САМО за фенове на Стивън Кинг! - 5 част

HOW WE WROTE "THE TALISMAN"

STRAUB: "It was totally at random. When one of us took it, usually he went on until he reached a point at which he was comfortable dropping it. So we pretty much ignored our assignments and went on until a natural break. By and large, we started off writing it rigidly, and ended up doing it instinctively, which was by far the better of the two ways."

KING: "It was a little bit like playing tennis. He would send what he had done and then I would work for three or four weeks and send the stuff back to him. And I really enjoyed the process -- partly because writers are so lazy. It was wonderful; the book would grow without me doing anything. But it was also a little bit like the old days, when I got the Saturday Evening Post with its serial stories. When Peter said he was going to send me something, and I would get excited because I was going to get to read some more of the story."

STRAUB: [about editing each others work] "I think we both must have been a little touchy about that. Anyway, we accepted whatever the other guy did until the book was done. Then, in the final editing, we each took a free hand with the other's stuff. and there were times when I wished we could have done the whole book like that, becasue it was a wonderful and profound experience, and something very few writers ever get the chance to have. It's like having an X ray of someones mind when you review his material that way."

KING: "The problems with The Talisman were always problems of length. The book had been conceived as a 'get it and bring it back' story, as opposed to The Lord of the Rings, which is a 'take it and get rid of it' story. But we began to realize that we had only mapped out half of the book -- that is to say, we had mapped about to the point where Jack gets it, and we had left bringing it back to another planning session. Except that by November of 1982, we already had something like six hundred pages of copy. So, we're sitting and looking at each other saying, 'We've got to do something.' We kicked around a lot of ideas, because there were lots of incidents we had planned for the way out that we hadn't got to yet, and we started realizing that this was going to be long."

STRAUB: "It would have been a four-thousand page novel, and Steve and I would both be dead, if we were still trying to write that thing."

KING: "It's a very mythic book. to me, the most wonderful thing about it is how eighteenth and nineteenth century the book is in terms of storytelling, and also in terms of the effort to create large archetypes.

We were interested in the concept of the hero in literature. we talked about the hero in terms of the quest, the mythicization of the hero, and the return of the hero to a lesser being when the quest is completed. Huckleberry Finn is a picaresque novel that doesn't have a specific object for its quest, so we focused instead on things like the story of Jesus, the story of King Arthur, Sir Gawain and the Green Knight. We talked about those things, and when we wrote the book, it filtered down like sediment."

STRAUB: "Twain was on our minds at the start, but the finished book suggests that our efforts were more conscious than they really were. I do know that we had Tom Sawyer in mind when we named Jack; but we really didn't have Twain on our minds during the whole term of the book."

KING: "It's about children who have power."

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