![]() ![]() The introduction of other elements and characters are rapidly interspersed throughout the short chapters, as though the narrative points themselves were survivors left by the side of the road. The triptych escapes their native Boston and heads out into a ravaged New England.ĬELL picks up pace almost immediately, distinguishing itself from King’s occasionally measured and expository openings. ![]() Hoping against logic that his wife and young son are still alive, he eventually meets up with the middle-aged Thomas McCourt and 15-year-old Alice Maxwell. Riddell deduces that it is a signal emanating from people’s phones that are turning them into a kind of ‘zombie,’ and there is a ‘pulse’ that’s driving them in a kind of hive mind. It begins with seemingly random acts of violence, but it soon becomes obvious that something is happening to people everywhere. The protagonist this time is another writer, Clayton Riddell, having just sold his breakthrough graphic novel and its sequel. With this horror thriller, King takes technophobia one step further by placing cell phones at the centre of a potential world-ending event. Looking back, nor did I – and I even went so far as to write a ‘prizewinning’ short film that made several ‘amusing’ cracks about them. At the time CELL was published in 2006, Stephen King did not own a mobile (or a ‘cell phone’ for our US cousins). ![]() We always knew that mobile phones would kill us. ![]()
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