Guessing the face of evil: some characteristic traits to Stephen King’s demonology

Evil and the fear coming along with it — either the fear to become its victim or its agent — is haunting mankind’s consciousness since the dawn of time. The powerful instinctive rejection that evil causes is only natural, and yet it prevents us from cognizing it and, thus, from building more effective defenses against it. Art sublimes the direct blow of our anxiety by transforming evil into symbolic and metaphorical figures which we can imaginably deal with and even accept them, making them specifically interesting and even attractive. Along with artistic indulgence we strengthen the sense of metaphysical control over evil: Eventually shaping evil as a notion and an aggregative image we confirm to ourselves that we do have the ability to rise to the transcendent height of considering the Being as a Whole (or to the phenomenological essential insight), by doing so putting aside the limitations that conditio humana with its partiality and practical trivia lays upon us. Then again, presenting evil as an aesthetic phenomenon we design the kind of a virtual playground where we model it, counteract it and through this, finally establish our moral intuition on a new proven basis. Why is it so needed and reviving for us to create and use these psychological machines, not to mention the catharsis element they bring us, show some works of a prominent modern author Stephen King, the explorer of the theme of evil in the field of pop-culture.