3.6 starsWARNING: A Long review follows, (due to ratings and reviews given to each story).Despite the title of this anthology, Skeleton Crew has a range of story “type” that is wide—from “evil,” (the “Milkman” tales) to “loving,” (“For Owen”). Additionally, both with his introduction and epigraph, King relays an invitation to the stories that suggests tenderness.Note 1: Stories are presented in the order read—per chronological writing and publishing dates. Given mean and median dates with consideration of “outlying” dates, the placement of this anthology becomes 1982.Note 2: The rating for the anthology comes from the mean of individual story ratings; however, the rating for “The Mist” is repeated three times since its novella form becomes a large part of the collection.And so, here they are . . . one by one:1. “Here There Be Tygers,” (3.25).From this early short-short story, trace elements of King’s later explored themes and techniques reveal themselves: monsters breaking through to “real” situations, revenge, adherence to “blind” authority, innocence and the (sometimes violent) loss thereof, and, of course, allusions to other literary work in order to emphasize or enhance. Here, King alludes to Blake and his “Tyger, Tyger,” Songs of Innocence and Experience, further enhancing this “fun” little tale of “wishful” revenge.2. “Cain’s Uprising,” (2.75).Extremely disturbing, “Cain Rose Up” evokes a similar wrought of ruin in the Bachman Rage, this time with a college campus setting. Shorter, with little psychological wherefores for the protagonist’s morose disposition, “Cain Rose Up” mirrors events occurring from 1999 to the present. Despite the tight narrative style, King could have provided, perhaps, a little bit more about Garrish since a Methodist father and his teachings seem hardly a reason for such outrage. And, the overtly symbolic title does little to help, here.3. “The Reaper’s Image,” (3.0).Reminiscent of Poe’s “The Oval Portrait” and Wilde’s The Picture of Dorian Gray, “The Reaper’s Image” plays on an image as a doorway. A quiet, mild “shocker” of a short-short story, the reader already can see the influence of movies / film on the writer. Curious. Was the recent movie Oculus based on this little King tale? Both replace the Poe / Wilde portrait with an antique mirror that has a strange history.4. “Nona,” (3.5).The Poe influence continues, this time with Eddy’s “women” tales: “Ligeia,” “Morella,” and “Berenice.” King’s “Nona,”—a possible scramble of “Anon,” in which both the word itself and the abbreviation for “anonymous” apply—progresses in the same fashion after Poe’s tales; but, there are scenes here that are original and disturbing. The end, however, resolves securely to a comfortable “Poe-esque” climax. Given the story, “The Body,” and other King novels, Castle Rock seems a place to avoid, indeed.5. “The Monkey,” (3.5).The reader can become enraged by this story’s moniker just as frantically as its speaker. Additionally, the arbitrariness of the monkey’s “curse” becomes disturbing. So disturbing, in fact, that King’s ending brings much relief—an ending even casual King readers / viewers will recognize in another story’s plot, unfortunately. But, this story does satisfy in a grim sort of way.6. “The Mist,” (4.5).This long, short story, (quite an oxymoronic phrase), or novella, while squarely in the King writing persona, nevertheless takes on a Bachman writing quality. And ironically, the Darabont film adaptation, which consciously “waxes Bachman” at the end, captures the “world” and “view” of Stephen King more so than most other film adaptations. Both novella and film are satisfying despite the differences. And so, this piece alone makes the Skeleton Crew anthology worth the purchase.As usual, King provides enough exposition, (often through flashbacks and parenthesis), for the reader to be drawn towards or repulsed away from particular characters. Consequently, King draws us to David, (the protagonist and speaker), Billy, (his son), Amanda Dumfries, and Ollie Weeks and repels us from Brent Norton, Myron LaFleur, and Mrs. Carmody. Given the novella’s “frame,” length, and relentlessly moving plot, King simply has not the space to bring depth to many of these characters. And honestly, there is no need.And so, I enjoyed both the novella and the film. A fast read, “The Mist” pulls us in and keeps us reading—it is a “page turner.” And, differences with the film, especially the end, make the novella even more compelling. I particularly enjoyed the open-endedness of the novella’s end as well as some of the questions it necessarily raises.7. “The Wedding Gig,” (3.0).From the point of view of a cornet player during the Roaring ‘20s, “The Wedding Gift” explores the idea of superficial judgment of others and asks whether anyone can really, truly help others who are lost or condemned. Centered on the speaker and his band playing for a Chicago bootleg boss, this story unfolds easily, entertaining with each progressive episode. King seems to ensconce any hint of the conclusion while simultaneously building to an expected climax. A neat and provocative “short-short.”8. “Mrs. Todd’s Shortcut,” (4.75).Two old men sit on a front porch reminiscing about the past—and the “summer people,” especially Mrs. Todd. And then, one relays a life-changing story. Excepting Different Seasons, King’s works often involve the horror element. And, while that appears here, this story explores a more “magical” element. Reminiscent of Hawthorne, readers will find echoes from both “Young Goodman Brown” as well as “Dr. Heidegger’s Experiment” in this wonderful little tale. The resolution to this story provokes and satisfies. Already a gem in this collection, “Mrs. Todd’s Shortcut” becomes a King short story to which I will return. Wonderful. I loved this seemingly “little” tale, even if I disagree with the speaker’s concluding observations.9. “The Jaunt,” (2.7).This story’s speaker informs us about Mars in the first paragraph. So immediately, the reader prepares for a science fiction story. Another story within a story, “The Jaunt” ends with one of King’ repeated images—effective here—but nevertheless beginning to feel worn. Social comments made range from entertaining, (a world culture shift due to “peak oil”—this, despite Reagan's election) to curious, (the government’s funding of research, yet a supported view that private interest should have all the profit, etc.). So finally, “The Jaunt” becomes a jaunt—a fun, little trip. Yet, this is not one of King’s better stories despite the “neat” discovery at the end. That “discovery,” incidentally, saves this tale from its long, (and frankly, boring), exposition. And hey, WATCH OUT! Watch out for that Oedipus!10. “The Reach,” (5.0).No twists. No surprises. Rather, a seemingly simple ghost story. The narrative progresses with a strict attention to the tenets of storytelling. And, with a New England Puritan and Yankee setting, an interesting way of “telling,” and provocative ideas which reappear more fully explored in his later Storm of the Century, Stephen King’s “The Reach” has a beauty to it. Yes—a beauty—a beauty despite those overarching and grim Puritan elements. Here, the mystery lies not with the plot but with the protagonist, Stella Flanders. And, I refuse to offer spoilers. Interestingly, this story, in many ways, is conventional in its gothic aspects. Yet, it becomes a refreshingly different story from others in the collection. And, if read in the anthology’s order, the reader comes to this story last thereby returning to a “tonic” chord from which the collection began, (“Do you love?”). Logically, and consequently, one hears the echo to and from that writer to whom King dedicated Firestarter: Shirley Jackson. “Do you love?”11. “The Raft,” (3.75).A straight-forward horror tale, “The Raft” keeps the reader “turning the page.” Wisely, King never reveals entirely the threat—to the alarm of the four, young characters as well as the reader. So, this story simply is fun. Unfortunately, Nixon and Vietnam make their usual appearances—odd, given that King, in his epilogue notes states that he had re-written this tale from a lost manuscript. Like the suspense element in the film, Jaws, “The Raft” plays with expectation by allowing the characters and reader to see only part of its threat. And, the author repeats the “Do you love” epigraph. In one way, this jars; and, in another way, it does fit. So, the reaction becomes just that—“mixed.”12. “The Man Who Would Not Shake Hands,” (3.1).With a setting and another “tale within a tale” narration, “The Man Who Would Not Shake Hands” satisfies with its unexpected third act. Fortunately or unfortunately, “The Breathing Method,” Men's Club (Different Seasons), is used again as a frame. And, like some other King stories, this one hints at deeper explorations but never quite goes there, (the distinctions between the cultures of East and West, for example). Yet, King still coaxes our sympathies, for both George Gregson, the narrator of the tale, as well as for Henry Brower, the man “who [will] not shake hands.” And, like other King tales, the pathos, not the horror, allows us to be carried along.13. “Survivor Type,” (2.25).John Donne inevitably comes to mind while reading “Survivor Type,” the tale of a shipwrecked surgeon and his discovery. Weighted with irony, the story trudges along to its predictable conclusion with its (anti-) hero, Richard Pine, (Pinzetti). And, of course, both Nixon and Vietnam make an appearance. Here, the “type” raises a question / idea penned earlier by the aforementioned Donne—and contra Robinson Crusoe. WARNING: Read one or more hours after last meal.14. “Big Wheels, a Tale of the Laundry Game, (Milkman #2), (3.85).Well, well, well. And, hell, hell, hell. “Big Wheels . . . (Milkman #2) welcomes the reader to a wholly corrupt world near Pittsburg, Pennsylvania. As expected, Rolling Stones tunes regarding the Evil One and Hell speckle the prose as two hapless, drunken laundry workers, Rocky and Joe, make a midnight sojourn in a deteriorating ’57 Chrysler. Despite the pervasive biblical references, this short story nevertheless entertains and entices the reader to continue to its horrific, if strange, end. There are a few points, (or elements) that could have been lengthened—not to state or explain, but rather to provide just a bit more depth since the “open text” elements of this little tale are wonderful. A little concerto—no—a little etude of evil.15. “Word Processor of the Gods,” (3.25).Given the length of this story, too much written in review necessarily brings spoiler(s) in the worst way. So, suffice it to say, this short-short plays with desire, disappointment, and wish fulfillment. Simply, “Word Processor . . .” is a straight-forward story that is fun.16. “Uncle Otto’s Truck,” (2.25).This story, like others, takes place in Castle Rock. So again, run! Many, many of the usual King elements are here: fate, the ‘70s, at least one character with a religious bent, the small town, gore, revenge, literary allusion, and a plot element repeated in more than one other narrative. King often has English teacher characters; and, it follows that these characters allude to various literary works. But, when characters from a very different background make these allusions, honestly, a Brechtian effect occurs; hence, the “spell of believability” is broken. And, like some other stories, this happens here, as well. The narrative builds logically; and, one scene, one image—the climactic image—becomes impressive. Yet, the succeeding narrative from that point on evokes an anti-climactic effect. Also, the very end, while “framed” with the introduction, feels somehow cut off, as if the author hurriedly finished.17. “Gramma,” (4.0).A wonderfully creepy story, “Gramma” is the story of an 11-year old boy’s night at home alone with “Gramma.” The impressions and thought processes of the boy stream and mount progressively and dramatically as a storm breaks outside, (King has a lot of storms). Although he seemingly makes no social or cultural commentary, per se, King still engages the reader with this straight-forward story. There are moments when George’s impressions can make one chuckle aloud. I, myself, still wonder whether I “liked” the ending. And, I do wish the author excised the last line. The previous sentence serves just as well or perhaps even better. Though overall, this story is great fun.18. “The Ballad of the Flexible Bullet,” (1.75).Yet, another framed story—and, at one point, another frame is added. This rather long, short story tells of a writer’s, then editor’s, descent into madness. But predictably, King’s, and the storyteller’s, definition of madness really centers on only one form—paranoid schizophrenia. Consequently, manic depression, catatonia, hebephrenia, (at the time), and even “general” schizophrenia are not considered. Additionally, the paranoid schizophrenia described progresses to a point of physical action outward, towards a “they” or “them,” (actually a rare occurrence, although it does happen). Perhaps the most frustrating aspect here, (and, it seems it was intended to incite fear in the reader), is the theory that paranoia is contagious, a “flexible bullet.”And so, the old tropes echoing Poe’s Usher appear as well as an oblique allusion to Shirley Jackson’s evil “Jimmy,” (Jimmy, “James” Harris). Despite these well-worn elements, King’s frames or “mirrors” become the impediment to a better story and reading experience. Like Nolan’s film, Inception, the frame or “mirror” is used so extensively as to prevent pity, fear, and pathos for the characters. The reader and all the characters save one are kept at a safe distance, hence blocking our want of feeling for them. Heavily laden with metafiction, (comments on the “tale,” a certain young writer, publishing, and Romantic notions of composition, etc.), this tale, unfortunately, falls short on many levels. The title, “The Ballad of . . .” indicates a ballad; yet, other than the word itself in the title acting as a “neat” synonym, elements of the ballad form seem absent. The “dark” or “horror” element expected never quite rises to a suspenseful pitch, either. Lastly, if there are social or cultural commentaries here, given King’s tendency, they must be obscured.And so, this story becomes, perhaps, the most disappointing of the collection—especially given an approximately 50-page space for the narrative.19. “Paranoia, a Chant,” (3.25).This poem seems to act as a kind of coda for the last story, “The Ballad of the Flexible Bullet” since its subject and point of view engages the paranoid “condition.” Titled a “Chant,” the poem begins with a kind of chant—a short meter, (trimeter), and an iambic rhythm. Toward the end of the first section and throughout the second and last section, however, the meter and rhythm dissemble to various lengths and types with the iamb still dominating, however. The poet, then, seems to be “searching” for more specific images and rhythms to express himself which necessitates the “breaking” of the beginning “chant,” form.Elements and imagery of the speaker’s paranoia are more specific than the aforementioned short story. And there are instances with particular stanzas where rhythm, meter, and imagery become quite effective. Additionally, given his on-going remarks on Nixon, Vietnam, and that period in American history, King assigns the role of the “they” to the government, which, of course, comes as no surprise. And so, more than the previous 50-page short story, this two section “chant” succeeds more in capturing the illness / condition that is paranoia.This may be a “stretch,” but . . . this chant also seems to suggest that this condition, perhaps, is typical of the American psyche—a potentially “deeper” statement. This becomes clearer and more distinct than at any point in the “Flexible Bullet” narrative. And, of course, there were / are real people suffering with these particular suspicions. And indeed, some of their paranoid suspicions were warranted then, (given Hoover, Nixon, Nader, Lennon, etc.) and are warranted now, (the Snowden affair, metadata reads / dumps, and, of course, the internet, itself).And so, despite the shifts in rhythm and meter to a free verse from a shorter, more reflective “chant” form, this poem does succeed in relaying a particular paranoid sensibility.20. “Beachworld,” (3.25).This short science fiction piece becomes more interesting than scary, sad, or suspenseful. Filled with the usual and expected “sci-fi” genre trappings, this little tale touches upon various ideas, (Eden, malevolence, oblivion, enchantment, etc.), without necessarily explaining or overtly stating them. Although an Edenic idea surfaces, King counters this with a witch-like personification element. And so, “Beachworld” becomes a kind of “thinking” tale, if not too deep—one that invites “grokking,” (Heinlein, SIASL).21. “For Owen,” (4.25).A free verse poem with a mostly iambic rhythm and sometime trochaic reversals, “For Owen” seems to be the heart of this collection as it embodies tender love. King is stricter here with the meter and rhythm; and, both evoke a wistful tone, appropriate for this expression of innocence and youth, experience and old age. Still, the early stanzas do not make one essential aspect of a dominant image / idea clear which leaves open a potentially horrific interpretation not seemingly intended. Yet, the last stanza suggests hope despite the potentially threatening sexual imagery. The care, tender love, and fundamental lesson about life come through. And so, this poem becomes "touching" in the best sense.22. “Milk Deliveries, (Milkman #1),” (3.75).A further peak into Spike Milligan’s psychopathic behavior, (“Big Wheels . . . Milkman #2, written before this piece), “Milk Deliveries . . .” seems reminiscent of the framing device in David Lynch’s Blue Velvet although both were penned around the same time, (1985). King’s prologue here reverses his usual Chekhovian beginnings; and, the “setting up” of the counterpoint to follow becomes very effective. Particularly refreshing was the focus on nature as well as alliterative phrases for description. He also provides a link to the companion story, “Big Wheels . . . (Milkman #2). The “open” ending here becomes both ironic and disturbing. To whose family did that boy belong?Phew!
Some of his best short stories appear in this collection! As well as one of his best novellas."The Mist" was one of those stories that stays with you -- probably as much because nothing is really explained and the ending is so open (which they screwed up in the movie -- Frank Darabont's first major SK screwup). Oh, well. I still like the novella."Gramma" is probably his creepiest story ever, IMHO. "Here There Be Tygers" is my absolute all-time SK fav short story. "Mrs. Todd's Shortcut" is an awesome story. I adore "Survivor Type" and "The Ballad of the Flexible Bullet" really makes you think (should we all feed the critters that live in our keyboards?). "The Jaunt" was an excellent foray into semi-SF and "The Raft" makes you check the water *before* you dive in. "The Monkey" -- ick, "The Reach" was quite touching "Uncle Otto's Truck" was ... yay! Last but certainly not least "Word Processor of the Gods" -- can I erase my sister or is that mean? (just kidding Lisa)♦ "The Mist" re-read 11/14/2001 ♦ "Here There Be Tygers" re-read 11/15/2001♦ "The Monkey" re-read 11/16/2001♦ "Cain Rose Up" re-read 11/16/2001♦ "Mrs. Todd's Shortcut" re-read 11/17/2001♦ "The Jaunt" re-read 11/25/2001♦ "The Wedding Gig" re-read 11/18/2001♦ "Paranoid: A Chant" re-read 11/19/2001♦ "The Raft" re-read 11/19/2001♦ "Word Processor of the Gods" re-read 11/20/2001♦ "The Man Who Would Not Shake Hands" re-read 11/20/2001♦ "Beachworld" re-read 11/21/2001♦ "The Reaper's Image" re-read 11/22/2001♦ "Nona" re-read 11/22/2001♥ "For Owen" re-read 11/16/2001♦ "Survivor Type" re-read 11/23/2001♦ "Uncle Otto's Truck" re-read 11/23/2001♦ "Morning Deliveries (Milkman #1)" re-read 11/24/2001♦ "Big Wheels: A Tale of the Laundry Game" re-read 11/24/2001♦ "Gramma" re-read 11/25/2001♦ "The Ballad of the Flexible Bullet" re-read 11/18 2001♦ "The Reach" re-read 11/19/2001
What do You think about Skeleton Crew (1993)?
I like that the format of short fiction forces a writer to use an economy that a novel doesn't require; in the few books by King I've read there are times when I feel bogged down in a narrative section bloated by scenes of little consequence. King's short stories suffer not from this issue."The Mist" is the strongest of the bunch - as advertised - novella in length and sporting an ending I really loved. "The Jaunt" made me think about a potential horror of teleportation I'd never previously considered; "Nona" and "Gramma" were other standouts in the collection. I also liked King's explanation at the end of the book describing how the genesis of some of the stories came to him.My wife requested It as the next book to be read to her (after we finish the Lilith's Brood trilogy). I'm interested to see how its 1,200 pages will compare to my impressions of these shorter works.
—Brian
Stephen King seems to be a bit hit and miss with me. Sometimes there can be a Joyland and sometimes there can be a Under the Dome. But they have never been bad or unreadable, just seemingly poor, rushed and formulaic. I am noticing that I like his more modern tales greater than his 80s and 90s huge output.So here is a short story collection from that time. The time where it seems like he was writing a book every couple of months. And it was just how I find myself feeling about all of his works. There were some hits, but there were also some misses.The great tales here were:- 'The Mist' as post-apocalyptic Cthulhu tale that is very suspenseful, but a little dated now. But still a good deal of fun.'The Monkey' which I am sure has kind of entered into horror as a classic. A toy monkey that taunts and sticks around more than it's welcome.'Mrs Todd's Shortcut' should delight any map nerd or even mathematicians. Very clever.'Uncle Otto's Truck' mirrors 'The Monkey' and even "Christine' which I have not read yet.'Gramma' is great and haunting. What do you do with your dead Gramma?But while these stand out others were just OK. But there was one or two ones that did annoy me. Especially 'The Jaunt' which seems to be Stephen's attempt at traditional SF short story writing. It was terrible. It brings back memories of the last section of 11 23 63. He cannot do SF. But still I'm hoping that this statement is wrong.So a great read for fans and a recommendation to casual readers. You might not love everything here, but there is a good chunk of it to love.
—Brendon Schrodinger
Skeleton Crew by Stephen King is an anthology of horror. I have always loved King and as I was unpacking boxes of books for my newly renovated bedroom which is now also a library, I couldn’t help but sit a read for a spell. Several stories in Skeleton Crew gave me shudders. I found "The Monkey," "The Reaper's Image," "Uncle Otto's Truck" and "Gramma" spine-chilling, while "Survivor Type" was absolutely shocking. "Word Processor of the Gods" was my favorite, as I love the idea of a word processor that I can use to change things to the way I wish they would be (of course I would be altruistic). This was a great way to spend an hour with an old friend.5 Stars
—Kathy Hiester
