Dance Macabre is not a work of fiction, as it's important to clarify from the start. Many people have written to me expressing their disappointment, having expected a thrilling horror story. Instead, it's an essay that covers approximately thirty years of horror production, including radio, books, and films, from 1950 to 1980.

Stephen King likely analyzes hundreds of films, perhaps more or less. His knowledge of horror films is truly remarkable, and there are also many books in his analysis.

The main problem when reading Dance Macabre is one's own ignorance in the subject. Personally, the horror genre is not my favorite, despite Stephen King being my favorite author. This should open the eyes of those who still think King only writes horror books. As a result, my knowledge of the genre is very limited.

What does all this mean? It means that with Dance Macabre, if one doesn't have a broad understanding of the topic, there's a risk of reading a four-hundred-plus-page essay where for three hundred and ninety pages, one has no clue what's being talked about, which can be quite burdensome.

But it's not King's fault, nor is it the fault of how he wrote the essay or its content. The fault is ours for having limited knowledge of the subject.

I'm convinced that the book is very valuable for enthusiasts. When King talks about books or films that I've read, seen, or simply know by reputation, I'm enchanted.

Reading his analyses, I clearly understand the difference between what I write and what someone whose reviews end up in major American newspapers writes. Needless to say, I felt like an ignorant goat and a clumsy one at that. It goes without saying that I asked myself why I continue to talk about books and films when clearly I'm not capable.

But let's focus again on the book, as this shouldn't be a space for me to mortify myself.

What I liked most, probably only because I knew what was being talked about, were the analyses of Bram Stoker's Dracula, Mary Shelley's Frankenstein (remember: Frankenstein is not the monster, but its creator), and Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (I haven't read this one yet, but who doesn't know what it's about?).

Not to mention the analysis of Shirley Jackson's The Haunting of Hill House (again, since this is an updated edition, should we also update the title of the book since it's no longer available in the market as The Haunting?).

Another thing that struck me about Dance Macabre was an observation about horror production that I've always known but never really thought about or put into words. After all, that's what King is for.

Let's get to the point: when we watch a horror film, for example, what scares us the most is not the monster that appears in front of us when the protagonist opens a door that shouldn't be opened, but the creaky staircase he has to climb to get to that damned door. It's the journey that scares us because when we see the monster, our minds calm down and in 99% of cases, we'll say, "Well, that's it?".

And the producer, writer, or whoever fails when the viewer or reader doesn't freak out when seeing the monster but instead bursts out laughing. How true is all this?

I'm sorry to say this, Steve, but the latest cinematic adaptation of It made me laugh. A clown with epileptic seizures? Come on. But yes, let's specify that the fault is not yours, and your literary It doesn't make us laugh at all.

In short, Dance Macabre is surely boring for those who, like me, know practically nothing about horror. But I'm sure that for enthusiasts of the genre, who have a wealth of knowledge behind them, this book is a little gem to read.

Rating: 3.5

\\n  “When you open your mouth, Stevie,” my grandfather once said to me in despair, “all your guts fall out.”\\n

That grandpa of mine had quite the way with words.

Sure, Danse Macabre is like a big, messy heap of guts. It's filled with complete plots of books and movies that have been told and re-told, along with dated anecdotes. It's a collection of everything you never really wanted to know about the horror genre, complete with plenty of dad jokes and memories. It's a huge jumble of stuff. Even though, at this stage of my life, it felt a bit like those ubiquitous lists you see everywhere, such as “Best 35 Haunted House Stories You Need to Read Before You Die”, “Ten Books About Docile Clowns”, or “Don't Miss These Fifteen Gothic Romances Set in Space”. They seem useful only for newbies to the genre. However, there were still some hidden gems to be found within Danse Macabre. There were titles to discover, some theoretical meditations, and of course, quotes like the one from Grandpa King above.

Despite all of this, I have to admit that I like Stephen King. I don't enjoy his newer books as much as I used to, but he's one of the authors who got me started reading books in the first place when I was a kid. I owe him my sense of justice and the joy of fear, if nothing else. These kinds of things make you feel a certain attachment to an author.

Although I initially picked up this book for my Mount TBR challenge, in which I promised to read physical copies of older books that I own, I eventually had to resort to the audio version. My tired eyes just couldn't handle the small printed copy that I happened to have. But it turned out to be a good thing because this book is really great to listen to. It would have taken me forever to read it properly. The narrator, William Dufris, did an excellent job.

This is an interesting book, but I did really struggle with it.

In a nutshell, this book is part autobiographical and part discussion on the horror books, films, and TV shows which inspired Stephen King.

While this book was fascinating and did give me some great recommendations to check out, I struggled because obviously this book was written in the 80s. So the horror he discusses is mainly from the 50s, 60s, and 70s.

I would love to see an up-to-date version discussing the modern horror books and films. I think I might enjoy that more as I'll be more familiar with the content being discussed.

If you're not a die-hard horror fan, there are probably references and things mentioned in this book which will go over your head. I know I certainly struggled with a lot of the things he was referring to.

I also found this book rambled on for a long time about things I didn't really care about. Obviously, horror is a large genre, so there is lots to discuss, but I definitely felt this book could be more succinct in places.

Overall, this was interesting, and I did pick up some recommendations. However, it's never going to be my favorite Stephen King book nor one I'll probably return to and read all the way through again.

Perhaps if King were to update this work and include more contemporary horror examples, it would have a wider appeal and be more engaging for a modern audience. As it stands, while it has its merits, it does feel a bit dated and overly verbose at times.

\\"The work of horror really is a dance—a moving, rhythmic search. And what it’s looking for is the place where you, the viewer or the reader, live at your most primitive level. The work of horror is not interested in the civilized furniture of our lives. Such a work dances through these rooms which we have fitted out one piece at a time, each piece expressing—we hope!—our socially acceptable and pleasantly enlightened character. It is in search of another place, a room which may sometimes resemble the secret den of a Victorian gentleman, sometimes the torture chamber of the Spanish Inquisition... but perhaps most frequently and most successfully, the simple and brutally plain hole of a Stone Age cave-dweller. Is horror art? On this second level, the work of horror can be nothing else; it achieves the level of art simply because it is looking for something beyond art, something that predates art: it is looking for what I would call phobic pressure points. The good horror tale will dance its way to the center of your life and find the secret door to the room you believed no one but you knew of—as both Albert Camus and Billy Joel have pointed out. The Stranger makes us nervous... but we love to try on his face in secret.\\"

This quote, perhaps overly lengthy to begin this review with, yet it encapsulates what I found so compulsively readable about this non-fiction by King. Throughout the book, King transitions from boy to man, introducing the reader to a plethora of horrifying titles across all media types. Many, especially those at the start, were unknown to me. King offers synopses (often with spoilers), briefly describing each before dissecting their horrifying genius and their impact on him over his life.

I was immensely interested in all this, even more so when I was familiar with the media he discussed. But it was the discussions around these disparate titles that held fast appeal. Only through the lens of horror media did we reach the heart of horror as a genre. Once there, King provides a surprisingly deep insight into why it affects us so profoundly and continues to hold society in equal measures of deep-rooted pleasure and fear.

The whys of horror, rather than the titles, are what I gained the most from this. Now I also have notebook pages filled with a vast number of movie and book titles, giving me a lifetime of horrifying media already planned out. And I'm not the least bit angry about it.

What a truly enjoyable read this is! It's a really distinct book for King. Essentially, it's his exploration of the horror genre, spanning from the 1950s all the way through to the 1970s when the book was published.

He delves into various aspects such as books, television, radio, and film. There are plenty of nostalgic personal stories that add a unique charm to the narrative. The book is also enhanced by the inclusion of two appendices. One of them features his top picks for fantasy/horror films, while the other is a comprehensive list of what he deems to be the top books, stories, and collections within the field.

If you have any interest in horror, fantasy, or sci-fi, this book is an absolute must-read! In fact, perhaps it's high time for King to pen a sequel that focuses on the horror genre from the 1970s to the present day. It would be fascinating to see his perspective and insights on the evolution of the genre over the past few decades.

Overall, this book offers a captivating journey through the world of horror and is sure to delight fans of the genre.

I don't typically have a penchant for non-fiction books penned by fiction authors. However, if you happen to be a devotee of horror, then this particular work is an absolute must-read!

Despite the fact that some of the content may seem a bit outdated, a significant number of the topics that Stephen King delves into still hold great relevance within the horror genre to this very day.

This book has a remarkable quality that makes it feel as though Stephen King himself is sitting right beside you on the front porch, freely sharing and spilling out all of his thoughts and ideas.

It's truly a unique and engaging experience that offers valuable insights into the mind of a master of horror.

We are faced with an essay of approximately 600 pages, in which we will find a study between cinema and horror novels from 1930 to 1980, 50 years of terror.

You should know that it contains many spoilers of those movies and books. We also find a bit of an explanation of what the intention was when creating The Mystery of Salem's Lot, making spoilers of Dracula, which it also analyzes and makes me see it from a different point of view than I thought when reading it. It talks about Apocalypse and its writing process. It also speaks very explicitly about Frankenstein, Dr. Jekyll and Mr. Hyde. Of some of Bradbury's novels... I have loved the colloquial language and even sometimes a bit vulgar that the author uses in this essay.

Although its reading has been slow and boring for me, many parts in which it talks about books that I want to read in the future that I have skipped; at the end we find lists of the movies and books that it talks about during the essay. I think it is an interesting book for any lover of terror but I also advise you not to be as stupid as us. Read it in small sips and really enjoy it. Having it as a daily reading until finishing it is crazy unless your passions are the essay and terror.

True Story from a Life in Books:

While I was working on my Master's degree at the University of Virginia, I enrolled in a class on fin de siecle literature. One evening, as expected, the discussion veered towards the eruption of the gothic mode at the end of the 19th century. As we debated whether Oscar Wilde's fantasies could be rightfully considered "gothic," I put forward the idea that the difference between, for example, Wilde's Salome and a true "gothic" like Castle of Otranto was the locus of the horror.

"Stephen King makes a distinction in his extended essay Danse Macabre that horror can be divided into the 'democratic' and the'republican,' internal and external sources of the horrific," I stated.

Dead silence followed. Finally, someone giggled into her hand. She was one of those elite individuals who had completed her undergraduate studies at Harvard, could casually mention names like "Derrida" in conversation, and whom I always aspired to imitate. "I'm sorry," she said gently. "I thought for a moment you said 'Stephen King.'" General laughter ensued at the thought, heh heh, that someone would bring up Stephen King in a *literature* class, at a *University*, don't you know.

"Uh...yes. I did say Stephen King," I replied.

The conversation deteriorated from there. The bottom line is that Danse Macabre is now rather outdated, and horror enthusiasts who don't recall what the genre was like before the late 90s/early 2000s, and the infusion of Asian horror and 70s nostalgia, will likely not find much that's familiar. But that doesn't matter. The ideas are still robust, and even if King's笔触 is a bit too broad and he indulges in his usual self-amusing jocularity, it's still a lot more palatable than the airy, meandering thoughts of most of the literary establishment, who still view horror as an anomalous genre.

I put this one off literally for decades. It was the only "major" Stephen King book I'd never read. Well now I have.

I kept putting it off because it was non-fiction and I was afraid it would be dry. And unfortunately, that's exactly what I found. It just seemed a little plodding, although it still had its entertaining moments.

This book is basically a long essay on horror, focusing on the years 1950 - 1980. King covers all the mediums such as radio, TV, movies, and books. However, as he gives an analysis of each notable work, it just seemed a bit slow-paced to me.

That being said, I now have a nice list of horror movies and books that I was previously unfamiliar with and now want to explore. That alone made the book somewhat worthwhile.

As for recommendations, I would say that unless you're really into a non-fiction study of horror, this one may not be the best choice for you. Don't read it just because you like Stephen King's novels, as you'll likely end up disappointed.

Overall, it's not a bad book, but it's really not for me. However, I will say that as a horror writer myself, it was an enriching read that most horror authors should probably check out, just to get a sense of the history and evolution of the genre.

I've perused this piece time and time again. It offers an outstanding overview of horror fiction, horror films, and the concept of schlockola in the USA, all presented from that charming Stephen King point of view.

The recommended reading and viewing lists at the back are truly a treasure. They alone are more than sufficient to justify the cost of acquiring this work. However, there is a wealth of additional content within these pages.

It must be noted, though, that the indexing leaves a great deal to be desired. It could be more comprehensive and user-friendly, making it easier for readers to locate specific topics and references.

Overall, despite the minor flaw in the indexing, this is a highly engaging and informative work that horror enthusiasts will surely appreciate.

Playlist

Come On Everybody by Eddie Cochran is a lively and energetic track that gets you on your feet.

The Stranger by Billy Joel tells a captivating story with his unique style.

La Traviata by Giuseppe Verdi is a classic opera piece full of passion and drama.

Chuck Berry's Route 66 is a timeless rock and roll anthem.

Little Richard's Rip It Up is another high-energy number that makes you want to dance.

With A Little Help From My Friends by The Beatles is a beloved song that brings a sense of unity.

Marty Robbins' El Paso is a Western-themed ballad that tells a tragic love story.

Pink Peg Slacks by Eddie Cochran is a catchy tune with a great rhythm.

Back Door Man by Howlin’ Wolf is a bluesy number that showcases his powerful vocals.

Ramones' I’m Affected is a punk rock classic with its fast-paced tempo.

Linda Ronstadt's You’re No Good is a soulful song that has been covered by many.

Louie Louie by The Kingsmen is an iconic garage rock song that everyone knows.

Little Deuce Coupe by The Beach Boys is a fun and sunny track that makes you think of summer.

Eric Clapton's After Midnight is a smooth and bluesy guitar-driven song.

Jimmy Hendrix's Voodoo Child is a psychedelic rock masterpiece.

Janis Joplin's Maybe is a powerful and emotional song that showcases her raw talent.

Singin’ in the Rain by Gene Kelly is a classic musical number that always brings a smile to your face.

A bicycle built for two by Elm City Four is a charming and lighthearted song.

Tommy Dorsey's You’re Lonely and I’m Lonely is a beautiful big band ballad.

It’s Alright Ma (I’m Only Bleeding) by Roger McGuinn is a folk-rock song with a profound message.

Little Richard's Keep a Knockin’ is another energetic and infectious song.

John Lennon's Working Class Hero is a politically charged anthem.

The Beatles' Revolution is a powerful and influential song that changed the music industry.

Mr. Tambourine Man by The Byrds is a folk-rock classic with a dreamy atmosphere.

Eight Miles High by The Byrds is a psychedelic rock song that takes you on a journey.

Elton John's I’m Still Standing is a powerful and uplifting song.

AC/DC's Back in Black is a hard rock classic that gets your blood pumping.

Jerry Lee Lewis's Breathless is a wild and crazy piano-driven song.

The "Fish" Cheer/I-Feel-Like-I'm-Fixin'-to-Die Rag by Country Joe McDonald is a protest song with a unique style.

Baby Elephant Walk by Henry Mancini is a light and playful instrumental.

Diana Ross's Upside Down is a funky and soulful disco hit.

All You Need Is Love by The Beatles is a universal message of love and peace.

Bing Crosby's Something’s Gotta Give is a classic crooner song.

Sex Pistols' No Feelings is a punk rock anthem that rebels against society.

Ramones' Pinhead is another punk rock classic with its simple yet effective lyrics.

The Blob by The Five Blobs is a novelty song that is both catchy and fun.

Sh-Boom by The Chords is a doo-wop classic that has a great harmony.

The Beatles' Here Comes the Sun is a beautiful and optimistic song.

Bringing It All Back Home (Album) by Bob Dylan is a landmark album in the history of folk and rock music.

Won’t Get Fooled Again by The Who is a powerful and anthemic rock song.

Louie Louie by The Kingsmen is a garage rock classic that has been covered countless times.

Jefferson Airplane's It’s No Secret is a psychedelic rock song with a mysterious atmosphere.

Ballad of a Thin Man by Bob Dylan is a complex and thought-provoking song.

The Beatles' Penny Lane is a charming and nostalgic song.

The Beatles' Here, There and Everywhere is a beautiful and romantic song.

The Star Spangled Banner is a patriotic anthem that represents the United States.

Ball and Chain by Janis Joplin is a bluesy and powerful song that showcases her vocal range.

The End by Jim Morrison is a psychedelic and experimental song that is a fitting end to this diverse playlist.

The Eagles' Lyin’ Eyes is a country-rock song that tells a story of love and deception.

Anarchy in the U.K. by Sex Pistols is a punk rock anthem that sparked a revolution in music and culture.

This playlist is a journey through different eras and genres of music, from rock and roll to opera, from folk to punk. It has something for everyone, whether you're looking for a dance party or a thoughtful listen. So sit back, relax, and enjoy the music!

Chico Steve, apart from being a productive writer, also turned out (not that I ever had any doubts on this matter) to be an enthusiastic "consumer" of horror. In his research, which covered a period of 30 years (from the 50s to the 80s of the 20th century), he demonstrates an encyclopedic awareness of the genre's representatives in cinema, television, and literature. I won't dwell on the first two areas because they don't particularly interest me. See, regarding his views on literature, I will jot down a few general lines, although I'm not entirely in agreement with all his conclusions.

To begin with, King clarifies that the genre framework of horror is a rather flexible concept, and the idea of finding an exact definition is truly a trap. Personally, I don't feel there is a more boring academic discipline. Just like the endless discussion of intonational units in contemporary poetry or the possible excess of some punctuation marks in the short story, this discussion falls into the category of "How many angels can fit on the head of a pin?" and in principle, it only interests two types of people - the drunk and the diploma holders, two almost identical states of incompetence.

Then he examines the three novels that lay the foundation of horror, Frankenstein, Dracula, and The Strange Case of Dr. Jekyll and Mr. Hyde, and relates them to the corresponding archetypal images - The Thing, The Vampire, and The Werewolf - which occupy the greater part of modern artistic horror literature.

For the finale, he stops at ten books that represent everything good in this genre: horror stories as both artistic and entertaining prose, an indispensable part of 20th-century literature, worthy heirs of the previously mentioned ones.
Here they are:

1. Ghost Story - Peter Straub (1979)
2. The Haunting of Hill House - Shirley Jackson (1959)
3. The House Next Door - Anne Rivers Siddons (1978)
4. Rosemary's Baby - Ira Levin (1967)
5. Invasion of the Body Snatchers - Jack Finney (1955)
6. Something Wicked This Way Comes - Ray Bradbury (1962)
7. The Shrinking Man - Richard Matheson (1956)
8. The Doll Who Ate His Mother - Ramsey Campbell (1976)
9. The Fog - James Herbert (1975)
10. Strange Wine - Harlan Ellison (1978)

Of the mentioned (nine novels and one collection), only three have been translated into Bulgarian, but... who knows, in some better future, we might be able to see them (all or some of them) on the domestic market. Dreams die last, right? :)
And now a few curious quotes, so you can understand which authors clearly irritate King, ha-ha-ha.

If you have the desire to read John Saul and Frank De Felitta, no one is stopping you, the money is yours. But I won't discuss them here.
I'll just say that his books (by Ira Levin) manage to be tense without turning into preachy dry sermons (two novels that directly fall into the category of Preachy Dry Sermons are "Damien" by Terry Kline and "The Exorcist" by William Peter Blatty - Kline's writing style has improved significantly since then, and Blatty has fallen silent... if we're lucky, permanently).
Good horror novels are by no means found everywhere, but it seems they are never completely exhausted either. I mean, every year at least one very good (or at least very interesting) horror or supernatural novel appears. The same more or less applies to horror films. If the year happens to be particularly good, among all the trashy boulevard books about creepy children with paranormal gifts and presidential candidates who have come out of hell, and among the pretentious editions with glossy covers, like the recent "The Girl" by James Patterson, a total of three good novels can be discovered.