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Home , Danse Macabre (book), Desperation (novel), Father Callahan, It (novel), Pet Sematary, The Stand

INFOKARA RESEARCH ISSN NO: 1021-9056

A Study of Strategic Deployment of Supernatural and Non-supernatural Elements in ’s Salem’s Lot

1* Dr. SUDHIR V. NIKAM, Head, PG Department of English B.N.N. College, Bhiwandi, Mumbai 2* Mr. RAJKIRAN J. BIRAJE, Shri Shahaji Chhatrapati Mahavidyalaya, Dasara Chowk, Kolhapur Ph.D. Scholar (Mumbai University) When someone thinks of Stephen King, the most popular author of the century, is likely that they would imagine the blood, gore, supernatural elements and suspense for which he is known. Stephen King is probably the foremost and most celebrated American horror fiction writer whose literature has crossed all geographical boundaries. Stephen King is one of the most popular contemporary horror fiction writers. King’s novels provide a good basis for discussion about various possibilities of appropriation of different phenomena. According to critics Salem’s Lot will turn to bewilderment, bewilderment to confusion and finally terror. Stephen King generates the Emotion of scariness in readers through the Supernatural elements as well as Non- supernatural elements. American Gothic mode successfully manages inquiries of monstrosity and the human condition and what's more, of individuals' ability for abhorrent. In spite of the fact that King much of the time utilizes outside evils as aliens, phantoms, , and demons, his stories are well established not only as horror ones but psychological ones too. This is what we can see in Salem’s Lot. The purpose of this paper is to analyze King’s most famous gothic novel Salem’s Lot. Salem’s Lot by Stephen King is shown as the draculian novel. This novel is all about vampires not haunting. Some critics call it gothic novel but for readers this novel is the new version of Stephen King’s own . This novel figures out the horror elements like vampires, haunted Marsten house, Jerusalem’s Lot, family disorder, question of identity and repression of sexual desires etc. This novel provides you supernatural thrill. This paper also focuses on the King’s strategic deployment of horror agencies of. All these elements make the novel readable. Keywords: Salem’s Lot, Horror, Vampires, Dracula, Marsten House, Jerusalem Lot, Supernatural I recognize terror as the best emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud. (DM 40) Stephen King says this in his book (2012). King in his soft- quoted dictum describes terror as the best element of the three, and the one he strives hardest to maintain in his own writing. Readers can experience this horrified journey in the novel Salem's Lot. Salem's Lot is the second novel written by Stephen King. Though Stephen King is famous for writing long novels, but this is not too long having 439 pages only. This novel was published by publishers and was released on October 17, 1975. The front page design was conceptualized and created by Dave Christensen. Stephen King calls it as his most favourite novel and dedicates it to his daughter. The protagonist of the novel is Ben Mears who like Stephen King is a

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writer too. King wants to bring autobiographical elements here. There are many sources of inspiration for writing this novel. One of that is definitely the increased corruption of then on-going government. King says in Teaching Stephen King written by A. Burger: I wrote 'Salem's Lot during the period when the Ervin committee was sitting. That was also the period when we first learned of the Ells-berg break-in, the White House tapes, the connection between Gordon Liddy and the CIA, the news of enemy's lists, and other fearful intelligence. During the spring, summer and fall of 1973, it seemed that the Federal Government had been involved in so much subterfuge and so many covert operations that, like the bodies of the faceless wetbacks that Juan Corona was convicted of slaughtering in California, the horror would never end ... Every novel is to some extent an inadvertent psychological portrait of the novelist, and I think that the unspeakable obscenity in 'Salem's Lot has to do with my own disillusionment and consequent fear for the future. In a way, it is more closely related to Invasion of Snatchers than it is to Dracula. The fear behind 'Salem's Lot seems to be that the Government has invaded everybody. (Burger 14) As far as the literary standards are concerned, this novel is not by any means an epic novel. Instead, it is a story about a town so far off the map that it can wither and die and quite simply and nobody would care. Here, King takes the Bavarian village from the classic horror films of his own youth and turns it into a tiny hamlet in Maine, right next door to all the small towns of our collective youthful memories. It is a kind of novel that can be defined in a nutshell as monsters-eating-you. It begins with the writer Ben Mears returning to Jerusalem town where he had spent 4 years of his childhood, twenty five years ago. Community, fate and free will, wood Vs evil, lies Vs deceit, lust, and past, mortality, the supernatural are the major themes of the novel Salem’s Lot. According to critics Salem’s Lot will turn to bewilderment, bewilderment to confusion and finally terror. Critics from ‘New York Times’ say, Salem's Lot is a novel with usual quota of gossips, weirdoes and respectable folk. Of course there are tales of strange happenings. In Danse Macabre, king says that there are four essential archetypes in the Gothic tradition; the , the , the Thing without a Name, and the ghost (King 1981a 283). Such kinds of archetypes or the haunted castle or houses are shown in Salem’s Lot, , . Written in 1975, King's second distributed novel and celebrated vampire work, Salem's Lot, doesn't really comment on vampires until well more than one hundred pages into the story. King dedicates the principal segment and first section of the book to the advancement of the characters in the novel. As such, the novel is by all accounts less about vampires and more about the townspeople of Salem's Lot what's more, their reactions to the truth of evil and fiendishness. In Salem's Lot, most of the characters bow to their human deficiencies and enable malevolence to apply its energy. Now in King's career, physical and moral survival comes down to the natural energy of youth tempered by information

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gained through exposure to the horror genre. Youth and honesty, when educated by moral instruction, can battle insidious and evils when grown-ups fall at. In King's universe, insidious capacities as a trial of characters' profound quality, and his unending creative energy have created myriad iterations of the embodiment of evil and fiendishness. However it is contended that what King is genuinely inspired by is, the manner by which characters react to more powerful, more noteworthy and more capable evils than themselves. In Moral Voyages, King's most productive commentator Tony Magistrale investigates the crucial significance of moral agencies in King's universe. In King's universe, human decision is by all accounts an essential factor and the degree of impact, evil has over a character. In King's horror, evil can't apply control without first taking up advantage through human agencies. It is just when characters make a conscience to reject the good that the malice can show its power. American Gothic mode successfully manages inquiries of monstrosity and the human condition and what's more, of individuals' ability for abhorrent. In spite of the fact that King much of the time utilizes outside evils as aliens, phantoms, vampires, and demons, his stories are well established not only as horror ones but psychological ones too. Horror scholar Yi-Fu Tuan states in Landscape of Fear (1979) but those who are attracted to, and ultimately subsumed within, impenetrable malevolent forces are doomed because of their failure to recognize and regulate corresponding urges within themselves. (Tuan 65) King puts his characters in extraordinary and supernatural circumstances that attempt their own convictions and power them to defy their own internal shortcomings. In 'Salem's Lot, for instance, King utilizes the vampiric danger to test the characters and underscore the inborn duality of the human condition. Man has the potential for both good and evil. Fiendish powers characters to pick between inverse sides of their inclination. Most of the residents of Salem's Lot pick fiendish and in reality have been surrendering to the darker side of their inclination well before the vampire Barlow comes to town. King portrays the ironically named 'Salem's Lot which is another way to say ‘Jerusalem’, which implies ‘peace’, as a town that knows about darkness. King spends different sections delineating the dull mysteries the town holes up behind its shut entryways: murder, pyromania, pedophilic dreams, erotica, infidelity, and tyke mishandle. The shades of malice and evils of the townspeople make an entry that respects the insidiousness of the vampire; the dim mysteries of the town make 'Salem's Lot’ vulnerable to the attacking vampires. The vampire's accomplishment in spreading evils all through the town, as per Magistrale, is expected in expansive part to, the omnipresent evil that has always existed as a shared condition. All around, the decisions of the townspeople enable the vampire's insidious to prosper. A couple has the ethical mettle to oppose abhorrence's impact. Stamp Petrie (the youthful hero of the novel) and the little band of vampire seekers are the couple of natives of ‘Salem's Lot’ who perceive the threat and make a

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move. They energetically confront demise instead of overlooking their ethical inner voice and submitting to Barlow. Stamp Petrie and his mates triumph to some extent on account of their information of the horror sort and the ethical bravery such learning brings. In spite of people's changing perspectives toward the horror genre, there are the individuals who still trust that horror commends demise, pulverization, devil's worship and fallen angel and that the individuals who watch and appreciate horror are by one means or another ethically lacking or irritated. King expresses this view through the characters in Salem's Lot (1975). Composed when King was all the while making a name for himself, Salem's Lot gives an unmistakable difference between characters who grasp horror and those that view it with distaste, suspicion, aversion and doubt. Accordingly, Salem's Lot can be perused as an endeavor by King to legitimize to his readers and critics the estimation of the horror genre, and furthermore to a firm his faith. King utilizes Mark's parents, June and Henry Petrie, to speak to what he calls the Apollonian side of human instinct. They have faith in the energy of rationale, science, human mind, what's more, respectability. They stick to their confidence in an arranged and sensible world. The following section presents Henry Petrie and delineates his resolved common sense: Henry Petrie was a well-educated informed man. He had a B.S. from Northeastern, and master's from Massachusetts Tech, and a Ph.D. in economics. His child's fey streak had not originated from Henry Petrie; his dad's rationale was complete and consistent, and his reality was machined to a state of accurate precision. He was a straight arrow, sure about himself and in the common laws of material science, arithmetic, economics, financial aspects, and (to a somewhat lesser degree) sociology. Henry Petrie's reality is Apollonian: obvious and sensible, consistent and requested. With his preparation in hard sciences, Henry puts his trust in what is noticeable and concrete. There is no room in Henry's perspective for anything outside his ordinary circle of comprehension, for anything supernatural and otherworldly that doesn't into his thoughts of how the world is or ought to be. The statement suggests that Henry’s trusts in his child's "fey streak" are freak and unnatural. Henry Petrie represents a typical adult who relies on logic and reality to guide his world view, an attitude that Ernest Becker believes is dangerous and unhealthy. In The Denial of Death, Becker investigates the part of death in human culture. Becker's thoughts help outline the significance of hallucination in our lives. Without it, we abandon ourselves helpless against fiendish. Becker places that: ...modern man is the victim of his own disillusionment; he has been disinherited by his own analytic strength. The characteristic of the modern mind is the banishment of mystery, of nave belief, of simple- minded hope. We put the accent on the visible, the clear, the cause-and- effect relation, the logical always the logical. (https://www.goodreads. com/work/quotes/97366-the-denial-of-death?page=6) The risk is by all accounts that modern edge people have lost the limit with respect to dream. We see things too realistically without an aura of miracle and

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infinite possibility. Becker's written work suggests the question of the best quality of work and life and highest actualization that man can accomplish. For Becker, self-completion appears to include opening ourselves to the awesome, to things that can't be clarified sensibly. The horror genre speaks about a voyage into the incredible and the otherworldly. In King's fiction characters can just achieve highest actualization and moral potential through presentation to the incredible or as it were, to horror. Characters, for example, Henry Petrie stick to their confidence in rationale and logical truth, declining to take into account the likelihood of anything outside the domain of regular day to day existence. This is most obvious when and Mark defy Henry with the vampire invasion of 'Salem's Lot. Father Callahan and Mark show their manner of thinking and the reason they trust vampires are overwhelming in Salem's Lot. As confirmation they disclose to Henry of Susan's conversion into a vampire and how they partook in staking her. Notwithstanding the proof of onlooker accounts, Henry summarily rejects their record as a mental trip. Henry's inflexible world is, "complete and seamless machined to the point of almost total precision" (SL 484). The machine like exactness of Henry's perspective declines to recognize the likelihood of the powerful supernatural. Science pronounces the presence of vampires to be unimaginable, in this manner they don't exist. Henry declines to trust his child, announces the story incomprehensible, and, in doing as such, abandons himself powerless against Barlow. Henry censures Mark's obsession on monster motion pictures and models for Mark's incomprehensible story. "I think a lot of this comes from Marks hobby, Henry scoffs, collecting masks, assembling monsters from kits. Henry's attitude appears to demonstrate that he discovers Mark's hobby nonsensical and undesirable. Since his child Mark spends his time amassing monsters and developing horror scenes, Henry trusts Mark can't discrete dream from the real world. He declines to trust that Mark is coming clean. June Petrie, Mark's mother, makes it a stride further, proclaiming, He's always been preoccupied with them [the monster kits and masks] and it's not healthy (Hooper Salem's Lot miniseries). In June's estimation, balanced youngsters don't invest their energy constructing monsters and harping on death and distortion. She trusts that horror movies, stories, and Mark's pastimes are unwholesome and aberrant. As opposed to being unsafe, Mark's pastime extends his perspective and winds up sparing his life. This is genuinely normal of King's methodology. From The Girl Who Loved Tom Gordon to to , King's characters' advantages either set them up to defy evil furthermore, manage its results or abandon them exposed. The heroes in these stories share youth, purity, and an adaptable world-view, however contrast in interests and diversions. Accordingly, they confront evil with fluctuating degrees of accomplishment. Mark's hobby gives him the abilities and information he needs to ensure himself and vanquish Barlow. Henry and June's dependence on rationale and "reality", then again, demonstrates deadly. Jonathan Davis recommends that, in the same way as other grown-ups in King's fiction, these grown-ups' failure to

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recognize the silly, supernatural, irrational or otherworldly abandons them helpless against abhorrence's plan because evil in itself is intangible and cannot be reasonably rationalized, it is often both adults adherence to their belief in reason and their insistency on literalizing reality and unreality that often result in a catastrophe in King's fiction. Since Henry declines to acknowledge the alerts of both father Callahan and Mark, he neglects to avoid potential risk. Unexpectedly, Barlow shows up as Henry endeavors to persuade Mark his story is only a fantasy. He executes Henry and June while Mark vulnerably watches. Henry's Apollonian perspective failed to set him up to confront the truth of evil and brought about his passing. Despite the fact that Henry is depicted as a ‘straight arrow’ with good moral qualities, his overpowering dependence on rationale places him in physical and moral risk. Evil strikes haphazardly, regardless of a man's social standing, foundation, sexual orientation, or ethics. Henry's thin perspective fails to set him up to confront malicious evils. Henry confers no glaring sin however his refusal to confide in his child straightforwardly causes his own passing and in addition that of his better half. Dissimilar to his dad Henry, youthful Mark enthusiastically acknowledges the likelihood of the extraordinary supernatural, furthermore, the nonsensical and irrational. This ability comes to some extent on account of Mark's age and to some degree due to his enthusiasm for horror. Mark Petrie's introduction to horror, as opposed to impeding good and mental advancement as his mother fears, is a key supporter to his physical and good survival. On an absolutely down to earth level, the information Mark gains from his introduction to horror makes him one of the first to comprehend that vampires have gone to Salem's Lot and, thus, abandons him, one of the main survivors toward the end of the novel. King intentional attracts attention to Mark's enthusiasm for frightfulness to attest its part in Mark's sub-sequent choices and survival. King mentions Mark's monster models, magazines, or films around a dozen times in the novel. Truth be told, the primary prologue to Mark Petrie is through his monster models. The Glick siblings stroll over to Mark's home for the sole reason to view his: Entire set of Aurora plastic monsters-wolfman, mummy, Dracula, , the mad doctor, and even the Chamber of Horrors. [His friends] mother thought all that stuff was bad news, rotted your brains or something. (SL 109) Mark carefully takes a shot at his plastic models, building every monster. Tobe Hooper's TV Salem's Lot miniseries underscores Mark's interest with horror by plastering his room with posters and creature covers. Basically, Mark is encompassed by the confirmation of evil's presence some time before Barlow goes to the Salem's Lot. At the point when Mark faces his first genuine vampire, he in a split second comprehends what he sees. He perceives the vampires as something genuine and substantial, not a minor invention of his creative energy. While resting one night, Mark awakes to Danny Glick scratching at his second story window. Mark Petrie turned over in bed and looked through the window and Danny Glick was staring in at him through the

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glass, his skin grave-pale, his eyes reddish and feral. Some dark substance was smeared about his lips and chin, and when he saw Mark looking at him, he smiled and showed teeth grown hideously long and sharp.Danny's shining eyes and long teeth plainly connote his change into a vampire. Close to observing Danny Glick, Mark knows precisely what he faces and what the results are.‘‘His mind, still that of a child in a thousand ways, made an accurate judgment of his position in seconds. He was in peril of more than his life’’ (SL 338). Mark's youth and his interests have made a clear perspective that takes into account the otherworldly supernatural, for disarray, furthermore, for malicious evils. At the point when Danny scratches at the window, arguing to come in, Mark can't and refuses. Reading of the evil magazines and watching thrillers and horror films have set him up to confront fiendish in his own life. He understands that to permit Danny passage would mean demise and, perhaps, punishment however that he has a protection, ‘‘of course. You have to invite them inside. He knew that from his monster magazines, the ones his mother was afraid might damage or warp him in some way’’ (SL 338). Mark's beast magazines have exposed Mark to vampires and different animals of the dim and have given him information indispensable to his survival. Regardless of the way that Mark perceives what Danny has moved toward becoming and knows about the risk, Danny nearly triumphs over Mark. As Danny argues to be let in, Mark investigates his eyes, which gives Danny the hold he needs to overwhelm Mark. As Mark strolls towards the window he considers “if you looked in the eyes, it wasn't so bad. If you looked in the eyes, you weren't so afraid anymore...No! That's how they get you!”(SL 339). Mark is familiar with vampires and knows they can exert power over you through their gaze.‘‘He dragged his eyes away, and it took all of his will power to do it” (SL 339). King centers on Mark's cognizant choice to battle against Danny's energy emphasizing that survival isn't simply dependent upon learning; it requires activity too. Mark needs to settle on the decision to oppose evil and detestable and afterward to make a move. He needs to expel the vampire. Whispering voice was seeing through his blockade, and the command was basic. Mark's eyes fell around his work area covered with his model monsters, now so insipid and silly. His eyes settled unexpectedly on part of the show, and augmented somewhat. The plastic ghoul was strolling through a plastic graveyard and one of the land-marks was in the shape of a cross. Mark grabs the cross and uses it as a weapon against Danny. Danny escapes and Mark is safe...for now. In this occasion, Mark's creature models and the learning he picked up from his exposure to horror are straightforwardly in charge of sparing his life. Regardless of being in thrall, the burial ground scene around Mark's work area helped Mark to remember what Danny was and gave him the apparatuses important to spare his life. More imperative than physical survival, in any case, is Mark's ethical survival. Looked by the vampire intrusion of his home, Mark comprehends that he has two options: he can spare himself further-more, risk moral and spiritual degeneration, or he can assume liability and hazard his life

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battling to vanquish the insidious that threatens 'Salem's Lot. Reading monster magazines and observing horror films teaches Mark about the darker side of humankind. It acquaints him with the truth also, results of insidiousness. It gives Mark experiences into his feelings of trepidation and gives him adapting components that empower him to go up against the vampire Barlow. As a part of having moral order in the world, Tallon argues, necessitates having a real understanding of evil. Understanding and recognizing malicious evils on the planet and inside ourselves causes us to investigate our profoundly held ideas of good and bad. It encourages us to figure out how to act ethically. To make a case for the of the horror tale, Tony Magistrale makes a connection between horror and classical tragedy. The horror story, like classical tragedy, frequently educates us morally, suggesting vicarious methods for avoiding a correspondingly tragic fall in our lives while inspiring a feeling of relief that we have been spared of the actual experience. The best classical tragedies (and horror tales) affect a catharsis on the audience. Watching, or reading, the hero's experience enables the audience to work through their feelings of dread and also causes them keep away from similar traps. In the horror story, these entanglements frequently incorporate coming into contact with malicious evils and yielding to its impact. Horror, at that point, centers on the disclosure of shrewdness and the results of coming into contact with it. Horror provides a dark mirror in which we can examine ourselves by honestly facing the shadow side of the human condition as well as our deepest intuitive (and inviolate) sense of right and wrong. Regardless of the feelings of trepidation of Mark's parents that his Aurora monsters are "bad news" that "spoiled your mind or something", they are ethically informative, constraining Mark to consider his thoughts of what is good and bad. Mark's interest opens him to the truth of wickedness. It advises him that the world isn't generally kind or simply, that it is in some cases unreasonable and corrupt. He ends up mindful of the darker side of the world, however more vitally, he has watched and perused about characters and their reactions to evils. These stories enable Mark to acknowledge that shrewd exists and to direct his activities when he experiences. Mark's Aurora monsters, for example, the wolf-man, Dracula, Frankenstein, and Mr. Hyde who represent the ethical exercises that can be gained from a brush with fiendish. Specifically, the stories of the wolf-man and Dr. Jekyll and Mr. Hyde focus on the duality within a single character, in which the duality revolves around the poles of good and evil.In Danse Macabre, King's analysis of the horror genre, King writes: What we're talking about here, at its most basic level, is the old conflict between id and superego, the free will to do evil or to deny it...the twinning of Jekyll and Hyde suggest another duality: the aforementioned split between the Apollonian (the creature of intellect, morality, and nobility, always treading the upward path) and the Dionysian (god of partying and physical gratification; the get-down-and- boogie side of human nature.(DM 94)

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The tension between the Apollonian and the Dionysian teaches that monsters can be external threats, but also that the evil can lurk within us. King paraphrases Shakespeare expresses that the fault lies not in our stars but in ourselves.In King's universe, it is vital to a character’s physical and moral survival to acknowledge and to understand his or her potential for darkness. Darkness has a place in all of us, Barker claims, a substantial place that must, for our health's sake be respected and investigated. Reading or watching horror allows individuals to remain relatively safe and comfortable when confronting unpleasant truths of the human condition. Mark's hobbies give him a sound regard for the darker side of human instinct. As Mark peruses his monster magazines and watches horror movies, he comes to comprehend the idea of evil, his own vulnerability to it, and how to oppose or battle its impact. Mark's hobby, at that point, goes about as an experience with genuine insidiousness. Mark's monster magazines and love of horror movies permit him to see real life evils becomes distorted and then sorted out...to a safe medium to explore the dark side of his...own personality and to come out of the experience being grateful that he, like the protagonists of the horror novel, has the choice to choose the correct path toward a peaceful, moral existence. In Davis' discussion of the energy of adolescence in King's fiction, he recognizes that kids without a comprehension of human instinct are defenseless against evil's impact. Innocence and, youth are insufficient. While a child is often aware of an adults misunderstanding of the supernatural and imaginable realm, Davis argues, an adult is cognizant of a child inability to estimate human nature. This concept would tend to argue that a child who has not yet been exposed enough to the evil ways, in which the world operates, is vulnerable in his or her ignorance of adult human behavior. Mark's learning makes him sufficiently solid to crush Barlow in light of the fact that he believes in the heavenly supernatural and has been presented vicariously to the spectrum of human experience though his affection of the horror genre. By reading the monster magazines and sneaking in to see horror films, Mark learns of the potential for evil inside himself, yet additionally of the flexibility he needs to settle on decisions to battle insidious. This duality applies to Mark's life when he perceives the vampiric danger that faces 'Salem's Lot. Like the characters in the magazines and movies Mark watches, he faces evil and must make a decision. He's seen the profundities of human corruption on the motion picture screen and has vicariously encountered evil's' impact. He has possessed the capacity to develop his fragility and mortality. He comprehends the results of picking good over bad. Mark assumes liability for his decisions and dangers his life to battle Barlow. Mark's acknowledgment of obligation can be seen most drastically when Mark chooses to manage Barlow. Salem's Lot faces a risk ideal from the pages of the monster magazines. Mark reads. He comprehends that vampires speak to the most unsafe of all extraordinary dangers since vampires duplicate effortlessly and their detestable spreads like a sickness. Albeit as it was twelve and little for his age, Mark realizes that vampires are pervading Salem's Lot and feels that he has the duty to deal with it. Mark fears that nobody will accept what is happening until it's

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past the point of no return. Outfitted with his dad's objective gun and a yellow ash stake, Mark goes to the Marsten House, Barlow's refuge, arranged to go up against the ace vampire alone. Squatting in the brambles getting ready to go into the Marsten House, Mark sees Susan Norton sneaking up to the house to explore. Mark unassumingly tells Susan of seeing Danny Glick and of his intends to slaughter Barlow: And you came here alone? She asked when he had finished. You believed it and came up here alone? Believed it? He looked at her, honestly puzzled. Sure I believed it. I saw it, didn't I? (SL391) Susan is distrustful that such a young boy would have confidence in vampires then confront the risk head on, and alone. Susan, similar to Mark, is looked with proof of vampires; however has a troublesome time accepting until the point when she inadvertently encounters and turns into a vampire herself. Mark, then again, quickly acknowledges reality the minute he sees Danny at his window. Mark knows the hazard and, due to that learning, comprehends that he has the ethical duty to make a move. He realizes that in the event that he declines to endeavor to battle the vampire, the townspeople will all fall casualties to Barlow and progress toward becoming vampires themselves. He will be blameworthy for doing nothing. For Mark, the decision is straightforward. Barlow is evil and should be decimated. Mark's hobby and interest for repulsiveness horror helped him cement his thoughts of profound quality and settle on moral decisions when looked with evils. Mark, however only a youngster, has a feeling of good duty that is prominently missing in Constable Parkins Gillespie. Gillespie is the constable of 'Salem's Lot and has the obligation to secure and look after its residents. He goes about as a grown-up foil for Mark on account of his introduction to state of mind towards horror. Gillespie does not have the innocence and youth of King's tyke heroes; rather he has been presented to the array of human experience. In regular day to day existence, he is the person who implements the law and rebuffs the wrongdoers. At the point when a heavenly supernatural risk faces the town, it appears to be common that Gillespie would be the first to swing to for help. He has managed the frivolous shades of evils of human presence in his part as town constable. However, he fails to endeavor self-discipline and through latent acknowledgment, he enables abhorrence to thrive. Whenever Mark and Ben Mears (Mark's vampire battling partner) disclose to Gillespie what's happening and request his assistance, he illuminates them that he's packed and leaving town.At the point when looked with the truth of malevolence and evil, Gillespie chooses to take the cowardly way out. Gillespie places his own particular physical survival over helping those he's promised to ensure.He acknowledges that vampires have attacked his town, yet spares his own particular life and transfers the town to Barlow. Gillespie's activities demonstrate Magistrale's claim that evil thrives when individuals surrender their moral conscience. Gillespie acts opposite to what exactly he knows is correct, putting his own particular needs above others', and censures his companions, neighbors.

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Gillespie even leaves out his badge behind when he escapes, emblematically giving up his claim to duty while recognizing his complicity and moral degradation. In spite of the fact that Gillespie escapes turning into a vampire, he progresses toward becoming something more regrettable. He settles on a decision to dismiss what he knows is correct and stands by as Salem's Lot suffers. He progresses toward becoming as blamable as Barlow for the town's possible obliteration. Salem's Lot is a kind of draculaian novel and it revolves around Dracula like people eating the blood of others. Vampire is the key horror element in the novel which brings horror among the readers. This way it becomes a novel of vampires and the agency of vampires plays a vital role in creating horror. Vampires feed themselves on the blood of living organisms. Barlow plays the role of Dracula. Anyway, Barlow's pretty nifty, as far as super villains go. He's got some good rants, like when he tells Corey Bryant that Americans, and especially small town Americans. He's got some good boasting threats, too especially in his letter to the vampire hunters, where he promises to castrate Mark declares, "I am not a serpent but the father of serpents" (SL 468). Richard Straker is the buddy of Barlow. Straker murders a little boy, Ralphie Glick, as a sacrifice to Barlow, who then turns Ralphie's brother, Danny, into the town's first vampire. Things go from bad to worse than that, with people dying left and right and vampires rising and the town sinking swiftly into degradation, filth, and large incisors. Danny is a young boy; Ralphie's older brother. The first person in Jerusalem's Lot changed to a vampire. He infects Mike Ryerson and Marjorie Glick, and tries unsuccessfully to get Mark Petrie. Marsten house like the Overlook hotel in The Shining is a symbol of the past haunting the present. Marsten house was a home of Hubert till the time he murdered his wife and took his own life. Before even Ben Mears lands in the village, the house has way back become a haunted place. Even the bravest people are not daring to enter the house. It is located at the Marsten Hill and it looks like, it is at the very top level watching over all the population and homes. Ben Mears dared to enter the house once and claims that he has seen the ghost of HubieMarsten there. It seems that the ghost of Hubie is in constant touch with Barlow. It is as if Marsten is trying to enter and bring his evil to the Lot. Finally the house is burned to ashes. But Ben thinks that the Marsten house has deep connection with vampire Barlow and Hubie and that is why there remains some presence of the evil. This house is the symbol of evil and we can see this in the novel when we read the lines of Ben Mears: I think that house might be Hubert Mrsten’s monument to evil, a kind of psychic sounding board. A supernatural beacon, if you like. Sitting there all these years, maybe holding the essence of Hubie’s evil in its old, molding bones. And now it has called another evil man. ( SL 135-36) Jerusalem's Lot was incorporated in 1765 owing the name from the proprietary behaviour of a particularly large pig owned by one Charles Belknap Tanner. Jerusalem' Lot plays an important role in the creation of horror. Before the vampire Barlow lands in the town, it was a very beautiful thriving New

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England Community but now it is completely haunted. It has become a ghost town. On the Interstate 95 in Maine not far north of Portland there is river whose name is Royal. There comes a sign that reads "route 12, jerusalem's lot, Cumberland, cumberland ctr" (SL 530). We can spot the ruins of a burned house which once stood sentinel over the town, the old Marsten House. This town is known as the town of vampires which frightens the readers that’s why it is the important element in the novel. At the end Salem’s Lot by Stephen King is shown as the draculian novel. This novel is all about vampires not haunting. Some critics call it gothic novel but for readers this novel is the new version of Stephen King’s own Dracula. This novel figures out the horror elements like vampires, haunted Marsten house, Jerusalem’s Lot, family disorder, question of identity horror of first period, and repression of sexual desires etc. This novel provides you supernatural thrill. All these elements make the novel readable.

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Commons, Wandy. A Literary Value of Stephen King. New York: VDM Verlag Dr. Mueller E. K, 2008. Corby, Brian. Child Abuse: Towards a Knowledge Base. Buckingham: Open University Press, 2000. Cowan, Douglas E. America's Dark Theologian: The Religious Imagination of Stephen King. New York: NYU Press, 2018. Davis, R.H.C. Kings Stephen. New York: Routledge, 2015. Docherty, Brian, ed. American Horror Fiction: From Brockden Brown to Stephen King. Springer, 1990. Docherty, Brian. American Horror Fiction: From Brockden Brown to Stephen King. New York: Palgrave Macmillan, 1990. Eysenck, Hans J., and Carl Sargent. Explaining the Unexplained. London: Prion Books Limited, 1997. Fonesca, Tony. ‘‘The Doppelganger.’’Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares. Ed. by S.T. Joshi. Westport, CT: Greenwood, 2007. 187-213. Furth, R. Stephen King's : The complete Concordance. New York: W.W. Norton and Company, 1977. Gelder, Ken Silver, Alain. Horror Film Reader. New York: Routledge, 2000. Goddu, Theresa A. Gothic America: Narrative, History and Nation. New York: Columbia University Press, 1997. Grace, D. Critical Insights: Stephen King. Pasadena: Salem Press, 2010 Gresh, Lois H. The Science of Stephen King. London: Paperback, 2007. Hardy, Phil. The Overlook Film Encyclopedia Horror. New York: Overlook Books, 1995. Held, Jacob M. Stephen King and Philosophy. New York: Rowman and Little Field Publishers, 2016. Hertz, Robert. “A Contribution to the Study of the Collective Representation of Dead”, Death and the Right Hand. (trans. R & C Needham) London: Cohen & West, 1960. Hills, Matt. Pleasures of Horror. London: Viking, 2005. Hogle, Jerrold E., ed. The Cambridge Companion to Gothic Fiction. Cambridge: Cambridge University Press, 2002. Ingebretsen, Edward. Maps of Heaven, Maps of Hell: Religious Terror as Memory from the Puritans to Stephen King: Religious Terror as Memory from the Puritans to Stephen King. Routledge, 2016. Jones, Stephen. Creepshows: The Illustrated Stephen King Movie Guide. London: Titan Books, 2001. ______The Art of Horror: An Illustrated History. New York: Hal Leonard, 2015. King, Stephen, Tim Underwood, and Chuck Miller. Bare bones: conversations on terror with Stephen King. McGraw-Hill Companies, 1988. ______“Afterword”. . London: Warner Books, 1999. ______Danse Macabre. New York: Beverley Books, 1981. ______The Bachman Books: Four Early Novels by Stephen King. New York: New American Library, 1985.

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______On Writing. London: Hodder and Stoughton, 2000. Kristeva, Julia. Power of Horror. France: University Press in English, 1982. Lant, Kathleen Margaret and Theresa Thompson. Imagining the Worst. New York: Greenwood Publishing Group, 1998. Lowe, Rob. Love Life. New York: Simon and Schuster, 2015. Lusted, Marcia Amidon. How to Analyse the Works of Stephen King. New York: Essential Library, 2010. Magistrale, A. Stephen King: The Second Decade, Danse Macabre to . New York: Twayne Publishers, 1992 ______Hollywood’s Stephen King. New York: Palgrave Macmillan, 2003. ______Landscape of Fear: Stephen King’s American Gothic. Bowling Green, OH: Bowling Green University Press, 1988. ______Stephen King: The Second Decade, Danse Macabre to Dark Half (Twayne’s United States Authors Series, No. 599). New York: Twayne Publishing, 1992. ______The Dark Descent: Essays Defining Stephen King’s Horrorscape. Westport, CT: Greenwood, 1992. ______‘Fear Itself’, in Underwood, Tim, and Chuck Miller, (eds.), Fear Itself: The Horror Fiction of Stephen King. San Francisco, California: Underwood-Miller, 1982. ______Discovering Stephen King’s The Shinning. New York: Palgrave MacMillan, 2003. Maxwell-Stuart, P. G. Ghosts: A History of Phantasms, Ghouls and Other Spirits of the Dead. Stroud: Tempus Publishing Limited, 2006. Millais, J. G. Newfoundland and its Untrodden Ways. Portugal Cove: Boulder Publications Ltd, 2005. Pakutte, Jenifer. Respecting : A Critical Analysis Of Stephen King's Apocalyptic Novel. New York: McFarland, 2012. Punter, David. A Companion to the Gothic. Ed. David Punter. Oxford: Blackwell Publishers Ltd. 2000. Rausch, Andrew. The Wit and Wisdom of Stephen King. London: Bear Manor, 2011. Reino, Joseph. Stephen King: The First Decade, to Pet Sematary (Twayne’s United States Authors Series, No. 531). New York: Twayne Publishing, 1988. Rimmon-Kenan, Schlomith. ‘Narration: Levels and Voices.’ Narrative Fiction. London: Methuen, 1983. Rogak, Lisa. Haunted heart: The life and times of Stephen King. Macmillan, 2009. Rolls, Albert. Stephen King A Biography. New York: ABC- CLIO, 2015. Russel, Sharon. Stephen King A Critical Companion. New York: Greenwood, 1996. Sherman, Harold. You Can Communicate with the Unseen World. New York: Ballantine, 1974. Simpson, Paul. A Brief Guide to Stephen King. New York: Constable and Robinson, 2014. Spooner, Catherine. Contemporary Gothic. London: Reaktian, 2006. Strengell, Heidi. Dissecting Stephen King: From the Gothic to Literary Naturalism. Popular Press, 2006.

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Tuan, Yi-fu. Landscape of Fears. New York: Palgrave MacMillan, 2003. Waller, J. Stephen King's The Dark Tower and the Postmodern Serial, San Antonio, 2008 Wiater, Stanley. The Complete Stephen King Universe. New York: St Martin Griffin, 2006. Winter, Douglas. The Art of Darkness. New York: Dutton, 1984.

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