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Danse Macabre :: Кинг Стивен
Страница: 4 из 359As a result of that class, many of these ideas cannot even be said to be my own, for they were modified during class discussions, challenged, and, in many cases, changed.
During that class, an English professor at the University of Maine, Burton Hatlen, came in to lecture one day on Stoker's Dracula , and you will find that his insightful thoughts on horror as a potent part of a myth-pool in which we all bathe communally also form a part of this book's spine. So, thanks, Burt.
My agent, Kirby McCauley, a fantasy/horror fan and unregenerate Minnesotan, also deserves thanks for reading this manuscript, pointing out errors of fact, arguing conclusions . . . and most of all for sitting up with me one fine drunk night in the U.N. Plaza Hotel in New York and helping me to make up the list of recommended horror films during the years 1950-1980 which forms Appendix 1 of this book. I owe Kirby for more than that, much more, but for now that will have to do.
I've also drawn upon a good many outside sources during the course of my work in Danse Macabre , and have tried as conscientiously as I can to acknowledge these on a pay-as-you-go basis, but I must mention a few that were invaluable: Carlos Clarens's seminal work on the horror film, An Illustrated History of the Horror Film ; the careful episode-by-episode rundown of The Twilight Zone in Starlog; The Science Fiction Encyclopedia , edited by Peter Nichols, which was particularly helpful in making sense (or trying to, anyway) of the works of Harlan Ellison and of the TV program The Outer Limits ; and countless other odd byways that I happened to wander down.
Lastly, thanks are due to the writers-Ray Bradbury, Harlan Ellison, Richard Matheson, Jack Finney, Peter Straub, and Anne Rivers Siddons among them-who were kind enough to answer my letters of enquiry and to provide information about the genesis of the works discussed here. Their voices provide a dimension to this work which would otherwise be sadly lacking.
I guess that's about it . . . except I wouldn't want to leave you with any idea whatsoever that I believe what follows even approaches perfection. I suspect plenty of errors still remain in spite of careful combing; I can only hope that they are not too serious or too many. If you find such errors, I hope you'll write to me and point them out, so I can make corrections in any future editions. And, you know, I hope you have some fun with this book. Nosh and nibble at the corners or read the mother straight through, but enjoy. That's what it's for, as much as any of the novels.
During that class, an English professor at the University of Maine, Burton Hatlen, came in to lecture one day on Stoker's Dracula , and you will find that his insightful thoughts on horror as a potent part of a myth-pool in which we all bathe communally also form a part of this book's spine. So, thanks, Burt.
My agent, Kirby McCauley, a fantasy/horror fan and unregenerate Minnesotan, also deserves thanks for reading this manuscript, pointing out errors of fact, arguing conclusions . . . and most of all for sitting up with me one fine drunk night in the U.N. Plaza Hotel in New York and helping me to make up the list of recommended horror films during the years 1950-1980 which forms Appendix 1 of this book. I owe Kirby for more than that, much more, but for now that will have to do.
I've also drawn upon a good many outside sources during the course of my work in Danse Macabre , and have tried as conscientiously as I can to acknowledge these on a pay-as-you-go basis, but I must mention a few that were invaluable: Carlos Clarens's seminal work on the horror film, An Illustrated History of the Horror Film ; the careful episode-by-episode rundown of The Twilight Zone in Starlog; The Science Fiction Encyclopedia , edited by Peter Nichols, which was particularly helpful in making sense (or trying to, anyway) of the works of Harlan Ellison and of the TV program The Outer Limits ; and countless other odd byways that I happened to wander down.
Lastly, thanks are due to the writers-Ray Bradbury, Harlan Ellison, Richard Matheson, Jack Finney, Peter Straub, and Anne Rivers Siddons among them-who were kind enough to answer my letters of enquiry and to provide information about the genesis of the works discussed here. Their voices provide a dimension to this work which would otherwise be sadly lacking.
I guess that's about it . . . except I wouldn't want to leave you with any idea whatsoever that I believe what follows even approaches perfection. I suspect plenty of errors still remain in spite of careful combing; I can only hope that they are not too serious or too many. If you find such errors, I hope you'll write to me and point them out, so I can make corrections in any future editions. And, you know, I hope you have some fun with this book. Nosh and nibble at the corners or read the mother straight through, but enjoy. That's what it's for, as much as any of the novels.