Download John Saul: A Critical Companion (Critical Companions to by Paul Bail PDF

By Paul Bail

This is the 1st book-length research of best-selling author John Saul's mental and supernatural thrillers. writer Paul Bail compares John Saul's novels to a cocktail: (mix) one half , one half The Exorcist, a splash of Turn of the Screw, mix good, and serve completely chillingly. Bail lines John Saul's literary profession from his 1977 debut novel Suffer the Children―the first paperback unique ever to make the hot York occasions top vendor list―to his latest novel, Black Lightning (1995). It positive factors specified analyses of 11 of his novels. The research comprises never-before-published biographical details, drawing an unique interview with John Saul, and a bankruptcy at the historical past of stories of horror and the supernatural and the way those genres have encouraged Saul's fiction.

Each bankruptcy during this research examines someone novel. The novels are analyzed for plot constitution, characterization, thematic components, and their dating to previous and later novels by means of Saul. additionally, Bail defines and applies a spread of theoretical techniques to the novels―feminist, deconstructionist, Freudian, Jungian, and sociopolitical―to widen the reader's viewpoint. Bail indicates how John Saul enlarged his repertoire from tales of supernatural ownership to science-fiction dependent horror. a whole bibliography of John Saul's fiction and a bibliography of reports and feedback whole the paintings. due to John Saul's nice reputation between young children and adults, this designated learn is an important buy through secondary college and public libraries.

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Additional resources for John Saul: A Critical Companion (Critical Companions to Popular Contemporary Writers)

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Do not themselves believe in the existence of Good as a living force in the universe. Their demons, therefore, don't ring true. (Koontz 1994, 208-212) The production in 1823 of Presumption, a popular stage play based on Mary Shelley's Frankenstein, five years after the novel's publication, was a precursor of what, in the late twentieth century, was to become a lucrative, mutually reinforcing relationship between horror films and novels. Initially, this took the form of big-box-office horror films adapting the blockbuster novels being turned out by Blatty, King, Levin, and Straub.

Robert Bloch, for instance, considers the horror story to be a type of morality play, in which good should generally triumph. He is very critical of what he sees as the mindless violence of more recent horror films and their prose imitators, the splatterpunk writers. Bloch put it concisely: "There is a distinction to be made between that which inspires terror and that which inspires nausea" (quoted in Ross 1989, 64). The opposite pole from the splatterpunk trend is what has been called "quiet horror," whose chief spokesman is writer, editor, publisher, and former Horror Writers of America president Charles L.

Servants, students, and others who could not even afford that contented themselves with the shilling shockers, or blue books, so named because they had a cheap blue paper cover and sold for a shilling. These were either severely condensed versions of Gothic novels (the precursor of Reader's Digest versions) or original works by imitators. During his schoolboy days the Romantic poet Percy Bysshe Shelley, future husband of the author of Frankenstein, was very fond of these sensationalistic little blue books, according to Peter Haining (1978).

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