Book Review: The End of the World As We Know It: New Tales of Stephen King
When I first heard about The End of the World As We Know It: New Tales of Stephen King, I was buzzing with anticipation. The sheer idea of exploring the rich tapestry of King’s universe—especially the haunting threads of The Stand—had me feeling like a kid in a candy store. King had only scratched the surface, and I couldn’t help but wonder what other fascinating narratives were waiting to be unraveled. However, despite my enthusiasm, I harbored some reservations about the lineup of contributors. Having found little joy in Christopher Golden’s previous work and having a somewhat fraught relationship with Keene, I hesitated to spend my hard-earned cash. But the promise of this anthology was simply too tempting to resist.
The anthology is divided into four parts, and I dove in with varying levels of expectation—a mixture of hope and trepidation. The first section, “Down With the Sickness,” features half of the anthology’s stories, chronicling the ominous rise of Captain Tripps and the ensuing chaos. The initial offering, “Room 24” by Caroline Kepnes, was a disappointing kick-off; it felt only tangentially connected to The Stand, and the main character resembled a slightly less charming version of Joe Goldberg. Only 2.5 stars for that one. As I trudged through the section, there were glimmers of quality, particularly with Joe R. Lansdale’s contribution, “In a Pig’s Eye,” which stood head and shoulders above its peers at a well-deserved 5 stars thanks to Lansdale’s signature prose and immersive storytelling.
As I turned the page into “The Long Walk,” I hoped for a fresh revitalization. Here we began to step away from the myopic focus on Tripps, inviting greater geographical and cultural diversity. Josh Malerman’s “I Love The Dead” fell flat for me, but S.A. Cosby’s “The Legion of Swine” was a vibrant breath of fresh air that reignited my enthusiasm. As the collection progressed, some stories bore the repetition of themes—good versus evil, survival, and the quest for hope. I couldn’t shake the feeling that many authors had perhaps tuned into the same wavelength and were too reliant on familiar tropes.
By the time I reached the final section, “Other Worlds Than These,” the fatigue began to settle in. Some narratives, like Nat Cassidy’s “The Unfortunate Convalescence of the SuperLawyer,” delivered unexpected twists that sparked my interest, while others—sadly, I’m looking at you, David J. Schow’s “Walk on Gilded Splinters”—felt dreadfully uninspired, almost echoing the lackluster opening.
Ultimately, my experience with The End of the World As We Know It can be summarized as a rollercoaster of highs and lows. It’s a three-star collection that had the potential for greatness but often fell back into cliché. If you’re a die-hard King fan or just curious about the multitude of voices that this anthology brings together, it might still be worth a read. You’ll find some gems within its pages, but I’d recommend tempering your expectations, just like I wish I had. My journey through these tales has left me pondering: how could such a vibrant universe sometimes yield stories that feel so similar? Let’s hope the literary world doesn’t continue to strip-mine King’s legacy but rather expands upon it with more creative energy.
For those who love post-apocalyptic tales, complex character explorations, and insights into humanity’s darker recesses, this anthology does have moments of brilliance. Nevertheless, as I close the cover, I can’t help but hope for a future collection that truly taps into the uncharted potential of King’s world.
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