Doctor Sleep (aka The Shining 2)

Sleep Throat

Doctor Sleep (aka The Shining 2)
by Stephen King
Hodder & Stoughton
ISBN: 978-1444761160

It’s been a couple of decades since I last read a Stephen King novel (that one was Insomnia... and it was brilliant) and longer than that, even, since I used to regularly read him.

Part of that is because, when I discovered him at around the age of fourteen, I was pretty much a “binge reader”. I’d find a writer I liked and then read pretty much everything that was available by that person at that time and then move on to somebody else. When I started out, King only had 11 novels out under his own name and, at that time, his pen names were still an unlocked secret. The first novel I read by him was because I was at that age when all boys wanted to read about just two things... horror and sex. Everybody in the playground was reading something with a curious mixture of the two and, in terms of the sexual content, horror was an easy “in” because most of us kids weren’t into buying proper porn... that stuff needed to be hidden away.

That’s not to say that Stephen King was any kind of sex fix (nah... we left that to James Herbert) but this is the reason why writers like King, Herbert, Koontz and inevitably, the more exploitative writers like Shaun Hutson and, goodness me, Guy N. Smith, were lapped up heavily by us kids wanting to read about unpleasant or at least vaguely spooky phenomena.

King was pretty much the first horror writer I read, other than maybe Edgar Allan Poe and H.P. Lovecraft, and the novel I started on was one which had just come out and had an amazingly attractive cover. That novel was Christine, about a haunted 1958 Plymouth Fury that had a mind of its own and started to possess its new owner. I already knew who King was because, like many people my age, I’d loved the TV adaptation of Salem’s Lot (reviewed here) and after I read Christine, I went on to Salem’s Lot and then... pretty much all the others which were available at the time while simultaneously exploring the other writers I mentioned above. Luckily for me, I didn’t read his debut novel Carrie until I’d read quite a few of his others first. I say luckily because my reaction to Carrie was that it was a terrible novel and if I’d read that first I wouldn’t have discovered King’s genius... and he is a bit of a genius, to be honest.

King’s work was never that visceral or gory, although he’d occasionally have something unpleasant to say and would phrase it in a way that cut through the layers and got under your skin quickly enough. I can’t even, honestly, say I found any of his books scary either... Lovecraft was one of the very few who could occasionally give me pause to think in that area. But what I saw right away was that he’s a damn good writer. His work with the characters and pacing is far above the others, something I discovered soon enough when I began reading some of those people I mentioned above (even so, if you think I can resist reading books with titles like Night Of The Crabs or The Sucking Pit, then you’re off your trolley).

One of the books I read in that initial binge was The Shining, of course. It was a pretty great book although, I have to admit, I did prefer the Stanley Kubrik interpretation of it on film.. let’s not get in to that argument here though, right?

When I expressed a desire to read King’s new sequel to his classic horror opus, a good friend of mine bought me a copy for my birthday back in January and, as I knew I would, I rediscovered just how good a writer Stephen King is all over again. Gonna have to look up some of that back catalogue for the ones I missed soon, I reckon.

Doctor Sleep is mainly set in the present day, although it takes a while to get here because King treats us to the intervening years of the central character Danny (the little boy from The Shining) as he grows up and slips inevitably into the spiral of alcoholism that was the legacy left him from his father (a father famously played by Jack Nicholson in Kubrik’s movie version). We see him go from low to new low to hope and then onto something a little better etc until we come to the present day. We also meet some important supporting characters plus a little girl called Abra, who we see growing up and kinda cross cut with Danny’s progression as a human being. Abra and Danny have a connection... but I don’t want to say too much about that here... no spoiler warnings.

King has always been about characters and, like some of his books, there is also a tangible villain of the piece in this one... as opposed to a woken up force of nature. In fact, there’s a whole bunch of villains who call themselves The True Knott and who will cross paths with the main protagonists and have an impact on their lives in many ways. But, like I said, King is all about character. So these are not just mere two dimensional villains, quickly fleshed out to present some kind of vague threat. As Danny and Abra mature and move forward towards their respective destiny, we also see the villains fleshed out and progressing with them. We understand what they want to take from our main protagonists but we also feel what’s at stake for them. We feel their own pain and can see why it is necessary for the antagonists to take the path they are taking. It’s all a question of survival and although these people are quite nasty and unsympathetic, King fleshes them out enough so you can at least understand where they are coming from. And, of course, once the writer has you hooked like that, you are invested in the stakes and caring all the more for what happens to the central heroes.

Now I have to say that, I did pick up fairly early on in the book where King was going to go with his denouement. He’s always, and I figured this out even when I first read Christine back in the early 1980s, used a certain amount of foreshadowing in his work. He’ll end a section saying something like... “It was the last conversation character X and character Y would ever have” or some such. It keeps you turning those pages and, although I’ve always thought he kinda overused the technique, I can’t argue against the fact that his use of this particular writing tool makes for a very gripping read. Lots of writers do this kind of thing nowadays... including my two annual Christmas reads, Patricia Cornwell and Kathy Reichs.

In this one, however, it wasn’t the foreshadowing so much as the internal logic and the legacy, or should that be baggage, of Danny thrown over from his experiences in The Shining that tipped my hat pretty early on as to roughly how the ending was going to play out. But you know what? Two things about that...

First is... it doesn’t matter. King is such a great writer that it becomes all about the journey and not necessarily about the destination. The destination can still be great even if a little predictable and it’s not all about that but more about what you learn about the truth of humanity through the trials of his characters than anything else. After all, if you’re into sex, for example, you’re not going to bother not going through with it even if you’ve predicted you wont have a “quality” orgasm at some point, are you? If you are, then don’t call me!

The other thing is, it’s not the ending which is so great in this, it’s the epilogue, or wind up, or secondary ending, that really makes this book worth while in terms of the novel as a whole. I didn’t see the stuff in the very last scene coming, where Danny once more fulfils his role as the title character, Doctor Sleep. It’s about a simple act of kindness but the implicit message behind that particular act is one of, not even redemption... that point has already been reached... it’s an act that reminds you that you are not, and never will be, the enemy. You rise above even the most inconsequential negative elements in this world if that’s at all possible. It affirms something about the life you live and the way you want to live it... and I thought this was a perfect “end game” moment for King right there.

In his afterword, King talks about how and why he came to write this sequel to a book he wrote well over 30 years ago and he comes across a little like he’s worrying how people will react to it after the original has always been considered a bit of a classic and how it might not live up to what people may expect from the inevitable comparison. All I would say to Mr. King is this. You’ve written another in a series of very fine books. If this doesn’t go down as another classic, then it certainly deserves to and probably, in time, it will. It’s a more than worthy sequel to The Shining and, personally, I enjoyed it far more than the first novel.

And as for any one still reading to the end of this review... if you’re into the work of Stephen King and haven’t given Doctor Sleep a go yet, all I can say is that it is a truly excellent and compelling read which will have you constantly page turning and which will hopefully leave you with a very satisfactory sense of conclusion. This one’s definitely a hard recommend from me.

'Salem's Lot

Barlow Sugar

'Salem's Lot
1979 USA
Directed by Tobe Hooper
Warner Brothers DVD Region 2

There’s an image which has stuck in my memory over the years but it rarely haunts my dreams the way it did as a child. A big double window made of various panes, looking out into the night through this window and the fog rolls in. Out of the fog, a small boy floats towards the window, his eyes black rimmed and glowing. He starts to tap/scratch on the window... he needs entrance and, of course, everybody knows a vampire has to be invited in.

This scene is something I saw in either 1979 or 1981, if you believe the UK TV release date from the IMDB (which I don’t as it happens, pretty sure it aired both in 1979 and 1981 over here). It’s one of many images which made a distinct impression in my mind when I was just 11 years old (or 13 depending on whether you believe etc), as I watched, over two consecutive nights I think it was, the two episode mini series ‘Salem’s Lot. I already liked (and had bad dreams from) various horror movies as a growing lad (most notably with the series of Quatermass remakes by Hammer) and I was doubly curious because it also had David Soul in it, who had just finished his very successful four year run as one half of what the BBC television announcer would weekly proclaim as, “those rough, tough but likable cops” Starsky and Hutch. Soul played Ken Hutchinson, the weedy one, but it was still kind of interesting to see how he would be acting in something else.

What can I say? Not only is he pretty brilliant in this (and I don’t even want to think about the TV mini-series remake of Casablanca he was in where he played Bogart’s role, thanks very much) but ‘Salem’s Lot is actually a quite brave and interesting piece of US horror television, following in the footsteps, perhaps, of the two extremely successful TV movies The Night Stalker and The Night Strangler and the one season TV show they spawned, Kolchak: The Night Stalker. 

It’s been a long while. 34 years (or 32, depending on, yeah you know that bit already) and I have to say, it’s really stood the test of time. I do think that this is the stand-out career highlight for director Tobe Hooper, director of the original version of The Texas Chainsaw Massacre and, allegedly, pseudo-director of... erm... Steven Spielberg’s Poltergeist. There are things that people of a younger generation might find hard going about this one these days... it had a pace all it’s own and most kiddies these days might not be able to sit still for that... but for people of my generation who were terrified and in love with the show, as I was, well it really isn’t all that dated compared to the original broadcast years ago.

The first episode starts off with a scene which takes place two years after the main narrative of the show and we meet David Soul as Ben and Lance Kerwin as Mark, still running from the events you are about to watch. A little bit of business with a vial of Holy Water which glows blue and then we’re into the jigsaw-like typography of the main credits, as composer Harry Sukman’s unbelievable score quotes the Dies Irae for a little bit before propelling us at high speed through a main title piece which is so startling and memorable that I’m surprised it hasn’t been released as a soundtrack before now. It was, in fact, released as a limited edition, 2 disc CD soundtrack a mere two weeks ago and I expect it will sell out soon (mine arrived a couple of days ago and it's been well played already) but the score is astounding in its moody atmosphere and that title music, I suspect, may have even been inspiration for Danny Elfman’s opening titles for Beeteljuice (and may also have been “inspired” itself by Bernard Herrmann’s Skeleton Duel music from The 7th Voyage Of Sinbad). That’s just my own flight of fancy speculation, of course... but I do believe it. 

Then we get in to the main story as writer Ben returns to his home town of ‘Salem’s Lot in Maine (where the writer of the original novel, Stephen King, sets most of his books and, indeed, lives), once known as Jerusalem’s Lot but shortened over the centuries. He comes to write the story of a house that terrified him as a child. A house where... bad things happen and, by a strange coincidence, where bad things are happening again. And this is where King pays tribute to (or just plain steals and splices in) the original Bram Stoker version of Dracula. With James Mason’s Mr. Straker acting as a Renfield substitute to “Mr. Barlow”, who is a vampire modelled after the Max Schreck performed creature in F. W. Murnau’s original Nosferatu: A Symphony Of Horror (hmmm... Nosferatu... sure I’ve heard that name before somewhere). The local estate agent has secured Mr. Straker and Mr. Barlow a nice antiques shop and, of course, the house that Ben has returned to write about.

And things get predictable but comfortable from this point, as Ben and his friends try to find out what is going on while the vampire slowly starts pulling the town apart. It’s not, in any way, rushed... but it still feels pacey at some points. I believe it was also very influential (I can think of at least one moment in John Carpenter’s The Fog which was done here first, although it's more likely that the specific scene I'm thinking of was first seen by Carpenter in the movie version of The Trollenberg Terror aka The Crawling Eye) and it firmly supports the foundations of the vampire myth in the 20th century while still having a certain amount of fun with it.

It also has some really nice shock and scare moments which were very well documented and talked through over the course of the next few days after its original airing in various school playgrounds around the country. The moment, for example, when a young boy is driven back from the wind, walks towards camera and then a black silhouette pops up from the bottom of the screen in front of him which is guaranteed to make most viewers who are engrossed in this jump out of their skin. Especially when it’s accompanied by a particularly close relative of the 1950s, B-movie monster, musical stinger, courtesy of Mr. Sukman’s thrill ride of a score. A similarly startling but, at this point expected, sit-up-in-the-coffin-and-take-a-bite moment also sticks in the memory. It’s all really great stuff and filled with carefully timed moments such as this, coupled with great acting from the entire cast, but especially all those I’ve mentioned so far and with a big shout out to young Bonnie Bedelia (known more for her role as Bruce Willis’ wife in the first two Die Hard movies) and the always watchable legend who is, one of the greatest overlooked actors in the history of the cinema... Elisha Cook Jr.

There is one irritating thing, though. It’s a glaring continuity error with a set of packing instructions which are stuck to the front of the crate which holds the coffin and body of Mr. Barlow. They seem to appear and reappear at will. You can forget about matching shots in this sequence of the show... but it is fun to play “spot the packing instructions” I have to admit.

Now, something which I would like help with from the memory of the NUTS4R2 reader collective is this. The character Mark has a penchant for horror pop culture. Various model kits and posters/stills of the iconic Universal monsters fill his disproportionately large bedroom (how do characters get that kind of money in the jobs they are in). In the story he is seen fixing part of the old Auroura model kit of the Frankenstein monster. Now I remember a scene where, once it was fixed, he pressed a button on the model several times and its eyes lit up and it made a buzzing sound. It doesn’t, however, seem to appear on this version of the show. Did I remember this right or have I remembered a scene from another movie or TV show from around the same time and grafted it onto my memory of ‘Salem’s Lot as the decades take their toll on my tired brain. I’d be really grateful if somebody could leave a comment or get in touch through twitter and put my mind at rest on that one.

And so that’s about it for this write up. I loved this as a kid and I still do now. This and Christine were the first two Stephen King books I read in my early teens (I read Christine first). I remember when I read ‘Salem’s Lot that the book followed it a good deal but then branched away and did its own thing... that is to say, the TV show changed it around and the writer, director and producers made some decisions about how best things would play out on popular TV is my guess. But it’s a pretty entertaining horror show and very much talked about by people, especially children, at the time. Definitely one to grab hold of and have a look if you’ve not seen it before and are in love with the horror genre. I understand there has been both a sequel and a remake to this in the ensuing years, but I haven’t seen either of those yet. I plan on fixing that sometime soon but, in the meantime, I will say that I can’t imagine any remake or alternate adaptation of this which could be anywhere near as engaging and entertaining as the original... nor have such a kick-ass score as this one. Definitely watch this 1979 version if you’ve got the time.