An analysis of the topic of the imagination and the king of terror

We stress the power of rumour and gossip in this context. The novel, moreover, shares much with the southern novel and its themes. While the Hutton Report eventually exonerated the British government of any outright dishonesty with Introduction 15 regard to the case for war presented to Parliament and the British people, placing blame instead on the BBC for unverified reporting, this in no way rebutted the basic assertion made in the media that the intelligence itself was not well founded and would be better classified as a form of rumour. Racism, not a theme usually associated with northern writers, has been successfully transplanted by King via the traveling Sarah Tidwell. Introduction 17 Figure 2 Two senior men watch the development of a dispute over pigs given away between groups in the Mount Hagen area, Papua New Guinea, s. We especially thank our friend and colleague, Prof. Each author brings a particular perspective to bear on general questions of what constitutes terror, what are its roots and its results, and what parts it plays in human experience and history, with special reference Introduction 31 to the effects of the imagination in its dialectical relationship with experience. Mythology 10 Terror and Violence is a prime arena for the imagination in this regard for an example from Papua New Guinea, see Stewart and Strathern b. While psychological processes as such are not at the forefront of the topics explored in most of the papers, we recognize that an integrated perspective must take such processes into account, and the final paper in this volume, by Michele Stephen, boldly tackles this difficult question with the aid of Kleinian theory. Others holding long staves attempt to intervene.

All this is in accordance with the processual models we developed in our book on witchcraft Stewart and Strathern In these reactions imaginative responses to the events themselves play a central role. When put in this way, it is quite evident that the production of rumour goes hand in hand with the reproduction of social and political relationships.

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Some media commentators suggested that these women were widows and relatives of persons killed by Russian soldiers, and were seeking revenge. King, perhaps more than any other author since Faulkner and his fictional Yoknapatawpha County, also creates a sense of literary history within the later novels that ties them all together.

Violent acts, Aijmer argues, may embody complex aspects of symbolism that relate to both order and disorder in a given social context, and it is these symbolic aspects that give violence its many potential meanings. King tells his stories in visual terms so that the reader would be able to see what was happening in their own mind, somewhat in the same fashion the way it was done on the radio Beaham Louis succumbs to temptation when the family cat, Church, is killed on the highway; he buries him on the sacred old Native American burial grounds.

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Women, their bodies plastered with yellow and white clay, gather round a pole on the top of which the ceremonial headdress and bark belt of the dead man are suspended. In the neoprimitivism of the late twentieth century, this ancient role and the old monsters have taken on a new mystique.

In the following interview for Hallowed Horrors, Cowan discusses his new book, what he really feels about organized religion, and the cultural importance of Stephen King.

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Stephen King breaks down the different levels of horror