Secret Window, Secret Garden

Having seen the movie again recently, I felt it captured the essence of this story, Mort Rainey's insanity. Here again we see King dealing with his own question of where he goes when he is writing the story. It is a valid question, because King is not a psychopath, or insane, and has not hacked his wife up. He is just exploring the frightening pathways that the mind wanders in the night.

I think that the exploration is valid and important. We all have those darker sides, Jung called it the shadow. What would happen if your shadow came to you as a completely externalized individual seeking its own life? It would want what you have because it did at least half the work in creating it. I could get repetitious here, because we have already delved into this theme with The Dark Half.

Inspiration:

One day in the late fall of 1987, while these things were tumbling around in my head, I stopped in the laundry room of our house to drop a dirty shirt in the washing machine. Our laundry room is a small, narrow alcove on the second floor. I disposed of the shirt and then stepped over to one of the room's two windows. It was casual curiosity, no more. We'd been living in the same house for eleven or twelve years, but I had never taken a good hard look out this particular window before. The reason is perfectly simple; set at floor level, mostly hidden behind the drier, half blocked by baskets of mending, it's a hard window to look out of.

I squeezed in, nevertheless, and looked out. That window looks down on a little brick-paved alcove between the house and the attached sunporch. It's an area I see just about every day . . . but the angle was new. My wife had set half a dozen pots out there, so the plants could take a little of the early-November sun, I suppose, and the result was a charming little garden which only I could see. The phrase which occurred to me was, of course, the title of this story. It seemed to me as good a metaphor as any for what writers--especially writers of fantasy--do with their days and nights. Sitting down at the typewriter or picking up a pencil is a physical act; the spiritual analogue is looking out of an almost forgotten window, a window which offers a common view from an entirely different angle . . . an angle which renders the common extraordinary. The writer's job is to gaze through that window and report on what he sees.

But sometimes windows break. I think that, more than anything else, is the concern of this story: what happens to the wide-eyed observer when the window between reality and unreality breaks and the glass begins to fly?