Oh, da-da-ding-da-lang-lang-lang-al-lang.

Boom-vado, ba-dun-balu-v-a-d-d-de.

Oh, life could be a dream.

If I could take you up in paradise up above,

if you will tell me I'm the only one that you love.

Life could be a dream, sweetheart. Hello, hello again. Shaboom and hope we'll meet again. Oh, life could be a dream. If only all my precious plans would come true. If you would let me spend my whole life. Hello everyone. Welcome to the Stephen King cast, One Man's Musings on the Works of Stephen King. Each week I'll review one entry

in the bibliography of Stephen King in the chronological order of publication, and this week I'm

looking at the novel that Stephen King believes is his best. A very personal examination on marriage,

an introspective existential tale of love and loss of inspiration and sacrifice,

the emotionally charged Lise's story.

As you know, Stephen King is often criticized by yours truly of having his protagonists function

within the story as writers. Write what you know is a homework of storytellers and Stephen King

certainly knows writing, so it's no surprise that when

living up to this belief that he populates his novels with writer-punch protagonists.

In the case of Thad Beaumont in the dark half, Mort Rainey in Secret Window, Secret Garden,

and Paul Sheldon in Misery, the characters have to be writers. There are other cases where the

protagonists don't have to be writers and changing

their profession wouldn't really alter the fundamental components of the story, such as such

cases include Ben Mears from Salem's Lot, Bill Denbro from It, Bobby Anderson, and Jim Gardner

from the Tommy Knockers. However, with Leasey's story, Lecy's husband, Scott, has to be a writer. If the profession changed, then King could certainly continue to explore the grief as he does with Lise's story,

but because of the very real-world event that had occurred in 1999, Scott needs to mirror

Stephen King's profession in order for it to play to its strengths, which is that this feels

...