Mob Scene: The Stand (2)

Last month, I covered a mob scene from early on in Stephen King’s apocalyptic epic, The Stand. Today I would like to return to that novel, which climaxes with a very interesting variation on a mob scene.

Late in chapter 73, Larry Underwood and Ralph Brentner are delivered to the front lawn of the MGM Grand, where they face a gruesome execution (being torn limb from limb by a rigged apparatus). Randall Flagg’s Las Vegas minions have all gathered for the impending bloodletting:

They spread out across the lawn in a rough circle. They were standing in the casino parking lot, on the steps leading up to the lobby doors, in the turnaround drive where incoming guests had once parked while the doorman whistled up a bellhop. They spilled out into the street itself. Some of the younger men had hoisted their girlfriends on their shoulders for a better look at the upcoming festivities. The low murmuring was the sound of the crowd-animal. (1077)

Such set-up has the making for a quintessential mob scene, but the demeanor of the crowd-animal proves surprisingly subdued: “Larry ran his eyes over them, and every eye he met turned away. Every face seemed pallid, distant, marked for death and seeming to know it.” Scattered catcalls and a small cheer when Larry spits on the chains presented to him give him a momentary hope that the crowd might rise up against Flagg, “[b]ut his heart didn’t believe it. Their faces were too pale, too secretive. The defiance from the back was meaningless. […] There was doubt here–he could feel it–and disaffection. But Flagg colored even that. These people would steal away in the dead of night for some of the great empty spaces that the world had become” (1078). For Flagg, these violent public spectacles are less an administration of justice than an exercise in crowd control; he keeps his people in line by keeping them cowed by fear. Even as things start to fall apart in Las Vegas here at novel’s end, Flagg’s terror still creates restraint. When Larry shouts a warning to the crowd that next time it might be their turn to die this way, he can’t quite bring the crowd’s energy to critical mass: “That low murmur again, rising and angry…and the silence” (1079).

Whitney Horgan, one of Flagg’s own underlings, picks up the cause for Larry, decrying the barbarity of the ritual. But Whitney, too, fails to stoke a response: “Dead silence from the crowd. They might all have been turned to gravestones” (1081). When Whitney is dragged forward by Flagg’s black magic (“His sprung and mushy black loafers whispered through the grass and he moved toward the dark man like a ghost”), the witnesses to this evil marvel remain mute: “The crowd had become a slack jaw and a staring eye.” Flagg’s graphic destruction of Whitney with a “blue ball of fire” similarly elicits only quiet amazement: “The crowd released a long, sibilant sound: Aaaahhhh. It was the sound people had made on the Fourth of July when the fireworks display had been particularly good” (1082). Rather than a rabbleroused mob, Flagg’s people have been left utterly agog.

All this, though, is King’s means of setting the stage for a stunning reversal. Suddenly, the crowd does in fact turn unruly: “There was a scream, high, clear, and freezing. Someone broke and ran. Then someone else. And then the crowd, already on an emotional hairtrigger, broke and stampeded” (1083). All hell breaks loose upon the last-minute arrival of the irradiated, warhead-lugging Trashcan Man: “He looked like a man who had driven his electric cart out of the dark and burning subterranean mouth of hell itself” (1084). Dread of nuclear annihilation detonates crowd chaos: “They ran, scattering to all points of the compass, pounding across the lawn of the MGM Grand, across the street, toward the Strip. They had seen the final guest, arrived at last like some grim vision out of a horror tale. They had seen, perhaps, the raddled face of some final awful retribution” (1083). Poe’s “The Masque of the Red Death” is thus reenacted on a grand scale.

Curiously, Mick Garris’s 1994 miniseries adaptation presents an exact reversal of King’s mob scene. When Larry and Ralph arrive, the crowd is a vibrant throng, barely controllable in its bloodthirstiness. These Las Vegans push and chant and brandish their guns; they cheer Flagg like a rock star when he takes the stage. Then, when Trashcan Man crashes this Times-Square-type party, the crowd just stands immobile, rooted in predominantly mute place.

The climax of King’s horror epic has always been somewhat problematical. The “Hand of God” (1084) that triggers the warhead is too much of a “deus ex machina” plot-resolver (and also appears lame when visualized by the ostensible special fx of the miniseries). But hearkening to the deliberate beats here–as King continually diffuses a mob scene and then allows it to explode at last–does make the ending of The Stand much more appreciable.


Work Cited

King, Stephen. The Stand. New York: Doubleday, 1990.


A.G. Exemplary? Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” and “A Vine on a House”

In this recurring feature, I explore the contents of anthologies of American Gothic literature (as explicitly identified by book title), considering the extent to which the selections exemplify the genre. Today, I return to Flame Tree Publishing’s 2019 volume American Gothic Short Stories: Anthology of New & Classic Tales.


“An Occurrence at Owl Creek Bridge” by Ambrose Bierce

At the start of this classic 1890 tale, main character Peyton Farquhar, an “original secessionist and ardently devoted to the Southern cause,” stands on the verge of execution by Union forces after being tricked by a Federal scout into declaring intentions of sabotage. This scene of imminent demise allows Bierce to critique the inhumane nature of the Civil War: “Evidently this was no vulgar assassin,” the narrative states. “The liberal military code makes provision for hanging many kinds of persons, and gentlemen are not excluded.” The Gothic quality of the story is also accented by the fact that Edgar Allan Poe’s influence is writ large here. Vivid description of the physical experience of hanging from Farquhar’s own perspective recalls a Poe “tale of sensation” such as “A Predicament.” The hypersensitivity of Roderick in “The Fall of the House of Usher” is echoed by Farquhar’s “preternaturally keen and alert [physical senses]. Something in the awful disturbance of his organic system had so exalted and refined them that they made record of things never before perceived.” A nod towards Poe’s “A Descent into Maelstrom” can even be detected when Farquhar plunges into the river below the bridge and finds himself “caught in a vortex.”

“An Occurrence at Owl Creek Bridge” remains famous to this day for its twist ending–the final-line revelation that Farquhar never actually escaped execution. Less appreciated, though, are the haunting paragraphs just preceding this conclusion, which describe the sinister, uncanny landscape Farquhar traverses in his fugitive flight back home towards his family:

At last he found a road which led him in what he knew to be the right direction. It was as wide and straight as a city street, yet it seemed untraveled. No fields bordered it, no dwelling anywhere. Not so much as the barking of a dog suggested human habitation. The black bodies of the trees formed a straight wall on both sides, terminating on the horizon in a point, like a diagram in the lesson of perspective.  Overhead, as he looked up through this rift in the wood, shone great golden stars looking unfamiliar and grouped in strange constellations. He was sure they were arranged in some order which had a secret and malign significance. The wood on either side was full of singular noises, among which–once, twice, and again–he distinctly heard whispers in an unknown tongue.

The Civil War has furnished material for countless works of American Gothic fiction, but none better than this early example from Bierce.


“A Vine on a House” by Ambrose Bierce

Bierce sets this brief 1905 story firmly in Gothic territory, focusing on “a rather picturesque ruin” in Norton, Missouri, that is regarded as a haunted house with an “evil reputation. Its windows are without glass, its doorways without doors; there are wide breaches in the shingle roof, and for lack of paint the weatherboarding is a dun gray.”  Misgivings about this deserted and decrepit domicile no doubt trace back to the time when it was still fit for habitation: the previous occupants “were rather tabooed by their neighbors” for defying the “moral code of rural Missouri.” Robert Harding was “seen too frequently together” with his sister-in-law Julia Went instead of in the company of his wife Matilda, “a gentle, sad-eyed woman lacking a left foot.”

In 1884, when Matilda fails to be seen on the premises, Robert claims that his wife has gone to Iowa to visit her mother. But Matilda “never came back, and two years later, without selling his farm or anything that was his, or appointing an agent to look after his interests, or removing his household goods, Harding, with the rest of the family, left the country.” About five years after this, a pair of travelers stop to rest on the porch of the house, but their conversation is cut short when the vine growing up the front of the house at once grows “visibly and audibly agitated, shaking violently in every stem and leaf.” More locals are drawn to observe this “mysterious phenomenon,” and finally they all decide to get to the bottom of the “manifestations” by digging up the vine. Doing so, they discover that the rootlets in the earth have woven themselves into a shape with “an amazing resemblance to the human figure.” There is “a grotesque suggestion of a face,” but the most telling detail is that the “figure lacked the left foot.”

A dark deed seemingly has been brought to light by supernatural means. The replanted vine thereafter remains “orderly and well-behaved,” but the house deservedly “retains its evil reputation.” If American Gothic is concerned with the horrors hidden behind closed doors and shaded windows, then Bierce’s tale of adultery and murder certainly proves a representative piece.