20 Sep Book Review of The End of the World As We Know It: New Tales of Stephe…
Review of 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 couldn’t contain my excitement. What a fantastic idea! Stephen King’s universe is like a rich tapestry, and with so many threads to pull on, the potential for new stories was mouthwatering. I had visions of imaginative spins on classic plots, exploring lives we knew only in passing. But, as I dove into this anthology, I had to confront my reservations regarding some of the contributors, notably Keene and others. Yet, the allure of King’s world was irresistible enough to warrant a little discomfort.
The anthology divided into four parts takes readers deeper into a post-apocalyptic landscape ravaged by Captain Tripps. In “Part One: Down With the Sickness,” I encountered mixed results. Caroline Kepnes’s opener, “Room 24,” felt flat and disconnected, more a sequel to You than a heartfelt tribute to The Stand. And while a couple of stories did stand out—like Joe R. Lansdale’s “In a Pig’s Eye,” which dazzled with his signature style—others sank into monotony, with recurring themes of survival against a backdrop of familiar misery. This pattern reminded me of a group of friends who only tell the same old stories—charming at first, but eventually tiresome.
What truly shone were the unique voices that dared to break away from the predictable narrative. Tim Lebbon’s “Grace” initially promised something fresh, but ultimately fell short, leaving me slightly disheartened. However, Poppy Z. Brite’s “Till Human Voices Wake Us” was a delightful surprise, brilliantly reimagining the King mythos and scoring a perfect five stars for its adventurous spirit. In stark contrast, Bev Vincent’s “Lockdown”—utterly unexpected—left me yearning for more.
As I moved towards “Part Two: The Long Walk,” my heart raced with anticipation. Josh Malerman’s “I Love the Dead” opened with promise but faltered; it felt less like a narrative and more a jumbled talk about horror itself. Fortunately, S.A. Cosby and Rio Youers quickly injected adrenaline back into the mix, reminding me of the powerful allure of storytelling when wielded by skillful hands.
By “Part Three: Life Was Such a Wheel,” I felt the anthology had found its footing with standout submissions, particularly Chuck Wendig’s tale set in the aftermath of The Stand. He delivered a surprising twist, rendering the familiarity of the theme fresh again. Yet, as I reached “Part Four: Other Worlds than These,” I couldn’t help but lament the trend that seemed to echo throughout the collection—a pervasive sense of sameness.
Overall, The End of the World As We Know It didn’t quite live up to my lofty expectations. It felt like a missed opportunity, like a gathering of the industry’s best who, after a few too many sips of the same Kool-Aid, became trapped in their comfort zones. Still, I found enough gems buried within to make the journey worthwhile.
In conclusion, I suspect this anthology will appeal primarily to die-hard King fans who relish any addition to his expansive universe, particularly those seeking varied cultural perspectives. For the casual reader, however, the peaks might not outweigh the valleys. In my case, it served as a reminder of the intrinsic connection between reader and story, even when those tales stumble. I walked away feeling a little let down, but also grateful for the moments of wonder scattered throughout. Here’s hoping for greater adventures in future explorations of King’s world!
Discover more about The End of the World As We Know It: New Tales of Stephe… on GoodReads >>
