By Alissa Burger (auth.)
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Additional info for Teaching Stephen King: Horror, the Supernatural, and New Approaches to Literature
With Gothic duality and the figure of the werewolf, we find individuals for whom this development has been derailed. Rather than proceeding in the usual fashion from the pleasure-craving id to its more moderated and socially aware balance with ego and superego, the werewolf lives in the id, maintaining it as a fundamental cornerstone of identity, though one which is subsumed and kept largely separate from the day-to-day life of the other, public Self. Robert Louis Stevenson’s Dr. Jekyll and Mr.
As eight-year-old Pearl peeked through the curtains at the back of a local general store, “on that screen was the most amazing sight I’d ever seen. ). Her reminiscence of her first glimpse of the 1902 short silent film A Trip to the Moon, directed by Georges Méliès, provides the transition, as the moon of her recollection gives way to the moon over the desert, which in turn gives way on the next page to the painted moon on a film studio set three days before, where Pearl and her roommate Hattie are working as extras (Snyder, Albuquerque, and King 3).
Gabriel John Utterson’s friend Mr. Enfield reports, Hyde “trampled calmly over the child’s body and left her screaming on the ground” (Stevenson 4). With even greater brutality, when Hyde’s path crosses that of Sir Danvers Carew: “Mr. Hyde broke out of all bounds and clubbed him to the earth. And next moment, with ape-like fury, he was trampling his victim under foot and hailing down a storm of blows, under which the bones audibly shattered and the body jumped upon the roadway” (Stevenson 27). Hyde is pure id, pursuing whatever violent impulse catches his fancy, with no compunction or remorse, loosed from the restrictive influence of responsibility imposed by engagement with the ego and superego.