Who but Stephen King would turn a Port-O-San into a slimy
birth canal, or a roadside honky-tonk into a place for endless love? A book
salesman with a grievance might pick up a mute hitchhiker, not knowing the
silent man in the passenger seat listens altogether too well. Or an exercise
routine on a stationary bicycle, begun to reduce bad cholesterol, might take
its rider on a captivating—and then terrifying—journey. Set on a remote key in
Florida, “The Gingerbread Girl” is a riveting tale featuring a young woman as
vulnerable—and resourceful—as Audrey Hepburn’s character in Wait until Dark.
In “Ayana,” a blind girl works a miracle with a kiss and the touch of her hand.
For King, the line between the living and the dead is often blurry, and the
seams that hold our reality intact might tear apart at any moment. In “N,”
which recently broke new ground when it was adapted as a graphic digital entertainment,
a psychiatric patient’s irrational thinking might create an apocalyptic threat
in the Maine countryside or keep the world from falling victim to it.
Just After Sunset—call it dusk, call it twilight, it’s
a time when human intercourse takes on an unnatural cast, when nothing is quite
as it appears, when the imagination begins to reach for shadows as they
dissipate to darkness and living daylight can be scared right out of you. It’s
the perfect time for Stephen King.
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