if you see this, youāre obligated to rb and tell me what your favorite part(s) of selfshipping is. creating playlists? s/iās? daydreaming about your f/oās? being self indulgent? interacting with other selfshippers? etc etc
Itās important that everyone understand that, when I say that I ālikeā a villainous character, what I in fact mean is that I consider them to be both cool and morally praiseworthy, as well as correct in their aims and methods and worthy of emulation by people in the real world. Just in case there was any ambiguity on this point.
I further elaborate that I consider them to be An Excellent Role-Model for Impressionable Children.
I almost neglected to mention that they are a worthy sexual partner and that I am aroused by everything that they do.
yes carrie killed over 400 people ok. thats bad i know. but have you considered that i feel really bad for her š
carrie deserved to kill 400 ppl as a treat
That’s because he didn’t write, nor intend to write, a horrible terrible disturbed woman beyond redemption. The genesis of Carrie (told in its entirety in the 1999 edition’s introduction that you can read here, and in King’s memoir On Writing), was this: sometime in high school, King read an article in Life magazine about supposed poltergeist activity in a home, which seemed to be associated with the teenage girl who lived there. The article included the hypothesis that poltergeist activity is, in some way, tapped into or manifested by girls at that critical and tumultuous age.
And some years before that, King had gone to school with a couple of girls he pseudonymously calls Tina and Sandra, who were bullied and shunned by the other kidsāTina for wearing the same clothes every day, Sandra for her epilepsy and extremely religious mother, but both really for having some undefinable Other quality that kids pick up on like blood in the water. Both of them were dead by the time King began writing Carrie: Tina by suicide, Sandra from her epilepsy.
Carrie was what King imagined might have happened if that explanation of poltergeist activity were correct, and if Tina and Sandra had been able to tap into such an energy. He started writing the story a few years after getting married (his wife Tabitha is also a writer), but abandoned the idea a few pages in; the raw, merciless adolescent cruelty the story called for was too much to deal with, and what did he know about teenage girls, anyway? But Tabitha dug the pages out of the trash and read them, and convinced him it was a story that needed telling.
Carrie is a story which, perhaps like poltergeist activity, could only happen to a girl on the brink of womanhood, when every emotion and sensation is excruciatingly vivid and nothing makes sense anymore and every single occurrence in your life is the most important thing that will ever happen to you. It’s about being horribly powerful and vulnerable at the same time, and alienated from your own body. It’s about the visceral, starved animal fear and rage of being a teenage girl, and it goes to show what an arcane and powerful craft creative writing is that a man could manage to capture that without having experienced it firsthand.
“Sometimesāquite often, in factāI wish that Tina and Sandy were alive to read it,” King says in the 1999 introduction to Carrie. “Or their daughters.”
Yeah, if you read the man’s own words she was clearly intended to be sympathetic and human
You donāt even need to read Kingās own words to be able to tell Carrie is not meant to be āa horrible terrible disturbed woman beyond redemptionā – it says so in the text itself and itās about as subtle as a jackhammer to oneās teeth.
There is one thing no one has understood about what happened in Chamberlain on Prom Night. The press hasnāt understood it, the scientists at Duke University havenāt understood it, David Congress hasnāt understood it āalthough his The Shadow Exposed is probably the only half-decent book written on the subjectāand certainly the White Commission, which used me as a handy scapegoat, did not understand it.
This one thing is the most fundamental fact: we were kids.
Carrie was seventeen, Chris Hargensen was seventeen, I was seventeen, Tommy Ross was eighteen, Billy Nolan (who spent a year repeating the ninth grade, presumably before he learned how to shoot his cuffs during examinations) was nineteenā¦.
Older kids react in more socially acceptable ways than younger kids, but they still have a way of making bad decisions, of overreacting, of underestimating.
I have told this story before, most notoriously before the White Commission, which received it with incredulity. In the wake of two hundred deaths and the destruction of an entire town, it is so easy to forget one thing: we were kids. We were kids. We were kids trying to do our best.
