of his Black characters, magical or otherwise, in problematic ways. When they are not magical they are horrendous stereotypes: dope fiends and brutes (The Stand), jive-talking thugs (End of Watch), and worse (the short story “Dedication”). More, King’s characters never happen to be Black; he intentionally makes it clear that they are Black from the outset, usually with jaw-droppingly offensive descriptions: Mother Abigail in The Stand is “coal-black” and further described as looking like an “old black Everglades alligator.” The Black junta of The Stand are also Black, “huge,” nude (save for a loincloth, so sexualized to boot) and actively murdering White people with intent. The chief villain in The Running Man is a game show producer named Dan Killian who is “minstrel show” Black. The Green Mile’s John Coffey is hit with a litany of racist descriptors, including “monkey,” “big mutt,” and “big boy.” Some of these are character embellishments, insults provided through the mouths of virulently racist characters — aka the Tarantino Defense. But some of them come from the universal narrator of a given story.

Getting a bit more granular, this is from my essay “King vs. Kubrick” (Mozzochi.wordpress.com, January 22, 2019) where I compare King’s The Shining to Kubrick’s The Shining:

What the Ghosts Represent:

Book: All the ghosts are evil; all desire to continue their evil deeds–marital infidelity, gangsterism, murder, as a manifestation of their “single group intelligence”. The source of this evil is not institutional, structural, historical, political or otherwise outside of the individual. It is located within us, in our denial of the possessive individualism at the heart of the bourgeois family.

Movie: The source of evil is the hotel itself, which cannot be separated from its history, in part erected on the bones of indigenous peoples. It is rabidly racist and demands absolute servility on the part of inferiors, most pointedly workers and their families.

Racist, Homophobic, Classist or Misogynist Scenes That Contribute To Plot Or Character Development.

Book: None

Movie: Grady calls Dick Hallorran a “nigger” in the all important restroom scene. Elsewhere Jack says, “just a little problem with the old sperm bank upstairs. Nothing I can’t handle, though.” That’s about it. Sparing, short and devastating. But Kubrick doesn’t wallow in it as King does–as a teenager expressing unfiltered repressed emotions.

Gratuitous Racist, Homophobic, Classist or Misogynist Scenes That Don’t Contribute To Plot Or Character Development.

Book: an endless parade of cringe worthy and vicarious bigotries apparently pleasurable for some people to read. Emblematic is where King has a young Dick Hallorran fire a “Nigger Chaser” firework (bottle rocket) at a wasps nest. This makes no sense even on its own terms.

Movie: None

From Ben Goldstein, “Stephen King’s The Stand is Bloated, Racist and (Somehow) Still a Masterpiece” (Medium, May 10, 2015). Again, this is from a fan:

King didn’t invent the Magical Negro literary trope, but he’s spent much of his career coasting on it. Consider the psychic hotel caretaker Dick Hallorann in The Shining, who comes back to rescue Danny Torrance when Jack loses his mind. Or the hulking and simple-minded John Coffey of The Green Mile, who heals the innocent by absorbing their pain, and dies as a savior figure.

In The Stand, we’re presented with Mother Abigail Freemantle, a religiously devout beacon of benevolence…” Within the entire Boulder Free Zone community — which eventually numbers in the thousands — Mother Abigail is the only person who is described as black. That’s right, kids: Stephen King’s utopic Free Zone society contains exactly one (1) black person. Other than that, the Free Zone is a diverse tapestry, featuring white people from Maine, white people from Texas, white people from New York, and white people from Ohio.

Of course there are other black people in The Stand. You’ve got the jive-talkin’ Rat Man, who’s so creepy that even the nymphomaniac Julie Lawry wont fuck him. There’s Richard Hoggins, the young black drug addict from Detroit mentioned in the “second epidemic” section. (“He had been addicted to the fine white powder he called ‘hehrawn’ for the last five years.”) Hoggins breaks into a drug dealer’s house after the Captain Trips virus kills everyone and OD’s on the stash he discovers there. “No great loss,” King writes directly afterwards. But wait, it gets worse. I regretfully present the beginning of the aforementioned “black junta” scene:

Huge black men wearing loincloths! “Amazingly even and white teeth in his coal-black face”! Oh man, Steve, what are you doing here? And let’s not forget the “brown, smooth skinned” band of spear-carrying natives that Flagg encounters at the very end of the book. Savages. They don’t speak jive, but that’s only because they don’t speak English at all.”

…Every notable black character in King’s novels — Hallorann, Coffey, Mother Abigail, Mike Hanlon in It, Susannah Dean in The Dark Tower: Song of Susannah, Nan Melda in Duma Key, etc. — is referred to as a “nigger” at some point by another character. Usually, this is meant to signify villainy or ignorance in the character using the word. But you’d think a writer with as expansive an imagination as King would find different ways to make that point.”

No, I wouldn’t. It’s the liberal version of the unfiltered bile Trump spews. And again, the above is from Stephen King fandom. I’m not a fan of Stephen King. But I am a fan of tearing down monuments that glorify inequality, racism and reaction.

King’s comments about diversity and the Academy Awards above are classic meritocratic nonsense–the real ‘virtue signaling’ we hear so much about–that practiced by business elites, cultural influencers and celebrities designed to remind us how talented they are and how in awe we should be of that talent and the money and power it commands. Much of this ‘race blind’ and ‘post-racial’ narrative nonsense gets packaged with brutal class war attacks against the poor and vulnerable.

King stands in this artistic and political tradition, one that is thankfully under assault by antiracists everywhere. See that Robert E. Lee statue being taken down? How about the confederate flag being banned at NASCAR? Remarkable. But such atrocity exhibitions extend beyond statues and flags, to art and entertainment and government policy that goes from The Birth of a Nation and Gone With the Wind through The Negro Family: The Case for National Action (aka The Moynihan Report) onwards through King’s The Stand and The Shining and Game of Thrones, which I have described elsewhere as a “blood and soil zombie soap opera that utilizes medieval fantasy conventions.”

This tradition needs to be hog-tied, pulled down and tossed into a river, just like those confederate statues.

King is not exceptional in this regard; but he is an exceptionally rich and prolific scribbler whose work should be a focus of criticism during this amazing period of resistance, rebellion and (dare we say it) revolution. Might we be in the midst of a Third Reconstruction in America? If we are, I expect this sacred cow to be sacrificed forthwith. For if we are in a Third Reconstruction, then how could we ever accept as penance King’s frequent twitter attacks on the psychotic flaming Cheeto? Or anyone’s, for that matter? That’s a bar set so low that a hedge fund vampire like Mitt Romney can step over it and march in a protest for George Floyd without a public shaming such as that endured the mayor of Minneapolis, Jacob Frey. That just won’t do.

Isn’t it past time we chucked the Stephen King monument into the Castle Rock River?

END

 

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King vs Kubrick

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Posted by Jonathan Mozzochi in Essay

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possessive individualism, Stanley Kubrick, Stephen King, The Shining

I was always fond of the phrase, “the book is always better than the movie.” Then Stephen King wrote The Shining, and Stanley Kubrick made a film by the same name.

Let’s compare and contrast the book and film, shall we?

Title

Book: The Shining

Movie: The Shining

Setting

Book: Overlook Hotel in Colorado

Movie: Overlook Hotel in Colorado

Operative Motif

Book: a wasp’s nest

Movie: a maze

Principle Conflict

Book: (literal) Ghosts of hotel seduce father to kill mother and child; (figurative) hive mentality vs bourgeois individualism; addiction vs sobriety.

Movie: (literal) Ghosts of hotel seduce father to kill mother and child; (figurative) White settler colonialism vs. everyone else; industrial capitalism vs. nature; the leisure class vs. the working class; patriarchy vs. women and children.

MacGuffin

Book: Jack’s drinking.

Movie: Danny’s ability to ‘shine’.

Jack’s Principle Weapon

Book: a mallet from the lawn game of roque.

Movie: an axe for clearing forests.

The Supernatural vs. Science Cliche

Book: Stock characters are present everywhere in the King universe to support a main conceit indulged by seemingly all purveyors of supernatural horror, and therefore common to all of it: science and rationality are ill equipped to apprehend and control the spirit world. To believe otherwise is folly and brings disaster. This is why a doctor, a cop, a lawyer, a scientist or a government agent always appear in such narratives as well intended, but naive and ineffective, allies to the main character(s). There are many in the book.

Movie: one scene involving a child psychologist establishes Danny’s gift will be misunderstood as pathology.

Supernatural anthropomorphic manifestations

Book: Topiary animals. A firehose. A boiler. A lamp (just kidding).

Movie: None. Only ghosts.

Bullshit Pop Culture Reference Worked Into The Narrative As Though It Was A Postcard Tacked Onto A Refrigerator

Book: Creedence Clearwater’s “Bad Moon Rising” lyrics portend a coming snowstorm?

Movie: none. Kubrick is meticulous and reviles pop culture.

Bullshit Literary Reference Worked Into The Narrative As Though It Was A Postcard Tacked Onto A Refrigerator

Book: Edgar Allen Poe’s Masque of the Red Death.

Movie: none. Unless you count the maze, in which case it is effectively worked in and therefore not bullshit.

Annoying Incongruity

Book: Caribou in Colorado. (elk yes, but not caribou).

Movie: none

Jack’s Choice of Liquor

Book: Gin Martini.

Movie: Bourbon, of course.

Jack’s Typewriter

Book: Underwood–Faulkner, Fitzgerald, Hemingway, Kerouac.

Movie: Adler–Nazis.

Source of Evil

Book: Bad people who did illegal and immoral things in the hotel, then got trapped there in the afterlife.

Movie: The hotel itself–a monument to the parasitical leisure class that demands everyone become a ‘Jeeves’ to serve them. The worst fucking place on the planet where the spoils of exploitation and war coagulate in shimmering infinity pools of conspicuous consumption. Our hell, their heaven.

Metaphor Used By Dick To Explain the Presence of Ghosts

Book: “Fingernail clippings and boogers” which does not work as a metaphor as both reference the entirely quotidian and therefore not frightening sloughing off that every human being experiences.

Movie: Dick says, “Burnt toast”–the perfect metaphor to represent traces a ghost leaves behind. Burnt, as in something went wrong with the cooking of the toast such that an unpleasant smell would linger. Ghosts are emotional remnants made material in our world because of unfinished business of a nefarious nature.

What Jack Means When He Says, “White man’s burden, Lloyd, my man. White man’s burden.”

Book: The civilizing mission of paint by numbers genre fiction is a heavy burden.

Movie: what a suckup asshole says to impress his bosses.

What the Ghosts Represent

Book: All the ghosts are evil; all desire to continue their evil deeds–marital infidelity, gangsterism, murder, as a manifestation of their “single group intelligence”. The source of this evil is not institutional, structural, historical, political or otherwise outside of the individual. It is located within us, in our denial of the possessive individualism at the heart of the bourgeois family.

Movie: The source of evil is the hotel itself, which cannot be separated from its history, in part erected on the bones of indigenous peoples. It is rabidly racist and demands absolute servility on the part of inferiors, most pointedly workers and their families.

Racist, Homophobic, Classist or Misogynist Scenes That Contribute To Plot Or Character Development.

Book: None

Movie: Grady calls Dick Hallorran a “nigger” in the all important restroom scene. Elsewhere Jack says, “just a little problem with the old sperm bank upstairs. Nothing I can’t handle, though.” That’s about it. Sparing, short and devastating. But Kubrick doesn’t wallow in it as King does–as a teenager expressing unfiltered repressed emotions.

Gratuitous Racist, Homophobic, Classist or Misogynist Scenes That Don’t Contribute To Plot Or Character Development.

Book: an endless parade of cringe worthy and vicarious bigotries apparently pleasurable for some people to read. Emblematic is where King has a young Dick Hallorran fire a “Nigger Chaser” firework (bottle rocket) at a wasps nest. This makes no sense even on its own terms.

Movie: none.

Resolution

Book: Serve different masters. In Wendy’s case, following escape from the Overlook Hotel, this is made possible by the generosity of Jack’s former alcoholic buddy, Al, who can be distinguished by two things: he’s rich and with his connections can get Wendy a job, and he’s emotionally stable, having defeated the demon of alcoholism. Oh, and he’s part owner of the hotel?! This makes perfect sense if the idea of the hotel is not what the problem is, just its mismanagement. This satisfying ending is a continuation of the real horror unaddressed by the novel.

Movie: Dick is killed by Jack. Wendy and Danny escape by snowcat. Jack then freezes to death in the maze.

Symbol of Eternal Horror

Book: something about August 1945 and “group intelligence”. Almost completely unintelligible, as though King finally, mercifully, tired of typing.

Movie: Jack is immortalized in a framed group photo of rich, white revelers at an eternal Fourth of July celebration, circa 1921.

In conclusion.

All of this flaunts two unavoidable truths about the world we live in: first, that the true source of horror in the world is capitalism, a system of private property and markets that is eminently rational in organization, yet bat shit crazy in its unrelenting imposition of the inequality and suffering that are the unavoidable hallmarks of its rule; and, secondly, the only way out of this maze-like house of mirrors horror show is collective struggle and a socialist future. Everything else is a part of that horror show.

Kubrick, brilliant nihilist that he was, ably deconstructed the hypocrisy and hubris at the heart of the capitalist narrative. He acknowledged that horror and identified its sources, but without any exit strategy, (as a nihilist he didn’t believe such a thing could ever exist) he succumbs to the traditional failure of nihilism: cynicism and its doppelgänger, fatalism.

Kubrick is still preferable to King, who misidentifies the true source of horror in the world we live in, then prescribes more of it as a way to escape it.

END

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Why I Hate Stephen King And Love Stanley Kubrick

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Posted by Jonathan Mozzochi in Essay

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A Clockwork Orange, Full Metal Jacket, George Lucas, Jonathan Swift, Magic Negro, Repressive Desublimation, Stanley Kubrick, Star Wars, Stephen King, Steven Spielberg, Stranger Things, The Duffer Brothers, The Green Mile, The Shining

I hated Stephen King’s books when they came out and I was in high school. I had to read more than one, just to keep up with the pop culture references. I loathe them even more, today. For me his low point (to date) was writing the teleplay from his book, The Shining for the TV series of the same name (1997). There is no better example of King’s narcissism, hubris and corresponding lack of talent than this laugh out loud effort to ‘correct’ what is arguably the greatest horror film of all time, Stanley Kubrick’s The Shining (1980). The only thing to be said about the television version is that it is indeed faithful to King’s book, while Kubrick’s is not. But that’s exactly the point: King’s writing has always been cloying and soft in the middle, unconsciously mendacious in that uniquely ‘ugly American’ way. At once insipid and preternaturally neurotic, the horrors visited upon Stephen King’s Americans–and they are always stock Americans–are the character flaws and psychological failures of individuals, even when they take an institutional form.

This is precisely what Kubrick has never trafficked in, the melodrama and kitsch that characterize contemporary morality plays in the wasteland of genre fiction.

What Kubrick did with King’s pablum is extraordinary–he made a mediocre text obsessed (as always) with individual themes of personal responsibility and psychology into an indictment of American exceptionalism and universalism. And it was terrifying, but in ways that were difficult to verbalize.

Kubrick linked profoundly disturbing themes of child abuse, murderous misogyny and alcoholism with capitalism, racism and white settler genocide–he made the personal, political, and the political, personal.

This achievement is partially recognized through the fanciful documentary film Room 237, (2012). The filmmakers make much of Kubrick’s fanatical attention to detail, noting the frequent appearance of symbols that reference two genocides–those of Native America and the Holocaust. And I agree that the repeated appearance of certain symbols–cans of baking powder and a typewriter, for instance, were not incidental nor accidental; but intentional. Kubrick puts them there for reasons cited above.

Room 237 is an interesting homage to Kubrick’s The Shining but it doesn’t take King to task. As befitting the pay-to-play state of modern academia, it also includes a lengthy, tedious and stupid section that is incidental to the film, repeating conspiracy theories that Kubrick assisted in faking the 1969 moon landing. The film also fails to note what is hidden in plain view within the important scene that takes place in the bathroom between Jack and the ghost of the previous caretaker, Grady. Grady refers to the Black head cook, played by the iconic actor Scatman Crothers, as a “nigger.” Kubrick was as careful crafting language as he was with symbols, so that’s there for a reason, too. Jack’s mental illness is brought on not least because he craves acceptance into upper management at a resort hotel that caters to the well heeled, white and rich, who are forever dancing and drinking at a Fourth of July celebration. The price Jack must pay for admittance to the upper crust is the sacrifice of his family. The character played by Scatman Crothers is the only one trying to protect them. For King its all about the ‘demons’ of alcoholism and the ‘salvation’ of AA. To King, Crothers is the ‘magical negro’, a frequent staple of his stock and trade (The Green Mile, The Stand) but in Kubrick’s hands the character represents something much more.

King always resolves whatever conflicts he conjures within a morality play of possessive individualism. His characters–an endless parade of pop psychology tropes torn from a high school year book–are as wooden as his plots: The magical negro, the overburdened patriarch, the evil foreign interloper, the randy daughter, the undersexed milf, the touched giant, the addicted adolescent, so on and so forth. Each character a world unto themselves; all forbidden from exercising the only possible resolution to their woes–radical collective action.

King hated Kubrick’s movie because it skewered the very myths King had spent his entire literary career so passionately defending–the bourgeois family, the myth of a melting pot America, the ‘up by your bootstraps meritocracy’, Democracy vs the Evil Empire, etc.

All of this is now reappearing with a vengeance through a virulent strain of reactionary nostalgia for 1980s America, which is really the golden era of Stephen King. And he has imitators galore: Here come the amnesiac and conspiratorial Duffer Brothers, and Stranger Things, followed by Steven Spielberg and his Ready Player One. Both try and recast conformist and repressive strains of pop culture such as Van Halen and Yacht Rock, Dungeons and Dragons and Back To The Future as rebellion. The naval gazing, Wall Street speculating, anti communist computer nerds of Reagan’s America are the hero’s making America Great Again. There is a term for this, it’s called repressive de-sublimation. Look it up.

As an old ghost of antifascism I must draw the analogy: King’s entire oeuvre is to horror what the Anti-Defamation League is to antifascism, the Nature Conservancy is to ecology, or the 2017 Women’s March is to feminism. The latter the result of celebrities ‘leaning’ so hard into their ‘resistance’ they fell over the day after Donald Trump was inaugurated. Ooh. Scary!

Kubrick, while not a leftist, and probably not a feminist, was at least my kind of nihilist, unsparing and sharp, his erudite vitriol always serving to clarify relations of power, rather than obscure or justify them.

He may not have had an alternative to the world of shit within which we live, but his work helps us not mistake that world for a flower garden, which is more than one can say for all the typing Stephen King has ever clacked out. “All Work And No Play Makes Stephen A Dull Boy.”

Aside from the greatest American horror film ever made, Kubrick also made the greatest film of political satire: Dr. Strangelove or: How I Learned To Stop Worrying and Love The Bomb (1964!?!). A great satirist needs a wicked sense of humor, and I think Kubrick took some inspiration from Jonathan Swift’s, A Modest Proposal For preventing the Children of Poor People From being a Burthen to Their Parents or Country, and For making them Beneficial to the Publick (1729). You remember what that proposal was, yes?

Did Kubrick also create the greatest American antiwar film ever made in Full Metal Jacket? (1987).

A Clockwork Orange (1971) is a searing indictment of the postwar boom in youth subcultures, consumerism, social control and the inherent violence of the state.

2001: A Space Odyssey exposes every asinine iteration of George Lucas’ Star Wars as the juvenile cartoons they are. Yes, I hate Star Wars, too and I don’t care that it was originally conceived as having something to do with protesting the Vietnam War. They are all wretched films.

Long Live Kubrick!

END

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