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Night Shift Mass Market Paperback – July 26, 2011
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Originally published in 1978, Night Shift is the inspiration for over a dozen acclaimed horror movies and television series, including Children of the Corn, Chapelwaite, and Lawnmower Man.
Here we see mutated rats gone bad (“Graveyard Shift”); a cataclysmic virus that threatens humanity (“Night Surf,” the basis for The Stand); a possessed, evil lawnmower (“The Lawnmower Man”); unsettling children from the heartland (“Children of the Corn”); a smoker who will try anything to stop (“Quitters, Inc.”); a reclusive alcoholic who begins a gruesome transformation (“Gray Matter”); a man convinced that a crack in the closet is responsible for the murder of his children ("The Boogeyman"); and many more shadows and visions that will haunt you long after the last page is turned.
- Print length544 pages
- LanguageEnglish
- PublisherAnchor
- Publication dateJuly 26, 2011
- Dimensions4.16 x 1.18 x 6.87 inches
- ISBN-100307743640
- ISBN-13978-0307743640
- Lexile measure760L
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Editorial Reviews
Review
“A master storyteller.” —Los Angeles Times
“Eerie. . . . Ought to chill the cockles of many a heart.” —Chicago Tribune
“A master. . . . [King] will catch you in his web and reach you at an elemental level where there is no defense.” —The Cincinnati Enquirer
“Stephen King has built a literary genre of putting ordinary people in the most terrifying situations. . . . he’s the author who can always make the improbable so scary you'll feel compelled to check the locks on the front door.” —The Boston Globe
“Peerless imagination.” —The Observer (London)
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Oct. 2, 1850.
DEAR BONES,
How good it was to step into the cold, draughty hall here at Chapelwaite, every bone in an ache from that abominable coach, in need of instant relief from my distended bladder—and to see a letter addressed in your own inimitable scrawl propped on the obscene little cherry-wood table beside the door! Be assured that I set to deciphering it as soon as the needs of the body were attended to (in a coldly ornate downstairs bathroom where I could see my breath rising before my eyes).
I'm glad to hear that you are recovered from the miasma that has so long set in your lungs, although I assure you that I do sympathize with the moral dilemma the cure has affected you with. An ailing abolitionist healed by the sunny climes of slave-struck Florida! Still and all, Bones, I ask you as a friend who has also walked in the valley of the shadow, to take all care of yourself and venture not back to Massachusetts until your body gives you leave. Your fine mind and incisive pen cannot serve us if you are clay, and if the Southern zone is a healing one, is there not poetic justice in that?
Yes, the house is quite as fine as I had been led to believe by my cousin's executors, but rather more sinister. It sits atop a huge and jutting point of land perhaps three miles north of Falmouth and nine miles north of Portland. Behind it are some four acres of grounds, gone back to the wild in the most formidable manner imaginable—junipers, scrub vines, bushes, and various forms of creeper climb wildly over the picturesque stone walls that separate the estate from the town domain. Awful imitations of Greek statuary peer blindly through the wrack from atop various hillocks—they seem, in most cases, about to lunge at the passer-by. My cousin Stephen's tastes seem to have run the gamut from the unacceptable to the downright horrific. There is an odd little summer house which has been nearly buried in scarlet sumac and a grotesque sundial in the midst of what must once have been a garden. It adds the final lunatic touch.
But the view from the parlour more than excuses this; I command a dizzying view of the rocks at the foot of Chapelwaite Head and the Atlantic itself. A huge, bellied bay window looks out on this, and a huge, toadlike secretary stands beside it. It will do nicely for the start of that novel which I have talked of so long [and no doubt tiresomely].
To-day has been gray with occasional splatters of rain. As I look out all seems to be a study in slate—the rocks, old and worn as Time itself, the sky, and of course the sea, which crashes against the granite fangs below with a sound which is not precisely sound but vibration—I can feel the waves with my feet even as I write. The sensation is not a wholly unpleasant one.
I know you disapprove my solitary habits, dear Bones, but I assure you that I am fine and happy. Calvin is with me, as practical, silent, and as dependable as ever, and by midweek I am sure that between the two of us we shall have straightened our affairs and made arrangement for necessary deliveries from town—and a company of cleaning women to begin blowing the dust from this place!
I will close—there are so many things as yet to be seen, rooms to explore, and doubtless a thousand pieces of execrable furniture to be viewed by these tender eyes. Once again, my thanks for the touch of familiar brought by your letter, and for your continuing regard.
Give my love to your wife, as you both have mine.
CHARLES.
Oct. 6, 1850.
DEAR BONES,
Such a place this is!
It continues to amaze me—as do the reactions of the townfolk in the closest village to my occupancy. That is a queer little place with the picturesque name of Preacher's Corners. It was there that Calvin contracted for the weekly provisions. The other errand, that of securing a sufficient supply of cordwood for the winter, was likewise taken care of. But Cal returned with gloomy countenance, and when I asked him what the trouble was, he replied grimly enough:
"They think you mad, Mr. Boone!"
I laughed and said that perhaps they had heard of the brain fever I suffered after my Sarah died—certainly I spoke madly enough at that time, as you could attest.
But Cal protested that no-one knew anything of me except through my cousin Stephen, who contracted for the same services as I have now made provision for. "What was said, sir, was that anyone who would live in Chapelwaite must be either a lunatic or run the risk of becoming one."
This left me utterly perplexed, as you may imagine, and I asked who had given him this amazing communication. He told me that he had been referred to a sullen and rather besotted pulp-logger named Thompson, who owns four hundred acres of pine, birch, and spruce, and who logs it with the help of his five sons, for sale to the mills in Portland and to householders in the immediate area.
When Cal, all unknowing of his queer prejudice, gave him the location to which the wood was to be brought, this Thompson stared at him with his mouth ajaw and said that he would send his sons with the wood, in the good light of the day, and by the sea road.
Calvin, apparently misreading my bemusement for distress, hastened to say that the man reeked of cheap whiskey and that he had then lapsed into some kind of nonsense about a deserted village and cousin Stephen's relations—and worms! Calvin finished his business with one of Thompson's boys, who, I take it, was rather surly and none too sober or freshly-scented himself. I take it there has been some of this reaction in Preacher's Corners itself, at the general store where Cal spoke with the shop-keeper, although this was more of the gossipy, behind-the-hand type.
None of this has bothered me much; we know how rustics dearly love to enrich their lives with the smell of scandal and myth, and I suppose poor Stephen and his side of the family are fair game. As I told Cal, a man who has fallen to his death almost from his own front porch is more than likely to stir talk.
The house itself is a constant amazement. Twenty-three rooms, Bones! The wainscotting which panels the upper floors and the portrait gallery is mildewed but still stout. While I stood in my late cousin's upstairs bedroom I could hear the rats scuttering behind it, and big ones they must be, from the sound they make—almost like people walking there. I should hate to encounter one in the dark; or even in the light, for that matter. Still, I have noted neither holes nor droppings. Odd.
The upper gallery is lined with bad portraits in frames which must be worth a fortune. Some bear a resemblance to Stephen as I remember him. I believe I have correctly identified my Uncle Henry Boone and his wife Judith; the others are unfamiliar. I suppose one of them may be my own notorious grandfather, Robert. But Stephen's side of the family is all but unknown to me, for which I am heartily sorry. The same good humour that shone in Stephen's letters to Sarah and me, the same light of high intellect, shines in these portraits, bad as they are. For what foolish reasons families fall out! A rifled escritoire, hard words between brothers now dead three generations, and blameless descendants are needlessly estranged. I cannot help reflecting upon how fortunate it was that you and John Petty succeeded in contacting Stephen when it seemed I might follow my Sarah through the Gates—and upon how unfortunate it was that chance should have robbed us of a face-to-face meeting. How I would have loved to hear him defend the ancestral statuary and furnishings!
But do not let me denigrate the place to an extreme. Stephen's taste was not my own, true, but beneath the veneer of his additions there are pieces [a number of them shrouded by dust-covers in the upper chambers] which are true masterworks. There are beds, tables, and heavy, dark scrollings done in teak and mahogany, and many of the bedrooms and receiving chambers, the upper study and small parlour, hold a somber charm. The floors are rich pine that glow with an inner and secret light. There is dignity here; dignity and the weight of years. I cannot yet say I like it, but I do respect it. I am eager to watch it change as we revolve through the changes of this northern clime.
Lord, I run on! Write soon, Bones. Tell me what progress you make, and what news you hear from Petty and the rest. And please do not make the mistake of trying to persuade any new Southern acquaintances as to your views too forcibly—I understand that not all are content to answer merely with their mouths, as is our long-winded friend, Mr. Calhoun.
Yr. affectionate friend,
CHARLES.
Oct. 16, 1850.
DEAR RICHARD,
Hello, and how are you? I have thought about you often since I have taken up residence here at Chapelwaite, and had half-expected to hear from you—and now I receive a letter from Bones telling me that I'd forgotten to leave my address at the club! Rest assured that I would have written eventually anyway, as it sometimes seems that my true and loyal friends are all I have left in the world that is sure and completely normal. And, Lord, how spread we've become! You in Boston, writing faithfully for The Liberator [to which I have also sent my address, incidentally], Hanson in England on another of his confounded jaunts, and poor old Bones in the very lions' lair, recovering his lungs.
It goes as well as can be expected here, Dick, and be assured I will render you a full account when I am not quite as pressed by certain events which are extant here—I think your legal mind may be quite intrigued by certain happenings at Chapelwaite and in the area about it.
But in the meantime I have a favour to ask, if you will entertain it. Do you remember the historian you introduced me to at Mr. Clary's fund-raising dinner for the cause? I believe his name was Bigelow. At any rate, he mentioned that he made a hobby of collecting odd bits of historical lore which pertained to the very area in which I am now living. My favour, then, is this: Would you contact him and ask him what facts, bits of folklore, or general rumour—if any—he may be conversant with about a small, deserted village called JERUSALEM'S LOT, near a township called Preacher's Corners, on the Royal River? The stream itself is a tributary of the Androscoggin, and flows into that river approximately eleven miles above that river's emptying place near Chapelwaite. It would gratify me intensely, and, more important, may be a matter of some moment.
In looking over this letter I feel I have been a bit short with you, Dick, for which I am heartily sorry. But be assured I will explain myself shortly, and until that time I send my warmest regards to your wife, two fine sons, and, of course, to yourself.
Yr. affectionate friend,
CHARLES.
Oct. 16, 1850.
DEAR BONES,
I have a tale to tell you which seems a little strange [and even disquieting] to both Cal and me—see what you think. If nothing else, it may serve to amuse you while you battle the mosquitoes!
Two days after I mailed my last to you, a group of four young ladies arrived from the Corners under the supervision of an elderly lady of intimidatingly-competent visage named Mrs. Cloris, to set the place in order and to remove some of the dust that had been causing me to sneeze seemingly at every other step. They all seemed a little nervous as they went about their chores; indeed, one flighty miss uttered a small screech when I entered the upstairs parlour as she dusted.
I asked Mrs. Cloris about this [she was dusting the downstairs hall with grim determination that would have quite amazed you, her hair done up in an old faded bandanna], and she turned to me and said with an air of determination: "They don't like the house, and I don't like the house, sir, because it has always been a bad house."
My jaw dropped at this unexpected bit, and she went on in a kindlier tone: "I do not mean to say that Stephen Boone was not a fine man, for he was; I cleaned for him every second Thursday all the time he was here, as I cleaned for his father, Mr. Randolph Boone, until he and his wife disappeared in eighteen and sixteen. Mr. Stephen was a good and kindly man, and so you seem, sir (if you will pardon my bluntness; I know no other way to speak), but the house is bad and it always has been, and no Boone has ever been happy here since your grandfather Robert and his brother Philip fell out over stolen [and here she paused, almost guiltily] items in seventeen and eighty-nine."
Such memories these folks have, Bones!
Mrs. Cloris continued: "The house was built in unhappiness, has been lived in with unhappiness, there has been blood spilt on its floors [as you may or may not know, Bones, my Uncle Randolph was involved in an accident on the cellar stairs which took the life of his daughter Marcella; he then took his own life in a fit of remorse. The incident is related in one of Stephen's letters to me, on the sad occasion of his dead sister's birthday], there has been disappearance and accident.
"I have worked here, Mr. Boone, and I am neither blind nor deaf. I've heard awful sounds in the walls, sir, awful sounds—thumpings and crashings and once a strange wailing that was half-laughter. It fair made my blood curdle. It's a dark place, sir." And there she halted, perhaps afraid she had spoken too much.
As for myself, I hardly knew whether to be offended or amused, curious or merely matter-of-fact. I'm afraid that amusement won the day. "And what do you suspect, Mrs. Cloris? Ghosts rattling chains?"
But she only looked at me oddly. "Ghosts there may be. But it's not ghosts in the walls. It's not ghosts that wail and blubber like the damned and crash and blunder away in the darkness. It's—"
"Come, Mrs. Cloris," I prompted her. "You've come this far. Now can you finish what you've begun?"
The strangest expression of terror, pique, and-I would swear to it—religious awe passed over her face. "Some die not," she whispered. "Some live in the twilight shadows Between to serve—Him!"
Product details
- Publisher : Anchor; Reissue edition (July 26, 2011)
- Language : English
- Mass Market Paperback : 544 pages
- ISBN-10 : 0307743640
- ISBN-13 : 978-0307743640
- Lexile measure : 760L
- Item Weight : 8.8 ounces
- Dimensions : 4.16 x 1.18 x 6.87 inches
- Best Sellers Rank: #5,255 in Books (See Top 100 in Books)
- #5 in Horror Anthologies (Books)
- #110 in Short Stories (Books)
- #147 in Classic Literature & Fiction
- Customer Reviews:
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About the author

Stephen King is the author of more than fifty books, all of them worldwide bestsellers. His first crime thriller featuring Bill Hodges, MR MERCEDES, won the Edgar Award for best novel and was shortlisted for the CWA Gold Dagger Award. Both MR MERCEDES and END OF WATCH received the Goodreads Choice Award for the Best Mystery and Thriller of 2014 and 2016 respectively.
King co-wrote the bestselling novel Sleeping Beauties with his son Owen King, and many of King's books have been turned into celebrated films and television series including The Shawshank Redemption, Gerald's Game and It.
King was the recipient of America's prestigious 2014 National Medal of Arts and the 2003 National Book Foundation Medal for distinguished contribution to American Letters. In 2007 he also won the Grand Master Award from the Mystery Writers of America. He lives with his wife Tabitha King in Maine.
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Top reviews
Top reviews from the United States
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The final will make you weep.
"Jerusalem's Lot" 4 Stars
King takes Stoker's Lair of the White Worm and elevates it with some Cosmic Horror. The epistolary style is well crafted, and I just like the blend. It's a prequel to Salem's Lot.
"Graveyard Shift" 3.5 Stars
A harrowing journey into the darkness of corporate power and greed. Apparently, there aren't enough rats.
"Night Surf" 3 Stars
I like the sentiment, but I hate the POV characters. I'm just torn because I think the POV character's meanness might be part of the point.
"I Am the Doorway" 4 Stars
Cosmic Horror + Body Horror = I'm in!
"The Mangler" 4 Stars
High concept demon possession! I'm also in!
"The Boogeyman" 2 Stars
Boring with a really crap twist ending.
"Gray Matter" 4 Stars
High concept body horror with a tremendously atmospheric setting.
"Battleground" 2 Stars
Visceral, but kind of stupid.
"Trucks" 2 Stars
Also visceral and very stupid, that's made all the more confusing by trying to have an ecological message at the end... I think?
"Sometimes They Come Back" 2 Stars
Maybe King had worse students than I have? While this plays a little on the repeated faces, modes, and student types that a teacher has, it's also rather silly.
"Strawberry Spring" 2.5 Stars
I like some of the ideas, but the ending was predictable, and the idea of the fog never really came together.
"The Ledge" 3.5 Stars
This one is adapted in the anthology film Cat's Eye, and I prefer this version. The other one is too stretched out. This one is concise and serious. I actually liked this one quite a bit.
"The Lawnmower Man" 2 Stars
Um, okay... I guess the concept is interesting. No, I haven't seen the movie, and I know it's basically completely different.
"Quitters, Inc." 2 Stars
This one is adapted in the anthology film Cat's Eye, and unlike "The Ledge," I like the filmed version of "Quitters, Inc." more. I think it's James Woods putting a bit more life into the piece. Otherwise, it's just rather lame and silly.
"I Know What You Need" 3.5 Stars
The ending really helped this one. It's confused and it grapples nicely with the inherent unfairness of life.
"Children of the Corn" 1.5 Stars
The last part in the corn was somewhat creepy, but hanging around a couple whose marriage is disintegrating is not fun, and that's most of the story. No, I haven't seen the movie.
"The Last Rung on the Ladder" 2.5 Stars
It's nicely written and has some beautiful sections, but it just felt too insubstantial to me. It's trying to deal with guilt, but treats the resolution like a horror cliffhanger.
"The Man Who Loved Flowers" 1 Star
Love is a form of madness and other clichés by Stephen King. I really didn't care for this nothing of a story. Worst in the collection.
"One for the Road" 4 Stars
A cool little vampire story that is technically a sequel to Salem's Lot. The worst part is the summary of that book, but the rest is atmospheric vampire awesomeness.
"The Woman in the Room" 4.5 Stars
This is my favorite of the bunch. The horror of real life often dwarfs what people can imagine. Dealing with death is tough.
Stephen King actually began selling fiction when he was still just a teenager. But the short stories in his first collection, Night Shift, have a tightly-wound energy, an anger and a scabrous humor that can only come from someone whose interior monologue consisted of only I'll show them! I'll show them!
Look at Night Shift's first entry, the H.P. Lovecraft homage, "Jersulaem's Lot". (Over) written in an epistolary format, with archaic vocabulary and grammatic constructions, "Jerusalem's Lot" seems designed to dazzle the reader with its virtuosity. It lacks the verve and narrative punch of the rest of the collection, but that doesn't seem to be the point of its inclusion. Goddamn it, I can write! seems to be the message. Which is all well and good, but if this was what King really had to offer, he'd still be banging out stories sitting in the laundry room of his double-wide trailer.
It's the next selection, "Graveyard Shift", that really brings the goods. The story of two men, one a college kid, the other a middle-aged foreman, investigating the sub-basements of an industrial laundry, "Graveyard Shift" fairly seethes with an I-have-got-to-get-out-of-this-shithole-town desperation that supercharges the relatively spare prose. "A sudden, wet ripping noise." "A legless rat lunged against him, biting. Its body was flabby, warm." "A hideous mewling." The imagery is more gross than grotesque, carefully designed to provoke pure, primal horror. The reader finishes the last line and, shuddering, puts the book down.
I sure showed you! King cackles, then cracks his knuckles and whips out another one.
Let's be frank: there are a few dogs. "Trucks", while it effectively employs King's plainspoken, verite narrative techniques (third person close perspective, pop culture references, realistically snippy dialogue exchanges), is a profoundly stupid story about sentient...trucks. "Battleground", about a man who fights a pitched battle against green army men, is basically a script for a "Twilight Zone" episode. "The Lawnmower Man" is an exercise in gross out, nothing more.
But, man! The rest of the stories! Night Shift is like a greatest hits record, and it was only the guy's first collection. "Graveyard Shift", "Gray Matter", "The Ledge", "Sometimes They Come Back", "Quitters, Inc", "Children of the Corn", "One for the Road"...how can one account for the sustained brilliance of Kind's output between (roughly) 1969 and 1975 (ish)? Oh! Right. Frustration.
I believe that King knew, even as a 20 year-old tyro, that he had a world-beating talent. Novels he wrote during this period, which include The Running Man, Rage, Thinner, The Long Walk, and Blaze, were later published and became best-sellers. But at the time, it was all he could do to sell the odd story to men's magazines like Adam and Juggs. His later literary greatness was already there, like the oak in the acorn. It was growing, the world wasn't making room for him, and the pressure must have been tremendous. But he was able, like all great artists, to channel it into his work--and that's why the stories in Night Shift stand head-and-shoulders above the rest of his short fiction (with the exception of Different Seasons, but those stories were written to prove that he could do more than what-was-that-bump-in-the-night, and came from a similar place of anger).
By his own account, King collected hundreds of rejections in those early, pre-Carrie years. I wonder how many editors later approached him at conventions and book signings to try to get an autograph on a manuscript he'd submitted, one they'd filed and forgotten for years. I bet King tilted his chin down while he scrawled him name, hoping his bushy beard hid his smug smile. He sure showed them! Night Shift is proof. Buy it.
Top reviews from other countries
the best one, in my opinion, is 'the boogeyman', where a man confesses to a local psychiatrist what happened when the boogeyman came knocking. although you're all familiar with the monster-in-the-closet scenario, something occurs in this story that you didn't think would be possible & as silly as it seems, it surprisingly works; it makes you realise just how ubiquitous the stretch of a monster can be. (see also 'oh, whistle & i'll come to you lad' by m. r. james for a similar feeling).
my other favourites were 'i am the doorway', 'battleground', 'sometimes they come back' & 'quitters inc.'
the first is the only short story with a sci-fi/horror element. an astronaut survives the crash-landing of his spaceship from an orbit of venus, only to discover that there are alien eyes peering up at him from his hands...
the second is strangely humorous: a professional hitman receives a mysterious parcel from the wife of a man he just killed & finds himself in combat with a sentient toy army with real-life weaponry...
the third is about a teacher recovering from a nervous breakdown. he is still haunted by the death of his brother by a gang of bullies & if he isn't mistaken, they're coming back for him too in the guise of transfer students at the school where he works...
the fourth takes quitting cigarettes to interesting extremes. a man determined to quit needs only the right incentive & the program will punish not just the man but also his wife & children...
what i wasn't so impressed with were 'strawberry spring' (the culprit & ending was too obvious), 'night surf' (really boring), 'the man who loved flowers' (made no impression on me apart from the charming descriptions of a man clearly in love), 'the woman in the room' (quite drab & had no suspense or passion whatsoever) & 'the lawnmower man' (became a little too ridiculous in the end for me).
all in all, "night shift" is quite enjoyable, teenage-friendly (in my opinion!) & offers a nice break from the soft, normal stories out there on the bookshelves. i would definitely recommend & will probably read another short story collection by stephen king.
Reviewed in Poland on May 13, 2023
While I'd always say King is a highly talented novelist, his flair for the short story is almost unsurpassed. My favourite is 'Children of the Corn', where a bizarre road accident prompts an argumentative couple to seek help. When they begin to explore a strange town, a rather disturbing lack of adults leads them into a sinister ritual. King's own experience of working in an industrial laundry inspired the 'The Mangler', where a laundry press develops a taste for human flesh. 'The Lawnmower Man' is a simple story that revolves around an original, if somewhat bloody, slant on grass-cutting techniques. Not all the stories are quite so gory though - in 'The Man Who Loved Flowers', a handsome young man grabs the attention of passersby, whereas 'Jerusalem's Lot' and 'One for the Road', both follow on from King's 1975 novel 'Salem's Lot'.
All the stories are wonderfully creepy, with well-observed characters that shine through with an originality that gives credence to their various fates (though of course, they don't all die!) While this may not be the best of Stephen King, it clearly shows how, even though barely into his Twenties, he was developing a way of telling stories that most writers can only dream about.





















