By Christopher Golden, Stanley Wiater, Hank Wagner
The myriad worlds and universes King has created are, in fact, one international, one universe. this is the guide to that universe.
The whole Stephen King Universe is the one definitive reference paintings that examines all of Stephen King's novels, brief tales, films, miniseries, and teleplays, and deciphers the threads that exist in all of his paintings. This final source contains in-depth tale analyses, personality breakdowns, little-known evidence, and startling revelations on how the plots, topics, characters, and conflicts intertwine.
After researching The entire Stephen King Universe, you'll by no means learn Stephen King an analogous means back.
Read or Download The Complete Stephen King Universe (A Guide to the Worlds of Stephen King) PDF
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Extra info for The Complete Stephen King Universe (A Guide to the Worlds of Stephen King)
Sample text
And Pan, Read against the global principles of flat-world apologist Thomas Fried,nan, however, McQueen's montage reads as an unintentionally pointed rebuke. "Whe n the ,vorld goes flat;' the journalist \"'lites in one of many frothy paeans to globalization, "and you are feeling flattened - reach for a shovel and dig inside yourself:'57 That McQueen's pictures can be seen through initially seem s to suggest we stand in a transparent relation to them. But the abstraction that occurs throughout both Gravesend and Unexploded radically complicates this fantasy of transparency, even as it forces us to look through it.
While flatness has been subject to countless misadventures in the art of the postwar era (one can barely mouth the word without raising the specter of Clement Greenberg), its role within globalization's m ore recent apologias dem ands a different kind of analysis. 5 This chapter considers the artist's excessive planarity through questions of management and p roduction, work and working, updating Leo Steinberg's canonical reading of flatness as "a documentary surface that tabulates information:16 For Murakami, there could be no approach more redundant than to address his love affair with commodity culture, but m y ambition cuts deeper than this in a kind of forensics of flatness that probes the globalizing stakes of the works' making.
DOB is emblematic for Murakami not merely for its manga-inspired turn but more importantly because, given its multiple iterations in a diverse range of media, it taps into his liberal and, one wants to say, liberalizing coordination of marketing techniques. How this practice is advanced by the artist's theory ofSuperflat-its vision ofbotl1 history and time specifically- is critical to understanding one aspect of his spatial politics and contemporary art in its post-Fordist guise. Reading Murakami's essay exclusively in spatial terms misses something important to the workirlgs and controversies of globalization: the shifting valences between the time/space ratio that mark its historiographic emergence.