He introduces us to a number of different characters; a one hit wonder musician from California, a sociology professor, a pregnant young woman and her teenaged, nerdy neighbor boy, a factory worker from East Texas, a deaf-mute who can see the future, a criminal and a dark man, Randall Flagg. Most importantly, all of these characters have similar dreams about Flagg and about an ancient woman, Mother Abigail, who lives in Nebraska.
These two characters epitomize the good and evil forces at work in the post-flu world. The story centers on two opposing masses of the post-flu epidemic, those in the "Free Zone" and those who are to the west and under the influence of the "dark man", Randall Flagg. Mother Abigail instructs the residents of the Free Zone on how to deal with Flagg's menace and the story builds from that point.
I enjoyed this book as much as I did "The Dome". Once again, King's characterizations are vivid and make us care about who he's writing about. It's true, sometimes the characters can be a bit shallow and caricatured in the book there is one young woman, Julie Lowry, who is a pouty sex pot and just doesn't seem real , but overall building characters is one of King's trademarks.
Then, of course, there is the story, which King always builds up to carefully, meticulously and with tension. You simply don't want to put the book down or turn off the audiobook. This is a good long read or listen , but well worth it. Jun 21, lenormf rated it it was amazing. A wonderful book, which focuses on the lives of several people spared by the disease that hit Earth. This first opus is not boring whatsoever I read the extended version , the multiple reviewers claiming that it is probably expected it to be like one of those shitty hollywood block busters type books that show a white knight hero going berserk on anything that moves… If you want a very good educated guess on what life would be like in a post-apocalyptic world, definitely give this book a shot!
This is a long audio book about the apocalypse. That's basically all I need. The Stand wasn't really that good.
Wimsatt, Belinda ludens ,. It's true, sometimes the characters can be a bit shallow and caricatured in the book there is one young woman, Julie Lowry, who is a pouty sex pot and just doesn't seem real , but overall building characters is one of King's trademarks. Thierry Florac marked it as to-read Dec 16, The fate vs destiny theme becomes even more crucial to the storyline in volume 2. Amazon Advertising Find, attract, and engage customers. Table des articles 2. Daniel Grojnowski, "Satire de quoi".
I have to admit, I listened to the unabridged Cell. The Stand beats that by a country mile. PS - Under no circumstances should you watch The Stand television mini series. If you remember this being good, or even decent, you remember falsely. Siento que Stephen King no pudo describir mejor a Randall Flagg en su entrada por la carretera al libro, fue aterrador y especial!
It does get a bit long at points, but it is so worth the time to read it. I first read it in my early 20's and have read it several times since Oct 24, Atef Attia rated it it was amazing. Jun 15, Benoit Galarneau added it. This review has been hidden because it contains spoilers. To view it, click here. Apocalypse et Road Story. I read this 20 years ago when I was in a major Stephen King phase.
This was his best by far. You have to get past a lot of gross stuff at the beginning, but then you get to the real heart of the book. Jul 12, Jawher rated it really liked it. I would have given this book 5 stars, if it weren't for King's devious ways of making it the reading experience and the story progression very hard for his readers. Jul 25, Lapetitesteph added it.
I thought this book was okay in the end but throughout I became bored with it several times and struggled to keep reading it. Still my favorite Stephen King novel - Truly his best, I think. Alesya Kovaleva rated it it was amazing Feb 05, Translated book was divedided in 2 parts. After his father left them when Stephen was two, he and his older brother, David, were raised by his mother. Parts of his childhood were spent in Fort Wayne, Indiana, where his father's family was at the time, and in Stratford, Connecticut.
When Stephen was eleven, his mother brought her children back to Durham, Maine, for good. Her parents, Guy and Nellie Pillsbury, had become incapacitated with old age, and Ruth King was persuaded by her sisters to take over the physical care of them. Other family members provided a small house in Durham and financial support.
After Stephen's grandparents passed away, Mrs. King found work in the kitchens of Pineland, a nearby residential facility for the mentally challenged. He was also active in student politics, serving as a member of the Student Senate. He came to support the anti-war movement on the Orono campus, arriving at his stance from a conservative view that the war in Vietnam was unconstitutional. He graduated in , with a B.
A draft board examination immediately post-graduation found him 4-F on grounds of high blood pressure, limited vision, flat feet, and punctured eardrums. He met Tabitha Spruce in the stacks of the Fogler Library at the University, where they both worked as students; they married in January of As Stephen was unable to find placement as a teacher immediately, the Kings lived on his earnings as a laborer at an industrial laundry, and her student loan and savings, with an occasional boost from a short story sale to men's magazines.
Peter Brooks, Constructions psychanalytiques et narratives ,. Paul de Man, Anthropomorphisme et trope ,. Louis Hay, Le texte n'existe pas ,. Bernard Vouilloux, La Venelle du Sourd ,. Ora Avni, Ils courent, ils courent les ferret ,. Jean-Pierre Mourey, "Borges" chez Borges ,. Albert Nozal, Je suis inquiet ,.
Jean-Marie Schaeffer, Aesopus auctor inventus ,. Jeannine Jallat, Lieux balzaciens ,. Susan Rubin Suleiman, La pornographie de Bataille ,. Bernard Vouilloux, Le tableau: Description et peinture ,. Pierre Campion, Diderot et le conatus de la narration ,. Dominique Tassel, En lisant Une lettre,. Jean-Pierre Bobillot, Rimbaud et le vers libre ,. Pierre Missac, Aphorisme et paragramme ,.
Paul Sporn, Physique moderne et critique contemporaine ,. Brigitte Cazelles, La rose et la violette ,. Randa Sabry, Quand le texte parle de son paratexte ,. Peter Por, Schiller, le jeu du destin et de la raison ,. Pierre Laszlo, La fabrique du texte chez Michelet ,. Danielle Trudeau, La fortune d'un pot au lait ,. Pierre Tranouez, Cave filium!
Start by marking “Vae victis (Le fléau des dieux, #4)” as Want to Read: Want to . Jul 23, Clicque marked it as to-read · review of another edition. Attila, le. Nov 18, pierlapo quimby rated it liked it · review of another edition. Shelves: fumetti. A metà strada tra Metabaroni e Dan Simmons, questa storia non mi ha.
Claudie Bernard, Balzac et le roman historique ,. Jean-Louis Siran, Signification, sens, valeur ,. Philippe Hamon, Texte et architecture ,. Bernard Vouilloux, La description du tableau ,. Jan Baetens, Le transcriptuaire ,. Serge Bourjea, "Je viens, absent, de dessiner ceci…" ,.
Massimo Fusillo, Le miroir de la Lune. Philippe Jousset, Jouvence de La Fontaine. Georges Mary, Lignes de fuite, lignes de partage ,. Martine Reid, Les testaments de Stendhal ,.
Jean-Paul Dumont, Dialogue de mythes ,. Claude Amey, Roman policier et Texte juridique ,. Jean-Pierre Bobillot, La mort, le moi ne et Dieu ,. Eric Le Calvez, Structurer le topos et sa graphie ,. Pierre Glaudes, Disjecta membra ,. Margaret Macdonald, Le langage de la fiction ,. Laurent Adert, Pinget polyphone ,. Vincent Nyckees, Les nouvelles aventures du signifiant ,.
Anis Abou Ghannam, Sur le sonnet baudelairien ,. Xavier Bonnier, Lecture pour serrure formelle ,. Gillian Lane-Mercier, Pour une analyse du dialogue romanesque ,. Uri Eisenzweig, La place de la fiction ,. Henri Miirrand, Chroniques romanesques ,. Michel Lemoine, Limina ,. Georges Forestier, Imitation parfaite et vraisemblance absolue ,. Ruth Ronen, La focalisation dans les mondes fictionnels ,. Michal Peled Ginsburg, Stendhal: Martine Reid, Flaubert et Sand en correspondance ,. Philippe Dufour, Le chaudron et la lyre ,. Didier Husson, Logique des possibles narratifs ,. Michael Issacharoff, "Vox clamantis": Jean-Pierre Martin, De la lecture comme sabotage ,.
Christine Noille, Le plaisir et les larmes. Pierre Campion, Le "Je" proustien ,. Jean-Pierre Bobillot, Vers, prose, langue ,. Roger Pensom, Don Juan ou faire de la philosophie ,. Bruno Monfort, La nouvelle et son mode de publication ,. Christiane Ndiaye, Roquentin et la parole vierge ,. Xavier Bonnier, Clamence ou le soliloque absolu ,. Jean Molino, Logiques de la description.
Dario Gibelli, Le paradoxe du narrateur dans Roger Ackroyd,. Sylvie Durrer, Paroles et portraits ,. Guy Poitry, Diderot et la loi des appels ,. Martine Reid, Lettres de jeunesse ,. Yannick Mouren, Le film comme hypertexte. Eric Prieto, Recherches pour un roman musical ,. Philippe Lejeune, Le je des jeunes filles. Michel Grimaud et Lawrence Baldwin, Versification cognitive: Jean-Louis Aroui, Forme strophique et sens chez Verlaine ,.
Franc Schuerewegen, Faux amis. Sanda Golopentia, Les didascalies de la source locutoire ,. Serge Bourjea, Rhombes ,. Bertrand Gibert, Variations transiconiques. Jean-Pierre Martin, Raymond Queneau: Christophe Bident, Le secret Blanchot ,. Bruno Monfort, Sherlock Holmes et le "plaisir de la non-histoire" ,. Jean Kaempfer, Fers chauds, glaives froids ,. Franc Schuerewegen, Bruit qui persiste ,. Maria Tortajada, Le "petit heurt" ,. Sarga Moussa, Limites de la description ,. Philippe Met, Francis Ponge, ou la fabrique du lieu commun ,. Jean-Louis Morhange, Incipit narratifs ,.
Hugues Laroche, En marge des Amours jaunes: Jean-Yves Debreuille, Quand le sens glisse sur le son ,. Sarga Moussa, Flaubert et les pyramides ,. Jean Rousset, La voix de Charlus ,. Franc Schuerewegen, Le nouveau coquillage ,. Jean-Claude Morisot, Parole en ruine: Michel Schmouchkovitch, Beatrix Cenci, la belle parricide ,. Martin Babelon, Ce que Dieu ne saurait voir ,. Raymonde Debray Genette, Madame Bovary: Mirna Velcic-Canivez, Le pacte autobiographique et le destinataire. Philippe Jousset, Chute, cadence et chance ,. Philippe Lejeune, Tenir un journal.
Liliane Louvel, La description "picturale" ,. Jean Kaempfer, Le latin des Nouveaux Romanciers ,. Isabelle Daunais, "Trois contes" ou la tentation du roman ,. Raymonde Debray Genette, Oriane aux cercles ,. Corinne Denoyelle, Le discours de la ruse dans les fabliaux ,. Annie Mavrakis, Le roman du peintre ,. Luc Fraisse, La lentille convexe de Claude Simon ,. Xavier Garnier, Les personnes-gigognes de Samuel Beckett ,.
Bruno Tritsmans, Aquarelles de mots ,. Thierry Viart, Le "tabac" de Sganarelle ,. Daniel Sangsue, Parodie et humour noir ,. Sophie Duval, Le miroir fallacieux du discours direct ,. Philippe Dufour, Sociopathologie de la parole quotidienne ,. Gilles Bonnet, La forme creuse ,. Jean-Pierre Montier, Jacques le fataliste et le lecteur impertinent ,. Michel Gailliard, Le fragment comme genre ,. Christian Bank Pedersen, Les traits de Diderot ,.
Nicolas Paige, Manchette, ou le mutisme ,. Eric Bordas, Chronotopes balzaciens ,. Shelly Charles, "Clarisse", ou les dessous des "Liaisons" ,. Randa Sabry, Raconter les pouvoirs de la peinture ,. Thierry Marin, Pour une narration musicale ,. Philippe Gasparini, Est-il je? Christine Montalbetti, Autarcie du narrataire. Martijn Rus, "Mais je ne sai que je pens" ,. Franc Schuerewegen, "Grand pied-de-grue" ,. Derek Schilling, Queneau porte Chaillot ,. Xavier Garnier, Edgar Allan Poe: Lorenzo Bonoli, Fiction et connaissance.
Liliane Louvel, Nuances du pictural ,. Georges Kliebenstein, Guylaine Pineau, Queneau et la "poligraphie" ,. Bernard Vouilloux, Discours du collectionneur, discours de la collection ,. Luc Fraisse, La double vie de la Recherche,. Daniel Aranda, Le lecteur dans le retour ,. Catherine Rannoux, La marge et le centre ,.
Maria Watroba, Paludes, ab ovo ,. Catherine Maubon, De "bifurs" en "biffures" ,. Derek Schilling, Dabit en banlieue ,. Mirna Velcic-Canivez, La polyphonie: Christophe Pradeau, Le roman a le temps ,. Martijn Rus, Sur le paradis au Moyen Age ,. Franc Schuerewegen, "All is false" Balzac ,.
Maxime Abolgassemi, La contrefiction dans Jacques le Fataliste,. Jacques Cardinal, Perdre son nom ,. Frank Wagner, On ne badine pas avec la mort ,. Marie Parmentier, Galeries de portraits. Jon-Arild Olsen, "En cette affliction consiste son plaisir". Sur le paradoxe du plaisir tragique ,. Maarten van Buuren, Le dilettantisme, style de vie ,. Les lettres amoureuses de Julie de Lespinasse ,.
Georges Mathieu et Bourgoin-Jallieu, Panneaux. Luzius Keller, La biscotte salvatrice. Cartographie exploratoire d'un geste critique ,. Les Hauts de Hurlevent. Daniel Aranda, Les retours hybrides de personnages ,. Autour du personnage simonien. Martijn Rus, La sottie: Sophie Duval, Janus, Janot et Finot ,. Jacques Dumotier, Une chronique incertaine ,.
Jon-Arild Olsen, Film, fiction et narration ,. Frank Wagner, Pannes de sens ,. Luc Fraisse, Proust et le pacte romanesque ,. Philippe Jousset, Impairs de Verlaine ,.
Inversion et autres variations strophiques du sonnet chez Auguste Brizeux ,. Bernard Vouilloux, Du figurai iconique ,. Sebastian Veg, Lire les textes de Kafka contre leurs narrateurs. Daniel Grojnowski, "Satire de quoi". Villiers et le conte cruel ,. Philippe Lejeune, Le journal comme "antifiction" ,.
Ivan Farron, Mme de Surgis et ses fils ,. Martijn Rus, Parler pour ne rien dire: Frank Wagner, Parler et percevoir ,. Normand Doiron, Terreur et supplication ,. Guy Larroux, La chambre et le bouge ,. Laurent Zimmermann, Le chemin du papillon ,.