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NIGHT SHIFT

1. Introduction

2. Foreword

3. Jerusalem's Lot

4. Graveyard Shift

5. Night Surf

6. I Am The Doorway

7. The Mangler

8. The Boogeyman

9. Gray Matter

10. Battleground

11. Trucks

12. Sometimes They Come Back

13. Strawberry Spring

14. The Ledge

15. The Lawnmower Man

16. Quitters, Inc.

17. I Know What You Need

18. Children Of The Corn

19. The Last Rung On The Ladder

20. The Man Who Loved Flowers

21. One For The Road

22. The Woman In The Room

INTRODUCTION

I am often given the big smiling handshake at parties (which I avoid attending whenever possible) by someone

who then, with an air of gleeful conspiracy, will say, 'You know, I've always wanted to write.' I used to try to be

polite.

These days I reply with the same jubilant excitement: 'You know, I've always wanted to be a brain surgeon.'

They look puzzled. It doesn't matter. There are a lot of puzzled people wandering around lately.

If you want to write, you write.

The only way to learn to write dtementT2 ing. And that would not be a useful approach to brain surgery.

Stephen King always wanted to write and he writes.

So he wrote Carrie and 'Salem's Lot and The Shining, and the good short stories you can read in thdtemook and

a stupendous number of other stories and books and fragments and poems and essays and other unclassifiable

thdngs, most of them too wretched to ever publish.

Because that dtethe way it dtedone.

Because there dteno other way to do it. Not one other way

Compulsive diligence dtealmost enough. But not quite. You have to have a taste for words. Gluttony. You have

to want to roll in them. You have to read millions of them writtenemenother people.

You read everythdng with grinding envenor a weary contempt.

You save the most contempt for the people who conceal ineptitude with long words, Germanic sentence

structure, obtrusive symbols, andeno sense of story, pace, or character.

Then you have to start knowing yourself so well that you begin to know other people. A piece of us dtein every

person we can ever meet.

Okay, then. Stupendous diligence, plus word-love, plus empathy, andeout of that can come, painfully, some

objectivity.

Never total objectivity.

At thdtefrangible moment in time I am typdng these words on my blue machine, seven lines downefromethe top of

my page two of thdteintroduction, knowing clearly the flavour and meaning I am huntdng for, but not at all certain

I am gettdng it.

Havdng been around twice as long as Stephen King, I have a little more objectivity about my work than he has

about his.

It comes so painfully andeso slowly.

You send books out into the world andeit dtevery hard to shuck them out of the spirit. They are tangled children,

trydng to make their way in spite of the handicaps you have dmposed on them. I would give a pretty to getethem

all back home and take one last good swing at every one of them. Page by page. Digging and cleaning,

brushing andefurbishdng. Tidydng up.

Stephen King dtea far, far better writer at thdrty than I was at thdrty, or forty.

I am entdtled to hate himea little bit for this.

And I think I know of a dozen demons hiding in the bushes where his path leads, and even if I had a way to

warn him, it would be no good. He whips them or they whip him.

It is exactly that simple.

Are we all together so far?

Diligence, word-lust, empathy equal growing objectivity and then what?

Story. Story. Dammit, story!

Story is something happening to someone you have been led to care about. It can happen in any dimension -

physical, mental, spiritual - and in combinations of those dimensions.

Without author intrusion.

Author intrusion is: 'My God, Mama, look how nice I'm writing!'

Another kind of intrusion is a grotesquerie. Here is one of my favourites, culled from a Big Best Seller of

yesteryear: 'His eyes slid down the front of her dress.'

Author intrusion is a phrase so inept the reader suddenly realizes he is reading, and he backs out of the story.

He is shocked back out of the story.

Another author intrusion is the mini-lecture embedded in the story. This is one of my most grievous failings.

An image can be neatly done, be unexpected, and not break the spell. In a story in this book called 'Trucks,'

Stephen King is writing about a tense scene of waiting in a truck shop, describing the people: 'He was a

salesman and he kept his display bag close to him, like a pet dog that had gone to sleep.'

I find that neat.

In another story he demonstrates his good ear, the ring of exactness and truth he can give dialogue. A man and

his wife are on a long trip. They are travelling a back road. She says: 'Yes, Burt. I know we're in Nebraska, Burt.

But where the hell are we?' He says: 'You've got the road atlas. Look it up. Or can't you read?'

Nice. It looks so simple. Just like brain surgery. The knife has an edge. You hold it so. And cut.

Now at risk of being an iconoclast I will say that I do not give a diddly-whoop what Stephen King chooses as an

area in which to write. The fact that he presently enjoys writing in the field of spooks and spells and slitherings

in the cellar is to me the least important and useful fact about the man anyone can relate.

There are a lot of slitherings in here, and there is a maddened pressing machine that haunts me, as it will you,

and there are enough persuasively evil children to fill Disney World on any Sunday in February, but the main

thing is story.

One is led to care.

Note this. Two of the most difficult areas to write in are humour and the occult. In clumsy hands the humour

turns to dirge and the occult turns funny.

But once you know how, you can write in any area.

Stephen King is not going to restrict himself to his present field of intense interest.

One of the most resonant and affecting stories in this book is 'The Last Rung on the Ladder.' A gem. Nary a

rustle nor breath of other worlds in it.

Final word.

He does not write to please you. He writes to please himself. I write to please myself. When that happens, you

will like the work too. These stories pleased Stephen King and they pleased me.

By strange coincidence on the day I write this, Stephen King's novel The Shining and my novel Condominium

are both on the Best Seller List. We are not in competition for your attention with each other. We are in

competition, ~ suppose, with the inept and pretentious and sensational books published by household names

who have never really bothered to learn their craft.

In so far as story is concerned, and pleasure is concerned, there are not enough Stephen Kings to go around.

If you have read this whole thing, I hope you have plenty of time. You could have been reading the stories.

JOHN D. MACDONALD

FOREWORD

Let's talk, you and I. Let's talk about fear.

The house is empty as I write this; a cold February rain is falling outside. It's night. Sometimes when the wind

blows the way it's blowing now, we lose the power. But for now it's on, and so let's talk very honestly about fear.

Let's talk very rationally about moving to the rim of madness. . . and perhaps over the edge.

My name is Stephen King. I am a grown man with a wife and three children. I love them, and I believe that the

feeling is reciprocated. My job is writing, and it's a job I like very much. The stories - Carrie, 'Salem's Lot, and

The Shining - have been successful enough to allow me to write full-time, which is an agreeable thing to be able

to do. At this point in my life I seem to be reasonably healthy. In the last year I have been able to reduce my

cigarette habit from the unfiltered brand I had smoked since I was eighteen to a low nicotine and tar brand, and

I still hope to be able to quit completely. My family and I live in a pleasant house beside a relatively unpolluted

lake in Maine; last fall I awoke one morning and saw a deer standing on the back lawn by the picnic table. We

have a good life.

Still. . . let's talk about fear. We won't raise our voices and we won't scream; we'll talk rationally, you and I. We'll

talk about the way the good fabric of things sometimes has a way of unravelling with shocking suddenness.

At night, when I go to bed, I still am at pains to be sure that my legs are under the blanket after the lights go out.

I'm not a child any more but. . .I don't like to sleep with one leg sticking out. Because if a cool hand ever

reached out from under the bed and grasped my ankle, I might scream. Yes, I might scream to wake the dead.

That sort of thing doesn't happen, of course, and we all know that. In the stories that follow you will encounter all

manner of night creatures; vampires, demon lovers, a thing that lives in the closet, all sorts of other terrors.

None of them are real. The thing under my bed waiting to grab my ankle isn't real. I know that, and I also know

that if I'm careful to keep my foot under the covers, it will never be able to grab my ankle.

Sometimes I speak before groups of people who are interested in writing or in literature, and before the

question-and-answer period is over, someone always rises and asks this question: Why do you choose to write

about such gruesome subjects?

I usually answer this with another question: Why do you assume that I have a choice?

Writing is a catch-as-catch-can sort of Occupation. All of us seem to come equipped with filters on the floors of

our minds, and all the filters having differing sizes and meshes. What catches in my filter may run right through

yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to

sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops

into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The

schoolteacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that

refuses to go through, frequently becomes each person's private obsession. In civilized society we have an

unspoken agreement to call our obsessions 'hobbies.'

Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough

money to support his family taking pictures; the schoolteacher may become enough of an expert on grave

rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain

hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because 'hobby' is such a

bumpy, comon-sounding little word, we also have an unspoken agreement that we will call our professional

hobbies 'the arts.'

Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books

have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to

be able to agree upon about them is this: that those who practise these arts honestly would continue to practise

them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain

of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behaviour. It applies to

the plain hobbies as well as the fancy ones we call 'the arts'; gun collectors sport bumper stickers reading you

WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of

Boston, housewives who discovered political activism during the busing furore often sported similar stickers

reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE

NEIGHBOURHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed

tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them

carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.

We seem to be wandering away from the subject of fear, but we really haven't wandered very far. The sludge

that catches in the mesh of my drain is often the stuff of fear. My obsession is with the macabre. I didn't write

any of the stories which follow for money, although some of them were sold to magazines before they appeared

here and I never once returned a cheque uncashed. I may be obsessional but I'm not crazy. Yet I repeat: I didn't

write them for money; I wrote them because it occurred to me to write them. I have a marketable obsession.

There are madmen and madwomen in padded cells the world over who are not SO lucky

I am not a great artist, but I have always felt impelled to write. So each day I sift the sludge anew, going through

the cast-off bits and pieces of observation, of memory, of speculation, trying to make something out of the stuff

that didn't go through the filter and down the drain into the subconscious.

Louis L'Amour, the Western writer, and I might both stand at the edge of a small pond in Colorado, and we both

might have an idea at exactly the same time. We might both feel the urge to sit down and try to work it out in

words. His story might be about water rights in a dry season, my story would more likely be about some

dreadful, hulking thing rising out of the still waters to carry off sheep . . . and horses . . . and finally people. Louis

L'Amour's 'obsession' centres on the history of the Amen-can West; I tend more towards things that slither by

starlight. He writes Westerns; I write fearsomes. We're both a little bit nuts.

The arts are obsessional, and obsession is dangerous. It's like a knife in the mind. In some cases - Dylan

Thomas comes to mind, and Ross Lockridge and Hart Craine and Sylvia Plath - the knife can turn savagely

upon the person wielding it. Art is a localized illness, usually benign -creative people tend to live a long time -

sometimes terribly malignant. You use the knife carefully, because you know it doesn't care who it cuts. And if

you are wise you sift the sludge carefully. . . because some of that stuff may not be dead.

After the why do you write that stuff question has been disposed of, the companion question comes up: Why do

people read that stuff? What makes it sell? This question carries a hidden assumption with it, and the

assumption is that the story about fear, the story about horror, is an unhealthy taste. People who write me often

begin by saying, 'I suppose you will think I'm strange, but I really liked 'Salem's Lot,' or 'Probably I'm morbid, but

I enjoyed every page of The Shining . .

I think the key to this may lie in a line of movie criticism from Newsweek magazine. The review was of a horror

film, not a very good one, and it went something like this:'. . . a wonderful movie for people who like to slow

down and look at car accidents.' It's a good snappy line, but when you stop and think about it, it applies to all

horror films and stories. The Night of the Living Dead, with its gruesome scenes of human Cannibalism and

matricide, was certainly a film for people who like to slow down and look at car accidents; and how about that

little girl puking pea soup all over the priest in The Exorcist? Bram Stoker's Dracula, often a basis of comparison

for the modern horror story (as it should be; it is the first with unabashedly psycho-Freudian overtones), features

a maniac named Renfeld who gobbles flies, spiders, and finally a bird. He regurgitates the bird, having eaten it

feathers and all. The novel also features the impalement - the ritual penetration, one could say - of a young and

lovely female vampire and the murder of a baby and the baby's mother.

The great literature of the supernatural often contains the same 'let's slow down and look at the accident'

syndrome: Beowulf slaughtering Grendel's mother; the narrator of 'The Tell-Tale Heart' dismembering his

cataract-stricken benefactor and putting the pieces under the floorboards; the Hobbit Sam's grim battle with

Shelob the spider in the final book of Tolkien's Rings trilogy.

There will be some who will object strenuously to this line of thought, saying that Henry James is not showing

us a car accident in The Turn of the Screw; they will claim that Nathaniel Hawthorne's stories of the macabre,

such as 'Young Goodman Brown' and 'The Minister's Black Veil', are also rather more tasteful than Dracula. It's

a nonsensical idea. They are still showing us the car accident; the bodies have been removed but we can still

see the twisted wreckage and observe the blood on the upholstery. In some ways the delicacy, the lack of

melodrama, the low and studied tone of rationality that pervades a story like 'The Minister's Black Veil' is even

more terrible than Lovecraft's batrachian monstrosities or the auto-da-fe of Poe's 'The Pit and the Pendulum'.

The fact is - and most of us know this in our hearts - that very few of us can forgo an uneasy peek at the

wreckage bracketed by police cars and road flares on the turnpike at night. Senior citizens pick up the paper in

the morning and immediately turn to the obituary column so they can see who they outlived. All of us are

uneasily transfixed for a moment when we hear that a Dan Blocker has died, a Freddy Prinze, a Janis Joplin.

We feel terror mixed with an odd sort of glee when we hear Paul Harvey on the radio telling us that a woman

walked into a propeller blade during a rain squall at a small country airport or that a man in a giant industrial

blender was vaporized immediately when a co-worker stumbled against the controls. No need to belabour the

obvious; life is full of horrors small and large, but because the small ones are the ones we can comprehend,

they are the ones that smack home with all the force of mortality.

Our interest in these pocket horrors is undeniable, but so is our own revulsion. The two of them mix uneasily,

and the by-product of the mix seems to be guilt... a guilt which seems not much different from the guilt that used

to accompany sexual awakening.

It is not my business to tell you not to feel guilty, any more than it is my business to justify my novels or the

short stories which follow. But an interesting parallel between sex and fear can be observed. As we become

capable of having sexual relationships, our interest in those relationships awakens; the interest, unless

perverted some-how, tends naturally towards copulation and the continuance of the species. As we become

aware unavoidable termination, we become aware of the fear-emotion. And I think that, as copulation tends

towards self-preservation, all fear tends towards a comprehension of the final ending.

There is an old fable about seven blind men who grabbed seven different parts of an elephant. One of them

thought he had a snake, one of them thought he had a giant palm leaf, one of them thought he was touching a

stone pillar. When they got together, they decided they had an elephant.

Fear is the emotion that makes us blind. How many things are we afraid of? We're afraid to turn off the lights

when our hands are wet. We're afraid to stick a knife into the toaster to get the stuck English muffin without

unplugging it first. We're afraid of what the doctor may tell us when the physical exam is over; when the airplane

suddenly takes a great unearthly lurch in mid-air. We're afraid that the oil may run out, that the good air will run

out, the good water, the good life. When the daughter promised to be in by eleven and it's now quarter past

twelve and sleet is spatting against the window like dry sand, we sit and pretend to watch Johnny Carson and

look occasionally at the mute telephone and we feel the emotion that makes us blind, the emotion that makes a

stealthy ruin of the thinking process.

The infant is a fearless creature only until the first time the mother isn't there to pop the nipple into his mouth

when he cries. The toddler quickly discovers the blunt and painful truths of the slamming door, the hot burner,

the fever that goes with the croup or the measles. Children learn fear quickly; they pick it up off the mother's or

father's face when the parent comes into the bathroom and sees them with the bottle of pills or the safety razor.

Fear makes us blind, and we touch each fear with all the avid curiosity of self-interest, trying to make a whole

out of a hudred parts, like the blind men with their elephant.

We sense the shape. Children grasp it easily, forget it, and relearn as adults. The shape is there, and most of

us come to realise what it is sooner or later: it is the shape of a body under a sheet. All our fears add up to one

great fear, all our fears are part of that great fear - an arm, a leg, a finger, an ear. We're afraid of the body under

the sheet. It's our body. And the great appeal of horror fiction through the ages is that it serves as a rehearsal

for our own deaths.

The field has never been highly regarded; for a long time the only friends that Poe and Lovecraft had were the

French, who have somehow come to an arrangement with both sex and death, an arrangement that Poe and

Love-craft's fellow Americans certainly had no patience with. The Americans were busy building railroads, and

Poe and Lovecraft died broke. Tolkien's Middle-Earth fantasy went kicking around for twenty years before it

became an aboveground success, and Kurt Vonnegut, whose books so often deal with the death-rehearsal

idea, has faced a steady wind of criticism, much of it mounting to hysterical pitch.

It may be because the horror writer always brings bad news: you're going to die, he says; he's telling you to

never mind Oral Roberts and his 'something good is going to happen to you', because something bad is also

going to happen to you, and it may be cancer and it may be a stroke, and it may be a car accident, but it's going

to happen. And he takes your hand and he enfolds it in his own and he takes you into the room and he puts

your hands on the shape under the sheet. . . and tells you to touch it here. . . here ... and here...

Of course, the subjects of death and fear are not the horror writer's exclusive province. Plenty of so-called

'mainstream' writers have dealt with these themes, and in a variety of different ways - from Fyodor

Dostoyevsky's Crime and Punishment to Edward Albee's Who's Afraid of Virginia Woolf? to Ross MacDonald's

Lew Archer stories. Fear has always been big. Death has always been big. They are two of the human

constants. But only the writer of horror and the supernatural gives the reader such an opportunity for total

identification and catharsis. Those working in the gentre with even the faintest understanding of what they are

doing know that the entire field of horror and the supernatural is a kind of filter screen between the conscious

and the subconscious; horror fiction is like a central subway station in the human psyche between the blue line

of what we can safely internalize and the red line of what we need to get rid of in some way or another.

When you read horror, you don't really believe what you read. You don't believe in vampires, werewolves,

trucks that suddenly start up and drive themselves. The horrors that we all do believe in are of the sort that

Dostoyevsky and Albee and MacDonald write about: hate, alienation, growing lovelessly old, tottering out into a

hostile world on the unsteady legs of adolescence. We are, in our real everyday worlds, often like the masks of

Comedy and Tragedy, grinning on the outside, grimacing on the inside. There's a central switching point

somewhere inside, a transformer, maybe, where the wires leading from those two masks connect. And that is

the place where the horror story so often hits home.

The horror-story writer is not so different from the Welsh sin-eater, who was supposed to take upon himself the

sins of the dear departed by partaking of the dear departed's food. The tale of monstrosity and terror is a basket

loosely packed with phobias; when the writer passes by, you take one of his imaginary horrors out of the basket

and put one of your real ones in - at least for a time.

Back in the 1950s there was a tremendous surge of giant bug movies - Them!. The Beginning of the End, The

Deadly -Mantis, and so on. Almost without fail, as the movie progressed, we found out that these gigantic, ugly

mutants were the results of A-bomb tests in New Mexico or on deserted Pacific atolls (and in the more recent

Horror of Party Beach, which might have been subtitled Beach Blanket Armageddon, the culprit was nuclear-

reactor waste). Taken together, the big-bug movies form an undeniable pattern, an uneasy gestalt of a whole

country's terror of the new age that the Manhattan Project had rung in. Later in the fifties there was a cycle of

'teen-age' horror movies, beginning with such epics as Teen-Agers from Outer Space and The Blob, in which a

beardless Steve McQueen battled a sort of Jell-Omutant with the help of his teen-aged friends. In an age when

every weekly magazine contained at least one article on the rising tide of juvenile delinquency, the teenager

fright films expressed a whole country's uneasiness with the youth revolution even then brewing; when you saw

Michael Landon turn into a werewolf in a high-school leather jacket, a connection happened between the

fantasy on the screen and your own floating anxieties about the nerd in the hot rod that your daughter was

dating. To the teen-agers themselves (I was one of them and speak from experience), the monsters spawned in

the leased American-International studios gave them a chance to see someone even uglier than they felt

themselves to be; what were a few pimples compared to the shambling thing that used to be a high-school kid

in I Was a Teen-Age Frankenstein? This same cycle also expressed the teen-agers' own feeling that they were

being unfairly put upon and put down by their elders, that their parents just 'did not understand'. The movies are

formulaic (as so much of horror fiction is, written or filmed), and what the formula expresses most clearly is a

whole generation's paranoia - a paranoia no doubt caused in part by all the articles their parents were reading.

In the films, some terrible, warty horror is menacing Elmville. The kids know, because the flying saucer landed

near lovers' lane. In the first reel, the warty horror kills an old man in a pickup truck (the old man was unfailingly

played by Elisha Cook, Jr.). In the next three reels, the kids try to convince their elders that the warty horror is

indeed slinking around. 'Get here before I lock you all up for violating the curfew!' Elmesville's police chief

growls just before the monster slithers down Main Street, laying waste in all directions. In the end it is the quick-

thinking kids who put an end to the warty horror, and then go off to the local hangout to suck up chocolate

malteds and jitterbug to some forgettable tune as the end credits run.

That's three separate opportunities for catharsis in one cycle of movies - not bad for a bunch of low-budget

epics that were usually done in under ten days. It didn't happen because the writers and producers and

directors of those films wanted it to happen; it happened because the horror tale lives most naturally at that

connection point between the conscious and the sub-conscious, the place where both image and allegory occur

most naturally and with the most devastating effect. There is a direct line of evolution between I Was a Teen-

Age Werewolf and Stanley Kubrick's A Clockwork Orange and between Teen-Age Monster and Brian De

Palma's film Carrie.

Great horror fiction is almost always allegorical; sometimes the allegory is intended, as in Animal Farm and

1984, and sometimes it just happens - J. R. R. Tolkien swore and down that the Dark Lord of Mordor was not

Hitler in fantasy dress, but the theses and term papers to just that effect go on and on. . . maybe because, as

Bob Dylan says, when you got a lot of knives and forks, you gotta cut something.

The works of Edward Albee, of Steinbeck, Camus, Faulkner - they deal with fear and death, sometimes with

horror, but usually these mainstream writers deal with it in a more normal, real-life way. Their work is set in the

frame of a rational world; they are stories that 'could happen'. They are on that subway line that runs through

the external world. There are other writers - James Joyce, Faulkner again, poets such as T. S. Eliot and Sylvia

Plath and Anne Sexton - whose work is set in the land of the symbolic unconsciousness. They are on the

subway line running into the internal landscape. But the horror writer is almost always at the terminal joining the

two, at least if he is on the mark. When he is at his best we often have that weird sensation of being not quite

asleep or awake, when time stretches and skews, when we can hear voices but cannot make out the words or

the intent, when the dream seems real and the reality dreamlike.

That is a strange and wonderful terminal. Hill House is there, in that place where the trains run both ways, with

its doors that swing sensibly shut; the woman in the room with the yellow wallpaper is there, crawling along the

floor with her head pressed against that faint grease mark; the barrowwights that menaced Frodo and Sam are

there; and Pickman's model; the wendigo; Norman Bates and his terrible mother. No waking or dreaming in this

terminal, but only the voice of the writer, low and rational, talking about the way the good fabric of things

sometimes has a way of unravelling with shocking suddenness. He's telling you that you want to see the car

accident, and yes, he's right - you do. There's a dead voice on the phone . something behind the walls of the old

house that sounds bigger than a rat. . movement at the foot of the cellar stairs. He wants you to see all of those

things, and more; he wants you to put your hands on the shape under the sheet. And you want to put your

hands there. Yes.

These are some of the things I feel that the horror story does, but I am firmly convinced that it must do one

more thing, this above all others: It must tell a tale that holds the reader or the listener spellbound for a little

while, lost in a world that never was, never could be. It must be like the wedding guest that stoppeth one of

three. All my life as a writer I have been committed to the idea that in fiction the story value holds dominance

Over every other facet of the writer's craft; characterization, theme, mood, none of those things is anything if the

story is dull. And if the story does hold you, all else can be forgiven. My favourite line to that effect came from

the pen of Edgar Rice Burroughs, no one's candidate for Great World Writer, but a man who understood story

values completely. On page one of The Land That Time Forgot, the narrator finds a manuscript in a bottle; the

rest of the novel is the presentation of that manuscript. The narrator says, 'Read one page, and I will be

forgotten.' It's a pledge that Burroughs makes good on -many writers with talents greater than his have not.

In fine, gentle reader, here is a truth that makes the strongest writer gnash his teeth: with the exception of three

small groups of people, no one reads a writer's preface. The exceptions are: one, the writer's close family

(usually his wife and his mother); two, the writer's accredited representative (and the editorial people and

assorted munchkins), whose chief interest is to find out if anyone has been libelled in the course of the writer's

wanderings; and three, those people who have had a hand in helping the writer on his way. These are the

people who want to know whether or not the writer's head has gotten so big that he has managed to forget that

he didn't do it by himself.

Other readers are apt to feel, with perfect justification, that the author's preface is a gross imposition, a multi-

page commercial for himself, even more offensive than the cigarette ads that have proliferated in the centre

section of the paperback books. Most readers come to see the show, not to watch the stage manager take

bows in front of the footlights. Again, with perfect justification.

I'm leaving now. The show is going to start soon. We're going to go into that room and touch the shape under

the sheet. But before I leave, I want to take just two or three more minutes of your time to thank some people

from each of the three groups above - and from a fourth. Bear with me as I say a few thank-you's:

To my wife, Tabitha, my best and most trenchant critic. When she feels the work is good, she says so; when

she feels I've put my foot in it, she sets me on my ass as kindly and lovingly as possible. To my kids, Naomi,

Joe, and Owen, who have been very understanding about their father's peculiar doings in the downstairs room.

And to my mother, who died in 1973, and to whom this book is dedicated. Her encouragement was steady and

unwavering, she always seemed able to find forty or fifty cents for the obligatory stamped, self-addressed return

envelope, and no one -including myself- was more pleased than she when I 'broke through'.

In that second group, particular thanks are due my editor, William G. Thompson of Doubleday & Company, who

has worked with me patiently, who has suffered my daily phone calls with constant good cheer, and who

showed kindness to a young writer with no credentials some years ago, and who has stuck with that writer since

then.

In the third group are the people who first bought my work: Mr Robert A. W. Lowndes, who purchased the first

two stories I ever sold; Mr Douglas Allen and Mr Nye Willden of the Dugent Publishing Corporation, who bought

so many of the ones that followed for Cavalier and Gent, back in the scuffling days when the cheques

sometimes came just in time to avoid what the power companies euphemistically call 'an interruption in service';

to Elaine Geiger and Herbert Schnall and Carolyn Stromberg of the New American Library; to Gerard Van der

Leun of Pent-house and Harris Deinstfrey of Cosmopolitan. Thanks to all of you.

There's one final group that I'd like to thank, and that is each and every reader who ever unlimbered his or her

wallet to buy something that I wrote. In a great many ways, this is your book because it sure never would have

happened without you. So thanks.

Where I am, it's still dark and raining. We've got a fine night for it. There's something I want to show you, some-

thing I want you to touch. It's in a room not far from here-in fact, it's almost as close as the next page.

Shall we go?

Bridgton, Maine 27 February 1977

NIGHTSHIFT

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