That's a compelling character, King's own spin on the femme fatale. Sure, she's Eve and Lilith and every other betraying temptress. But she's also the Magdalene without a redeemer, the Earth Mother with no children to call her own, and one of King's best ever examples of updating a stereotypical role to the detailed specificity not just of the modern day, but of distinctive traits of culture and character, all wound into a tight knot called an individual. Her story, once again, is a tragic one, not least because the battle she's losing is really against herself. Read Full Review
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