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"Before vampires became sympathetic characters with their own alternate worlds, complete with vampire coffee shops and vampire politics, they used to be bad guys, scary not sexy, and they preferred wreaking havoc in horror novels rather than exuding tortured sensitivity in YA coming-of-age fiction. Fortunately, we don't need to go all the way back to Dracula and Boris Karloff to remember those halcyon days: we have Stephen King's 'Salem's Lot, from 1975. Oddly, it's not the vampires that make 'Salem's Lot great popular fiction. Mr. Barlow, our lead vampire, is no Dracula. He doesn't even appear until the story is nearly half over, and he is perhaps the most one-dimensional figure in the book (but that single dimension is enough: unadulterated evil). The real main character isn't a person at all, human or vampire: it's the seemingly idyllic New England town of Jerusalem's Lot. King once said that in 'Salem's Lot, he set out to create ""a fictional town with enough prosaic reality about it to offset the comic-book menace of a bunch of vampires."" He did just that by drawing on our universal fear of outsiders, and nowhere is that fear more recognizable than in our traditional image of the New England small town, where insularity itself becomes a defense against incursion by strangers. The stereotypical Yankee, befuddling outsiders with a series of cryptic yups and nopes, may be a comic character from folklore, but he is also a soldier defending his Maginot Line against potential blitzkrieg. And behind the crotchety Yankee's seeming impregnability, there is the constant fear that one day a stranger will come to town who won't take nope for an answer. That juxtaposition of prosaic reality against outlandish terror has always been central to King's technique for scaring his readers. In 'Salem's Lot, he does it by looking beneath the surface of idyllic New England. We see the pastoral beauty, the close-knit community, and the unpretentious lifestyle, yet from the beginning, we also see the harbinger of something else, something other. The novel begins with a stranger, not Barlow but a writer, Ben Mears, returning to the Lot, where he'd lived briefly as a boy. Mears has come home again not to reclaim his innocence but to expunge his demons—the memory of the body of a man dead for decades, still hanging in the closet of the Marsten House. Mears believes he hallucinated this horrible scene, but he wants to explore why it happened, why this house prompted him to imagine evil. What Mears finds when he returns to the Lot is that the Marsten House is now occupied by another stranger, our Mr. Barlow. As the known gives way to the unknown, King shows how the small-town insistence on maintaining the illusion of tranquility makes easy pickings for a vampire intent on fomenting a little evil. If 'Salem's Lot were just another old-fashioned vampire novel, it would portray a straightforward struggle between good (people) and bad (vampires). It would not portray the arrival of vampires in the Lot as a kind of supernatural manifestation of the town's distorted sense of itself. King feels both affection for and anger toward his small town. A part of him wants to see 'Salem's Lot get its comeuppance, and this part gives the novel a degree of frisson that most vampire stories lack. And yet, in the end, the vampires don't win, at least not exactly. Yes, Ben Mears pounds a stake in Barlow's heart, but that isn't enough. The evil continues to thrive. The town needs its own stake. Writers of every kind—from Nathaniel Hawthorne to Grace Metalious to John Updike to Carolyn Chute—have wrestled with their mixed feelings about the small towns of New England. But it took Stephen King to burn one down." 内容简介
Stephen King's second novel, the classic vampire bestseller 'SALEM'S LOT, tells the story of evil in small-town America. For the first time in a major trade edition, this terrifying novel is accompanied by previously unpublished material from King's archive, two short stories, and eerie photographs that bring King's fictional darkness and evil to vivid life.
When Stephen King's classic thriller 'SALEM'S LOT hit the stands in 1975, it thrilled and terrified millions of readers with tales of demonic evil in small-town America. Now, thirty years later and still scaring readers witless, 'SALEM'S LOT reemerges in a brilliant new edition, complete with photographs, fifty pages of deleted and alternate scenes, and two short stories related to the events of the novel.
While the original edition of 'SALEM'S LOT will forever be a premier horror classic, 'SALEM'S LOT: ILLUSTRATED EDITION, with the inclusion of material from King's archive, is destined to become a classic in its own right and a must-have for all Stephen King fans. In this edition, the hair-raising story of Jerusalem's Lot, a small town in Maine whose inhabitants succumb to the evil allure of a new resident, is told as the author envisioned it, complete with fifty pages of alternate and deleted scenes. With a new introduction by the author, two short stories related to the events and residents of Jerusalem's Lot, the lavishly creepy photographs of Jerry Uelsmann, and a stunning new page design, this edition brings the story to life in words and pictures as never before.
No library will be complete without this ideal collector's item for any King aficionado, the definitive illustrated edition of the great 'SALEM'S LOT. 作者简介
Stephen King is the author of more than fifty books, all of them worldwide bestsellers. His novel 11/22/63 was named a top ten book of 2011 by The New York Times Book Review and won the Los Angeles Times Book Prize for Mystery/Thriller as well as the Best Hardcover Book Award from the International Thriller Writers Association. He is the recipient of the 2003 National Book Foundation Medal for Distinguished Contribution to American Letters. He lives in Bangor, Maine, with his wife, novelist Tabitha King.
斯蒂芬·金(Stephen King,1947年9月21日-),是一位作品多产,屡获奖项的美国畅销书作家,编写过剧本、专栏评论,曾担任电影导演、制片人以及演员。斯蒂芬·金作品销售超过3亿5000万册,以恐怖小说著称,活脱脱概括了此一类别的整个发展沿革。他的作品还包括科幻小说、奇幻小说、短篇小说、非小说、影视剧本及舞台剧剧本。大多数的作品都曾被改编到其它媒体,像是电影、电视系列剧和漫画书上。他在2003年获得美国文学杰出贡献奖章。 精彩书评
"Spine-tingling fiction at its best." --Grand Rapids Press
"A master storyteller." --The Los Angeles Times
"An unabashed chiller." --Austin American Statesman
“[The] most wonderfully gruesome man on the planet.” —USA Today
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“A super exorcism...tremendous.” —Kirkus Reviews
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“A novel of chilling, unspeakable evil.” —Chattanooga Times
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“[King is] . . . the guy who probably knows more about scary goings-on in confined, isolated places than anybody since Edgar Allan Poe.” —Entertainment Weekly
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“Stephen King has built a literary genre of putting ordinary people in the most terrifying situations. . . . he’s the author who can always make the improbable so scary you'll feel compelled to check the locks on the front door.” —The Boston Globe
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“Peerless imagination.” —The Observer (London)
影踪:一窥未知的迷雾 这座城市,矗立在被遗忘的角落,表面上平静如常,却在夜色降临后,如同被一层看不见的薄纱笼罩。这里的故事,不是关于吸血鬼的古典传说,也不是僵尸的血腥狂欢,而是潜藏在人心深处的恐惧,是环境对个体无声的侵蚀。 《影踪》 带领读者深入探访一座名为“埃文斯港”的沿海小镇。这个名字听起来宁静祥和,但镇上居民的生活早已被一种难以言喻的阴影所笼罩。故事的主人公,伊莱亚斯·文森特,一位因职业变动而迁居至此的建筑师,最初只是被这里古朴的维多利亚式建筑和略显萧瑟的海景所吸引。他满心期待着新的开始,却很快发现,埃文斯港的每一块砖石、每一条街道,都似乎在低语着一些不祥的秘密。 第一部分:表象之下的裂痕 小说开篇,伊莱亚斯租下了一栋位于海边悬崖边,有着悠久历史的独立屋。屋内老旧的家具散发着樟脑丸和海盐混合的气味,壁炉里积满了多年的灰烬。他试图用现代化的设计理念去改造它,但总感觉有一种无形的力量在抗拒他的每一次改动。 当地人对新来的外来者保持着一种疏离的礼貌。他们眼神闪烁,对任何关于镇子历史或近期“怪事”的询问都避而不谈。镇上唯一的杂货店老板娘,玛莎,一个看透世事的妇人,是第一个向伊莱亚斯透露出冰山一角的人。她的话语总是模棱两可,充满了隐喻:“年轻人,有些地方,你越是想看清楚,就越是陷得深。” 伊莱亚斯开始注意到一些不协调的细节:夜深人静时,远处码头上传来的规律的、如同重物拖拽的声响;镇中心那座废弃已久的灯塔,灯火从未亮起,却时常有船只在附近迷失方向;最令人不安的是,镇上的宠物——狗和猫——对某些特定的区域表现出极度的恐惧,它们会无故狂吠,然后瑟瑟发抖地躲藏起来。 他试图用逻辑来解释这一切:可能是陈旧的电路,可能是渔业衰退带来的经济萧条导致的居民压抑,也可能是小镇特有的地方传说在作祟。然而,随着他对小镇历史的深入挖掘,逻辑的堡垒开始动摇。 第二部分:被时间遗忘的契约 伊莱亚斯翻阅了镇图书馆里泛黄的档案,发现埃文斯港的建立与一场十九世纪末的“集体失踪案”紧密相关。当时,一股神秘的雾气笼罩了整个海湾,数十名渔民和他们的船只彻底消失,无一生还。官方记录草草结案,归咎于突发的飓风。 但伊莱亚斯发现了一本手抄的日记,属于一位当时的镇长。日记中描述的并非自然灾害,而是一种“饥饿的低语”。这位镇长记录了人们在雾气中听到的、无法理解的吟唱,以及随之而来的集体性的恐慌和顺从。 更令人毛骨悚然的是,这些“失踪”事件并非孤例。每隔二十年左右,埃文斯港就会发生一次小型的人口流失。流失的总是那些“不合群”的、或者试图揭露真相的人。 伊莱亚斯开始与镇上少数愿意交谈的边缘人物接触,例如退休的灯塔看守人,老彼得。老彼得患有严重的关节炎,终日坐在摇椅上,眼神浑浊却带着一丝洞察力。他告诉伊莱亚斯,这座镇子是被“选中”的。 “不是什么恶魔,”老彼得低声说,声音像砂纸打磨过,“是‘契约’。我们祖先为了让这片贫瘠的土地能勉强糊口,与海下的一些东西达成了协议。代价,是定期的‘奉献’。” 彼得解释说,这种“奉献”并非传统意义上的祭祀,而是一种缓慢的、精神层面的吸取。海下的存在不需要鲜血,它们需要的是生者的“活力”和“记忆”。每当镇子繁荣的假象开始衰退时,这种吸取就会加剧,导致居民变得冷漠、麻木,思维缓慢,仿佛他们的灵魂正在被一点点抽干,只剩下躯壳在机械地生活。 第三部分:个体与集体的拉锯 伊莱亚斯的到访打破了这种微妙的平衡。他的活力、他的探究欲,像一把火炬照亮了沉积已久的黑暗,也引起了“契约”的注意。 他开始经历更为强烈的幻觉。夜晚,他会看到海平面上升起一层幽绿色的薄雾,雾中有人影在移动,他们似乎在朝他招手,邀请他加入那永恒的静默。他的睡眠质量急剧下降,常常在清晨惊醒,发现自己正拿着工具,无意识地走向海边。 他试图向外界求助,但电话通讯时断时续,网络信号如同被海洋深处的巨石阻挡。当他鼓足勇气,试图驾车离开时,无论他如何选择路线,最终都会绕回到埃文斯港的入口标志。小镇的地理边界仿佛被一种非物理的力量扭曲了。 他的合作伙伴,一个热衷于地方历史的独立记者,在一次秘密的调查中失踪了。留下的只有他笔记本上潦草的最后一行字:“他们不是消失,他们是‘融合’了。” 伊莱亚斯意识到,他面对的敌人不是单个的邪恶生物,而是一种环境性的、集体性的、渗透性的存在。它通过维持一种虚假的秩序,让居民自愿地、甚至本能地去保护这个“契约”,因为反抗意味着彻底的湮灭。 小镇的“核心”人物——镇长、银行家、甚至那个杂货店老板娘——都是这种“契约”的维护者。他们生活在一种半梦半醒的状态,维持着小镇的日常运转,确保下一轮的“奉献”得以顺利进行。 终局:是逃离,还是同化? 小说的后半部分是伊莱亚斯在极端的心理压力下,与小镇维护者们展开的周旋。他必须找到解除“契约”的方法,或者,找到一条真正的出路。 他锁定了灯塔——那个自始至终都保持沉默的制高点。老彼得在生命的最后时刻,用尽力气告诉了他一个关于灯塔的秘密:灯塔并非为了指引船只,而是为了“遏制”。它内部的结构,在百年前被设计成一个临时的屏障,以限制“海下低语”的传播范围。然而,随着时间的推移,维护灯塔的仪式被遗忘,屏障正在失效。 伊莱亚斯必须进入灯塔,修复那早已腐朽的机械,重新点燃那束被遗忘的光芒。 这是一个关于人性的坚韧与代价的故事。在最终的对峙中,伊莱亚斯面临的不是肉体的搏斗,而是精神的拷问:是选择回归那麻木的平静,成为“契约”的一部分,享受虚假的安宁;还是选择燃烧自己的全部,去争取一个微乎其微的、可能导致自己彻底毁灭的自由。 《影踪》 是一部氛围极其压抑的心理悬疑小说,它探讨了在面对超越人类理解的集体压力时,个体理智的脆弱性。它不提供一个干净利落的结局,而是将读者抛入一个永恒的疑问:当一个环境本身成为你的敌人时,你又该如何证明自己仍然是一个“活人”?这座海边小镇的雾气,最终会散去,还是会永远地,缠绕在读者的心头?