yuèdòusī dì fēn · jīn Stephen Kingzài小说之家dezuòpǐn!!! | |||||
斯蒂芬·金sī dì fēn · jīn - jī běn zī liào
sī dì fēn · jīn
xìng míng： sī dì fēn · jīn
chū shēng rì： 1947 nián 9 yuè 21 rì
xīng zuò： chǔnǚ zuò
xìng bié： nán
xuè xíng： wèi zhī
dì qū： měi guó
chū shēng shěng： miǎn yīn zhōu
chū shēng shì： wèi zhī
shēn fèn： zuò jiā
shēn gāo： 193cm
sī dì fēn · jīn - gè rén gài shù
měi guó kǒng bù xiǎo shuō zuò jiā zhōng yòu sī dì fēn · jīn (StephenKing)， jiù xiàng zhōng guó wǔ xiá xiǎo shuō zuò jiā zhōng yòu jīn yōng yī yàng， liǎng zhě dōushì fēng diān rén wù， qí dì wèi shì bù kě tì dài de。 sī dì fēn · jīn shì dāng jīn shì jiè shàng dú zhě zuì duō、 shēng yù zuì gāo、 míng qì zuì dà de měi guó xiǎo shuō jiā， zài měi guó jí 'ōu zhōu， tā de míng zì jīhū shì fù rú jiē zhī。 jīn de měi bù xiǎo shuō fā xíng liàng dōuzài 100 wàn cè yǐ shàng， zài 80 nián dài měi guó zuì chàng xiāo de 25 běn shū zhōng， tā yī rén biàn dú zhàn 7 běn。 zì 80 nián dài yǐ lái， lì nián de měi guó chàng xiāo shū páiháng bǎng xiǎo shuō lèi shàng sī dì fēn · jīn de xiǎo shuō zǒng shì míng liè bǎng shǒu， jiǔ jū bù xià。 yīn cǐ， tā bèi qīng nián yī dài fèng wéi“ kǒng bù xiǎo shuō zhī wáng”。
sī dì fēn · jīn yú 1947 nián 9 yuè 21 rì chū shēng yú měi guó miǎn yīn zhōu。 tā liǎng suì shí fù qīn yòu yī tiān“ chū qù mǎi yān”， cóng cǐ yī qù bù fǎn， hòu lái tīng shuō shì dào gāng guǒ dāng liǎo gù yōng jūn。 zǒng zhī tā mǔ qīn chéng liǎo guǎ fù， wèile yǎng jiā chī jìn liǎo kǔ tóu。 jīn cóng xiǎo féi pàng yì cháng， zī shì kě xiào， tóng nián shí méi yòu liú xià shénme měi hǎo de huí yì， wéi yī yìn xiàng shēn kè de shì qíng， shì tā 5 suì shí zài tiě dào biān wán shuǎ， yǎn jiàn yī gè xiǎo huǒ bàn bèi huǒ chē tóu niǎn chéng liǎo ròu jiàng。 14 suì nà nián， tā zài jiā zhōng gé lóu shàng fā xiàn liǎo yī gè xiǎo xiāng zǐ， lǐ miàn shì tā fù qīn shōu cáng de yī xiē kǒng bù xiǎo shuō hé kē huàn zuò pǐn， jīn zài yuè dú zhī yú biàn yě wǔ wén nòng mò qǐ lái， zài miǎn yīn zhōu dà xué xué xí yīng guó wén xué shí hái zài xiào kān shàng fā biǎo liǎo jǐ piān xí zuò。 bì yè hòu tā bái tiān zài qì chē xiū lǐ zhàn gōng zuò， wǎn shàng xiě yī xiē shén guǐ gǔ guài de kǒng bù xiǎo shuō。 tā gōng zī fěi bó què shì jiǔ rú mìng， xiě chū lái de dōng xī yòu méi yòu rén yào， quán jiā shēng huó jié jù， zhuō jīn jiàn zhǒu。 wèicǐ tā tōng xiāo nán mián， xīn zhōng de nù huǒ zhǐ yòu zài pū xiàng dǎ zì jī xiě kǒng bù gù shì shí cái dé yǐ xuān xiè。 kě shì tā mǎi bù qǐ gǎo zhǐ， zhǐ néng bǎ zì dǎ zài niú nǎi fā piào de bèi miàn。
1973 nián tā shí lái yùn zhuǎn， shòu dào liǎo chū bǎn shāng de chuí qīng。 tā de cháng piān xiǎo shuō《 kǎi lì》 de jīng zhuāng běn fā xíng liǎo 13000 cè， hòu lái yòu gǎi biān chéng diàn yǐng。 tā de míng zì shàng liǎo《 niǔ yuē shí bào》， bèi yù wéi“ xiàn dài kǒng bù dà shī”。 tā yù zhī liǎo 2500 yuán de gǎo fèi， cóng cǐ bì mén xiě zuò。 zài yǐ hòu de rì yuè lǐ， jīn píng jūn měi liǎng nián chū bǎn yī liǎng bù xiǎo shuō， zuò pǐn de fā xíng liàng jīng rén， zhǐ yòu《 shèng jīng》 kě yǔ zhī xiāng bǐ。 dào 1979 nián tā 32 suì shí， yǐ jīng chéng liǎo quán shì jiè zuò jiā zhōng shǒu qū yī zhǐ de fù wēng。 tā bù xǐ huān tīng jiā xiāng diàn tái de dí sī kē yuèqǔ， biàn gān cuì bǎ diàn tái mǎi liǎo xià lái， suí xīn suǒ yù dì bō fàng tā 'ài tīng de yáo bǎi wǔ qū。
sī dì fēn · jīn de zuò pǐn shù liàng zhī duō、 xiǎng xiàng lì zhī fēng fù， duì dú zhě lái shuō shǐ zhōng shì yī gè mí。
sī dì fēn · jīn - jīng lì
1973 nián de chūn tiān， qī zǐ dá bì suō cóng jiā lǐ de lā jī duī zhōng jiǎn dào shǐ dì fēn · jīn yí qì de yī dié jiù gǎo， tā jué dé gù shì hěn bù cuò， yú shì quàn shuō zhàng fū rùn sè yī xià ná dào chū bǎn shè shì shì。 jiēguǒ zhè běn chǔnǚ zuò zǒng gòng mài chū liǎo 230 wàn cè， cóng cǐ cí diào zhōng xué jiào shī de gōng zuò， chéng wéi zhí yè zuò jiā。 zhè běn míng wéi《 mó nǚ jiā lì》（ Carrie） de xiǎo shuō jǐn jiē zhe bèi xiào fǎ xī qū kē kè de dà dǎo yǎn bù lāi 'ēn · dé · pà 'ěr mǎ pāi chéng liǎo diàn yǐng， zhè yě shì shǐ dì fēn · jīn dì yī cì yǔ yǐng shì zhān shàng biān。 zhùjué jiā lì shì yī gè wǎn shú、 gū pì de nǚ hái， mǔ qīn de zōng jiào kuáng rè shǐ tā bèi shòu lín jū yǔ tóng xué de qí shì hé cháo xiào， rán 'ér shuí yě bù zhī dào tā shì yī gè yōng yòu mó lì de hái zǐ。 chū cháo shǐ dé jiā lì shòu dào yán zhòng jīng xià， mǔ qīn rèn dìng xié 'è jiàng lín， qiǎngpò tā rèn zuì， jiā lì de yā yì yǔ bēi fèn zài xué xiào wǔ huì shàng chè dǐ bào fā。 wèile zhuō nòng tā， tóng xué yǔ lǎo shī tè dì yāo qǐng gǔ lì tā zhàn dào wǔ huì huáng hòu de wǔ tái shàng， què bèi yī pén zhū xuè lín tóu sǎ xià。 jiā lì rěn wú kě rěn zhōng yú mó xìng dà fā， jiāng wǔ huì huà zuò huǒ hǎi， suǒ yòu xiàng nà xiē cháo nòng guò tā de rén kāi shǐ liǎo wú qíng bào fù。
zài shǐ dì fēn · jīn de gù shì lǐ， cháng yǐ shòu dào shè huì yǔ jiā tíng bù gōng duì dài de hái zǐ wéi zhù rén gōng， zhè wán quán lái zì qí běn rén de jīng lì。 shǐ dì fēn sān suì shí fù mǔ lí yì， yǔ gē gē yóu mǔ qīn fǔ yǎng chéng rén， ér shōu rù jǐn shì mǔ qīn zài yī jiā zhì zhàng shōu róng suǒ de gōng zuò suǒ dé。 gù cǐ， shǐ dì fēn pín kùn qī cǎn de tóng nián zài tā rì hòu de chuàng zuò zhōng lǚ lǚ chū xiàn， yě kě xiǎng jiàn tā běn rén zài shàonián shí dài duì wài bù shì jiè shì huái zhe yī zhǒng jīng kǒng yǔ yuàn hèn de xīn tài。 1984 nián， lín dá ． hàn mì 'ěr dùn chū yǎn liǎo yóu shǐ dì fēn． jīn de dé yì zhī zuò gǎi biān de《 yù mǐ tián de xiǎo hái》（ ChildrenoftheCorn）， yǐngpiān lǐ yī qún xié jiào de qīng shàonián， zhuān mén shā hài chéng nián rén， yòng tā men de xuè jì diàn zì jǐ de shén。 zhè gè gù shì yě lái zì yú wèi chéng nián zhě duì chéng rén shì jiè de fǎn kàng、 bào fù xīn lǐ。 kǒng bù piàn dà shī yuē hàn · kǎ péng tè zài 1983 nián zhí dǎo tā de zuò pǐn《 kè lǐ sī tīng》， tóng yàng yě shì jiǎng shù gāo zhōng shēng 'ā ní yīn dāi bǎn nuò ruò jīng cháng bèi tóng xué qī fù， zài mǎi xià yī liàng míng jiào kè lǐ sī tīng de bù xiáng de lǎo chē hòu， tā kāi shǐ biàn dé bào liè， xiàng yǐ wǎng kuī dài guò tā de rén shí shī bào fù， zuì zhōng yīn zuì 'è zǒu xiàng huǐ miè。 yǐngpiān chéng wéi qīng chūn kǒng bù piàn de jīng diǎn zhī zuò。
2001 nián 9 yuè， yóu shǐ dì fēn． jīn de zuì xīn xiǎo shuō《 yà tè lán dì sī zhī xīn》 (HeartsinAtlantis) gǎi biān de yǐngpiān shàng yìng。 xiǎo shuō yuán běn xiě liǎo wǔ gè yíng rào zhe yuè zhàn huí yì de gù shì chuàn lián qǐ lái， bèi jǐng shì lìng shǐ dì fēn． jīn běn rén shí fēn zháomí de wǔ liù shí nián dài。 yǐngpiān zé qǔ cái yú dì yī gè gù shì， biān jù shì céng gǎi biān guò shǐ dì fēn · jīn zuò pǐn《 wēi qíng shí rì》 de wēi lián mǔ． gǔ dé màn。 tóng yàng， 11 suì xiǎo zhù rén gōng bào bǐ lái zì yī gè dān qīn jiā tíng， mǔ qīn kè bó zì sī cóng bù mǎn zú tā xiǎo xiǎo de xīn yuàn。 rán 'ér tā zuì zhōng cóng yóu 'ān dōng ní． huò pǔ jīn sī bàn yǎn de shén mì lǎo rén tài dé nà lǐ zhǎo dào liǎo shǔ yú zì jǐ de qīn qíng。 zài zhè wèi jù yòu chāo néng lì de lǎo rén de bāng zhù xià， bào bǐ bài tuō liǎo zhōng rì qī fù tā de dà hái zǐ， bìng huò dé liǎo nǚ hái kǎi luò 'ěr de hǎo gǎn。 jìn guǎn yǐngpiān méi yòu guò duō xuán niàn， dàn tū chū de wēn qíng qīnqiè dǎo zhèng shì shǐ dì fēn · jīn zhè wèi“ kǒng bù xiǎo shuō zhī wáng” zuì bèi rén hū lüè de lìng yī miàn。
zài cǐ zhù tí yǔ fēng gé xià de“ shǐ dì fēn． jīn diàn yǐng” zhōng，《 bàn wǒ tóng xíng》（ StandbyMe） wú yí shì zuì yōu xiù de。 shǐ dì fēn． jīn běn rén cóng bù yǎn shì duì zhè bù yǐngpiān de xǐ 'ài， tā rèn wéi“ zhè shì luó bó · léi nà dǎo yǎn de zuì jié chū、 zuì zhèn hàn rén xīn de zuò pǐn。 wǒ xǐ huān tā shì yīn wéi kàn yǐng piàn shí， néng gǎn jué dào dāng chū xiě zuò shí de xīn qíng。” zhè bù diàn yǐng gǎi biān zì tā de xiǎo shuō《 shī tǐ》（ TheBody）， jiǎng shù rì hòu chéng wéi zuò jiā de gē dí zài 12 suì shí yǔ sān gè sǐ dǎng kè lǐ sī、 tài dí、 wéi 'ēn yī qǐ qù xún zhǎo yī jù tóng líng nán hái shī tǐ de gù shì。 zài liǎng tiān de cháng tú bá shè zhōng， gē dí zhōng yú zhǎo huí liǎo jí jiāng shī qù de zì wǒ。 zhí dé zhù yì de shì， gù shì lǐ de sì gè xiǎo hái de jiā tíng dōubù xìng fú， tā mendōu shòu dào xué xiào、 jiā tíng， yǐ jí bǐ zì jǐ niánzhǎng de hái zǐ de hū shì huò qī rǔ， zhè xiē wú yí dōushì yuán zhù zuò zhě shǐ dì fēn · jīn de qīn shēn tǐ yàn。 yǐngpiān de chéng gōng bù jǐn lái zì fēng gé qīng xīn zì rán， ér qiě jù běn gǎi biān yě jí wéi xī yǐn rén， piàn zhōng wǔ shí nián dài de liú xíng gēqǔ yě shìdàng dì hōng tuō liǎo shí dài qì fēn。 zhè yě shì zuì wéi tè bié de yī bù“ shǐ dì fēn · jīn diàn yǐng”。
“ líng yì” wú yí shì shǐ dì fēn · jīn zhōng tuī dòng qíng jié、 xuàn rǎn qì fēn de zuì zhòng yào yīn sù， dāng rán zài xún cháng kǒng bù qì fēn zhōng， tā tè bié xǐ huān yùn yòng lèi sì gǔ diǎn yīnyuè zhōng“ huá cǎi” de chū qí piàn duàn。 tā zài diǎn píng 1985 nián lǐ wéi sī · tí gǔ zhí dǎo de zì jǐ yuán zhù de yǐngpiān《 māo yǎn》（ Cat'sEye） shí dà fā láo sāo：“ yuán běn yǐngpiān de dì yī gè jìng tóu shì zhū 'ér · bā lì mó duān zhe jī guān qiāng zài fáng jiān lǐ zhuī shā tā de māo。 tài jīng cǎi liǎo， jué duì shì shén lái zhī bǐ。 kě dǎo yǎn jiān chí bǎ tā jiǎn diào！ zhēn shì gè bài xīng guǐ！” díquè lǐ wéi sī． tí gǔ méi néng yíng zào chū tài hǎo de jīng sǒng qì fēn， jìn guǎn zhè bù sān duàn shì yǐngpiān měi duàn gù shìdōu shí fēn chū zhòng。 bǐ rú dì yī gè jiǎng shù zhān mǔ sī． wǔ dé yǔ yī jiā jiè yān gōng sī qiān yuē， zhè jiā gōng sī de guīju shì yī dàn qiān yuē jué wú fǎn huǐ， yǐ hòu zhǐ yào nǐ xī yī kǒu yān， quán jiā jiù huì cǎn zāo diàn jī héng héng jiū jìng shì zhè gè gōng sī yǎn xiàn sì bù， hái shì yòu líng yì kuī shì， gè zhǒng 'ào miào díquè zhuā rén。
1989 nián mǎ lì · lán bó tè dǎo yǎn liǎo shǐ dì fēn · jīn de《 chǒng wù fén chǎng》（ PetSematary）， shǐ dì fēn huí yì shuō“ dāng shí píng lùn jiā hèn tòu liǎo tā。 qí shí tā wán chéng liǎo tā suǒ yòu de rèn wù héng héng xià sǐ guān zhòng 'ér yǐ。” zhè què shí shì yī bù gòu xià rén de yǐngpiān： kè ruì dé yī jiā bān dào jiāo qū jū zhù， zài wū hòu yòu yī chù dòng wù fén chǎng， dàn méi yòu rén yuàn yì tán qǐ。 yòu yī tiān， kè ruì dé de māo yù dào chē huò sàng shēng， lín jū cái gào sù tā nà piàn fén chǎng yòu zhe qǐ sǐ huí shēng de néng lì。 kè ruì dé yī jiā jué dìng qù cháng shì， guǒ rán， tā men de māo huó zhe huí lái liǎo héng héng dàn， huí lái bù jǐn jǐn shì yī zhǐ māo。 yǐngpiān yùn yòng“ xié líng” de shuō fǎ， zhì zào kǒng bù qíng jié， dāng rán qí zhōng de yù yì jiù shì， rén wú lùn rú hé bù néng wéi bèi zì rán fǎ zé， bù rú bì zāo bào yìng。 jiā ná dà rén dà wèi． kē néng bǎo shì yíng zào kǒng bù、 jīng sǒng xiào guǒ de gāo shǒu， ér qiě hěn shǎo yùn yòng cì jī de shì jué xiào guǒ。 tā zài 1983 nián pāi shè liǎo shǐ dì fēn． jīn de xiǎo shuō《 sǐ wáng jìn dì》（ TheDeadZone）。 zhù rén gōng qiáng ní fā shēng chē huò， hūn shuì wǔ nián hòu xǐng lái fā xiàn zì jǐ yōng yòu liǎo chāo néng lì， tā kě yǐ jiè zhù jiē chù bié rén de shǒu lái yù jiàn wèi lái。 yuán běn yòng cǐ lái chéng shàn chú 'è de qiáng ní què fā xiàn zì jǐ bì xū dú zì bēifù zhe shí zì jià shēng huó xià qù。 tóng yàng yī gè zhù tí chū xiàn zài， 1999 nián de《 lǜ lǐ》（ theGreenMile） zhōng， zài zhè bù zhǎngdà 3 xiǎo shí de yǐngpiān zhōng， tiān xìng shàn liáng yòu dòng chá shì shì de hēi rén， zài yùn yòng chāo néng lì bāng zhù shì rén zhī hòu， zuì zhōng bù kān rěn shòu jīng shén de zhé mó， zì yuàn xuǎn zé liǎo sǐ wáng zhè yī jiě tuō de fāng shì。 ér tānɡ mǔ． hàn kè sī yě yīn cháng shēng bù sǐ 'ér rěn shòu zhe sòng zǒu yī gè yòu yī gè qīn yǒu de tòng kǔ。 shǐ dì fēn． jīn de guān diǎn réng rán shì zì rán fǎ shì wú fǎ kàng jù de， bù rán shì huò 'ér fēi fú。
《 lǜ lǐ》 yóu yú guòfèn“ shén huà” shǐ dì fēn． jīn de xiǎo shuō， zài rén wù kè huá yǔ qíng jié pū diàn shàng jī xīn guò zhòng， shǐ dé yǐngpiān tuō tà rǒng cháng nán yǐ rěn shòu。 dǎo yǎn fǎ lán kè． dé lā bāng tè jù shuō shì“ shǐ dì fēn． jīn zhuān yè hù”， tā zài 1983 nián de chǔnǚ zuò jiù shì gǎi biān zì shǐ dì fēn． jīn de xiǎo shuō《 fáng jiān zhōng de nǚ rén》（ TheWomanintheRoom）。 1994 nián tā pāi shè liǎo dì 'èr bù zuò pǐn，《 xiào shēn kè de jiù shú》（ TheShawshankRedemption）， yòu bèi fān yì wéi《 cì jī 1995》（ 1995 nián zài xiāng gǎng shàng yìng）。 shǐ dì fēn． jīn shuō：“ yī qiēdōu hěn wán měi héng héng wǒ méi xiàng chuán shuō de zài yǐngpiān jié shù shí háo táo dà kū， dàn yǎn kuàng què shí yòu diǎn cháo。”
zhè de què shì yī bù jī dòng rén xīn de zuò pǐn， zhì jīn réng rán shì“ yǐng mí xīn zhōng yǒng héng de jīng diǎn、 diàn yǐng lùn tán lǐ bù guò shí de huà tí、 yǐng dié diàn nèi de chàng xiāo huò、 quán wēi diàn yǐng wǎng zhàn IMDB shàng de qián sān míng。” yǐngpiān guān yú jiù shú de lùn diǎn yǐ jīng bèi tàn tǎo de chàbù duō liǎo， ér jiù pǔ tōng yǐng mí lái shuō，《 xiào shēn kè de jiù shú》 bù jǐn zài jié wěi tí gōng liǎo yī gè wěi dà de xuán niàn， ér qiě duì rén wù de kè huá、 nán xìng yǒu yì de miáo huì， yǐ jí duì xī wàng yǒng bù mó miè de shū xiě。 hěn duō rén shèn zhì jiāng dī mǔ． luó bīn sī zài guǎng bō shì bō fàng mò zhā tè de piàn duàn dāng zuò 'ōu gē měi hǎo rén xìng de zuì wěi dà de chǎng jǐng。 yǐngpiān zhōng nà gè“ tài píng yáng shàng méi yòu huí yì de xiǎo dǎo”， yě chéng wéi rén men xī wàng de xiàng zhēng dì。 jiù yī bù tōng sú jù lái shuō， chǎn shēng rú cǐ zhī dà de yǐngpiān bù jǐn zài dǎo yǎn xù shì shǒu fǎ de xián shú shān qíng， ér qiě shǐ dì fēn． jīn de què tí gōng liǎo yī gè chū sè de múbǎn héng héng yī gè qiú fàn zài kàn shǒu jí qí yán mì de jiān yù lǐ， shì rú hé lì yòng yī zhǐ xiǎo záo zǐ， huā 19 nián shí jiān wā dì dào táo chū qù。
shèn zhì yóu yú《 xiào shēn kè de jiù shú》 guò yú hōng dòng， shǐ dì fēn · jīn céng xìn shì dàn shuō， wéi bǎo yòu měi hǎo jì lù， yǐ hòu jué bù zài xiě jiān yù xiǎo shuō。 rán 'ér guò liǎo jǐ nián， dé lā bāng tè réng rán méi yòu yǐngpiān pāi， shǐ dì fēn zhǐ dé pò lì bìng yī lián xiě chéng liǎo liù běn yòu guān“ lǜ lǐ” sǐ xíng yù suǒ de chàng xiāo xiǎo shuō。 rán 'ér yǐngpiān méi yòu néng gòu qǔ dé yù qī de xiào guǒ， shǐ dì fēn · jīn zài nà yī nián yě yù dào liǎo chē huò， lìng tā duì rén shēng gǎi biàn liǎo kàn fǎ， zhú jiàn méng shēng tuì yì。 ér dé lā bāng tè yě yǔ“ shǐ dì fēn · jīn de jiān yù” gào bié， qù chóu pāi《 diàn yǐng rén shēng》 liǎo。
1997 nián， mǎ kè · bā wéi yà zhè wèi nián qīng dǎo yǎn yě jiè zhù shǐ dì fēn． jīn de zuò pǐn， chéng wéi yǐn rén zhù mùdì xīn ruì dǎo yǎn， tā gǎi biān de shì《 yè yuè fēng gāo》（ NightFlier）。 yī jiā xiǎo zá zhì de jì zhě lǐ chá wèile yǔ tóng shì jìng zhēng， jué dìng zhuī zōng bào dào yī míng lì yòng sī rén fēi jī lián huán shā rén de xiōng shǒu， rán hòu tā yù zhì zào sǒng dòng xiào yìng de xīn lǐ， cù shǐ tā yuè lái yuè huái yí nà gè xiōng shǒu shì xī xuè guǐ …… zhēn xiāng dà bái hòu， lǐ chá duì rén shuō“ qiān wàn bié xiāng xìn nǐ suǒ xiě de shì shí， yě qiān wàn bié xiě nǐ suǒ jiàn de shì shí”。 qí shí zhè shì shǐ dì fēn． jīn zuò wéi yī gè zuò jiā（ tā yě céng shì xiǎo bào de zhuàn gǎo rén）， duì méi tǐ de fǎn fěng， gèng zhòng yào de shì， nǐ kě yǐ kàn chū yī gè zuò jiā miàn duì shēng huó yā lì， xīn lǐ de wú xíng kǒng jù rú hé zhú jiàn huà zuò lái zì wài bù kōng jiān de yōu líng。“ mó yóu xīn shēng” de zhù tí， shì shǐ dì fēn． jīn xiǎo shuō zhōng bìng zuì wéi chū sè de shè jì。 ér zhù rén gōng de zuò jiā shēn fèn yě cháng cháng chū xiàn zài tā de xiǎo shuō yǐ jí diàn yǐng zhōng。
《 shǎn líng》（ TheShining）， zhè bù zuì wěi dà“ shǐ dì fēn · jīn diàn yǐng” zài 1980 nián， bèi sī tǎn lì． kù bù lì kè zhè wèi“ tiān cái de húndàn” pāi jùn。 dàn shǐ dì fēn · jīn shèn zhì cóng lái méi yòu zhè yàng chéng rèn guò zhè shì yī bù“ shǐ dì fēn． jīn diàn yǐng”， tā rèn wéi kù bù lì kè wán quán cuàn gǎi liǎo tā de yuán zuò， yīn wéi zài yǐngpiān zuì hòu， kù bù lì kè ràng zhù rén gōng zuò jiā jié kè shā sǐ hēi rén chú shī hòu， yòng lì fǔ fēng kuáng kǎn shā zì jǐ de qī 'ér， què bèi dòng sǐ zài mí gōng zhōng。 ér zài xiǎo shuō zhōng， jié kè bìng wèi shā sǐ rèn hé rén， liú xià yī gè guāng míng de wěi bā。 shǐ dì fēn · jīn rèn wéi kù bù lì kè shì zài yòng tā de xiǎo shuō“ xù yì shāng hài guān zhòng”。 wú lùn rú hé zhēng yì， 《 shǎn líng》 zuò wéi yī bù yì shù kǒng bù piàn， wú yí shì jīng diǎn de。 tā pāi chū liǎo rén lèi zài shēng cún yā lì xià、 bǐ cǐ wú fǎ gōu tōng xià de jīng shén biàn yì， zhí zhì huǐ miè。 zhù rén gōng jié kè de shēn fèn shì yè yú zuò zhě， zhèng zài wèijiā tíng shēng huó hé gè rén shì yè 'ér kǔ nǎo héng héng zhè yě qià qià shì shǐ dì fēn． jīn céng jǐ hé shí de zhēn shí xiě zhào。 kù bù lì kè zài shì tīng yǔ yán shàng de gāo chāo yùn yòng shǐ dé qí tā“ shǐ dì fēn · jīn diàn yǐng” xiǎn dé yòu xiē bù zú dào。 yóu qí shì yòng dī jī wèi gāo sù shè xiàng jī zhuī pāi jié kè de 'ér zǐ zài guǐ yì wú bǐ de dì tǎn shàng qí chē de jìng tóu xiǎn zú liǎo tiān cái běn sè。
yǐngpiān lǐ zuì xiǎn lù xīn lǐ kǒng bù zhī chù mò guò yú， qī zǐ zhà jiàn jié kè rì yè dǎ yìn de xiǎo shuō gǎo zhǐ shàng jìng rán yīháng xíng quán shì“ zhǐ huì gōng zuò bù huì yú lè de jié kè hěn kuài jiù yào fā fēng”！ guān zhòng de liáng yì zěn me bù cóng zú dǐ shēng qǐ， ér zhè kǒng pà yě shì shǐ dì fēn · jīn zài wèi chéng míng qián de jiāo lǜ、 jué wàng xīn tài de shū fā。 ér yǐngpiān zhōng yǔ jié kè hē jiǔ de yōu líng zé kě yǐ dāng zuò shì tā chuàng zuò chū lái de héng héng zuò jiā yóu cǐ shòu dào nèi xīn yǔ wài jiè de shuāngchóng zhé mó 'ér zhōng jiū bēng kuì。 yǔ běn piàn kě duì zhào guān kàn de shì yòu kǎi xī． bèi cí tàn wéi guān zhǐ de biǎo yǎn de《 wēi qíng shí rì》 （ Misery）。 yǐngpiān jiǎng shù de shì zuò jiā yǔ dú zhě jiān de jīng sǒng gù shì。
zài 1990 nián de《 wēi qíng shí rì》 lǐ， shū mí 'ān nī zài dà xuě zhōng jiù qǐ liǎo tā chóng bài de zuò jiā bǎo luó． xī 'ěr dùn， bìng jiāng tā dài huí jiā xiū yǎng tuǐ shāng。 xī 'ěr dùn wéi xiě chū zhēn zhèng de xiǎo shuō， ràng tā liánzǎi xiǎo shuō de zhù rén gōng mǐ sài luó sǐ qù， ān nī bó rán dà nù， shāo huǐ liǎo shǒu gǎo， lìng wú fǎ xíng zǒu de xī 'ěr dùn zhòng xiě。 dāng xī 'ěr dùn fā xiàn tā yǔ xiǎo shuō zhōng de rén wù miáo xiě yòu sī sī guān lián hòu， ān nī gèng jiāng tā de huái guān jié qiāo suì！ zuì zhōng xī 'ěr dùn zhōng yú jiāng zuì hòu yī bù fēn xiě wán， bìng ràng mǐ sài luó sǐ 'ér fù shēng。 dāng 'ān nī xīn xǐ ruò kuáng shí， xī 'ěr dùn zì jǐ jiāng shǒu gǎo shāo huǐ yǐ shì bào fù…… cóng zhè gè gù shì lǐ， bù nán fā xiàn shǐ dì fēn． jīn nèi xīn shēn chù yú dú zhě de duì lì， tā kě wàng zuò yī gè“ zhēn zhèng de zuò jiā”， tā zǔ zhòu dú zhě men de wú de shù fù， tā què yě wú fǎ jiē shòu kù bù lì kè shì de cán rěn jié jú héng héng yú shì， zuò jiā、 rén wù、 dú zhě， sān zhě zài míng míng zhōng jiū chán zhě， xiāng hù shāng hài， wú xiū wú zhǐ， duì yú shǐ dì fēn． jīn de chuàng zuò shēng yá lái shuō， zhè shì“ jīng sǒng” zuì dà de xīn lǐ yuán quán。
zuì jìn yòu jì zhě wèn shǐ dì fēn． jīn：“ nǐ rèn wéi shàng dì shì hǎo rén hái shì huài rén？” tā shuō：“ wǒ xiǎng tā hái suàn kě 'ài。 bì jìng wǒ men bàn gè shì jì duō zhǐ bèi yuán zǐ dàn zhà guò yī cì。” jù shuō zài《 shǎn líng》 de pāi piàn qī jiān， kù bù lǐ kè céng jīng zài líng chén sān diǎn dǎ diàn huà wèn shǐ dì fēn． jīn：“ nǐ xiāng xìn shàng dì má？”， nà yī cì méi yòu rén zhī dào shǐ dì fēn． jīn de huí dá。
sī dì fēn · jīn - gè rén zuò pǐn
nèimēng gǔ chū bǎn shè：
《 miǎn yīn guǐ zhèn》 "'Salem'sLot"novel
《 zhì mìng yóu xì》 "Gerald'sGame"novel
《 è mèng gōng chǎng（ duǎn piān jí）》 "Nightmares&Dreamscapes"storycollection
zhū hǎi chū bǎn shè：
《 sǐ guāng（ shàng、 xià liǎng cè）》 "It"novel
《 jié luó dé yóu xì》 "Gerald'sGame"novel
《 chǒng wù gōng mù》 "PetSematary"novel
《 méi guī fēng kuáng zhě》 "RoseMadder"novel
《 hēi 'àn de lìng yī bàn》 "TheDarkHalf"novel
《 shén mì huǒ yàn》 "Firestarter"novel
《 sǐ wáng qū yù》 "TheDeadZone"novel
《 è zhào》 "Cujo"novel
《 jīng niǎo》 "DoloresClaiborne"novel
《 kè lǐ sī tīng》 "Christine"novel
《 yī hào shū mí》 "Misery"novel
《 shì shì wú cháng（ duǎn piàn jí）》 "Everything'sEventual"storycollection
《 sī dì fēn · jīn chuán》 "OnWriting:AMemoiroftheCraft"non-fiction
dà zhòng wén yì chū bǎn shè：
《 shǎn líng》 "TheShining"novel
《 sǎ lěng zhèn》 "'Salem'sLot"novel
《 mò rì bī jìn（ shàng、 xià liǎng cè）》 "TheStand(TheCompleteandUncutEdition)"novel
shàng hǎi yì wén chū bǎn shè：
《 shī gǔ dài》 "BagofBones"novel
rén mín wén xué chū bǎn shè：
《 hēi 'àn tǎ I： qiāng xiá》 "TheDarkTowerI:TheGunslinger"novel
《 hēi 'àn tǎ II： sān zhāng pái》 "TheDarkTowerII:TheDrawingoftheThree"novel
《 hēi 'àn tǎ III： huāng yuán》 "TheDarkTowerIII:TheWasteLands"novel
《 xiào shēn kè de jiù shú（ zhōng piān jí）》 "DifferentSeasons"storycollection
hā 'ěr bīn chū bǎn shè：
《 kè sū lǔ shén huà： kǒng bù rén jiān 〈 yé lù sǎ lěng lǐng dì（ duǎn piān） 〉》 AStoryin"TalesoftheCthulhuMythos"
jìhuà zhōng yǐn jìn：
rén mín wén xué chū bǎn shè：
《 hēi 'àn tǎ IV： wū shī yǔ bō lí qiú》 "TheDarkTowerIV:Wizard&Glass"novel
《 hēi 'àn tǎ V： kǎ lā zhī láng》 "TheDarkTowerV:WolvesofTheCalla"novel
《 hēi 'àn tǎ VI： sū shān nà zhī gē》 "TheDarkTowerVI:SongofSusannah"novel
《 hēi 'àn tǎ VII： hēi 'àn zhī tǎ》 "TheDarkTowerVII:TheDarkTower"novel
shàng hǎi yì wén chū bǎn shè：
《 shǒu jī》 "Cell"novel
shì jì chū bǎn shè：
jié mèng jīng hún "DreamCatcher"
sī dì fēn · jīn - gè rén yǐng xiǎng
duì yú shǐ dì fēn． jīn（ StephenKing） zhè gè míng zì， zǎo yǐ bù mò shēng liǎo。 rèn hé yī gè měi guó yú lè jiè yǐng xiǎng lì bǎng， huò zhě měi yī nián de wén yì jiè fù háo bǎng shàng dōuyòu tā de dà míng， ér qiě bì rán míng liè qián máo。 nián chū， zhè wèi dāng jīn quán qiú zuì chéng gōng de chàng xiāo shū zuò jiā zài jiē shòu《 luò shān jī shí bào》 cǎi fǎng shí què biǎo shì， zài wán chéng shǒu biān de xiě zuò jìhuà hòu， nián dǐ jiāng zhèng shì fēng bǐ。 zhè gè xiāo xī suī rán lìng zhòng duō dú zhě xiè qì， dàn bìng bù lìng rén zhèn jīng， shǐ dì fēn． jīn yù shōu shān de yì tú céng bù zhǐ yī cì xiàng xīn wén jiè tòu lù guò。 qí zuì dà yuán yīn shì xiǎng zài diān fēng shí zhōng zhǐ xiě zuò shēng yá， ér bù shì zài zhuàng tài、 xiāo liàng、 míng shēng yī lù xià huá shí“ è mèng bān de jié shù”。 dāng rán shǐ dì fēn． jīn zài nèi xīn shēn chù réng yòu wú fǎ yán shuō de xīn shì， nà jiù shì tā shí fēn kě wàng chéng wéi mǎ kè · tù wēn shì de dà zuò jiā， dàn bù guǎn tā rú hé nǔ lì， rén men zǒng shì chēng tā wéi“ kǒng bù xiǎo shuō jiā” héng héng wú yí， zhè lìng tā yì cháng jù sàng。
shǐ dì fēn · jīn de lí qù， wǒ men bù jǐn jiāng dú bù dào tā de xiǎo shuō liǎo， ér qiě yě jiāng kàn bù dào gēn jù tā de xīn zuò gǎi biān de diàn yǐng liǎo。 yǐ wǎng， tā de měi yī bù xiǎo shuō jīhū dū céng bān shàng guò yín mù。 jù shuō， lùn yuán zhù bèi gǎi biān wéi yǐng shì jù de bǐlǜ， shǐ dì fēn． jīn kě yǐ pái dì 'èr， dì yī zé shì suō shì bǐ yà。 díquè hěn duō rén suī rán méi dú guò tā de shū， què wèitā de diàn yǐng chī mí guò， qí zhōng zuì zhù míng de shì《 xiào shēn kè de jiù shú》 ， zuì wěi dà de shì《 shǎn líng》， hái yòu xǔ xǔ duō duō…… běn wén jiāng duì gēn jù shǐ dì fēn． jīn xiǎo shuō gǎi biān de jīng diǎn yǐngpiān， yán zhe zhù tí de xiàn suǒ zuò yī gè xún lǐ， huò xǔ yě kě dāng zuò nǐ guān kàn“ jīng sǒng piàn” hé“ xuán niàn piàn” yī gè cáng bǎo tú。
sī dì fēn · jīn - gè rén róng yù
2007 nián huò bān 'ài lún pō dà shī jiǎng（ zhōng shēn chéng jiù jiǎng） (GrandMaster)
sī dì fēn · jīn - rén wù píng jià
sī dì fēn · jīn - měi guó zhù míng kǒng bù xiǎo shuō jiā， liǎo jiě tā zuò pǐn de rén huì fā xiàn， tā zhù míng zuò pǐn zhōng huò gǎi biān chéng yǐng shì zuò pǐn de xiǎo shuō zhù rén gōng dà duō dōushì yī gè zuò jiā， zài shēng huó zhōng tā zhù zhòng xì jié， shàn yú guān chá， yī zhǐ sǐ zài lā jī zhàn biān shàng de māo yě huì ràng tā wén sī quán yǒng， tā jiù shì zhè yàng， jiāng zì jǐ yǔ nà gè wǒ men bù liǎo jiě de shì jiè hùn wéi yī tǐ。 tā jīng lì de shì qíng hěn duō hěn duō， yīng 'ér shí dài fù qīn de shī zōng、 cān jiā fǎn yuè nán zhàn zhēng， shì mǔ zhì xiào juān kuǎn kàng 'ái、 fèi bù tuǐ bù yīn chē huò zhòng shāng， zhè xiē de zhè xiē ràng tā liǎo jiě shénme shì kǒng jù， rén wèishénme huì kǒng jù。 méi yòu guǐ， zhǐ shì xīn zhōng yòu kǒng jù， jiù huì hài pà， hái xiǎng táo bì fā shēng de shì qíng， wú lì qù jiě jué tā men jiǔ 'ér jiǔ zhī jiù zài xīn lǐ jī huà． wǒ men hài pà de shì wǒ men zì jǐ gěi zì jǐ xià de tào。 lǎo móu shēn suàn de tā píng jiè zhe xì xīn yǔ mǐn ruì， huī wǔ zhuóbǐ mò， chuàng zào yī gè yòu yī gè kòu rén xīn xián de bù xiǔ zhī zuò。
King has received many awards, including several Bram Stoker Awards, Locus Awards, and, in 2003, the National Book Foundation awarded him the Medal for Distinguished Contribution to American Letters.
King and his wife, Tabitha, have three children, Naomi, Joe and Owen. Tabitha, Joe and Owen are also published writers.
Early life and background
King's father, Donald Edwin King, who was born ca. 1913 in Peru, Indiana, was a merchant seaman. King's mother, Nellie Ruth (née Pillsbury; March 13, 1913 - December 28, 1973) was born in Scarborough, Maine. They were married July 23, 1939 in Cumberland County, Maine.
Stephen King was born September 21, 1947 in Portland, Maine. When King was two years old, his father left the family under the pretense of "going to buy a pack of cigarettes," leaving his mother to raise King and his adopted older brother David by herself, sometimes under great financial strain. The family moved to De Pere, Wisconsin; Fort Wayne, Indiana; and Stratford, Connecticut. When King was eleven years old, the family returned to Durham, Maine, where Ruth King cared for her parents until their deaths. She then became a caregiver in a local residential facility for the mentally challenged.
As a child, King apparently witnessed one of his friends being struck and killed by a train, though he has no memory of the event. His family told him that after leaving home to play with the boy, King returned, speechless and seemingly in shock. Only later did the family learn of the friend's death. Some commentators have suggested that this event may have psychologically inspired some of King's darker works, but King himself has dismissed the idea.
King's primary inspiration for writing horror fiction was related in detail in his 1981 non-fiction Danse Macabre, in a chapter titled "An Annoying Autobiographical Pause". King makes a comparison of his uncle successfully dowsing for water using the bough of an apple branch with the sudden realization of what he wanted to do for a living. While browsing through an attic with his elder brother, King uncovered a paperback version of an H. P. Lovecraft collection of short stories that had belonged to his father. The cover art—an illustration of a yellow-green Demon hiding within the recesses of a Hellish cavern beneath a tombstone—was, he writes,
"The moment of my life when the dowsing rod suddenly went down hard... as far as I was concerned, I was on my way."
Education and early creativity
King attended Durham Elementary School and graduated from Lisbon Falls High School in Lisbon Falls, Maine. He displayed an early interest in horror as an avid reader of EC's horror comics, including Tales from the Crypt (he later paid tribute to the comics in his screenplay for Creepshow). He began writing for fun while still in school, contributing articles to Dave's Rag, the newspaper that his brother published with a mimeograph machine and later began selling stories to his friends which were based on movies he had seen (though when discovered by his teachers, he was forced to return the profits). The first of his stories to be independently published was "I Was a Teenage Grave Robber", serialized over three published and one unpublished issue of a fanzine, Comics Review, in 1965. That story was published the following year in a revised form as "In a Half-World of Terror" in another fanzine, Stories of Suspense, edited by Marv Wolfman.
From 1966, King studied English at the University of Maine, graduating in 1970 with a Bachelor of Science in English. That same year his first daughter, Naomi Rachel, was born. He wrote a column for the student newspaper, The Maine Campus, titled "Steve King's Garbage Truck", took part in a writing workshop organized by Burton Hatlen, and took odd jobs to pay for his studies, including one at an industrial laundry. He sold his first professional short story, "The Glass Floor", to Startling Mystery Stories in 1967. The Fogler Library at UMaine now holds many of King's papers.
After leaving the university, King earned a certificate to teach high school but, being unable to find a teaching post immediately, initially supplemented his laboring wage by selling short stories to men's magazines such as Cavalier. Many of these early stories have been published in the collection Night Shift. In 1971, King married Tabitha Spruce, a fellow student at the University of Maine whom he had met at the University's Fogler Library after one of Professor Hatlen's workshops. That fall, King was hired as a teacher at Hampden Academy in Hampden, Maine. He continued to contribute short stories to magazines and worked on ideas for novels. It was during this time that King developed a drinking problem, which stayed with him for more than a decade.
In 1972, Joseph Hillstrom, his second child was born.
Success with Carrie
In 1973, King's novel Carrie was accepted by publishing house Doubleday. King actually threw an early draft of the novel in the trash after becoming discouraged with his progress writing about a teenage girl with psychic powers. His wife retrieved the manuscript and encouraged him to finish it. His advance for Carrie was $2,500, with paperback rights earning $400,000 at a later date. King and his family relocated to southern Maine because of his mother's failing health. At this time, he began writing a book titled Second Coming, later titled Jerusalem's Lot, before finally changing the title to 'Salem's Lot (published 1975). Soon after the release of Carrie in 1974, his mother died of uterine cancer. His Aunt Emrine read the novel to her before she died. King has written of his severe drinking problem at this time, stating that he was drunk delivering the eulogy at his mother's funeral.
After his mother's death, King and his family moved to Boulder, Colorado, where King wrote The Shining (published 1977). The family returned to western Maine in 1975, where King completed his fourth novel, The Stand (published 1978). In 1977, the family, with the addition of Owen Phillip (his third and last child), traveled briefly to England, returning to Maine that fall where King began teaching creative writing at the University of Maine. He has kept his primary residence in Maine ever since.
The Dark Tower books
Main article: The Dark Tower (series)
Stephen King at the Harvard Book Store
In the late 1970s, King began a series of interconnected stories about a lone gunslinger, Roland, who pursues the "Man in Black" in an alternate-reality universe that is a cross between J.R.R. Tolkien's Middle-earth and the American wild west as depicted by Clint Eastwood and Sergio Leone in their spaghetti westerns. The first of these, The Dark Tower: The Gunslinger, was first published in five installments by The Magazine of Fantasy & Science Fiction under the editorship of Edward L. Ferman, beginning in 1977 and the last in 1981. The Gunslinger would be continued as a large 7-book epic called The Dark Tower, which would be written and published infrequently over four decades, from the 1970s to the 2000s.
In 1982, the fantasy small-press Donald M. Grant (known for publishing the entire canon of Robert E. Howard) printed these stories for the first time together in hardcover form with color and black-and-white illustrations by then up-and-coming fantasy artist Michael Whelan, as The Gunslinger. Each chapter was named for the story previously published in magazine form. King dedicated the hardcover edition to his editor at F&SF, Ed Ferman, who "took a chance on these stories". The original print-run was only 10,000 copies, which was, by this time, a comparatively low run for a first printing of a King novel in hardcover. His 1980 novel, Firestarter, had an initial print-run in trade hardcover at 100,000 copies, and his 1983 novel, Christine, had a trade hardcover print-run of 250,000 copies, both by the much larger publisher Viking. The Gunslinger's initial release was not highly publicized, and only specialty science-fiction and related bookstores carried it on their shelves. The book was generally not available in the larger chain stores, except by special order. Rumors spread among avid fans that there was a King book out that few readers knew about, let alone had actually read. When the initial 10,000 copies sold out, Grant printed another 10,000 copies in 1984, but these runs were still far short of the growing demand among fans for this book. The Dark Tower: The Gunslinger was the beginning of his magnum opus fantasy epic. Both the first and second printings of The Gunslinger garner premium prices on the collectible book market, notably among avid readers and collectors of Stephen King, horror literature, fantasy literature, and even American western literature. And it is also desirable among avid fans of the artwork of Michael Whelan.
In 1987, King released the second installment, The Dark Tower II: The Drawing of the Three, in which Roland draws three people from 20th-century United States into his world through magical doors. Grant published The Drawing of the Three with illustrations by Phil Hale in a slightly larger run of 30,000 copies, which was still well below King's typical initial hardcover print-run of a new book. (It, published in 1986, had an initial print-run of 1,000,000 copies, King's largest to date.) King had believed that the Dark Tower books would only be of interest to a select group of his fans, and he had resisted releasing it on a larger scale. Finally, in the late 1980s, bowing to pressure from his publishers and fans who were hungry for the books (at this point fewer than 50,000 of his millions of readers would have been able to own any of the Dark Tower books), King agreed to release The Gunslinger and all subsequent Dark Tower books in trade paperback and mass market formats. The series reached seven books, with the final installment called The Dark Tower VII: The Dark Tower, in 2004.
In the early 2000s King revised the original book, The Gunslinger, because he felt the voice and imagery of the original stories of the late 1970s did not seem to fit the voice of the final installment of 2004. King felt the style of the work had markedly changed during the intervening 27 years. The revised version was published in 2003 by his former hardcover publisher Viking. Grant published its hardcover limited edition of the revised version of The Gunslinger along with a prequel story set in the Dark Tower world called "The Little Sisters of Eluria" (from King's short story collection Everything's Eventual) in 2009.
On November 10, 2009, King announced he was writing a new Dark Tower novel titled The Wind Through the Keyhole. King stated it will take place between the fourth and fifth installments.[dead link]
Adaptations
In October 2005, King signed a deal with Marvel Comics to publish a seven-issue, miniseries spin-off of The Dark Tower series called The Gunslinger Born. The series, which focuses on a young Roland Deschain, is plotted by Robin Furth, with dialogue by Peter David, and illustrated by Eisner Award-winning artist Jae Lee. The first issue was published on February 7, 2007, and King, David, Lee and Marvel Editor-in-Chief Joe Quesada appeared at a midnight signing at a Times Square, New York comic book store to promote it. The work had sold over 200,000 copies by March 2007. The success of The Gunslinger Born led to a ongoing series of miniseries published by Marvel, with Furth and David continuing to collaborate, featuring both adapted material from the Dark Tower books and new material approved by King; it also led to a second series of King adaptations in the same format, serializing the events of The Stand.
Although The Hollywood Reporter announced in February 2007 that plans were underway for Lost co-creator J. J. Abrams to do an adaptation of King's epic Dark Tower series, Abrams stated in a November 2009 interview with MTV that he would not be adapting the series.
Akiva Goldsman, Ron Howard and Brian Grazer will produce a feature film trilogy and a television series for Universal Pictures and NBC, based on The Dark Tower series, with Howard slated to direct the first movie, which is scheduled for a May 17, 2013 release. That film will be followed by a TV series that will tie into the second movie.
Richard Bachman
Main article: Richard Bachman
In the late 1970s-early 1980s, King published a handful of short novels—Rage (1977), The Long Walk (1979), Roadwork (1981), The Running Man (1982) and Thinner (1984)—under the pseudonym Richard Bachman. The idea behind this was largely an experiment to measure for himself whether or not he could replicate his own success again, and allay at least part of the notion within his mind that popularity might all be just an accident of fate. An alternate (or additional) explanation was that publishing standards at the time allowed only a single book a year.
Richard Bachman was exposed as being King's pseudonym after a persistent Washington D.C. bookstore clerk, Steve Brown, noticed similarities between the two's works and later located publisher's records at the Library of Congress naming King as the author of one of Bachman's novels. This led to a press release heralding Bachman's "death" — supposedly from "cancer of the pseudonym". King dedicated his 1989 book The Dark Half, about a pseudonym turning on a writer, to "the deceased Richard Bachman", and in 1996, when the Stephen King novel Desperation was released, the companion novel The Regulators carried the "Bachman" byline.
In 2006, during a press conference in London, King declared that he had discovered another Bachman novel, titled Blaze. It was published on June 12, 2007. In fact, the manuscript had been held at King's alma mater, the University of Maine in Orono, for many years and had been covered by numerous King experts. King completely rewrote the 1973 manuscript for its publication.
Car accident and thoughts of retirement
In the summer of 1999, King had finished the memoir section of On Writing: A Memoir of the Craft, but had abandoned the book for nearly eighteen months, unsure of how or whether to proceed.
On June 19, at about 4:30 p.m., he was reading a book and walking on the shoulder of Route 5, in Lovell, Maine. Driver Bryan Smith, distracted by an unrestrained dog moving in the back of his minivan, struck King, who landed in a depression in the ground about 14 feet from the pavement of Route 5. According to Oxford County Sheriff deputy Matt Baker, King was struck from behind and some witnesses said the driver was not speeding or reckless.
King was conscious enough to give the deputy phone numbers to contact his family but was in considerable pain. The author was first transported to Northern Cumberland Hospital in Bridgton and then flown by helicopter to Central Maine Medical Center, in Lewiston. His injuries—a collapsed right lung, multiple fractures of his right leg, scalp laceration and a broken hip—kept him at CMMC until July 9. His leg bones were so shattered doctors initially considered amputating it, but stabilized the bones in the leg with an external fixator. After five operations in ten days and physical therapy, King resumed work on On Writing in July, though his hip was still shattered and he could only sit for about forty minutes before the pain became worse. Soon it became nearly unbearable.[citation needed]
King's lawyer and two others purchased Smith's van for $1,500, reportedly to prevent it from appearing on eBay. The van was later crushed at a junkyard, much to King's disappointment, as he dreamed of beating it with a baseball bat. King later mentioned during an interview with Fresh Air's Terry Gross that he wanted to completely destroy the vehicle himself with a pickaxe.
Two years later, King suffered severe pneumonia as a direct result of his lung being punctured in the accident. During this time, Tabitha King was inspired to redesign his studio. King visited the space while his books and belongings were packed away. What he saw was an image of what his studio would look like if he died, providing a seed for his novel Lisey's Story.[citation needed]
2000s work
This section requires expansion.
In 2002, King announced he would stop writing, apparently motivated in part by frustration with his injuries, which had made sitting uncomfortable and reduced his stamina. He has since resumed writing, but states on his website that:
"I'm writing but I'm writing at a much slower pace than previously and I think that if I come up with something really, really good, I would be perfectly willing to publish it because that still feels like the final act of the creative process, publishing it so people can read it and you can get feedback and people can talk about it with each other and with you, the writer, but the force of my invention has slowed down a lot over the years and that's as it should be."
In 2000, King published a serialized novel, The Plant, online, bypassing print publication. At first it was presumed by the public that King had abandoned the project because sales were unsuccessful, but he later stated that he had simply run out of stories. The unfinished epistolary novel is still available from King's official site, now free. Also in 2000, he wrote a digital novella, Riding the Bullet, and has said he sees e-books becoming 50% of the market "probably by 2013 and maybe by 2012." But he also warns: "Here's the thing — people tire of the new toys quickly."
In August 2003 King began writing a column on pop culture appearing in Entertainment Weekly, usually every third week. The column is called "The Pop of King", a play on the nickname "The King of Pop" commonly given to Michael Jackson.
In 2006, King published an apocalyptic novel Cell.
In 2008, King published both a novel, Duma Key, and a collection, Just After Sunset. The latter featured 13 short stories, including a novella, N., which was later released as a serialized animated series that could be seen for free, or, for a small fee, could be downloaded in a higher quality; it then was adopted into a limited comic book series.
In 2009, King published Ur, a novella written exclusively for the launch of the second-generation Amazon Kindle and available only on Amazon.com, and Throttle, a novella co-written with his son Joe Hill, which later was released as an audiobook Road Rage, which included Richard Matheson's short story "Duel".
On November 10, 2009, King novel, Under the Dome, was published. It is a reworking of an unfinished novel he tried writing twice in the late 1970s and early 1980s, and at 1,074 pages, it is the largest novel he has written since 1986's It. It debuted at #1 in The New York Times Bestseller List, and #3 in UK Book Charts.[citation needed]
On February 16, 2010, King announced on his website that his next book will be a collection of four previously unpublished novellas. The book will be called Full Dark, No Stars.
In April 2010, King published Blockade Billy, an original novella issued first by independent small press Cemetery Dance Publications and later released in mass market paperback by Simon & Schuster. This baseball-related suspense novella is not set to be reprinted in Full Dark, No Stars.
Work
Main articles: Stephen King bibliography and Short fiction by Stephen King
Writing style
King's formula for learning to write well is: "Read and write four to six hours a day. If you cannot find the time for that, you can't expect to become a good writer." He sets out each day with a quota of 2000 words and will not stop writing until it is met. He also has a simple definition for talent in writing: "If you wrote something for which someone sent you a check, if you cashed the check and it didn't bounce, and if you then paid the light bill with the money, I consider you talented."
Shortly after his accident, King wrote the first draft of the book Dreamcatcher with a notebook and a Waterman fountain pen, which he called "the world's finest word processor."
When asked why he writes, King responds: "The answer to that is fairly simple—there was nothing else I was made to do. I was made to write stories and I love to write stories. That's why I do it. I really can't imagine doing anything else and I can't imagine not doing what I do." He is also often asked why he writes such terrifying stories and he answers with another question "Why do you assume I have a choice?"
King often uses authors as characters, or includes mention of fictional books in his stories, novellas and novels, such as Paul Sheldon who is the main character in Misery and Jack Torrance in The Shining. See also List of fictional books in the works of Stephen King for a complete list. In September 2009 it was announced he would serve as a writer for Fangoria.
Influences
King has called Richard Matheson "the author who influenced me most as a writer." Both authors casually integrate characters' thoughts into the third person narration, just one of several parallels between their writing styles. In a current edition of Matheson's The Shrinking Man, King is quoted: "A horror story if there ever was one...a great adventure story—it is certainly one of that select handful that I have given to people, envying them the experience of the first reading."
King refers to H. P. Lovecraft several times in Danse Macabre. "Gramma", a short story made into a film in the 1980s anthology horror show The New Twilight Zone, mentions Lovecraft's notorious fictional creation Necronomicon, also borrowing the names of a number of the fictional monsters mentioned therein. "I Know What You Need" from the 1976 collection Night Shift, and 'Salem's Lot also mention the tome. In On Writing, King is critical of Lovecraft's dialogue-writing skills, using passages from The Colour Out of Space as particularly poor examples. There are also several examples of King referring to Lovecraftian characters in his work, such as Nyarlathotep and Yog-Sothoth.
King acknowledges the influence of Bram Stoker, particularly on his novel 'Salem's Lot, which he envisioned as a retelling of Dracula. Its related short story "Jerusalem's Lot", is reminiscent of Stoker's The Lair of the White Worm.
King has also referenced author Shirley Jackson. 'Salem's Lot opens with a quotation from Jackson's The Haunting of Hill House, and a character in Wolves of the Calla references the Jackson book We Have Always Lived in the Castle.
King is a fan of John D. MacDonald, and dedicated the novella "Sun Dog" to MacDonald, saying "I miss you, old friend." For his part, MacDonald wrote an admiring preface to Night Shift, and even had his famous character, Travis McGee, reading Cujo in one of the last McGee novels and Pet Sematary in the last McGee novel, The Lonely Silver Rain.
In 1987 King's Philtrum Press published Don Robertson's novel, The Ideal, Genuine Man. In his forenote to the novel, King wrote, "Don Robertson was and is one of the three writers who influenced me as a young man who was trying to 'become' a novelist (the other two being Richard Matheson and John D. MacDonald)."
Robert A. Heinlein's book The Door into Summer is repeatedly mentioned in King's Wolves of the Calla.
In an interview with King, Published in the USA Weekend in March, 2009, the author stated, "People look on writers that they like as an irreplaceable resource. I do. Elmore Leonard, every day I wake up and – not to be morbid or anything, although morbid is my life to a degree – don't see his obituary in the paper, I think to myself, "Great! He's probably working somewhere. He's gonna produce another book, and I'll have another book to read." Because when he's gone, there's nobody else."
King partly dedicated his book Cell to film director George Romero, and wrote an essay for the Elite DVD version of Night of the Living Dead.
Collaborations
King has written two novels with acclaimed horror novelist Peter Straub: The Talisman and a sequel, Black House. King has indicated that he and Straub will likely write the third and concluding book in this series, the tale of Jack Sawyer, but has set no time line for its completion.
King also wrote the nonfiction book, Faithful with novelist and fellow Red Sox fanatic Stewart O'Nan.
In 1996 King collaborated with Michael Jackson to create Ghosts, a 40-minute musical video in which the singer portrays a recluse living in a mansion confronting an unwelcoming group of townsfolk initially calling for his exodus from their community.
"Throttle", a novella written in collaboration with his son Joe Hill, appears in the anthology He Is Legend: Celebrating Richard Matheson, (Gauntlet Press, 2009).
The Diary of Ellen Rimbauer: My Life at Rose Red, was a paperback tie-in for the King-penned miniseries Rose Red. The book was published under anonymous authorship, and written by Ridley Pearson. This spin-off is a rare occasion of another author being granted permission to write commercial work using characters and story elements invented by King.
King has written a musical play with John Mellencamp titled Ghost Brothers of Darkland County.
King played guitar for the rock band Rock-Bottom Remainders, several of whose members are authors. Other members include Dave Barry, Ridley Pearson, Scott Turow, Amy Tan, James McBride, Mitch Albom, Roy Blount, Jr., Matt Groening, Kathi Kamen Goldmark, Sam Barry, and Greg Iles. None of them claim to have any musical talent. King is a fan of the rock band AC/DC, who did the soundtrack for his 1986 film, Maximum Overdrive. He is also a fan of The Ramones, who wrote the title song for Pet Sematary and appeared in the music video. King referred to the band several times in various novels and stories and The Ramones referenced King on the song "It's Not My Place (In the 9 to 5 World)", which is on 1981's Pleasant Dreams. In addition he wrote the liner notes for their tribute album We're a Happy Family. In 1988, the band Blue Öyster Cult recorded an updated version of their 1974 song "Astronomy". The single released for radio play featured a narrative intro spoken by King.
On Sunday, October 25, 2009 the DC Comics Vertigo blog news feed released that King will team up with short story writer Scott Snyder and artist Rafael Albuquerque in a new monthly comic book series from Vertigo in March 2010 called American Vampire. King is to write the background history of the very first American vampire, Skinner Sweet, in the five issues of the first arc. Scott Snyder will write the story of Pearl. Both stories are to weave together to form the first story arc.
In 2010, King collaborated with musician Shooter Jennings and his band Hierophant, providing the narration for their most recent album, Black Ribbons.
Films and TV
Main article: Media based on Stephen King works
Many of King's novels and short stories have been made into major motion pictures or TV movies and miniseries.
King has stated that his favorite book-to-film adaptations are Stand by Me, The Shawshank Redemption, and The Mist.
King's first film appearance was in George Romero's Knightriders as a buffoonish audience member. His first featured role was in Creepshow, playing Jordy Verrill, a backwoods redneck who, after touching a fallen meteor in hopes of selling it, grows moss all over his body. He has since made cameos in several adaptations of his works. He appeared in Pet Sematary as a minister at a funeral, in Rose Red as a pizza deliveryman, as a news reporter in The Storm of the Century, in The Stand as "Teddy Wieszack," in the Shining miniseries as a band member, in The Langoliers as Tom Holby and in Sleepwalkers as the cemetery caretaker. He has also appeared in The Golden Years, in Chappelle's Show and, along with fellow author Amy Tan, on The Simpsons as himself. In addition to acting, King tried his hand at directing with Maximum Overdrive, in which he also made a cameo appearance as a man using an ATM that is on the fritz.
King produced and acted in a miniseries, Kingdom Hospital, which is based on the Danish miniseries Riget by Lars von Trier. He also co-wrote The X-Files season 5 episode "Chinga" with the creator of the series Chris Carter.
King has also made an appearance as a contestant on Celebrity Jeopardy! in 1995, playing to benefit the Bangor Public Library.
King provided the voice of Abraham Lincoln in the audiobook version of Assassination Vacation.
In 2010, King appeared in a cameo role as a cleaner named Bachman on the FX series Sons of Anarchy.
In a 2009 episode of Family Guy, "Three Kings", three of King's novels' film adaptations, Stand By Me, Misery, and The Shawshank Redemption, were parodied.
In the 2000 Family Guy episode "Brian In Love", Brian Griffin accidentally hits a man with his pickup truck, initially fearing that he has struck Stephen King, a reference to the real-life incident experienced by King. However, when the man identifies himself as Dean Koontz, Brian backs up over him again.
A season 3 episode of Quantum Leap is a homage to King, at the end when Sam realizes that the character Stevie is a young Stephen King.
The Syfy TV series Haven, is based on King's novella, The Colorado Kid.
Reception
Critical response
Although critical reaction to King's work has been mostly positive, he has occasionally come under fire from academic writers.
Science fiction editors John Clute and Peter Nichols offer a largely favorable appraisal of King, noting his "pungent prose, sharp ear for dialogue, disarmingly laid-back, frank style, along with his passionately fierce denunciation of human stupidity and cruelty (especially to children) [all of which rank] him among the more distinguished 'popular' writers."
In his analysis of post-World War II horror fiction, The Modern Weird Tale (2001), critic S. T. Joshi devotes a chapter to King's work. Joshi argues that King's best-known works (his supernatural novels), are his worst, describing them as mostly bloated, illogical, maudlin and prone to deus ex machina endings. Despite these criticisms, Joshi argues that since Gerald's Game (1993), King has been tempering the worst of his writing faults, producing books that are leaner, more believable and generally better written. Joshi suggests that King's strengths as a writer include the accessible "everyman" quality of his prose, and his unfailingly insightful observations about the pains and joys of adolescence. Joshi cites two early non-supernatural novels—Rage (1977) and The Running Man (1982)—as King's best, suggesting both are riveting and well-constructed suspense thrillers, with believable characters.
In 1996, King won an O. Henry Award for his short story "The Man in the Black Suit".
In 2003, King was honored by the National Book Awards with a lifetime achievement award, the Medal of Distinguished Contribution to American Letters, with his work being described thus:
Stephen King’s writing is securely rooted in the great American tradition that glorifies spirit-of-place and the abiding power of narrative. He crafts stylish, mind-bending page-turners that contain profound moral truths–some beautiful, some harrowing–about our inner lives. This Award commemorates Mr. King’s well-earned place of distinction in the wide world of readers and book lovers of all ages.
Some in the literary community expressed disapproval of the award: Richard Snyder, the former CEO of Simon & Schuster, described King's work as "non-literature", and critic Harold Bloom denounced the choice:
The decision to give the National Book Foundation's annual award for "distinguished contribution" to Stephen King is extraordinary, another low in the shocking process of dumbing down our cultural life. I've described King in the past as a writer of penny dreadfuls, but perhaps even that is too kind. He shares nothing with Edgar Allan Poe. What he is is an immensely inadequate writer on a sentence-by-sentence, paragraph-by-paragraph, book-by-book basis.
However, others came to King's defense, such as writer Orson Scott Card, who responded:
Let me assure you that King's work most definitely is literature, because it was written to be published and is read with admiration. What Snyder really means is that it is not the literature preferred by the academic-literary elite."
In Roger Ebert's review of the 2004 movie Secret Window, he stated, "A lot of people were outraged that [King] was honored at the National Book Awards, as if a popular writer could not be taken seriously. But after finding that his book On Writing had more useful and observant things to say about the craft than any book since Strunk and White's The Elements of Style, I have gotten over my own snobbery."
In 2008, King's book On Writing was ranked 21st on Entertainment Weekly list of "The New Classics: The 100 Best Reads from 1983 to 2008".
Comics
King has done some writing for comic books. In 1985 King wrote a few pages of the benefit X-Men comic book Heroes for Hope Starring the X-Men. The book, whose profits were donated to assist with famine relief in Africa, was written by a number of different authors in the comic book field, such as Chris Claremont, Stan Lee, and Alan Moore, as well as authors not primarily associated with that industry, such as Harlan Ellison. The following year, King wrote the introduction to Batman #400, an anniversary issue in which he expressed his preference for that character over Superman.
In 2007, Marvel Comics began publishing comic books based on King's Dark Tower series, followed by adaptations of The Stand in 2008 and The Talisman in 2009.
In 2010, DC Comics premiered American Vampire, a monthly series written by King with short story writer Scott Snyder, and illustrated by Rafael Albuquerque.
Other work
Radio stations
Stephen and his wife Tabitha own The Zone Corporation, a central Maine radio station group consisting of WZON, WZON-FM, and WKIT. The last of the three stations features a Frankenstein-esque character named "Doug E. Graves" as part of the logo and the tagline "Stephen King's Rock 'n' Roll Station."[citation needed]
Philanthropy
This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2010)
Since becoming commercially successful, King and his wife have donated large amounts of money to causes around their home state of Maine and elsewhere, notably to literacy projects.
The Kings' early '90s donation to the University of Maine Swim Team saved the program from elimination from the school's athletics department. Donations to local YMCA and YWCA programs have allowed renovations and improvements that would otherwise have been impossible. Additionally, King annually sponsors a number of scholarships for high school and college students.
The Kings do not desire recognition for their funding of Bangor-area facilities: they named the Shawn T. Mansfield Stadium for a prominent local little league coach's son who has cerebral palsy, while the Beth Pancoe Aquatic Park memorializes an accomplished swimmer from the region who died of cancer.
On November 6, 2008, King appeared with friend and fellow author Richard Russo to raise money for the Western Massachusetts food bank. The event held by the Odyssey Bookshop in South Hadley at Mount Holyoke College raised over $18,000 and helped to promote his new collection, Just After Sunset, and Russo's Bridge of Sighs.
Stephen and Tabitha King also donate thousands each year to politically progressive organizations, such as the Maine People's Alliance.
Political activism
In April 2008, King spoke out against HB 1423, a bill pending in the Massachusetts state legislature that would restrict or ban the sale of violent video games to anyone under the age of 18. Although King stated that he had no personal interest in video games as a hobby, he criticized the proposed law, which he sees as an attempt by politicians to scapegoat pop culture, and to act as surrogate parents to others' children, which he asserted is usually "disastrous" and "undemocratic". He also saw the law as inconsistent, as it would forbid a 17-year-old, legally able to see Hostel: Part II, from buying or renting Grand Theft Auto: San Andreas, which is violent but less graphic. While conceding that he saw no artistic merit in some violent video games, King also opined that such games reflect the violence that already exists in society, which would not be lessened by such a law, and would be redundant in light of the ratings system that already exists for video games. King argued that such laws allow legislators to ignore the economic divide between the rich and poor, and the easy availability of guns, which he felt were the more legitimate causes of violence.
A controversy emerged on May 5, 2008, when a conservative blogger posted a clip of King at a Library of Congress reading event. King, talking to high-school students, had said: "If you can read, you can walk into a job later on. If you don't, then you've got the Army, Iraq, I don't know, something like that." The comment was described by the blog as "another in a long line of liberal media members bashing the military," and likened to John Kerry's similar remark from 2006. King responded later that day, saying, "That a right-wing-blog would impugn my patriotism because I said children should learn to read, and could get better jobs by doing so, is beneath contempt...I live in a national guard town, and I support our troops, but I don’t support either the war or educational policies that limit the options of young men and women to any one career—military or otherwise." King again defended his comment in an interview with the Bangor Daily News on May 8, saying, "I’m not going to apologize for promoting that kids get better education in high school, so they have more options. Those that don’t agree with what I’m saying, I’m not going to change their minds."
King's website states that he is a supporter of the Democratic Party. During the 2008 presidential election, King voiced his support for Democratic candidate Barack Obama.
King was quoted as calling conservative commentator Glenn Beck "Satan's mentally challenged younger brother."
King and his wife own and occupy three different houses, one in Bangor, one in Lovell, Maine, and they regularly winter in their waterfront mansion located off the Gulf of Mexico, in Sarasota, Florida. He and Tabitha have three children and three grandchildren.
Shortly after publication of The Tommyknockers, King's family and friends staged an intervention, dumping evidence of his addictions taken from the trash including beer cans, cigarette butts, grams of cocaine, Xanax, Valium, NyQuil, dextromethorphan (cough medicine) and marijuana, on the rug in front of him. As King related in his memoir, he then sought help and quit all forms of drugs and alcohol in the late 1980s, and has remained sober since.
Tabitha King has published nine of her own novels. Both King's sons are published authors: Owen King published his first collection of stories, We're All in This Together: A Novella and Stories, in 2005; Joseph Hillstrom published an award-winning collection of short stories, 20th Century Ghosts, in 2005, and his first novel, Heart-Shaped Box will be adapted by Irish director Neil Jordan for a 2010 Warner Bros. release.
King's daughter Naomi spent two years as a minister in the Unitarian Universalist Church, in Utica, New York. Naomi now ministers for the Unitarian Universalist Church of River of Grass, in Plantation, Florida with her same-sex partner, Rev. Dr. Thandeka.
King was raised Methodist, while his wife, Tabitha, was raised Catholic.
King is a fan of baseball, and of the Boston Red Sox in particular; he frequently attends the team's home and away games, and occasionally mentions the team in his novels and stories. He helped coach his son Owen's Bangor West team to the Maine Little League Championship in 1989. He recounts this experience in the New Yorker essay "Head Down", which also appears in the collection Nightmares & Dreamscapes. In 1999, King wrote The Girl Who Loved Tom Gordon, which featured former Red Sox pitcher Tom Gordon as the protagonist's imaginary companion. King recently co-wrote a book titled Faithful: Two Diehard Boston Red Sox Fans Chronicle the Historic 2004 Season with Stewart O'Nan, recounting the authors' roller coaster reaction to the Red Sox's 2004 season, a season culminating in the Sox winning the 2004 American League Championship Series and World Series.[citation needed] In the 2005 film Fever Pitch, about an obsessive Boston Red Sox fan, King tosses out the first pitch of the Sox's opening day game. He has also devoted one of his columns for Entertainment Weekly on the subject of commercialism in Major League Baseball.[volume & issue needed] He also starred in an ESPN SportsCenter advertisement referencing both his allegiance to the Red Sox and his preferred writing genre (horror fiction).