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After Salems Lot, King wrote a long story called The Body; Apt Pupil was written after The Shining, Rita Hayworth and the Shawshank Redemption after The Dead Zone and The Breathing Method after Firestarter. They all were too short to be published as novels, and too long to be simple short stories. So at first they were put aside. In 18, after he had inevitably gotten the horror writer label with novels as Carrie, The Shining, etc., King felt the need to prove that he also could get over a certain genre. So he proposed his editor a collection of four stories that had nothing to do with telekinetic kids nor haunted hotels. It was a hazardous proposal, but the book was published anyway and it met with outstanding success.
So, Different Seasons is very far from the classical King atmospheres. It is much closer to the mature and thoughtful King of these last years. But his penmanship is recognizable as always, and his visionary and cinematographic style doesnt fail to surprise us. It is not by chance, in fact, that two of the best cinematographic adaptations of Kings books are inspired from two of the stories of this collection (The Shawshank Redemption, based upon Rita Hayworth and the Shawshank Redemption and Stand By Me, based upon The Body). Its not simple to talk about Different Seasons not only is it one of the best works by King, but the stories are so complex that each one deserves an in-depth analysis.
Lets start by saying that each story goes along with a season. The first one is spring, but Rita Hayworth is much longer than three months. The story takes place is the maximum security penitentiary of Shawshank, in which Andy Dufresne, an elegant and distinguished man, much different from the other prisoners, suddenly makes his entrance, unfairly condemned for the murder of his wife and her lover. But Andy keeps in him an immensse strength, that will remain unchanged even in twenty years hope. His hope isnt the same as any prisoners. Of course, everyone in Shawshank is hopeful to go out one day, but Andy really believes he will. As he arrives, he immediately contacts Red (who will be the narrator of the story) to get him a rock hammer, and he starts carving nice little figures whith the rocks he finds in the yard. Whith constance and dedition he manages to put together a fairly good library into the prison. He even becomes the jailers confidential tax consultant. This shows how Andy doesnt somatize the prison as the others do. He manages to keep somehow alive. And Red notices at once how special Andy is. The two of them make very close friends, and Andy will confess to Red the existence of a Peter Stevens. Red is not very different from the other prisoners. He, too, ends up getting used to the prison which we can see mostly when he gets out, in the moment when he even considers to commit some stealing in order to get emprisoned again. But Andy immediately strikes Red because, in a way, he is his missing part, the one the prison took away from him. And Red is just the one who tells us Andy Dufresnes story, and so he does with a language thats not always orthodox. But for a con, who never went to college, a lively language is more than adequate, and it makes the telling quicker and more fluent, as well as more authentic. We have to admit, anyway, that the story isnt particularly original, or rather, sometimes it seems almost absurd and a bit forced (too many dei ex machina). But what makes it precious is the description of this extraordinary character, Dufresne, whose personality and strength lead us for almost two hundred pages to make us rediscover a feeling that is too often abandoned. King will set in a penitentiary another novel, The Green Mile, but the atmosphere will be very different from Rita Hayworths... And maybe less realistic.
The second story, Apt Pupil, is the one which comes closer to the horror genre. But dont misunderstand me apart from some scenes in which the tragical murders of some beggars are described, there arent any bloodsheds nor descriptions of despicable and disgusting creatures. Except, of course, for Todd Bowden and Kurt Dussander. The story begins whith a typical American boy who knocks at an Arthur Denkers door. The boy, Todd, has discovered that Denker is actually named Dussander, and that he is a former Nazi officer. Seeing the way Todd managed, whith morbid dedition, to discover Dussanders identity, is already quite disturbing, but the amazing thing is that the boy doesnt want to denounce him to the police. No, what he wants is to be told everything, because he has a great interest in concentration camps.
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We know that King is a master of point of view, we knew it since Carrie. But here he surpasses himself, moving his characters the a skillful puppet-player does with his puppets, unceasingly alternating the oppressed an the oppressors role, making us feel sorry for one of them, then for the other, whithout changing, anyway, the contempt we begin to feel for both since the first pages. At the beginning Todds meetings whith Kurt Dussander are very pleasant for the boy. He enjoys the old mans detailed tales, and moreover he believes to have a certain power on Dussander. But he isnt aware that this power will turn against him. In fact, he will begin to have nightmares in which hell see himself alternatively as an officer and as a prisoner (actually, in those dreams we can read a summary of the whole story). Quite the same thing happens to Dussander, but in his dreams he sees all his victims crawl towards him, asking for vengeance. From this moment on, the old man and the boy will enter a vicious circle that rotates on inhuman madness and ambiguous sense of guilt, whose only damper seems to be the murder of some poor under-privileged.
The atmosphere gets more and more claustrophobic and thrilling at the same time King induces us, whith ability and whithout the slightest tact, too see how close can a man come to become a monster whithout being caught by madness, and above all what sort of monsters can hide behind two reassuring figures as an old gentleman and a young American boy. As always, King teaches us that we dont have to look for monsters under our bed or in our closet, but in everyday life
We came to what seems to be the smallest and most precious gem of the whole Kinghian work, The Body. This story goes along with fall (in fact the subtitle is Fall From Innocence), and it is romantic and at times melancholic, just like an autumnal wood. But here, fall mostly represents a moment of transition between summer (childhood) and winter (adulthood). In fact, the story is about four young boys of about twelve that set out on a journey across the woods (the place that marks a shift, a change in all the most famous fairy tales) in order to see the corpse of a kid their age. The journey, spangled with many little and big challenges, actually is an initiation one and the four boys that will come back will be very different from those who left. Its a journey to discover oneself, ones inner fears, to discover ones maturity and adult life. And to face such an important test, King chooses four emblematic characters, that remind a lot of the young King, but in whom everyone can see their reflection, thanks to Kings well-known ability to create characters that seem to break through the paper. But what makes this story unique arent just the characters, but the poetic way it is told. To think of the initial monologue is enough.
It is usual for Kings style to take the reader along into the telling, but the sweetness and the strength of this story strike us more deeply, in our very soul. The themes, the characters, even the places could make us think of IT, and actually under some aspects the two novels are alike, but The Body, as well as being notably shorter, doesnt contain any horror element. It is a simple and pure story in which bloody and supernatural scenes are lacking; and moreover it is very autobiographic, and this is probably why is seems to be written in such a simpathetic way.
The two summer days that we live together with the protagonists take us back to our past, to the summer of our lfe, make us ask ourselves at what point we changed and how much of Gordie, Chris, Teddie and Vern is left in us. We dont read The Body, we live it; we are the ones who cross the railway bridge, we are the ones who spend a night in the woods, and all of that in order to discover whats the meaning of being children, and what becoming adults implies.
It is the tale, not he who tells it, and in the club on 4B of 5th Street East in New York, stories arent wanted. An anxious club, full of mysterious presences that keep who knows what tales and how much of them. One is told before David, that will report it to us, constant readers. To tell a particular story for Christmas is a tradition in the club, but the one about Sandra Stansfield and the breathing method will strike everybody. Sandra is a strong and determined woman, and even when she is abandoned while pregnant, she wont lose heart. Instead, she will go and see Dr. McCarron, who will teach her a breathing method that other doctors dont approve, but that she will learn anyway and apply, with tenacity and determination, even after her own death.
The last part of the book offers us a story of pure King style, supernatural and thrilling. The Breathing Method is not up to the other three stories, not because its not enjoyable of its own, but simply because the other ones are small masterpieces. Anyway it is the best possible ending for a book such as Different Seasons, a kind farewell that reminds us that there always are new stories, and someone to tell them.
When I have to suggest a King book to someone who has never read any, I always choose Different Seasons. It isnt the best ever, but thanks to his different seasons it is heterogeneal and puts together different genres that manage to make reviewers, Constant Readers and new readers agree whith each other.
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