Worship me with your feet.
That’s what the God of the Lost wants. A creation of Stephen King, this deity drops down to earthly levels in the book The Girl Who Loved Tom Gordon. I have said before that this is one of my favorite books by King. Not only have I read it seven or eight times, I even wrote a paper on it for my Masters in English.
One interesting aspect of the book is King’s take on religion. The protagonist, Trisha McFarland, becomes hopelessly lost in the woods. At a clearing, she meets three gods, each offering a sort of salvation. There’s the-god-of-Tom-Gordon (the one the pitcher points to when he makes a save). This god is too busy to help a child lost in the woods.
Then there’s the sub-audible. This, according the Trisha, is a creation of her drunk father. The sub-audible is that noise just below hearing. Like the sound of the refrigerator turning on and off. People don’t notice it. But it’s there. This version of god is just behind the skin of the world. Always humming. It can’t really help because it’s too weak.
Then there’s the God of the Lost. This creature has a face composed of living wasps. Plump, ungainly poison factories. It feeds off Trisha’s fear, allowing her to live so she can ripen. Later in the novel, Trisha finds a road and is almost to safety. Then the God of the Lost appears in the form of a possessed bear.
I like this portrayal of the monster. Rather than invent some horrific creature, the reader only glimpses the edges off it in the same way as Trisha. We know the terror that lies behind the empty eye sockets of the bear, squirming with maggots. Yet most of the image is left for us to fill in with our minds.
True monsters need to be this way. Only ten-percent written, and ninety-percent in the reader’s head.