There are cops, and there are little people.

There is a whole class of slaves. It is illegal for them to escape slavery. The cops are supposed to murder the slaves if they escape, because there is a risk that they will start to think they’re people. But the cops know that the slaves are not people, so it’s okay to murder them. The greatest danger, the thing the cops are supposed to prevent, is that the slaves will try to assimilate into the society that relies on their labor.

Assimilation is designed to be impossible. There are tests. Impossible tests with impossible questions and impossible answers. The tests measure empathy. It is not about having enough empathy, but about having empathy for the correct things…

No, Cujo was a standard novel in chapters when it was created. But I can remember thinking that I wanted the book to feel like a brick that was heaved through your window at you. I’ve always thought that the sort of book that I do-and I’ve got enough ego to think that every novelist should do this-should be a kind of personal assault. It ought to be somebody lunging right across the table and grabbing you and messing you up. It should get in your face. It should upset you, disturb you. And not just because you get grossed out. I mean, if I get a letter from somebody saying, I couldn’t eat my dinner, my attitude is, Terrific!

Under the pressure of the intense deadlines he was meeting in the 1960s, when he would produce as much art in a year as other cartoonists do in a decade, Kirby’s rugged realism evolved in a surprisingly abstract direction. He became a kind of pulp Picasso. “His forms became geometric and stylized,” reflected novelist Glen David Gold in a 2005 essay. “Every surface, including human skin, gleaned like chrome. Every starscape exploded with mysterious dots and ‘Kirby Krackle.’” That “Kirby Krackle,” unleashed in scenes of energy or chaos, became a signature device, one that Kirby never explained but that, like so many of his quirks, compelled the eye.

Operatic, sprawling, and mythopoetic, the stories Kirby and Lee worked on remade superhero comics into a form of space opera, taking place in a teeming, lively, and imaginatively exciting universe. The new emotional depth of these comics owed much to the romance stories Kirby had worked on in the 1940s and 1950s. Kirby never really abandoned any of the genres of his past, so the superhero comics he created became a meta-genre, combining aspects not just of mystery-man intrigue but also elements from romance, westerns, science fiction, and horror.

TIM CURRY: I read It when I got the role and I thought it was wonderfully scary, because clowns are scary. It’s the exaggeration. Pennywise always understood what each character was scared of, and provided it. And I could see what fun it would be to be that scary. They came up with such a great makeup. There’s the classic scene where little Georgie floats his paper boat down the gutter and puts his hand down to try and get it back, and is grabbed by Pennywise, who says: “Down here we float …” The boy playing Georgie [Tony Dakota] yanked his hand away and said, “You’re scaring me!” I said, “I’m sorry, I’m supposed to.”