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Folks have been waiting 30 years to find out what happened the day Dolores Claiborne's husband Joe died, but the police want to know what happened yesterday, when Dolores's long-time employer died suddenly in her care. Adult thriller.
When rough sex between Jessie and Gerald Burlingame turns deadly, leaving Gerald dead and Jessie handcuffed to the bed, it sets in motion a terrifying and psychologically twisted twenty-eight hours.
ONE OF PRESIDENT BARACK OBAMA’S FAVORITE BOOKS OF 2019 From the New York Times bestselling author of Beautiful Ruins, the first collection of short fiction from Jess Walter—a suite of diverse and searching stories about personal struggle and diminished dreams, all of them marked by the wry wit, keen eye, and generosity of spirit that has made him a bookseller and reader favorite These twelve stories—published over the last five years in Harper’s, The Best American Short Stories, McSweeney’s, Playboy, and other publications—veer from comic tales of love to social satire to suspenseful crime fiction, from hip Portland to once-hip Seattle to never-hip Spokane, from a condemned casino in Las Vegas to a bottomless lake in the dark woods of Idaho. This is a world of lost fathers and redemptive conmen, of meth tweakers on desperate odysseys and men committing suicide by fishing. We Live in Water is a darkly comic, heartfelt collection of stories from a “ridiculously talented writer” (New York Times), “one of the freshest voices in American literature” (Dallas Morning News).
Suspected of killing Vera Donovan, her wealthy employer, Dolores Claiborne tells police the story of her life, harkening back to her violent husband, disintegrating marriage and the suspicious death of Joe Claiborne thirty years earlier. Dolores also tells of Vera's physical and mental decline and of her loyalty to an employer who has become emotionally demanding in recent years.
"The 'extraordinary' (Booklist) novel of one man's quest to find the source of his nightmare and to reverse it before he becomes...nothing at all. This #1 national bestseller from Stephen King, writing as Richard Bachman, "pulsates with evil...it will have you on the edge of your seat" (Publishers Weekly)"--
The Films of Stephen King is the first collection of essays assembled on the cinematic adaptations of Stephen King. The individual chapters, written by cinema, television, and cultural studies scholars, examine the most important films from the King canon, from Carrie to The Shining to The Shawshank Redemption.
Resolving to avoid son of Satan and new next-door neighbor Reyes Farrow, Charley Davidson is forced to ask for Reyes's help when she is approached by desperate ghosts and her sister is targeted by a serial killer.
Master storyteller Stephen King presents the classic, terrifying #1 New York Times bestseller about a terrifying otherworldly discovery and the effects it has a on a small town. “Late last night and the night before, Tommyknockers, Tommyknockers, knocking at the door…” On a beautiful June day, while walking deep in the woods on her property in Haven, Maine, Bobbi Anderson quite literally stumbles over her own destiny and that of the entire town. For the dull gray metal protrusion she discovers in the ground is part of a mysterious and massive metal object, one that may have been buried there for millennia. Bobbi can’t help but become obsessed and try to dig it out…the consequences of which will affect and transmute every citizen of Haven, young and old. It means unleashing extraordinary powers beyond those of mere mortals—and certain death for any and all outsiders. An alien hell has now invaded this small New England town…an aggressive and violent malignancy devoid of any mercy or sanity…
Author : Kirsten Moana Thompson Publisher : State University of New York Press Page : 210 pages File Size : 22,84 MB Release : 2012-02-01 Category : Social Science ISBN : 079148033X
In Apocalyptic Dread, Kirsten Moana Thompson examines how fears and anxieties about the future are reflected in recent American cinema. Through close readings of such films as Cape Fear, Candyman, Dolores Claiborne, Se7en, Signs, and War of the Worlds, Thompson argues that a longstanding American apocalyptic tradition permeates our popular culture, spreading from science-fiction and disaster films into horror, crime, and melodrama. Drawing upon Kierkegaard's notion of dread—that is, a fundamental anxiety and ambivalence about existential choice and the future—Thompson suggests that the apocalyptic dread revealed in these films, and its guiding tropes of violence, retribution, and renewal, also reveal deep-seated anxieties about historical fragmentation and change, anxieties that are in turn displaced onto each film's particular "monster," whether human, demonic, or eschatological.