STEPHEN KING is the author of more than seventy books, all worldwide bestsellers. His recent titles include The Institute, which was described by the Sunday Express as a 'masterpiece', The Outsider (voted winner of the Goodreads Choice Award for best Mystery and Thriller 2018), and If It Bleeds.

Many of his titles have been turned into celebrated films, TV series and streamed events including IT, 'a book which speaks to everybody' (Guardian), The Shawshank Redemption and Stand By Me.

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.

So... The Dome. This massive novel, 25 years in the writing (if Stephen King is to be believed), is quite his most ambitious project, and brings to mind earlier blockbuster novels which aficionados considered to be among the writer's best work. Something like the basic premise here may be found in a classic piece of British science fiction, John Wyndham’s The Midwich Cuckoos (filmed as Village of the Damned). In that book, a village is isolated by an invisible force field -- and in the King novel, the residents can no more get out than the outside world can enter. John Wyndham's narrative involved the insemination of the women in the town by unseen alien presences, but Stephen King in The Dome has chosen to work in a different area. When the small New England town of Chester's Mill is cut off from the outside world by a mysterious force, all the laws of physics seem to be up for grabs; cars leaving town come up against invisible barriers, and there is death and mutilation for whatever was caught in the boundaries of an invisible field. Inside the dome, the inhabitants of the town deal with the catastrophe in a surprising (and often alarming) variety of ways: ex-military hero Dale Barbara has already come up against the antisocial elements of the town, and has been trying to get out. But the self-styled boss of the town, the demagogue Big Jim Rennie, soon establishes a Machiavellian control (another echo of the books of John Wyndham, in which catastrophe always throw up vicious, fascist-style leaders who capitalise on the disaster).

As ever, King develops his massive dramatis personae with great assurance, and demonstrates once again that his imagination in terms of plotting is as strong as ever. Those, however, who have made a case for King as a quality writer rather than a great popular entertainer will not find much ammunition for their arguments here, but this great sprawling canvas affords many pleasures. --Barry Forshaw --This text refers to an alternate kindle_edition edition.

'King's most purely entertaining novel in years . . . utterly compelling.'

'Staggeringly addictive.'

'Tight and energetic from start to finish.'

'The pedal is indeed to the metal.'

'You're sorry when it ends.'