Just after Sunset

Just after Sunset

3.8 305
by Stephen King
     
 

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Internationally bestselling author Stephen King—who has written more than fifty books, dozens of #1 New York Times bestsellers, and many unforgettable movies—delivers an astonishing collection of short stories. The stories in this collection have appeared in The New Yorker, Playboy, McSweeney’s, The Paris Review,

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Overview

Internationally bestselling author Stephen King—who has written more than fifty books, dozens of #1 New York Times bestsellers, and many unforgettable movies—delivers an astonishing collection of short stories. The stories in this collection have appeared in The New Yorker, Playboy, McSweeney’s, The Paris Review, Esquire, and other publications.

Who but Stephen King would turn a Port-O-San into a slimy birth canal, or a roadside honky-tonk into a place for endless love? A book salesman with a grievance might pick up a mute hitchhiker, not knowing the silent man in the passenger seat listens altogether too well. Or an exercise routine on a stationary bicycle, begun to reduce bad cholesterol, might take its rider on a captivating—and then terrifying—journey. Set on a remote key in Florida, “The Gingerbread Girl” is a riveting tale featuring a young woman as vulnerable—and resourceful—as Audrey Hepburn’s character in Wait Until Dark. In “Ayana,” a blind girl works a miracle with a kiss and the touch of her hand. For King, the line between the living and the dead is often blurry, and the seams that hold our reality intact might tear apart at any moment. In one of the longer stories here, “N.,” which recently broke new ground when it was adapted as a graphic digital entertainment, a psychiatric patient’s irrational thinking might create an apocalyptic threat in the Maine countryside...or keep the world from falling victim to it.

Just After Sunset—call it dusk, call it twilight, it’s a time when human intercourse takes on an unnatural cast, when the imagination begins to reach for shadows as they dissipate to darkness and living daylight can be scared right out of you. It’s the perfect time for Stephen King.

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Editorial Reviews

Janet Maslin
…[a] succinct, fast-moving collection…This collection's most successful stories start unprepossessingly but then head for unknown territory, off in the far reaches of Mr. King's imagination.
—The New York Times
Publishers Weekly

King’s latest anthology reminds readers that while his many works contains supernatural elements, his true skill as a writer lies in his ability to tap into the minds of his characters and, more importantly, his readers. The story topics are scattered, but most have that signature King style that blurs the line between fiction and reality. His most effective story, “N,” is a tale about obsession and compulsion that will make even the mellowest listeners a bit paranoid. Part of the beauty of this tale is the use of multiple narrators for different points of view. Using a different narrator for each story works well. (Ron McLarty’s Stationary Bike and Mare Winningham’s The Gingerbread Girl were previously produced and released as solo efforts.) King reads the introduction, one story and the end notes about each story. While not necessarily of the same caliber as his co-narrators (including Jill Eikenberry, Holter Graham, George Guidall, Denis O’Hare and Karen Ziemba), his ability as a narrator has improved significantly over the years. A Scribner hardcover (Reviews, Sept. 1). (Nov.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Library Journal

In King's latest collection of short stories (following 2002's Everything's Eventual ), he presents 14 tales that range from the philosophically themed, to one in which the author gleefully admits to playing with the gross-out factor ("A Very Tight Place"), to "The Cat from Hell," which makes its hardcover debut some 30 years after its original publication as part of a contest in Cavalier , one of the gentleman's magazines that put food on the table in King's early years as a writer. In his introduction, King cites his recent stint as guest editor for the 2007 edition of Best American Short Stories as an impetus to return to the form in his own writing. Several of the works included here were written following that experience. Finally, as King has done previously in his collections, at the end of the volume he provides the reader with brief insights into the inspirations for each tale. Recommended for all popular fiction collections. [See Prepub Alert, LJ 7/08.]-Nancy McNicol, Hamden P.L., CT

Kirkus Reviews
King (Duma Key, 2008, etc.) returns with his first volume of short stories in six years. The author explains in his introduction that the opportunity to edit the annual Best American Short Stories anthology reignited his interest in the form, which had supported him when the fledgling novelist submitted stories to men's magazines. His afterword provides contextual comment on each of the 13 selections, including the revelation that "The Cat from Hell"-about a killer feline and the hit man hired to bump it off-dates back 30 years to those pulp-fiction days. Yet most of the rest are recent, allowing King to exorcise demons (the fear of being trapped in a porta-potty in "A Very Tight Space," the ambivalence about interfering in a violent domestic quarrel in "Rest Stop") and dreams (the marital entropy of "Harvey's Dream," the mushroom cloud of "Graduation Afternoon"). Though much of this lacks the literary ambition of King's recent novels, "Stationary Bike" provides a compelling portrait of creative psychosis-how a metaphor suggested by a doctor to describe an artist's high cholesterol inspires a painting that becomes the artist's reality-while the contagious obsessive compulsive disorder in "N." ranks with King's best work (it is also the newest story here). There's also an obligatory 9/11 response ("The Things They Left Behind") and a story that blurs the distinction between the living and the dead (the opening "Willa"). Like episodes from The Twilight Zone, many of the stories hinge upon "a small but noticeable hole in the column of reality." As King writes, "[I]t's how we see the world that keeps the darkness beyond the world at bay." And he tells the reader, "I hope at least one of [thestories] keeps you awake for awhile after the lights are out."An uneven collection, but King has plainly had a ball writing these stories.
From the Publisher
"Wonderfully wicked." — Carol Memmott, USA Today

"King is as sharp and versatile as ever." — Erica Noonan, Boston Globe

"Quietly dazzling." — Ted Anthony, Associated Press

"King continues to be dedicated to giving his readers a luxuriant experience, the basic pleasure of getting lost in a book." — Charles Taylor, New York Times Book Review

"King lets the reader put the book down at night after one story, knowing another horrific treat awaits the next day." — Amanda St. Amand, St. Louis Post Dispatch

"King is as sharp and disgusting as ever... Haunting." — People magazine

"King reminds us again of his power to unhinge with a single line or image. A master of the storytelling craft, he gets his ghastly fingernails right beneath the skin." — John Marks, Salon.com

"In these 13 newly collected stories, we see a master craftsman at the top of his game and clearly enjoying himself.... Each story is a treat not just for King fans but for any fan of good fiction." — Salem Macknee, Charlotte Observer

"A master storyteller... Haunting." — Karen Sandstrom, Cleveland Plain Dealer

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Product Details

ISBN-13:
9781416586654
Publisher:
Pocket Books
Publication date:
09/22/2009
Edition description:
Reprint
Pages:
576
Sales rank:
138,425
Product dimensions:
4.16(w) x 7.54(h) x 1.25(d)
Age Range:
13 - 17 Years

Read an Excerpt

Not a very nice man.

One afternoon not long after July became August, Deke Hollis told her she had company on the island. He called it the island, never the key.

Deke was a weathered fifty, or maybe seventy. He was tall and rangy and wore a battered old straw hat that looked like an inverted soup bowl. From seven in the morning until seven at night, he ran the drawbridge between Vermillion and the mainland. This was Monday to Friday. On weekends, "the kid" took over (said kid being about thirty). Some days when Em ran up to the drawbridge and saw the kid instead of Deke in the old cane chair outside the gatehouse, reading Maxim or Popular Mechanics rather than The New York Times, she was startled to realize that Saturday had come around again.

This afternoon, though, it was Deke. The channel between Vermillion and the mainland — which Deke called the thrut (throat, she assumed) — was deserted and dark under a dark sky. A heron stood on the drawbridge's Gulf-side rail, either meditating or looking for fish.

"Company?" Em said. "I don't have any company."

"I didn't mean it that way. Pickering's back. At 366? Brought one of his 'nieces.'" The punctuation for nieces was provided by a roll of Deke's eyes, of a blue so faded they were nearly colorless.

"I didn't see anyone," Em said.

"No," he agreed. "Crossed over in that big red M'cedes of his about an hour ago, while you were probably still lacin' up your tennies." He leaned forward over his newspaper; it crackled against his flat belly. She saw he had the crossword about half completed. "Different niece every summer. Always young." He paused. "Sometimes two nieces, one in August and one in September."

"I don't know him," Em said. "And I didn't see any red Mercedes." Nor did she know which house belonged to 366. She noticed the houses themselves, but rarely paid attention to the mailboxes. Except, of course, for 219. That was the one with the little line of carved birds on top of it. (The house behind it was, of course, Birdland.)

"Just as well," Deke said. This time instead of rolling his eyes, he twitched down the corners of his mouth, as if he had something bad tasting in there. "He brings 'em down in the M'cedes, then takes 'em back to St. Petersburg in his boat. Big white yacht. The Playpen. Went through this morning." The corners of his mouth did that thing again. In the far distance, thunder mumbled. "So the nieces get a tour of the house, then a nice little cruise up the coast, and we don't see Pickering again until January, when it gets cold up in Chicagoland."

Em thought she might have seen a moored white pleasure craft on her morning beach run but wasn't sure.

"Day or two from now — maybe a week — he'll send out a couple of fellas, and one will drive the M'cedes back to wherever he keeps it stored away. Near the private airport in Naples, I imagine."

"He must be very rich," Em said. This was the longest conversation she'd ever had with Deke, and it was interesting, but she started jogging in place just the same. Partly because she didn't want to stiffen up, mostly because her body was calling on her to run.

"Rich as Scrooge McDuck, but I got an idea Pickering actually spends his. Probably in ways Uncle Scrooge never imagined. Made it off some kind of computer thing, I heard." The eye roll. "Don't they all?"

"I guess," she said, still jogging in place. The thunder cleared its throat with a little more authority this time.

"I know you're anxious to be off, but I'm talking to you for a reason," Deke said. He folded up his newspaper, put it beside the old cane chair, and stuck his coffee cup on top of it as a paperweight. "I don't ordinarily talk out of school about folks on the island — a lot of 'em's rich and I wouldn't last long if I did — but I like you, Emmy. You keep yourself to yourself, but you ain't a bit snooty. Also, I like your father. Him and me's lifted a beer, time to time."

"Thanks," she said. She was touched. And as a thought occurred to her, she smiled. "Did my dad ask you to keep an eye on me?"

Deke shook his head. "Never did. Never would. Not R. J.'s style. He'd tell you the same as I am, though — Jim Pickering's not a very nice man. I'd steer clear of him. If he invites you in for a drink or even just a cup of coffee with him and his new 'niece,' I'd say no. And if he were to ask you to go cruising with him, I would definitely say no."

"I have no interest in cruising anywhere," she said. What she was interested in was finishing her work on Vermillion Key. She felt it was almost done. "And I better get back before the rain starts."

"Don't think it's coming until five, at least," Deke said. "Although if I'm wrong, I think you'll still be okay."

She smiled again. "Me too. Contrary to popular opinion, women don't melt in the rain. I'll tell my dad you said hello."

"You do that." He bent down to get his paper, then paused, looking at her from beneath that ridiculous hat. "How're you doing, anyway?"

"Better," she said. "Better every day." She turned and began her road run back to the Little Grass Shack. She raised her hand as she went, and as she did, the heron that had been perched on the drawbridge rail flapped past her with a fish in its long bill.

Three sixty-six turned out to be the Pillbox, and for the first time since she'd come to Vermillion, the gate was standing ajar. Or had it been ajar when she ran past it toward the bridge? She couldn't remember — but of course she had taken up wearing a watch, a clunky thing with a big digital readout, so she could time herself. She had probably been looking at that when she went by.

She almost passed without slowing — the thunder was closer now — but she wasn't exactly wearing a thousand-dollar suede skirt from Jill Anderson, only an ensemble from the Athletic Attic: shorts and a T-shirt with the Nike swoosh on it. Besides, what had she said to Deke? Women don't melt in the rain. So she slowed, swerved, and had a peek. It was simple curiosity.

She thought the Mercedes parked in the courtyard was a 450 SL, because her father had one like it, although his was pretty old now and this one looked brand-new. It was candy-apple red, its body brilliant even under the darkening sky. The trunk was open. A sheaf of long blond hair hung from it. There was blood in the hair.

Had Deke said the girl with Pickering was a blond? That was her first question, and she was so shocked, so fucking amazed, that there was no surprise in it. It seemed like a perfectly reasonable question, and the answer was Deke hadn't said. Only that she was young. And a niece. With the eye roll.

Thunder rumbled. Almost directly overhead now. The courtyard was empty except for the car (and the blond in the trunk, there was her). The house looked deserted, too: buttoned up and more like a pillbox than ever. Even the palms swaying around it couldn't soften it. It was too big, too stark, too gray. It was an ugly house.

Em thought she heard a moan. She ran through the gate and across the yard to the open trunk without even thinking about it. She looked in. The girl in the trunk hadn't moaned. Her eyes were open, but she had been stabbed in what looked like dozens of places, and her throat was cut ear to ear.

Em stood looking in, too shocked to move, too shocked to even breathe. Then it occurred to her that this was a fake dead girl, a movie prop. Even as her rational mind was telling her that was bullshit, the part of her that specialized in rationalization was nodding frantically. Even making up a story to backstop the idea. Deke didn't like Pickering, and Pickering's choice of female companionship? Well guess what, Pickering didn't like Deke, either! This was nothing but an elaborate practical joke. Pickering would go back across the bridge with the trunk deliberately ajar, that fake blond hair fluttering, and —

But there were smells rising out of the trunk now. They were the smells of shit and blood. Em reached forward and touched the cheek below one of those staring eyes. It was cold, but it was skin. Oh God, it was human skin.

There was a sound behind her. A footstep. She started to turn, and something came down on her head. There was no pain, but brilliant white seemed to leap across the world. Then the world went dark. Copyright © 2008 by Stephen King

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