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Book Title: Floating Dragon|
Date of issue: March 19th 1984
ISBN 13: 9780006164944
The author of the book: Peter Straub
Format files: PDF
The size of the: 9.40 MB
Edition: Fontana / Collins
Read full description of the books Floating Dragon:I keep on being drawn back to Peter Straub for my Horror fix. With this author it isn’t just about the nasty stuff: it’s about the presentation. Floating Dragon is a case in point: not only does Straub expose our fears; he toys with them.
The plot in a nutshell
What you’ve got here is essentially a town that is periodically plagued by a sequence of terrible events: serial killings; disappearances; children dying under mysterious circumstances. This only happens once every generation and only the individuals who know the town’s history exceedingly well are even aware of the pattern (they can be counted on one hand), the rest are blissfully ignorant. It’s time for the horror to start again, only this time it coincides with an industrial accident that releases a bio-weapon that is still in a very unstable phase into the atmosphere. The net result is gobsmacklingly macabre. The gas has a hallucinatory and psychotic effect (think military grade LSD) and in extreme cases causes an extremely grotesque disease.
From the author’s introduction
Anything like restraint or good taste was verboten, the aesthetic was grounded in a single principle, that of excess.
Kudos to Straub. He never quite lets his horror become splatterpunk overly gory. This is good, because once you start gore-shocking your audience into submission, all other considerations (like, for example, good characters) go flying out the window. Like other reviewers, I would have to agree that this is quite a bit like It, in terms of the general feel and presentation of the story, although Dragon was published before King’s novel.
Floating Dragon is better paced than the other Straub novels I’ve read. It consists of three set pieces, each one building on the previous, which helps maintain momentum. The characters are, as always, extremely well developed. It is a disturbing novel and probably one of the scariest I’ve read. Yes, there is a lot of weird imagery, but it is because the line between reality and illusion becomes increasingly blurred as the story progresses. It is often up to the reader to decide “what the heck just happened?”
It’s as complete a horror novel as you’re likely to lay your hands on, and quite clever, really. However, a word of warning, things get really, really weird towards the end. Total insanity and randomness might not be to everyone’s taste. If you only ever read one Straub novel it should probably be Ghost Story, but if you read another, perhaps it should be this one.
Read information about the authorPeter Straub was born in Milwaukee, Wisconsin on 2 March, 1943, the first of three sons of a salesman and a nurse. The salesman wanted him to become an athlete, the nurse thought he would do well as either a doctor or a Lutheran minister, but all he wanted to do was to learn to read.
When kindergarten turned out to be a stupefyingly banal disappointment devoted to cutting animal shapes out of heavy colored paper, he took matters into his own hands and taught himself to read by memorizing his comic books and reciting them over and over to other neighborhood children on the front steps until he could recognize the words. Therefore, when he finally got to first grade to find everyone else laboring over the imbecile adventures of Dick, Jane and Spot (“See Spot run. See, see, see,”), he ransacked the library in search of pirates, soldiers, detectives, spies, criminals, and other colorful souls, Soon he had earned a reputation as an ace storyteller, in demand around campfires and in back yards on summer evenings.
This career as the John Buchan to the first grade was interrupted by a collision between himself and an automobile which resulted in a classic near-death experience, many broken bones, surgical operations, a year out of school, a lengthy tenure in a wheelchair, and certain emotional quirks. Once back on his feet, he quickly acquired a severe stutter which plagued him into his twenties and now and then still puts in a nostalgic appearance, usually to the amusement of telephone operators and shop clerks. Because he had learned prematurely that the world was dangerous, he was jumpy, restless, hugely garrulous in spite of his stutter, physically uncomfortable and, at least until he began writing horror three decades later, prone to nightmares. Books took him out of himself, so he read even more than earlier, a youthful habit immeasurably valuable to any writer. And his storytelling, for in spite of everything he was still a sociable child with a lot of friends, took a turn toward the dark and the garish, toward the ghoulish and the violent. He found his first “effect” when he discovered that he could make this kind of thing funny.
As if scripted, the rest of life followed. He went on scholarship to Milwaukee Country Day School and was the darling of his English teachers. He discovered Thomas Wolfe and Jack Kerouac, patron saints of wounded and self-conscious adolescence, and also, blessedly, jazz music, which spoke of utterance beyond any constraint: passion and liberation in the form of speech on the far side of the verbal border. The alto saxophone player Paul Desmond, speaking in the voice of a witty and inspired angel, epitomized ideal expressiveness, Our boy still had no idea why inspired speech spoke best when it spoke in code, the simultaneous terror and ecstasy of his ancient trauma, as well as its lifelong (so far, anyhow) legacy of anger, being so deeply embedded in the self as to be imperceptible, Did he behave badly, now and then? Did he wish to shock, annoy, disturb, and provoke? Are you kidding? Did he also wish to excel, to keep panic and uncertainty at arm's length by good old main force effort? Make a guess. So here we have a pure but unsteady case of denial happily able to maintain itself through merciless effort. Booted along by invisible fears and horrors, this fellow was rewarded by wonderful grades and a vague sense of a mysterious but transcendent wholeness available through expression. He went to the University of Wisconsin and, after opening his eyes to the various joys of Henry James, William Carlos Williams, and the Texas blues-rocker Steve Miller, a great & joyous character who lived across the street, passed through essentially unchanged to emerge in 1965 with an honors degree in English, then an MA at Columbia a year later. He thought actual writing was probably beyond him even though actual writing was probably what he was best at - down crammed he many and many a book, stirred by
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