Danse Macabre is a 1981 non-fiction book by Stephen King, about horror fiction in print, TV, radio, film and comics, and the influence of contemporary societal fears and anxieties on the genre. When the book was republished King included a new Forenote dated June 1983 (however not all subsequent editions have included this forenote). And when the book was republished on February 23, 2010, it included an additional new forenote in the form of a longer essay (7,700 words) entitled "What's Scary".
Danse Macabre examines the various influences on King's own writing, and important genre texts of the 19th and 20th centuries. Danse Macabre explores the history of the genre as far back as the Victorian era, but primarily focuses on the 1950s to the 1970s (roughly the era covering King's own life at the time of publication). King peppers his book with informal academic insight, discussing archetypes, important authors, common narrative devices, "the psychology of terror", and his key theory of "Dionysian horror".
King's novel The Stand was published in Spanish as La danza de la muerte 'The Dance of Death', which caused some confusion between the two books (A later Spanish edition of this novel was titled Apocalipsis 'Apocalypse'). The same happened in Brazil and Portugal with both countries translating The Stand as "A Dança da Morte", meaning also "The Dance of Death".[1] Similarly, his 1978 collection of short stories Night Shift was released in France as Danse macabre in 1980. To avoid confusion, the actual "Danse Macabre" essay was given the title "Anatomie de l'horreur" ("An Anatomy of Horror") when it was released in France 14 years later, in 1995.[2]
Background
In the introduction, King credits Bill Thompson, the editor of his first five published novels, and later editor at Doubleday, as being the inspiration for its creation.
... Bill called me and said, "Why don't you do a book about the entire horror phenomenon as you see it? Books, movies, radio, TV, the whole thing. We'll do it together, if you want." The concept intrigued and frightened me at the same time.
Thompson ultimately convinced King that if he wrote such a genre survey, he would no longer have to answer tedious, repetitive interview questions on the topic.
Editions
Danse Macabre was originally published in hardcover by Everest House on April 20, 1981 ( ISBN978-0896960763). Along with the trade hardcover, Everest House also published a limited edition of the book, signed by King, limited to 250 numbered copies and 15 lettered copies. The limited edition did not have a dust jacket, and instead was housed in a slipcase. Later, Berkley Books published a mass market paperback edition of the book on December 1, 1983 ( ISBN978-0425064627). A new introduction was added to this edition, entitled "Forenote to the Paperback Edition". Among other things, King discusses the fact that he asked Dennis Etchison "to comb the errors" in the original edition, and thus the 1983 paperback edition contains the corrected text of Danse Macabre. In the book's original Forenote, readers were also asked to send in any errors to be corrected, and those were incorporated as well. On February 23, 2010, Gallery Books published a new edition of Danse Macabre ( ISBN978-1439170984), a trade paperback with the corrected 1983 text, including both the original and the 1983 introductions, as well as a newly written piece "What's Scary?", which serves as a forenote to this 2010 edition.
Synopsis
The backbone of the text is King's teaching notes from several college courses he taught in the 1970s. However, Danse Macabre has a casual, non-linear writing style and expresses a desire to avoid "academic bullshit".
In the introduction, titled "October 4, 1957, and an Invitation to Dance", King begins by explaining why he wrote the book, and then describes the event itself: the launching of the Soviet satellite Sputnik which inspired profound fear in him, intended as his personal introduction to what he calls "the real terror". This is followed by the chapter "Tales of the Hook", specifically "The Hook"; an urban legend about young lovers parked in a car, who narrowly avoid an attack by an escaped prisoner with a hook for a hand. King uses this legend to illustrate his contention that horror in general "offers no characterization, no theme, no particular artifice; it does not aspire to symbolic beauty".
In the following chapter, he creates a template for descriptions of his macabre subject. Entitled "Tales of the Tarot", the chapter has nothing to do with the familiar tarot card deck. Rather, King borrows the term to describe his observations about major archetypal characters of the horror genre, which he posits come from two British novels and one Irish: the vampire (from Dracula), the werewolf (from Dr. Jekyll and Mr. Hyde), and the "Thing Without a Name" (from Frankenstein). In light of the sexually repressed Victorian Era publication of Dracula, King sees a strong sexual undercurrent to the story. Frankenstein is reviewed as "a Shakespearean tragedy", and he argues that "its classical unity is broken only by the author's uncertainty as to where the fatal flaw lies—is it in Victor's hubris (usurping a power that belongs only to God) or in his failure to take responsibility for his creation after endowing it with the life-spark?" King does not mistake Mr. Hyde for a "traditional" werewolf, but rather sees the character as the origin of the modern archetype that was later defined by werewolves. The evil-werewolf archetype, argues King, stems from the base and violent side of humanity. These major archetypes are then reviewed in their historical context, ranging from their original appearances to their modern-day equivalents, up to and including cartoon breakfast cereal characters such as Frankenberry and Count Chocula.
The chapter "An Annoying Autobiographical Pause" begins with King's explanation for why he included the section: "I cannot divorce myself from a field in which I am mortally involved." He then offers a brief family history, discussing his abandonment by his father at the age of two, his childhood in rural eastern Maine, and then explains his childhood fixation with the imagery of terror and horror, making 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 the H.P. Lovecraft collection The Lurker in the Shadows,[3] which had belonged to his long-since-departed father. The cover art, an illustration of a monster hiding within the recesses of a hell-like cavern beneath a tombstone, was, he writes, the moment in his life which "that interior dowsing rod responded to".
King then resumes his discussion of the horror genre by making detailed commentary of horror in all forms of media, beginning with radio, then proceeding to a highly critical review of television horror, two separate chapters on horror in the motion pictures, and finally concluding with an examination of horror fiction.
His critique on the radio examines such American programs as Suspense, Inner Sanctum, and Boris Karloff, and praises Arch Oboler's Lights Out. King ultimately concludes that, as a medium for horror, radio is superior to television and films, since radio's nature requires a more active use of imagination.
King then turns to two separate chapters of horror in the motion pictures. In "The Modern American Horror Movie—Text and Subtext," the "subtext" he refers to consists of unspoken social commentary he sees in the films. The 1951 film The Thing from Another World implies commentary on the threat of communism, "the quick, no-nonsense destruction of their favorite geopolitical villain, the dastardly Russians," King writes. The popular 1973 film The Exorcist was aptly suited in the wake of the youth upheavals of the late 1960s and early '70s. 1975's The Stepford Wives, King says, "has some witty things to say about Women's Liberation ... and the American male's response to it". In The Amityville Horror, King sees "economic unease" and maintains that the film's 1979 release during an extended economic slump "could not have come along at a more opportune moment". He also calls The China Syndrome, released the same year and usually categorized as a disaster-suspense film, a horror movie that "synthesizes technological fears ... fears of the machinery gone out of control, run wild".
In the following chapter, "The Horror Movie as Junk Food" King begins by making the statement: "I am no apologist for bad filmmaking, but once you've spent twenty years or so going to horror movies, searching for diamonds in the dreck of the B-pics ... you begin to seek the patterns and appreciate them when you find them, you begin to get a taste for really shitty movies." He makes the point that his agent Kirby McCauley had selected the obscure 1977 film Rituals as his favorite, while King himself chose 1979's Tourist Trap as one that "wields an eerie spooky power. Wax figures begin to move and come to life in a ruined, out-of-the-way tourist resort." He continues with reviews of such films as Prophecy (1979), I Married a Monster from Outer Space (1958), The Horror of Party Beach (1964), and The Rocky Horror Picture Show (1975), among others; concluding: "Bad films may sometimes be amusing, sometimes even successful, but their only real usefulness is to form that basis of comparison: to define positive values in terms of their own negative charm. They show us what to look for because it is missing in themselves."
King then turns his most weighty criticism toward television, borrowing Harlan Ellison's description of television as "the glass teat", and subtitling the chapter, "This Monster Is Brought to You by Gainesburgers". He reviews horror anthology programs such as Thriller, The Outer Limits, The Twilight Zone, Dark Shadows, and Night Gallery, ultimately concluding that television is severely limited in its ability to illustrate horror because it is enslaved to the demands of network Standards and Practices censorship and the appeasement of advertising executives that provide the financial means necessary for television to continue its free access.
Shirley Jackson uses the conventions of the new American Gothic to examine character under extreme psychological—or perhaps occult—pressure; Peter Straub uses them to examine the effects of an evil past upon the present; Anne Rivers Siddons uses them to examine social codes and social pressures; Bradbury uses these self-same conventions in order to offer us a moral judgment.
The final chapter, "The Last Waltz", is a brief analysis of how the medium of horror fiction in all its forms has inspired real-life acts of violence. He describes an incident in which a woman was brutally murdered by youths who confessed to imitating a scene from a TV movie, then objectively includes an example of violence perpetrated by a woman who had been reading his novel The Stand at the time she committed the crime. "If it had not been shown", he writes, "stupidity and lack of imagination might well have reduced them to murdering ... in some more mundane way." In an analysis of why people read and watch horror, he concludes, "Perhaps we go to the forbidden door or window willingly because we understand that a time comes when we must go whether we want to or not."
Classification
Additionally, King classifies the genre into three well-defined, descending levels—terror, horror, and revulsion.
He describes terror as "the finest element" of the three, and the one he strives hardest to maintain in his own writing. Citing many examples, he defines "terror" as the suspenseful moment in horror before the actual monster is revealed.
Horror, King writes, is that moment at which one sees the creature/aberration that causes the terror or suspense, a "shock value".
King finally compares revulsion with the gag-reflex: a bottom-level, cheap gimmick which he admits he often resorts to in his own fiction if necessary, confessing:
I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud.
Horror is a genre of fiction that is intended to disturb, frighten or scare. Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction. Literary historian J. A. Cuddon, in 1984, defined the horror story as "a piece of fiction in prose of variable length... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing". Horror intends to create an eerie and frightening atmosphere for the reader. Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.
Robert Albert Bloch was an American fiction writer, primarily of crime, psychological horror and fantasy, much of which has been dramatized for radio, cinema and television. He also wrote a relatively small amount of science fiction. His writing career lasted 60 years, including more than 30 years in television and film. He began his professional writing career immediately after graduation from high school, aged 17. Best known as the writer of Psycho (1959), the basis for the film of the same name by Alfred Hitchcock, Bloch wrote hundreds of short stories and over 30 novels. He was a protégé of H. P. Lovecraft, who was the first to seriously encourage his talent. However, while he started emulating Lovecraft and his brand of cosmic horror, he later specialized in crime and horror stories working with a more psychological approach.
Stephen Edwin King is an American author of horror, supernatural fiction, suspense, crime, science-fiction, and fantasy novels. Called the "King of Horror", his books have sold more than 350 million copies as of 2006, and many have been adapted into films, television series, miniseries, and comic books. He has also written approximately 200 short stories, most of which have been published in book collections. His debut, Carrie, was published in 1974, and was followed by 'Salem's Lot, The Shining, The Stand and The Dead Zone. Different Seasons, a collection of four novellas, was his first major departure from the horror genre. The novellas provided the basis for the films Stand by Me and The Shawshank Redemption. King has published under the pseudonym Richard Bachman and has cowritten works with other authors, notably his friend Peter Straub and sons Joe Hill and Owen King.
Fredric Brown was an American science fiction, fantasy, and mystery writer. He is known for his use of humor and for his mastery of the "short short" form—stories of one to three pages, often with ingenious plotting devices and surprise endings. Humor and a postmodern outlook carried over into his novels as well. One of his stories, "Arena", was adapted to a 1967 episode of the American television series Star Trek.
Ramsey Campbell is an English horror fiction writer, editor and critic who has been writing for well over fifty years. He is the author of over 30 novels and hundreds of short stories, many of them winners of literary awards. Three of his novels have been adapted into films.
Carrie is a 1974 horror novel, the first by American author Stephen King. Set in Chamberlain, Maine, the plot revolves around Carrie White, a friendless, bullied high-school girl from an abusive religious household who discovers she has telekinetic powers. Feeling guilty for harassing Carrie, Sue Snell invites Carrie to the prom with Tommy Ross, but a humiliating prank during the prom by Chris Hargensen leads to Carrie destroying the town with her powers. The narrative contains fictional documents in approximately chronological order that present multiple perspectives on the prom incident and its perpetrator. Carrie deals with themes of ostracism and revenge, with the opening shower scene and the destruction of Chamberlain being pivotal scenes.
It is a 1986 horror novel by American author Stephen King. It was his 22nd book and the 17th novel written under his own name. The story follows the experiences of seven children as they are terrorized by an evil entity that exploits the fears of its victims to disguise itself while hunting its prey. "It" primarily appears in the form of Pennywise the Dancing Clown to attract its preferred prey of young children.
Werewolf fiction denotes the portrayal of werewolves and other shapeshifting therianthropes, in the media of literature, drama, film, games and music. Werewolf literature includes folklore, legend, saga, fairy tales, Gothic and horror fiction, fantasy fiction and poetry. Such stories may be supernatural, symbolic or allegorical. A classic cinematic example of the theme is The Wolf Man (1941) which in later films joins with the Frankenstein Monster and Count Dracula as one of the three famous icons of modern day horror. However, werewolf fiction is an exceptionally diverse genre, with ancient folkloric roots and manifold modern re-interpretations.
'Salem's Lot is a 1975 horror novel by American author Stephen King. It was his second published novel. The story involves a writer named Ben Mears who returns to the town of Jerusalem's Lot in Maine, where he lived from the age of five through nine, only to discover that the residents are becoming vampires. The town is revisited in the short stories "Jerusalem's Lot" and "One for the Road", both from King's story collection Night Shift (1978). The novel was nominated for the World Fantasy Award in 1976 and the Locus Award for the All-Time Best Fantasy Novel in 1987.
The distinction between terror and horror is a standard literary and psychological concept applied especially to Gothic and horror fiction. Terror is usually described as the feeling of dread and anticipation that precedes the horrifying experience. By contrast, horror is the feeling of revulsion that usually follows a frightening sight, sound, or otherwise experience.
Cycle of the Werewolf is a horror novella by American writer Stephen King, featuring illustrations by comic-book artist Bernie Wrightson. Each chapter is a short story unto itself. It tells the story of a werewolf haunting a small town as the moon turns full once every month. It was published as a limited-edition hardcover in 1983 by Land of Enchantment, and in 1985 as a mass-market trade paperback by Signet. King also wrote the screenplay for its film adaptation, Silver Bullet (1985). It is King's shortest novel to date at 127 pages, which makes it technically a novella.
I Was a Teenage Werewolf is a 1957 American science fiction horror film directed by Gene Fowler Jr., and starring Michael Landon as a troubled teenager, Yvonne Lime and Whit Bissell. Co-written and produced by cult film producer Herman Cohen, it was one of the most successful films released by American International Pictures (AIP).
The Haunting of Hill House is a 1959 gothic horror novel by American author Shirley Jackson. It was a finalist for the National Book Award and has been made into two feature films and a play, and is the basis of a Netflix series.
Dennis William Etchison was an American writer and editor of fantasy and horror fiction. Etchison referred to his own work as "rather dark, depressing, almost pathologically inward fiction about the individual in relation to the world". Stephen King has called Dennis Etchison "one hell of a fiction writer" and he has been called "the most original living horror writer in America".
Robert Maxwell Hood is an Australian writer and editor recognised as one of Australia's leading horror writers, although his work frequently crosses genre boundaries into science fiction, fantasy and crime.
The Cellar is a 1980 horror novel by American author Richard Laymon. It was Laymon's first published novel, and together with sequels The Beast House, The Midnight Tour, and the novella Friday Night in Beast House, forms the series known by fans of Laymon as "The Beast House Chronicles." The Cellar is an example of a splatterpunk novel, containing much extreme violence and gore, as well as adult themes including rape, incest, paedophilia, and serial murder. Laymon is often associated with this genre.
Lisa Morton is an American horror author and screenwriter.
David John Skal was an American historian, critic, writer, and on-camera commentator known for his research and analysis of horror films, horror history and horror culture.
Ronald Kelly is best known as a speculative fiction and "southern-fried" horror writer. His tales are usually set in the Southern United States and feature language and actions that are associated with those regions.
David Schmoeller is an American film director, producer and screenwriter. He is notable for directing several full-length theatrical horror films including Tourist Trap (1979), The Seduction (1982), Crawlspace (1986), Catacombs (1988), Puppet Master (1989), and Netherworld (1992). In May, 2012, Schmoeller was awarded a Lifetime Achievement Award by the Fantaspoa Film Festival in Porto Alegre, Brazil where his new feature film, 2 Little Monsters (2012) was screened along with his other notable films.
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