Road Rage: Two Novellas (Audio)

by Richard Matheson, Stephen King and Joe Hill

read by Stephen Lang

(New York: HarperAudio, 2009)

MP3 Audiobook, 233 MB, 2.4 Hours, Short Fiction

ISBN: 9780061726354, US$19.99

ABCD Rating: ACQUIRE*

From the Cover: Road Rage unites Richard Matheson’s classic “Duel” and the contemporary work it inspired—two power-packed short stories by three of the genre’s most acclaimed authors. “Duel,” an unforgettable tale about a driver menaced by a semi truck, was the source for Stephen Spielberg’s acclaimed first film of the same name. “Throttle,” by Stephen King and Joe Hill, is a duel of a different kind, pitting a faceless trucker against a tribe of motorcycle outlaws, in the simmering Nevada desert. Their battle is fought out on twenty miles of the loneliest road in the country, a place where the only thing worse than not knowing what you’re up against, is slowing down…

This collection includes “Duel” by Richard Matheson and “Throttle” by Stephen King and Joe Hill.

My Review: Most people are familiar with Richard Matheson’s classic short story “Duel” since, as it says in the From the Cover synopsis above, it basically made Stephen Spielberg’s career. I have read quite a bit of Matheson’s work in the past, but “Duel” is not one of the stories that I had had the pleasure to read, so when I came across this audiobook (which included a new short story by Stephen King and Joe Hill) I jumped at the chance to listen.

I am here to tell you that everything you have ever heard about Richard Matheson’s “Duel” is true and then some. This is, in short, one of the best short stories I have ever had the pleasure of experiencing. Matheson’s David and Goliath-esque tale (for heaven’s sake, the main character’s name is David Mann, you don’t get much more allegorical than that, do you?) is a story whose brilliance lies in its simplicity: David versus the truck. It’s not even David versus the trucker because the trucker barely makes an appearance in the story, other than the side of a face or the wave of a hand. It is this faceless antagonist that makes “Duel” so terrifying. The villain is reduced to a faceless and nameless semi truck and trailer, and it is against this villain that David Mann must struggle. And struggle he does. “Duel” is an epic and extraordinarily tense tale that left me on the edge of my seat until the very end (and I knew how it turned out!) Matheson is at his best in “Duel” and Stephen Lang does Matheson’s words every justice they deserve in his reading. This is definitely one to keep an eye out for.

I don’t think I can say the same of “Throttle,” King and Hill’s contribution to He is Legend: An Anthology Celebrating Richard Matheson. While billed as an homage to “Duel” I think that “pale imitation” may be a better descriptor for what King and Hill have produced. In and of itself “Throttle” is a great story, and in a world where “Duel” was never written, “Throttle” would definitely fill that gap, however, when considered in the context of “Duel,” “Throttle” falls short on many levels. First and foremost, King and Hill give their antagonistic trucker a name, face and motive. I believe that they have done this in order to “humanize” their antagonist and make him “relatable.” This is well and good, as I said above, in a world where “Duel” never existed, but Matheson did write “Duel” and in his story Matheson, by leaving his trucker faceless, nameless and motiveless (at least to David Mann and the Reader), creates an “Everyman” situation into which the Reader can easily place him or herself. We have all been David Mann at some point or another in our driving career … having that trucker or driver ride a little too close, not knowing if we’re going to make it past the semi before the oncoming traffic reaches us, sucking in the diesel fumes, it is a very relatable and therefore terrifying story.

“Throttle” fails, and miserably I might add, in this respect chiefly because King and Hill’s trucker has a name, face and motive and the author’s have created a highly unique and intricately constructed set of circumstances that put the Tribe in the path of the truck. This does not allow for the everyman aspect that Matheson’s story has. I highly doubt that any of you who are reading this review have been or ever will be in the same set of circumstances in which King and Hill have thrust their biker gang. However, I am willing to bet dollars to donuts that most, if not all, of you have been in David Mann’s shoes … to a certain extent. Certainly not to the degree in “Duel” but we have all definitely dealt with the aggressive, even vindictive or out-and-out angry driver who uses their car as a potential weapon. They are out there, and that uncertainty of which driver is going to be the one who tries to run you off the road is part of the danger of driving, and this is what makes “Duel” effective in ways that “Throttle” is not.

“Throttle”’s level of violence and descriptive gore is also another sticking point I have with it, when compared to “Duel” but it is one that I am more willing to forgive King and Hill than their previous transgression (of giving the trucker humanity) because “Duel” is a psychological thriller. It is Mann against Truck and is, as the title suggests, a duel of endurance between these two entities. “Throttle,” on the other hand, is exactly that, a visceral story that once it gets started does not let up until the very end. Along the way, there is a lot of violence and blood and guts and gore (all described in the lingering detail that both King and Hill are known for), but it works for “Throttle” because King and Hill aren’t out to create a story of psychological thrills, but rather the literary equivalent of the “popcorn film.” In fact, come to think of it, “Throttle” would work well on the screen, filmed by a Tarantino or Bay; lots of explosions, lots of blood, fast-paced action and one hell of a climax. In fact, this description works well, considering that Spielberg filmed “Duel” because Spielberg is the type of filmmaker to look at the truck in “Duel” and realize that it is the truck that is the villain and not the driver and create his visual images and metaphors accordingly. King and Hill have none of that finesse in “Throttle” and as such, it is a less successful story than “Duel.”

Finally, I think where both “Duel” and “Throttle” succeed is in the ultimate feeling that one comes away with after reading these short stories. Granted, they are two very different concepts, but that does not make either any less effective than the other. In “Duel” one is left with a sense of the randomness of cruelty and evil. There is no motive for the truck(er) to do what it/he does, but that doesn’t make what he/it does any less cruel or evil. In fact, this seeming motivelessness serves to heighten the apparent cruelty and evil of the truck(er). In the real world evil and cruelty can appear very random to the outsider (and even to those on the receiving end) and “Duel” is an extension of that appearance and feeling, a heightened and exaggerated extension, yes, but an extension nonetheless.

“Throttle,” on the other hand, deals (as do so many of King’s stories) in ambiguity and the grey areas between the black and the white. King and Hill ask questions about the nature of responsibility, and complicate the societal assumptions that surround the identities of “victim” and “persecutor.” By the end of the story they make the reader/listener question their own beliefs about who the true victim in “Throttle” is and who is the true “Villain.” This ability to complicate a reader’s expectations on “good” and “bad” is, for the most part, something that King is pretty good with (and which Hill has shown an aptitude for in his writing) and which also speaks to their more modern take on Matheson’s decidedly “old school” story.

*I rate this audio anthology as an ACQUIRE but with reservations: I would recommend Matheson’s story without any reservations whatsoever to any and everyone. “Duel” is a stellar example of what the short story should be. “Throttle,” on the other hand (and it seems to be on “the other hand” a lot in this review) is one that I would hesitate to recommend, only because it pales so much when set against Matheson’s story. Of course, this collection comes with both, so if you are going to shell out money for it or check it out from your local library, or even borrow it from a friend, then by all means listen to “Throttle” … just be prepared to be let down after experiencing “Duel.”

Darwinia: A Novel of a Very Different Twentieth Century

by Robert Charles Wilson

(New York: Tor Books, 1998)

Paperback, 372 Pages, Fiction

ISBN: 9780812566628, US$6.99

ABCD Rating: BACKLIST

From the Cover: In 1912, history was changed by the Miracle, when the old world of Europe was replaced by Darwinia, a strange land of nightmarish jungle and antediluvian monsters. To some, the Miracle is an act of divine retribution; to others, it is an opportunity to carve out a new empire. Leaving an America now ruled by religious fundamentalists, young Guilford Law travels to Darwinia on a mission of discovery that will take him further than he can possibly imagine … to a shattering revelation about mankind’s destiny in the universe.

My Review: I’ve had this book on my shelves and in my TBR pile for about two years now, and it was only now, as we were moving from Utah to Washington State so I could attend grad school, that I could find the time to sit down and read it. What first drew me to Wilson’s novel was the synopsis from the back of the book (as transcribed above). I mean, really … who could resist a literary come on like that? I was hooked even before I had read a single page.

What I found within the pages of Darwinia was a novel that was much deeper and more in the realm of true science fiction than I had expected. Wilson executes a classic (and very subtle) bait-and-switch with the plot, and by the time the Reader realizes what is going on in the story, it is too late and they are drawn deep into the plot and invested heavily in the characters … especially that of Guilford Law.

I’ll try not to say too much about the plot because to do so would be to flirt with spoilers, so rather than do that, I’ll just leave you to discover the plot twists on your own.

I will say, though, that it was not what I expected and that is not necessarily a good thing. I am all for being surprised by a book, but I went into Darwinia with certain expectations, namely a kind of steampunk-ish adventure with strange creatures on a new continent that suddenly appears overnight, and for about half of the novel, that is what I got. Then, however, Wilson throws a hanging left turn into unadulterated science fiction that comes out of nowhere, and while I admire what he did (and I’ll say this: the plot twist he throws is brilliant and unlike anything I have seen in a long time), it took me a while to adjust my expectations to what Wilson had written. It was, to say the least, a hard thing to do.

That aside, though, Wilson has created an incredible alternate Twentieth-Century in Darwinia and in terms of character, he is an absolute genius. Guilford Law is one of the most believable and realistic fictional characters that I have encountered in a very long time. I was completely captivated by the situation(s) into which Wilson threw Law and then had him work his way out of. It takes quite a bit of effort to keep reminding yourself that this is in fact a fictional book, and that Guilford Law does not exist, and that is just about as high a compliment that I can think to give any one author.

All in all, Darwinia is a fascinating read, but when you go in, make sure to check your expectations at the door. Otherwise, like me, you may find yourself left high and dry halfway through the book and needing to reassess what you thought the novel was going to be about, because believe you me, no matter what you think Darwinia is about … you’re going to be wrong and Wilson will surprise you.

'salem's Lot (Audio): Redux

by Stephen King

read by Ron McLarty

(New York: Simon & Schuster, Inc., 2004)

MP3 Audiobook, 868.2 MB, 17½ Hours, Fiction

ISBN: 9780743536967, US$59.95

ABCD Rating: ACQUIRE

From the Cover: A dark wind is blowing into Jerusalem’s Lot, Maine, in the guise of antique furniture dealers R.T. Straker and Kurt Barlow. Novelist Benjamin Mears has returned to the village near Portland to exorcise his childhood demons. Immediately, townspeople begin suffering from strange flu symptoms, or disappearing altogether. Mears and local high school teacher Matt Burke understand the peril the town faces. Soon they’re joined by an artist, a doctor, an alcoholic priest, and an 11-year old boy, forming a modern-day team of vampire hunters.

My Original Review: 11/22/2005 – 08:50:00 PM

My Redux Review: Stephen King’s ‘salem’s Lot is a story that holds a lot nostalgia and fond memories for me. It was one of the first novels I ever owned, it was the first Stephen King story I ever read at the tender age of eleven (with the blessing of my Mother though—looking back—I have no idea what she was thinking when she okayed that, I don’t think I’d let my son read it when he turns eleven), and it is one that even now never fails to induce chills and thrills. I have even used it to make arguments for my ever-evolving academic paper on passive-sexism in Stephen King’s The Shining (showing how ‘salem’s Lot is a kind of “run up” to what he does in The Shining).

I find so much about ‘salem’s Lot to be so very fascinating, that it is difficult to know where to start. Well, perhaps it is best to start with something small. This time through the book I was struck by just how dated ‘salem’s Lot is. It really is a relic from the early- to mid-1970s when it was written. So much of the novel is so outdated that I found myself wondering just how well Mssrs. Barlow and Straker would fair if they were to plunk down in Jerusalem’s Lot in an era of cell phones and the internet. This is addressed, somewhat, in the 2004 TV miniseries which is, all things considered, not a bad adaptation, given the problems of updating such material. Still, as I said, I am struck at just how dated the book is.

Another “theme” of the novel (for lack of a better word) that I have been dealing with (mostly because it jives with my paper on Stephen King) is just how passively sexist the works of Stephen King are, and ‘salem’s Lot is no exception. In fact, it is a pretty good example of what I am talking about. Two characters come to mind as I have run this through my mind: Susan Norton, of course, and Bonnie Sawyer. Susan is, to all appearances, a pretty “liberated” and “strong” female figure, holding her own with man and vampire alike, and yet, looking a little deeper she is a “shackled” character; very one-dimensional when compared to the male characters in the novel. She plays little more than the role of girlfriend and tragic victim. Susan makes some very poor decision in the course of the novel (the kind that would have you shouting DON’T GO DOWN THERE to the screen if this were a movie) and as a result of these decisions (and, I would argue, due to King’s indifference to his female characters) she pays the price.

The same could be said for the character of Bonnie Sawyer, a bit player in the overall drama, but one that King keeps coming back to. She is the “Jezebel” character type; the “wanton woman” who is having an affair with a younger man, but when they are caught by her husband, she is literally beaten into submission and—as King puts it—raped by her husband regularly, until their end comes in the final third of the book. I bring up their characters because they both are women who initially seem liberated and in control of their destinies, but ultimately are brought down by their inability to listen to the male authorities in their lives (in the case of Susan it is Matt Burke and Ben Mears and even the teenage Mark Petrie whom she ignores, and for Bonnie, of course, it is her husband whom she disobeys) and as a result they are brought to ruin.

This passive-sexism (as I’ve chosen to call it) and assertion of male dominance (culminating in the staking of the vampiric Susan (which Freud would undoubtedly call “phallic” and a violent sexual act in and of itself, a rape of a kind) and the beating and raping of Bonnie Sawyer) really show King’s true colors as a closet-conservative in spite of all his trappings and claims of open-mindedness and liberalism. He falls back on the conservative world view whenever a female comes into the pages of his novels (they are usually either a milquetoast hausfrau or a wanton jezebel) that bucks the male authority structure and have to be either saved or dispatched (in the case of Susan, they come to one and the same). It is true of Susan Norton and Bonnie Sawyer in ‘salem’s Lot, it is true of Wendy Torrance in The Shining, it is true of Rose Daniels in Rose Madder, it is true of Emily in “The Gingerbread Girl” and it is true of Lisey Landon in Lisey’s Story.

But enough theorizing. In spite of these “flaws” (for lack of a better word) I still think that ‘salem’s Lot is one of Stephen King’s finest, and is certainly in the Top 5 of my favorite King books. King has crafted a very believable world in ‘salem’s Lot, one that is described as Peyton Place meets Dracula, and I think that that is a pretty fair assessment. It is hard to imagine which the greater evil in the township is: the external force of Barlow and his vampirism, or the internal forces of the town and its small-town insularism. King has stated in interviews that ‘salem’s Lot was written at a time of great social and political upheaval: the Ellsberg break-in, Nixon’s tapes and enemies’ list, Liddy and the CIA, Watergate, the invasive federal investigations of war protestors, Vietnam … and so it is no wonder that these feelings of paranoia bled over (no pun intended) into ‘salem’s Lot and informed the novel; paranoia of vampires, paranoia of outsiders, paranoia of the unknown, paranoia of the future … it’s all there in the pages, and makes for one hell of an atmospheric novel.

Atmospheric and arguably one of the scariest of King’s tales (his early ones are so much better than his later). I’ve mentioned it in my prior review of this audiobook, but the scenes with Mike Ryerson in Matt Burke’s house (both times) and then the scene with Marjorie Glick’s body in the mortuary are some of the scariest scenes that have even been penned. They never fail to give me the chills (and this time around, it didn’t help that I was listening to the Marjorie Glick scene as I was taking a late night walk to clear my head after a stressful day and as a thunderstorm passed overhead, I have to admit that I looked over my shoulder more than once as I walked the storm-darkened streets).

Also, what makes this such a great audiobook is Ron McLarty’s reading. If you have never experienced a book read by Ron McLarty you need to, and ‘salem’s Lot is as good a place as any to start. It is amazing how much the story comes to life in McLarty’s capable hands. It really brings an already great book to an even more sublime level.

You don’t have to be a Stephen King fan to enjoy ‘salem’s Lot, and since vampires are very much in vogue right now, take the time to listen to (or read) a real vampire story. Yes, it borrows heavily from Dracula (with Matt Burke playing Van Helsing, Susan playing Lucy Westenra and Mina Harker, Dr. Cody as Dr. Seward, Ben Mears playing Arthur Holmwood and Jonathan Harker, Straker as Renfield and, of course, Barlow as the Count) but I would say that that is intentional, since the idea behind ‘salem’s Lot was what would happen if Count Dracula came to America and settled not in New York City (where, in King’s words, he’d “be killed by a taxi cab like, Margaret Mitchell in Atlanta”) but in rural, small-town Maine.

It is a question that I think King has answered well. As I said, in spite of its “flaws” ‘salem’s Lot is a stellar novel and one that every vampire groupie needs to have under their belt, and if you’re going to try it, why not pick up the audio edition, since Ron McLarty’s reading is nothing short of amazing.