The Fog made me a lot of enemies. Fortunately, it also made me a lot of friends.
It was first published in 1975 (written in 1974) when spy stories and historical romances were the vogue. In the United States, William Peter Blatty had made his definitive mark with the movie of The Exorcist, and word was going around about an interesting new writer by the name of Stephen King. In England a new kind of horror tale involving mutant rats on the loose in London’s East End, a story that held scant regard for conventional moderation in its depiction of violence and the consequences, had created something of a stir. It was a book that (literally, you might say) went straight for the jugular. The Rats was my first attempt at a novel. The Fog was my second.
For better or worse, they were the initial part in a growing explicitness of narrative, stories that rarely balked at expressing horror’s true physical reality. Judging by the genre’s swift return to public attention, through both the novel and the screen, that reality had been suppressed far too long (whether or not the sudden healthy release has transmuted into an unhealthy fascination is another matter). Readers or moviegoers no longer wanted to be merely frightened, they wanted to be shocked rigid too.
