Coming in to the Light
In the novella The Body, author Stephen King makes an attempt to explain a story about losing innocence, only to be replaced by maturity and the corruption that comes with it. To do so, King revolves a story around a group of four boys who go on a life changing journey to find a dead body they heard about through the grape vine. Little did they know that pursuing this journey would eventually change them for the worse. In its entirety, the crux of the novella was to show how the experience of meeting death hands-on will pivot a person’s life and will either lead them onto a slippery slope or mold them in to a man soon to be. More specifically, King reinforces this theme beautifully by using light imagery during the scene of the boys finding the body of Ray Brower to reinforce the loss of innocence. By contrasting darkness and brightness, so to speak, King ultimately creates a more powerful sense of the death surrounding the innocent boy who lies before them. The mood, in turn, overshadows the boys, resulting in having an effect on them for the rest their lives. However, unfortunately for them, it is not good. The lasting effect of them meeting Ray Brower will forever haunt them and control their lives. Subsequently, King employs lightness and darkness in The Body to represent the contrast between innocence and maturity.
Initially, the four boys are greeted by darkness as they draw near to the location of Ray Brower. All around them the sky is being consumed by “…clouds [beginning] to build in the sky…but at first none of [them] took [it] seriously” (King 403). Unfortunately for them, Mother Nature itself is casting her own darkness before them. The fact that the scene opens like this holds importance; the pinnacle of their trip is being welcomed in with darkness and will eventually rain down upon them whether they are ready for it or not. Just like masculinity, the weather is charging down upon them with unstoppable force. For the dark...
Cited: King, Stephen. Different Seasons: “Rita The Body” New York: Signet, 1998.
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