You own a cellular phone.
I say this with the near-certainty that most would be reluctant to put behind any statement other than that for which they feel the utmost faith, and for those of you smirking triumphantly because you have not yet joined the wireless world, I say with equal confidence that you nevertheless now sit within about one-hundred metres of a cell phone, and likely have come into arm’s reach of someone who does own one, over the past twenty-four hours.
It is upon this ubiquitous little device that Stephen King’s latest tale of humanity undone – dubbed Cell, oddly enough – is based, and with the same malicious creativity and masterful plot development that has traditionally defined all novels ‘King’, a new, bloody tomorrow is revealed, wherein all those who have ever wanted to choke the life out of that nattering little twit on the cellular next to them suddenly find both tables and sentiment horrifyingly reversed . . .
The Pulse Heard Round the World
Having penned a literary cornerstone like The Stand, King is hardly a stranger to the apocalypse epic, and while ideas like rebellious robotics and bloodthirsty mobs are likewise not unknown within this genocidal sub-genre, Cell concludes civilization in a unique and refreshingly inventive manner that will have even the most die-hard fan of zombie and nuclear holocaust plots intrigued.
