The following notes were recorded in my journal over the month of March, 2018. While there are no spoilers per se, there are details from King’s novel that are better encountered as King narrates them, rather than through my descriptions.
I’m on page 891 of IT, by Stephen King. Some thoughts:
Given its heft, it’s unsurprising to note some weaknesses in IT. First, King’s specificity and attention to detail — which sets him apart as a writer — is incongruous with his accounts of memories. For example, as Mike Hanlon recounts the Silver Dollar massacre in “Derry: The Fourth Interlude” (pgs. 879-894), he does so while drunk late at night in the library. This isn’t problematic, but his accounting of the remembrances of a 93-year-old former “campaigner” (I presume lumberjack) go to such detail that Mike explains the conversations at the bar while Claude Heroux murdered men at a poker table: “At the bar, conversation had turned to what sort of winter lay ahead. Vernon Stanchfield, a farmer from Palmyra, claimed it would be a mild one — fall rain uses up winter snow was his scripture…” (pg. 889). Mike includes the opinion of Alfie Naugler, another farmer, plus two more opinions expressed at a bar over “beer and bowls of hard-cooked eggs” (pg. 890).
In this part of the novel, Mike Hanlon relates the account of Egbert Thoroughgood from an interview about an event that took place seventy-five years before. Mike’s story to his friends reads like a Stephen King novel, and of course, that’s exactly what it is. But what it isn’t is believable in its specificity and detail. So does this matter? This isn’t a structural problem, per se, because a story event connecting violent and disturbing past events with Pennywise makes structural sense. Instead, I think it’s a conscious decision of King’s to commit to telling the story: he is so immersed and we the readers are so immersed that the unrealistic details of this memory-episode fail to register for many readers (except for pedants like me).
I know from personal experience that were I to relate an episode that took place in my past, only the broadest of brush strokes would be present in my memory: possibly the location, who was involved (but not secondary characters), the gist of the conversations. Very few exact conversations have etched themselves in my memory; most of these are short nuggets or pearls that lend themselves to memory as pithy or “truths.”
King does justify the level of detail his main characters are able to remember as being a symptom of the act of remembering. He explains that all of the kids forgot about It until Mike Hanlon’s call came in, and then the memories began to come back, slowly at first, then in greater details, and this process was much more thorough than real memories would have been. So King knows and is able to justify some of his memory episodes with this narrative explanation.
Another aspect of IT that is problematic to me is the characters as children. They are fully-formed by the youthful age of 11, with a density and worldliness that seems unbelievable for their years. They interact with one another in ways that belong to adults trying to imagine how fifth graders interact with one another. Just last night, at a scholastic bowl match, a former Bradley Central student who is now an 11th grader looked at the middle schoolers bouncing chaotically and said, “If I ever acted like that, I’m sorry.” Her mom and I both said, “This is every middle schooler.”
I think King wanted to get it right, but too many years had passed since his own fifth grade days. When he wrote these characters as fifth graders, he couldn’t help but be unaware of the differences in maturity that take place during those teenage years. It’s like presentism: judging past events through the lens of now. As an adult writing about children, he crafts adult characters inhabiting children’s bodies.
It could be argued that the convergence of these specific characters as exceptions to the norm is precisely the point of IT, that these kids were assembled like the Justice League to take on the primordial monster beneath Derry, so TAKE THAT, ANDY! It was ON PURPOSE! Maybe, but to me, anyway, this is one note that came across flat.
Neither of these issues detract from the strengths of King’s book, most especially the way it is woven together from past to future, an exquisite quilt of then and now. He creates a juxtaposition of the same characters from two timelines that march step by step toward paired climaxes.
As I write this, I’m in “Part 5: The Ritual of Chud,” and the action increases in intensity as the paired storylines approach the final breaking point. King has consistently moved between events with transitions that connect the children’s storyline with the adult’s storyline, but now that we are at the climax, he moves between scenes by crossing over with words, phrases, and dialogue.
“‘…Hello” ends Chapter 3 on page 925–without even an end quotation mark (Yes, it’s hard to quote that and capture the full effect when enclosing the quotation inside quotation marks…), and chapter four begins: “…there,’ Henry Bowers said.” King provided italicized notes for context like the headings on a letter (“Kansas Street/12:20 P.M.”), but leaves the flow uninterrupted by breaks.
Another thing King does well is to drop hints about the future. Not often, but with an awareness that he has the scope of the narrative in mind and knows those future events. So, for example, on page 929, he writes, “…things might have taken a different course: the five of them might not have been fugitives from the Derry police when that day’s light finally broke.” At that point in the narrative, King reveals an alternate timeline that didn’t happen, a safe path that the characters don’t get to experience. This builds the tension. He doesn’t do this often… just frequently enough to keep his readers on the hook.
King, Stephen. IT. Viking, 1986.
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