{"id":1121820,"date":"2026-02-01T03:56:41","date_gmt":"2026-02-01T03:56:41","guid":{"rendered":"https:\/\/www.polygon.com\/?p=522341"},"modified":"2026-02-01T03:56:41","modified_gmt":"2026-02-01T03:56:41","slug":"its-too-early-to-talk-about-osgood-perkins-the-monkey-so-lets-talk-about-stephen-kings-the-monkey","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/its-too-early-to-talk-about-osgood-perkins-the-monkey-so-lets-talk-about-stephen-kings-the-monkey\/","title":{"rendered":"It\u2019s too early to talk about Osgood Perkins\u2019 The Monkey, so let\u2019s talk about Stephen King\u2019s \u2018The Monkey\u2019"},"content":{"rendered":"
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<\/figcaption><\/figure>\n

I always thought it was strange that Stephen King\u2019s publishers thought his short story \u201cThe Monkey\u201d was such a big deal. Compared to the other stories surrounding it in his indelible 1985 anthology Skeleton Crew<\/em><\/a>, it felt like a whiff. That book is home to some of his all-time most memorable, hardest-hitting shorter works, including \u201cThe Mist,\u201d \u201cThe Jaunt,\u201d \u201cThe Raft,\u201d and especially my all-time favorite King story, the ridiculously ghoulish \u201cSurvivor Type.\u201d Plus it\u2019s full of interesting oddities: poems, a full-on \u201950s pulp science fiction story (\u201cBeachworld\u201d), some weird unexplained vignettes that feel like dreams King never assigned to a narrative. And then there\u2019s this story about\u2026 an evil wind-up toy?\u00a0<\/p>\n

\"Signet<\/p>\n

And yet, on the cover of my battered old Signet paperback edition of Skeleton Crew<\/em>, there was the monkey, with pride of place \u2014 the image the publisher had chosen to represent the whole shebang. Why? Is a classic wind-up monkey toy really that unsettling, even given the fixed stare and bared teeth? But in edition after edition of Skeleton Crew<\/em> down through the ages, it resurfaces on the cover art. <\/p>\n

A gory new movie adaptation<\/a> is on the way this month, from Longlegs<\/em> writer-director Osgood Perkins<\/a>. So I figured it was time to look back at the Stephen King story and see if I could understand why so many book publishers, at least, felt \u201cThe Monkey\u201d was Skeleton Crew<\/em>\u2019s central hook.<\/p>\n

What stands out about \u201cThe Monkey\u201d in 2025, 45 years after its first publication, is how visceral King\u2019s language gets. The story jumps around in time as it tracks a man\u2019s long relationship with a toy windup monkey that resists all attempts to discard or destroy it. It just keeps turning up in unlikely places, starting with the opening paragraphs, when protagonist Hal Shelburn and his family are exploring the attic of Hal\u2019s childhood home, and his older son Dennis finds the monkey in a box.<\/p>\n

Hal\u2019s immediate response is to suppress a scream, which sets up one of the story\u2019s biggest sources of intriguing friction from the very first sentence: A wind-up toy is a ludicrous thing to find terrifying, so Hal\u2019s obvious trauma and terror sets up a major curiosity gap. As the story progresses, King keeps finding new ways to describe the look and feel of the monkey in ways that similarly highlight the toy\u2019s unlikely, unnatural awfulness: its \u201cbalding, mangy patches,\u201d its \u201cglazed eyes,\u201d its \u201clarge and carnivorous teeth,\u201d its mechanical body \u201cwrithing\u201d or \u201chumping\u201d whenever its internal mechanics start up. But mostly, he finds graphic, awful ways for people or animals to die whenever the wind-up monkey starts banging its cymbals together.<\/p>\n

\"The<\/p>\n

There\u2019s always been a fully invested, go-for-broke tone to the imagery in King\u2019s writing, and in this case, I don\u2019t just mean him embodying evil as a wind-up toy. I mean, for instance, the way Hal\u2019s vivid imagination leads him at one point to visualize a local man\u2019s car, sunk in an area lake years ago, as now inhabited by the rotting corpses of all Hal\u2019s lost loved ones, complete with a back seat \u201cfull of dead children.\u201d It\u2019s a compellingly morbid daydream that has little to nothing to do with the story, but King describes it in loving detail, drawing a clear and horrible mental picture that puts us in Hal\u2019s increasingly ragged mindset. That level of color makes stories like \u201cThe Monkey\u201d feel much darker and more dangerous than the would otherwise. <\/p>\n

But even apart from these sorts of morbid images, King packs on the ominous foreshadowing, starting with the obvious tension between Hal, his pill-popping wife Terry, and Dennis, a 12-year-old who\u2019s been smoking pot and mouthing off to his parents. (Throughout the story, Hal seems perilously close to writing Dennis off as a lost cause in order to focus on his sweeter and more beloved 9-year-old son Petey \u2014 pretty shocking behavior from someone we\u2019re expected to empathize with, especially considering how minimal Dennis\u2019 offenses are and how young he is.)<\/p>\n

This is a familiar King hallmark that persists to this day: The tendency to enrich even the shortest stories with a lot of close character detail and complicating incident. There\u2019s no narrative urgency that requires this story about a cursed killer toy to delve into Hal\u2019s employment problems, and the little strains on his relationship with each of his family members. But all these details do establish early on why he\u2019s under so much pressure that the toy\u2019s return paralyzes him, and why he turns to Petey for companionship and support in facing the monkey, even at the risk of bringing him into lethal danger.<\/p>\n

Where \u201cThe Monkey\u201d really <\/em>comes alive, though, is in the escalating and increasingly unhinged rants Hal imagines for the monkey as the deaths pile up. Every time the toy activates and bangs its cymbals together, someone or something dies. Starting in childhood, when he first finds the thing, Hal imagines a malevolent, gleeful intelligence behind it that challenges him to imagine who it\u2019s killed each time it starts up again. He puts its rictus grin into words, starting simply with a single paragraph where it mocks him (\u201cJang-jang-jang-jang, who\u2019s dead?\u201d<\/em>) and building up to longer, more frequent, and increasingly maniacal rants full of graphic and creepy details. Given that the toy monkey never actually <\/em>speaks, Hal\u2019s elaborate imaginary voice for it underlines his disintegrating mindset. It\u2019s a reminder of how raw and aggressive King\u2019s writing style was in the 1980s.<\/p>\n

\"Turtleback<\/p>\n

This frantic internal monkey-voice is one of the things I most remember about my early reads of \u201cThe Monkey,\u201d and one of the things I liked least about it. The trope of an internal voice feeding a protagonist information or whipping them into an emotional frenzy (or both) is a longstanding wrinkle of King\u2019s, one he uses so much in books from Rose Madder<\/em> to Lisey\u2019s Story<\/em> that they sometimes stand in for actual character interaction or story development. Here, my first impression was that it was just him going overboard, trying to make a fairly random object scary by giving it a voice that only really exists in its victim\u2019s head.<\/p>\n

Going back and reading it all these years later, though, \u201cThe Monkey\u201d seems much more like a giddy pulp exercise. It\u2019s one of the many King stories that explores the incomprehensible aspects of death (particularly who dies, and when and how) through a weird, unlikely, even borderline silly vehicle, then ramps up the tension and focuses in on the protagonist\u2019s dread and desperation until the story becomes a barreling thrill ride. The late going gets odd \u2014 I\u2019ve never been able to fully picture how Hal rows a boat even once it cracks in half and fills with water \u2014 but the sense of foreboding and fear never eases up. If anything, the fact that so much threat can be packed into such a ridiculous object just underlines how King\u2019s commitment to oddball ideas makes him stand out as a horror writer.<\/p>\n

There\u2019s a small nod late in the story toward some kind of larger message, as Hal muses on the nature of evil, and whether it\u2019s more likely to be unaware and uncomprehending, or awake and malicious. And if you read the Wikipedia page<\/a>, you\u2019ll see several examples of scholarly writers trying to map much larger Jungian or Freudian symbolism onto the monkey, as a metaphor for unresolved childhood fear or \u201csuppressed destructive impulses.\u201d<\/p>\n

But coming back to Stephen King\u2019s \u201cThe Monkey\u201d ahead of Osgood Perkins\u2019 The Monkey<\/em>, the story doesn\u2019t feel remotely like a modern horror metaphor about trauma<\/a>, or an exploration of how Hal needs to bury his hostility toward his former employer, his fragile wife, and his resentful older son. It feels far more like King following the straight-line path that his publishers may have followed when deciding on the cover of Skeleton Crew<\/em>: Things that share some facial similarity with humans, but aren\u2019t human, can be fairly creepy. Things that sometimes move like they\u2019re alive, but mostly don\u2019t, can be fairly creepy. Never knowing exactly when or how we\u2019re going to die, and knowing that death may come for us in an unexpected and seemingly arbitrary way, is inherently creepy. <\/p>\n

Maybe \u201cThe Monkey\u201d doesn\u2019t need to be about anything more than the sense of facing all these things, and pushing back against them. Hal can\u2019t control fate, or death, but he can at least resist the embodiment of it that haunts his life. That alone is enough to make \u201cThe Monkey\u201d stick in readers\u2019 minds and on publishers\u2019 cover art, all these decades later.<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

I always thought it was strange that Stephen King\u2019s publishers thought his short story \u201cThe Monkey\u201d was such a big deal. Compared to the other stories surrounding it in his indelible 1985 anthology Skeleton Crew, it felt like a whiff. That book is home to some of his all-time most memorable, hardest-hitting shorter works, including \u201cThe Mist,\u201d \u201cThe Jaunt,\u201d \u201cThe Raft,\u201d and especially my all-time favorite King story, the ridiculously ghoulish \u201cSurvivor Type.\u201d Plus it\u2019s full of interesting oddities: poems, a full-on \u201950s pulp science fiction story (\u201cBeachworld\u201d), some weird unexplained vignettes that feel like dreams King never assigned to a narrative. And then there\u2019s this story about\u2026 an evil wind-up toy?\u00a0 And yet, on the cover of my battered old Signet paperback edition of…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1121821,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1121820","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nIt\u2019s too early to talk about Osgood Perkins\u2019 The Monkey, so let\u2019s talk about Stephen King\u2019s \u2018The Monkey\u2019 | Arcader News<\/title>\n<meta name=\"description\" content=\"I always thought it was strange that Stephen King\u2019s publishers thought his short story \u201cThe Monkey\u201d was such a big deal. 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