by Stephen King
p. 1978/1990
Stephen King’s extended re-release
of The Stand from 1990 (twelve years
after its initial publication) was a book recommended and lent to me by my
uncle and achieved two distinct landmarks for me: my first book by Stephen King
and the longest single book I’ve ever read. My uncle knew it would resonate
with me, as it is an epic post-apocalyptic novel—and probably the most famous
one ever written.
As far as my former landmark is
concerned, I have no excuse for never picking up a Stephen King novel before
now. As an avid reader at 28 years of age, and one who has seen countless film
adaptations of King’s work, you’d really think it would have come up before
now. I even have several copies of his novels lingering in my book collection
that I’ve never delved into—probably due to their length, if I’m being honest.
It seems strange then, that I would start with King’s longest novel, but some
times we all just need a little prodding. To say that I can see now why Stephen
King is heralded as one of the most prolific contemporary writers seems a
little... ostentatious, so I’ll just add that I was surprised to find that not
all of his work is straight up horror. King’s horror novels get far more
attention so I had assumed, wrongly, that that was all he was about. The Stand was not without its horrific
elements, sure, but it is first and foremost a post-apocalyptic exploration and
a character-driven story. I can see why my uncle recommended it to me.
I won’t compare this re-release to
the original form of the novel, because I haven’t read the shorter version, I
didn’t read any notes closely examining the two, and it would be pedantic to
make such a thorough comparison. I will say that there were plenty of times in
the first half of the novel where I often wondered if the chapter I was reading
was an add-on, because some of the set-up of the wide array of characters could
be considered extraneous, but I tried not to read too much into it, because I
enjoyed the backstory on all the characters too much. Knowing all that I did
about the protagonists made their choices and their struggles mean so much more
later on.
Since the first third of The Stand keeps all the survivors apart,
I’ll talk first about my impressions of various characters. As is expected with
such a lengthy and complex story, my feelings often wavered back and forth for
half of the main characters throughout the novel.
Stuart Redman – Stu is inarguably the ultimate hero of the novel, a
quiet widower working at a gas station in Texas and thus the only main
character around to witness the start of the global pandemic that kills over 99%
of the population. I liked him well enough at the start, and at no point did I dislike Stu, but if I’m being completely
honest, I grew a little bored of his brooding, alpha male, noble hero complex.
I get the impression that Stu’s post-apocalyptic journey is about learning how
to be a leader of men (and I guess finding love again?) so then I’m perplexed
that he was not only left out of the final stand, but that he also took his
leave of the society he helped to create at the end of the story. Sure, people
had to move on eventually, but at least wait a couple years before you take off
on your epic road trip. What if his unborn child needed a doctor? Are Stu and
Fran just going to wing it? It all just seemed irrationally stubborn.
Fran Goldsmith – Here is the character I struggled with the most,
and who can blame me, since she’s the only female protagonist worth expanding
on? Susan Stern was composed and admirable but died pointlessly and Dayna
Jurgens was pretty awesome but also died without accomplishing anything
substantial. And Mother Abigail? Well, who can hate the 108-year-old feisty
woman who is the manifestation of God’s love? But precisely for that reason,
there’s not much to make you think in regards to Mother Abigail, so that leaves
us with Fran. I wanted to like Fran, I really did. I liked her stubborn sense
of humor, I sympathized with her when we saw how withering her mother was, and
I admired her tenacity in burying her beloved father and carrying on in spite
of all that was stacked against her... but ultimately I can’t stand her. Fran
is totally useless. She takes no direct actions that are of import to anybody
and yet ‘somehow’ she makes it on the Free Zone Committee (being the leader’s
girlfriend helped, I’m sure). Fran starts out the story pregnant with her
boyfriend’s baby and rejects his offer to support her any way she chooses (be that marriage or
abortion or anything else), and she’s pretty callous about it, if you ask me. I
get that she’s over him, but you
don’t just dismiss the father of your child when he says he wants to help
because you’re bummed you got knocked up by a cuckold. She makes it worse when
she doesn’t even stop to wonder if the father survived (not even once) and
immediately finds a new alpha male to take care of her. Now, don’t get me
wrong, the plight of a pregnant girl in a post-apocalyptic world is a complex
one, and I don’t necessarily begrudge her a smart move like that (i.e. seeking
a protector for her unborn child), but the union of Stu and Fran played out
more like an epic love story than a complex study of power dynamics, so it
doesn’t make her look any more interesting. Fran might have saved face in my
book if she had gone on to be useful, but she doesn’t. The only thing she
contributes to the Committee is to record their meetings and to be needlessly
judgmental while failing to offer alternative solutions. On the journey to
Boulder, she keeps a journal that quickly falls apart and is later actually detrimental to the Free Zone. So, thanks
for that Fran. Perhaps the birth of
her child (the first living baby in the Free Zone) might have meant something,
but all that would have happened with or without Fran. At one point it is
stated that she represented the Committee’s conscience, but all I saw was a self-righteous
(and at times just downright selfish) girl who has no problem moralizing at and
guilt-tripping those she hides behind. If at any point this had been addressed,
I would have cheered out loud, but everyone seems perfectly content to let
Frannie Sue play the part she picked out, and it is so irritating.
Nick Andros – The deaf-mute drifter who wanders into his purpose
was by far my favorite character in The
Stand. Ironically, despite being the only protagonist with nothing to lose
at novel’s start, Nick probably suffered the most in the period between the
superflu and the formation of the Free Zone. His struggle to survive in a world
of silence that is full of danger was compelling and I found myself more and
more invested in his character growth simply because he is such an unlikely
leader, yet that is exactly the role he falls into. Two of my favorite
character archetypes are the nice guy and the hard luck character and Nick’s
combination of compassion, intelligence, and vision had him falling into those
roles nicely... so of course King full on wasted him in a tremendous explosion
two thirds of the way into the novel. I’ve thought about this a lot since I
finished the book a month ago, and I believe it would have been much more
interesting if Nick had survived to the end of the book instead of Stu. I know,
I’m totally biased, but I just found Nick Andros to be the more original
character while Stu was rather bland and cliché. Seeing the drifter who never
fit in anywhere take up the helm and become a leader of men would have been a
perfect evolution of the character. Sure, he couldn’t hear or speak, but if
apocalyptic fiction has taught us anything, it’s that survivors banding
together, helping one another, and creating a community in which everyone has a
voice is the only way for society to truly endure. Nick’s life provided that
metaphor; his death felt like a cheap ploy to kickstart the reader’s emotional
investment. (As I understand it, King was suffering from writer’s block at this
point and invented the lethal explosion subplot to get out of it. Killing Nick
was, I suppose a ‘kill your darlings’ move by King, but I think I will always
resent it, even if I understand it.)
Larry Underwood – Larry was a character I didn’t much care for
throughout most of the novel. My disdain for him evened out over time, but I
have to admit I never did see the point of him. Thanks to the ‘divine
intervention’ that seemingly doomed Stu (but actually spared him), Larry was
supposedly forced into a leadership position. This seemed a natural evolution
to the course of his character development—to go from a selfish burnout with no
prospects to someone worth following, but I don’t think he quite made it there,
and even when he did assume leadership, he didn’t do a whole lot of leading. I
kept waiting for the moment when he reached out to Randall Flagg’s followers
and gave a speech that changed their minds, turned them to the good side. He almost
lifts right out and the outcome would still have been the same.
Harold Lauder – Harold is the character that probably goes through
the most change. When the superflu hits, he is a lonely, fat, sixteen-year-old
self-proclaimed intellectual and the little brother of Frannie’s best friend.
He harbors a mighty crush on Frannie that ultimately turns deadly when she
unwittingly (inevitably) spurns him. The way Harold assumed Frannie (as the
only girl left in town) would be ‘his’ and the dark and petulant turn he took
when he didn’t get his way made me think he would fit right in on Reddit if
only he were born 20+ years later, grumbling about how the ‘nice guys’ never
get noticed with all the other neckbeards. The ease with which I could picture
Harold as a real person, and the extent of his possessiveness almost made him a
more unsettling character than Randall Flagg himself, simply because he felt so
familiar and his deadly actions had a more personal result than many of the
things done by Flagg’s own hand. I’ll admit though, that for one brief moment
there, when Harold started to fit into the Free Zone in spite of (or rather because of his superb act) I actually
got hopeful that he might change into a better man, but my hopes were
brilliantly dashed. It’s really unfortunate because Harold could have been an
even more powerful character if he had only turned against the Dark Man and
stood for something good, but I suppose this is where King’s adherence to the
genre comes in. The story of a boy twisted into something heinous and dark by
evil fits in much better to a horror story. All that being said, I was
surprised to reach the end of The Stand
and realize that Harold was actually one of my top characters, not because I
admired or cheered for him (I actively despised him for much of the book), but
because he was one of the most interesting characters with the most potential.
One of the most remarkable things
about The Stand made possible by its
immense length is that each of its three books feels like a completely
different story. The first is character-driven and reactionary and feels the
most post-apocalyptic because it takes place in the immediate aftermath. There
is a lot of world-building and character development, and a lot of tension too
because there are so many different characters in various places and so much
ground to cover, so you may go almost a hundred pages before you hear from
someone again. There is also an element of uncertainty to the whole affair,
because you don’t know what kind of a story it is going to be yet. Characters
are introduced and developed and shockingly discarded. I mourned the most for
the hard-nosed Shoyo sheriff that Nick befriended because I imagined hundreds
of pages of their friendship developing before realizing it wasn’t that kind of
apocalypse and the sheriff was bound for the grave. The first book is also the
most ‘horrific’ of the three, with its nightmarish descriptions of Captain
Trips’ effects on people. It’s all so terribly vivid that you almost start to
feel paranoid in real life; I know that every time I had a tickle in my throat
or a stuffy nose while reading this book, I got a little flutter in the pit of
my stomach, a mere flash of ‘what if...?’ in my head.
The second book is where everyone
comes together and tries to rebuild society. I thought this part was the meat
and bones of the story. I enjoyed watching people develop into their
post-plague roles and redefine themselves. This is the other side of
post-apocalypse fiction; once you’ve survived, what then? Where do you go from
here? How do you decide who is in charge? I liked watching the Free Zone
rebuild itself and I could have read an entire novel entirely focused on the
challenges faced in a post-apocalyptic society, as explored from all angles and
a variety of persons. Come to think of it, I really haven’t encountered a novel
like that so far. During Cold War times, post-apocalypse books tended to be pessimistic and focus on small groups of people. In the more contemporary Directive 51, we saw things only from the government’s point of
view. There is always a focus on the science side of things and less on the
politics and community, as in The Stand.
But there is a third part to The Stand that builds in the background
the entire time our survivors are learning how to survive, and that is the titular
‘Stand’ itself. The final part of the novel abandons the Free Zone setting and
takes the fight to Las Vegas, where Randall Flagg is building his own army.
Everything had been leading to this, so I’m certainly not saying that it came
out of nowhere, yet I feel like the final part could have been left off and it
still would have been an amazing book. It wouldn’t be the good-vs-evil story
King intended to write, sure, but that just goes to show how wide of an array
of emotions this book sends you through.
As I understand it, there is soon
to be a new film adaptation of The Stand,
and I’m thrilled, especially since I’ve heard that Matthew McConaughey has
expressed interest in playing Randall Flagg. Anybody would have balked at this
casting suggestion even five years ago, but McConaughey has shown real promise
lately, and I think he’d nail this role. Unless they plan on leaving out a lot
of characters, it would have to be a trilogy of films, because there is just
too much content to cover in one sitting. And since it is set for the big
screen, they would probably overdramatize a lot of things and ramp up the action,
because Hollywood demands this in their trilogies. As I stated earlier, I would
welcome certain drastic changes, but
something tells me the stuff I’d like to see moved around would probably stay
put, as King probably wouldn’t allow so much editing of the original material.
Still, just the thought of a postmodern reimagining of The Stand makes me all atwitter with anticipation. Let’s hope this
newest incarnation does it justice.
