The following essay is reprinted with permission from The Conversation, an online publication covering the latest research.
In one of the most haunting scenes of Stephen King’s 1975 novel “Salem’s Lot,” a gravedigger named Mike Ryerson races to bury the coffin of a local boy named Danny Glick. As night approaches, a troubling thought overtakes Mike: Danny has been buried with his eyes open. Worse, Mike senses that Danny is looking through the closed coffin back at him.
A mania overcomes Mike. Prayers run through his head – “the ways things like that will for no good reason.” Then more disturbing thoughts intrude: “Now I bring you spoiled meat and reeking flesh.” Mike leaps into the hole he’s dug and furiously shovels soil off the coffin. The reader knows what he’s going to do, but ought not to do, next: Mike will open the coffin, freeing whatever Danny has become.
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Enter the whip-poor-wills. Several of them, King writes, “had begun to lift their shrilling call,” the demand for violence that gives the species its name: whip-poor-will.
This isn’t the first time whip-poor-wills appear in “Salem’s Lot,” nor is it the last time King would invoke them in his work. But despite the importance of the species to King, whip-poor-wills never appear in film and television adaptations of “Salem’s Lot.”
Released on Oct. 3, 2024, the most recent adaptation of “Salem’s Lot” incorporates birdsong but makes little use of them. Here and there, an American crow or blue jay calls. Sparrowlike chirps pepper scenes at night. And as Mike unburies the undead Danny, the less threatening call of a barred owl replaces that of whip-poor-wills.
As a cultural sociologist writing a book…
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