56 pages • 1 hour read
Stephen KingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The narrator, the older Devin, is looking back from a future in which he knows everything that happened and has a perspective different from that of his younger self. This has the effect of blending the first person (I/me) and the omniscient (knows everything from a perspective outside the story). First person is typically limited by what the narrator knows in the moment, and even then, the narrator can only report what he or she is consciously aware of. For example, Devin never recognizes what is obvious to the reader—that Wendy doesn’t and probably never did love him as much as he loved her.
Like an omniscient narrator, the older Devin is able to look back and tell the reader what the younger Devin doesn’t understand—that Wendy never deserved him. He can also say directly to the reader that his younger self’s thoughts of suicide are more self-indulgent fantasy than a real desire to harm himself.
One of the particular features of the omniscient narrator is that—like the older Devin—he can move back and forth in time, telling the reader what will happen in the future that his younger self obviously cannot see.
In interviews, King has said that he was always fascinated with the “carny” lingo. Most of “the talk,” as it is called, comes from his research: zamp ride for a kiddie ride, hoister or chump-hoister for the Ferris wheel, joints for the concession stands, and shies for the game booths, dark ride for things like a house of horrors or tunnel of love, points for pretty girls or rubes for park visitors. However, King invented a few terms specific to Joyland, like conies for the guests.
By Stephen King