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The argument that “by exploiting marketing trends and embracing the interconnectedness of transmedia storytelling, King ultimately manages to reform traditional writing practices and, more importantly, to reshape literary geographies” (200).ħ Along this line, it doesn’t seem merely random that, persisting in the materialities of the cover, a notebook and a typewriter both green in the interior of the frame establish a chromatic continuity with the surrounding cyberspace. By painting the “wall” with a digital rain reminiscent of the old monochrome CRT monitors, with the same blackness rain splattered “in” green by the cybernetic universes of cyberpunk fiction by framing in its center a “window” with a rustic, brown and wooden floor inhabited by notebooks and a typewriter, the designer anticipates the author’s structural argument through the book’s frontispiece. Self-reflexively, King projects himself into the interior of the house, unfolding into artists’ characters that metaphorize “established notions, such as popular fiction, the writer, the text and the fan, in order to reconfigure their relationship and promote their active involvement in novel contexts” (200).Ħ Judging from the design of its front cover alone, Stephen King in the New Millennium: Gothic Mediations on New Writing Materialities is in tune with such a premise.
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Always on the verge of something, between the childish fear of darkness of what’s about to come and the palpitating thrill of good news. As if fixed on the 23:59 clock hand, the core of his work lies between the moment of “hearing” and the imminent instant of someone opening it. ISBN: 978-1527504073ĥ It could perhaps be said that Stephen King writes at the door and – knock knock -, whether he makes it sound through the hand, the pen, the typewriter or the word processor, he inscribes a suspenseful look on the reader. Feleki, Stephen King in the New Millennium: Gothic Mediations on New Writing MaterialitiesĢNewcastle upon Tyne: Cambridge Scholars Publishing, 2018.