‘Salem’s Lot by Stephen King
Doubleday | October 1975
My most recent read of ‘Salem’s Lot took place in a variety of settings: under the harsh, cold fluorescents of my office during lunch; under the softer glow of the lamp in my living room; in the bright sunlight on my back porch; and, on a couple of occasions, underneath the lone bulb on that same porch, with night creeping in all around.
It’s a testament to the power of Stephen King’s writing that, in each of those places, he managed to thoroughly creep me out.
I don’t remember how many of King’s books I’d already read when I got to ‘Salem’s Lot the first time – I know I read Pet Sematary first, and after that it was a big blur as I gobbled up everything of his I could find. Looking back at it in its proper place in the bibliography, ‘Salem’s Lot signifies for me the first real glimpse of the Stephen King who would go on to dominate the horror field. It has several of the characteristics that would define the early years of the “Stephen King brand” in my mind; most notably, the pointed, accurate portrayal of a small town and its people, and the use of classic horror tropes in modern settings.
For pure scares-per-page, ‘Salem’s Lot ranks high in that initial bundle of books, the ones that led to King being known as “America’s Boogeyman.” I wasn’t exaggerating up top when I said I got creeped out a couple of times; that rarely happens to me when reading anymore (a side effect, I suppose, of a steady diet of the scary stuff over the years), and I was pleasantly surprised at the power King’s vampires held over me. Danny and Ralphie Glick walking through the woods; Royal Snow and Hank Peters descending into the belly of the Marsten House with a huge, ominously shifting crate; Ben Mears and Jimmy Cody, sitting in a mortuary with Marjorie Glick’s body, and the way her body first begins to tremble and then to twitch underneath its sheet…those are a few scenes that stand out in a book that lives under a dark cloud of dread and tension from the very first page.
Character-wise, it’s always been Ben Mears that I remembered the most. That’s not surprising; he is, after all, the main character and our entry point into the world. But this time around it was Father Donald Callahan who came alive for me. Maybe it was having the full weight of The Dark Tower series, and Callahan’s role in it, behind me this time around; maybe it was the way King introduced a character that sounds like a cliche (Catholic priest with fading faith and a drinking problem) and elevated him into something more. Here is a man who knows he’s begun to coast through life and yearns for something more:
He had been pining for a Challenge….He wanted to lead a division in the army of – who? God, right, goodness, they were names for the same thing – into battle against EVIL….He wanted to see EVIL with its cerements of deception cast aside, with every feature of its visage clear.
Callahan would get what he yearned for, here in this book and much later, when King picks up the thread of his story in the last three Dark Tower books. In ‘Salem’s Lot Callahan is a man who fails, utterly and completely, in his chosen mission, but knowing that he eventually gets a chance to make things right casts his failure in a whole new light.
I don’t know where I’d rank ‘Salem’s Lot in the overall King bibliography – high, but I’m not sure how high – but among his pure horror novels it reigns near the top. I’ve always had fond memories of reading it, and I’m happy to say revisiting it bore those memories out.
Up next is the book that many consider King’s masterpiece: The Shining.