You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
During the days after they left the Green Palace that wasn’t Oz after all—but which was now the tomb of the unpleasant fellow Roland’s ka-tet had known as the Tick-Tock Man—the boy Jake began to range farther and farther ahead of Roland, Eddie and Susannah.
“Don’t you worry about him?” Susannah asked Roland. “Out there on his own?”
“He’s got Oy with him,” Eddie said, referring to the billy-bumbler who had adopted Jake as his special friend. “Mr. Oy gets along with nice folks all right, but he’s got a mouthful of sharp teeth for those who aren’t so nice. As that guy Gasher found out to his sorrow.”
“Jake also has his father’s gun,” Roland said. “And he knows how to use it. That he knows very well. And he won’t leave the Path of the Beam.” He pointed overhead with his reduced hand. The low-hanging sky was mostly still, but a single corridor of clouds moved steadily southeast. Toward the land of Thunderclap, if the note left behind for them by the man who styled himself RF had told the truth.
Toward the Dark Tower.
“But why—“Susannah began, and then her wheelchair hit a bump. She turned to Eddie. “Watch where you’re pushin me sugar.”
“Sorry,” Eddie said. “Public Works hasn’t been doing any maintenance along this stretch of the turnpike lately. Must be dealing with budget cuts.”
It wasn’t a turnpike, but it was a road…or had been: two ghostly ruts with an occasional tumbledown shack to mark the way. Earlier that morning they had even passed an abandoned store with a barely readable sign: TOOK’S OUTLAND MERCANTILE. They investigated inside for supplies—Jake and Oy had still been with them then—and had found nothing but dust, ancient cobwebs, and the skeleton of what had been either a large raccoon, a small dog, or a billy-bumbler. Oy had taken a cursory sniff and then pissed on the bones before leaving the store to sit on the hump in the middle of the old road with his squiggle of a tail curled around him. He faced back the way they had come, sniffing the air.
Roland had seen the bumbler do this several times lately, and although he had said nothing, he pondered it. Someone trailing them, maybe? He didn’t actually believe this, but the bumbler’s posture—nose lifted, ears pricked, tail curled—called up some old memory or association that he couldn’t quite catch.
“Why does Jake want to be on his own?” Susannah asked.
“Do you find it worrisome, Susannah of New York?” Roland asked.
“Yes, Roland of Gilead, I find it worrisome.” She smiled amiably enough, but in her eyes, the old mean light sparkled. That was the Detta Walker part of her, Roland reckoned. It would never be completely gone, and he wasn’t sorry. Without the strange woman she had once been still buried in her heart like a chip of ice, she would have been only a handsome black woman with no legs below the knees. With Detta on board, she was a person to be reckoned with. A dangerous one. A gunslinger.
The Wind Through the Keyhole: A Dark Tower Novel, by Stephen King; Scribner;
© 2012 by Stephen King
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
Harry Dunning graduated with flying colors. I went to the little GED ceremony in the LHS gym, at his invitation. He really had no one else, and I was happy to do it.
After the benediction (spoken by Father Bandy, who rarely missed an LHS function), I made my way through the milling friends and relatives to where Harry was standing alone in his billowy black gown, holding his diploma in one hand and his rented mortarboard in the other. I took his hat so I could shake his hand. He grinned, exposing a set of teeth with many gaps and several leaners. But a sunny and engaging grin, for all that.
“Thanks for coming, Mr. Epping. Thanks so much.”
“It was my pleasure. And you can call me Jake. It’s a little perk I accord to students who are old enough to be my father.”
He looked puzzled for a minute, then laughed. “I guess I am, ain’t I? Sheesh!” I laughed, too. Lots of people were laughing all around us. And there were tears, of course. What’s hard for me comes easily to a great many people.
“And that A-plus! Sheesh! I never got an A-plus in my whole life! Never expected one, either!”
“You deserved it, Harry. So what’s the first thing you’re going to do as a high school graduate?”
His smile dimmed for a second—this was a prospect he hadn’t considered. “I guess I’ll go back home. I got a little house I rent on Goddard Street, you know.” He raised the diploma, holding it carefully by the fingertips, as if the ink might smear. “I’ll frame this and hang it on the wall. Then I guess I’ll pour myself a glass of wine and sit on the couch and just admire it until bedtime.”
“Sounds like a plan,” I said, “but would you like to have a burger and some fries with me first? We could go down to Al’s.”
I expected a wince at that, but of course I was judging Harry by my colleagues. Not to mention most of the kids we taught; they avoided Al’s like the plague and tended to patronize either the Dairy Queen across from the school or the Hi-Hat out on 196, near where the old Lisbon Drive-In used to be.
“That’d be great, Mr. Epping. Thanks!”
“Jake, remember?”
“Jake, you bet.”
So I took Harry to Al’s, where I was the only faculty regular, and although he actually had a waitress that summer, Al served us himself. As usual, a cigarette (illegal in public eating establishments, but that never stopped Al) smoldered in one corner of his mouth and the eye on that side squinted against the smoke. When he saw the folded-up graduation robe and realized what the occasion was, he insisted on picking up the check (what check there was; the meals at Al’s were always remarkably cheap, which had given rise to rumors about the fate of certain stray animals in the vicinity). He also took a picture of us, which he later hung on what he called the Town Wall of Celebrity.
From 11/22/63 by Stephen King. Copyright © 2011 by Stephen King. Reprinted by permission of Scribner, a Division of Simon & Schuster, Inc.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
- 1 -
The one thing nobody asked in casual conversation, Darcy thought in the days after she found what she found in the garage, was this: How’s your marriage? They asked how was your weekend and how was your trip to Florida and how’s your health and how are the kids; they even asked how’s life been treatin you, hon? But nobody asked how’s your marriage?
Good, she would have answered the question before that night. Everything’s fine.
She had been born Darcellen Madsen (Darcellen, a name only parents besotted with a freshly purchased book of baby names could love), in the year John F. Kennedy was elected President. She was raised in Freeport, Maine, back when it was a town instead of an adjunct to L.L.Bean, America’s first superstore, and half a dozen other oversized retail operations of the sort that are called “outlets” (as if they were sewer drains rather than shopping locations). She went to Freeport High School, and then to Addison Business School, where she learned secretarial skills. She was hired by Joe Ransome Chevrolet, which by 1984, when she left the company, was the largest car dealership in Portland. She was plain, but with the help of two marginally more sophisticated girlfriends, learned enough makeup skills to make herself pretty on workdays and downright eye-catching on Friday and Saturday nights, when a bunch of them liked to go out for margaritas at The Lighthouse or Mexican Mike’s (where there was live music).
In 1982, Joe Ransome hired a Portland accounting firm to help him figure out his tax situation, which had become complicated (“The kind of problem you want to have,” Darcy overheard him tell one of the senior salesmen). A pair of briefcase-toting men came out, one old and one young. Both wore glasses and conservative suits; both combed their short hair neatly away from their foreheads in a way that made Darcy think of the photographs in her mother’s MEMORIES OF ’54 senior yearbook, the one with the image of a boy cheerleader holding a megaphone to his mouth stamped on its faux-leather cover.
The younger accountant was Bob Anderson. She got talking with him on their second day at the dealership, and in the course of their conversation, asked him if he had any hobbies. Yes, he said, he was a numismatist.
He started to tell her what that was and she said, “I know. My father collects Lady Liberty dimes and buffalo-head nickels. He says they’re his numismatical hobby-horse. Do you have a hobby-horse, Mr. Anderson?”
He did: wheat pennies. His greatest hope was to some day come across a 1955 double-date, which was—
But she knew that, too. The ’55 double-date was a mistake. A valuable mistake.
From the story “A Good Marriage”, to be published in FULL DARK, NO STARS by Stephen King. Copyright c 2010 by Stephen King. Reprinted by permission of Scribner, a Division of Simon & Schuster, Inc.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
THE AIRPLANE AND THE WOODCHUCK
From two thousand feet, where Claudette Sanders was taking a flying
lesson, the town of Chester's Mill gleamed in the morning light like something
freshly made and just set down. Cars trundled along Main Street, flashing up
winks of sun. The steeple of the Congo Church looked sharp enough to pierce
the unblemished sky. The sun raced along the surface of Prestile Stream as the Seneca V overflew it, both plane and water cutting the town on the same diagonal course.
"Chuck, I think I see two boys beside the Peace Bridge! Fishing!" Her very
delight made her laugh. The flying lessons were courtesy of her husband, who was the town's First Selectman. Although of the opinion that if God had wanted man to fly, He would have given him wings, Andy was an extremely coaxable man, and eventually Claudette had gotten her way. She had enjoyed the experience from the first. But this wasn't mere enjoyment; it was exhilaration. Today was the first time she had really understood what made flying great.What made it cool.
Chuck Thompson, her instructor, touched the control yoke gently, then
pointed at the instrument panel. "I'm sure," he said, "but let's keep the shiny
side up, Claudie, okay?"
"Sorry, sorry."
"Not at all." He had been teaching people to do this for years, and he
liked students like Claudie, the ones who were eager to learn something new.
She might cost Andy Sanders some real money before long; she loved the
Seneca, and had expressed a desire to have one just like it, only new. That
would run somewhere in the neighborhood of a million dollars. Although not
exactly spoiled, Claudie Sanders had undeniably expensive tastes which, lucky man, Andy seemed to have no trouble satisfying.
Chuck also liked days like this: unlimited visibility, no wind, perfect
teaching conditions. Nevertheless, the Seneca rocked slightly as she overcorrected.
"You're losing your happy thoughts. Don't do that. Come to one-twenty.
Let's go out Route 119. And drop on down to nine hundred."
She did, the Seneca's trim once more perfect. Chuck relaxed.
They passed above Jim Rennie's Used Cars, and then the town was
behind them. There were fields on either side of 119, and trees burning with
color. The Seneca's cruciform shadow fled up the blacktop, one dark wing
briefly brushing over an ant-man with a pack on his back. The ant-man looked
up and waved. Chuck waved back, although he knew the guy couldn't see him.
"Beautiful goddam day!" Claudie exclaimed. Chuck laughed.
Their lives had another forty seconds to run.
From Under the Dome by Stephen King. Copyright (c) 2009 by Stephen King. Excerpted with permission by Scribner, a Division of Simon & Schuster, Inc.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
You mention you originally tried to write Under the Dome much earlier in your career. What made you return to it now, and how is the finished novel different from the one you first intended to write?
I've got a pretty wild imagination, or so people say, and I have a lot of ideas for stories. A lot of them drop by the wayside, but the good ones stay in the neighborhood. Under the Dome is a novel I tried to write much earlier in my career, first in 1976, I think, and again in the early 1980s. The first try was close to the book; the second was to have a whole lot of people trapped in an apartment building. I was playing around with two titles for a while back then, Under the Dome and The Cannibals, and I guess the second one gives some indication of where I was thinking of taking it. Anyway, I couldn't wrap my head around it then, but it kept coming back, the good ones keep coming back. A few years ago I was flying to Australia for a motorcycle trip through the Outback-fourteen hours in a plane-and the thing just sort of took over my head, and I thought it through, decided I should try again, and by the time the plane landed I'd pretty much worked it out.
It has been said Under the Dome is a social allegory comparable in some ways to The Stand. What are some similarities between the two works?
They're both big novels, big canvases populated with many, many characters, and both deal with what I think of as Big Themes. The Stand of course is a road novel, or a novel of many roads across America, while Under the Dome is set within the confines of Chester's Mill, a small town in western Maine. I think they're both political and social novels concerned with the dynamic of power under the extreme pressure of crisis, how incompetency can rise to the top, how easy it is for evil to hold sway, how people when they feel threatened have a tendency to resist the call of sanity and surrender their will to someone they perceive as a strong leader-Flagg in The Stand, Big Jim Rennie in Chester's Mill. Big Jim, though, is entirely of our world. Not the case with Flagg.
Like some of your earlier work, Under the Dome deals with small towns and small-town politics. What aspects of small-town life and politics did you address with the book?
Small towns are what I know, and I've been writing about them pretty much my whole life. In some ways they're a microcosm for any community, but there's an intimacy-or a lack of anonymity-that makes things more interesting, for me at least. Junior Rennie can walk down Main Street in Chester's Mill and just about everyone knows him by sight, but nobody knows about these terrible headaches he's been having, or the terrible things they make him do. As familiar as people may be, they're unpredictable. Politics everywhere is personal, but in small towns the mechanisms of power are pretty easy to manipulate, probably easier for bad ends than for good.
If you found yourself in Dale Barbara's shoes, what would you have done differently?
That's an interesting question, because I look at Dale Barbara as my character, the one I identified with most as a way of getting inside the novel's world. So I don't know that I'd have done anything differently. Dale's heading out of town as the novel opens-he's been a drifter since his days in the army and Iraq, and he has reason to think his time is up in Chester's Mill-and given what happens as he's walking along Route 119, I guess I might have walked a little faster. Anyone would have, had they known what was coming. But the point is, we don't know what's coming, and in a larger sense, we're all under the dome whether we like it or not. What happens to the town and many of the people in it is awful, but for Barbie it's a test that he needs to take. And one that he passes.
What is the most important lesson Dale learns by the end of Under the Dome?
The most important lessons are pretty simple, I think, though they're hard to learn. This is going to sound a little hippie-dippy, but that's my generation, and I was a hippie, you know? All life is precious. So often we don't see that, don't feel it. We feel it with what we love, but that's not seeing it whole. All life is precious. I don't think there is a more important lesson than that.
JUST AFTER SUNSET Not a very nice man. She almost passed without slowing -- the thunder was closer now -- but she wasn't exactly wearing a thousand dollar suede skirt from Jill Anderson, only an ensemble from the Athletic Attic: shorts and a T-shirt with the Nike swoosh on it. Besides, what had she said to Deke? Women don't melt in the rain. So she slowed, swerved, and had a peek. It was simple curiosity. She thought the Mercedes par ked in the courtyard was a 450 SL, because her father had one like it, although his was pretty old now and this one looked brand-new. It was candy-apple red, its body brilliant even under the darkening sky. The trunk was open. A sheaf of long blond hair hung from it. There was blood in the hair. Had Deke said the girl with Pickering was a blond? That was her first question, and she was so shocked, so fucking amazed, that there was no surprise in it. It seemed like a perfectly reasonable question, and the answer was Deke hadn't said. Only that she was young. And a niece. With the eye roll. Thunder rumbled. Almost directly overhead now. The courtyard was empty except for the car (and the blond in the trunk, there was her). The house looked deserted, too: buttoned up and more like a pillbox than ever. Even the palms swaying around it couldn't soften it. It was too big, too stark, too gray. It was an ugly house. Em thought she heard a moan. She ran through the gate and across the yard to the open trunk without even thinking about it. She looked in. The girl in the trunk hadn't moaned. Her eyes were open, but she had been stabbed in what looked like dozens of places, and her throat was cut ear to ear. Em stood looking in, too shocked to move, too shocked to even breathe. Then it occurred to her that this was a fake dead girl, a movie prop. Even as her rational mind was telling her that was bullshit, the part of her that specialized in rationalization was nodding frantically. Even making up a story to backstop the idea. Deke didn't like Pickering, and Pickering's choice of female companionship? Well guess what, Pickering didn't like Deke, either! This was nothing but an elaborate practical joke. Pickering would go back across the bridge with the trunk deliberately ajar, that fake blond hair fluttering, and -- But there were smells rising out of the trunk now. They were the smells of shit and blood. Em reached forward and touched the cheek below one of those staring eyes. It was cold, but it was skin. Oh God, it was human skin. There was a sound behind her. A footstep. She started to turn, and something came down on her head. There was no pain, but brilliant white seemed to leap across the world. Then the world went dark. From JUST AFTER SUNSET by Stephen King. Copyright © 2008 by Stephen King. Reprinted by permission of Scribner, an Imprint of Simon & Schuster, Inc.
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