34 pages • 1 hour read
Stephen KingA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The source material features discussions of suicide, self-harm, and distressing imagery. It also includes ableist language, specifically the author’s use of the r-word.
The first major conflict of “1408” exposes the subtle differences between two similar ideas. When Olin challenges Mike’s beliefs, imploring him to heed his warning about room 1408, Mike is forced to admit that he doesn’t believe in the subject matter of his writings. Mike cannot accept the paranormal because he has never encountered it, but he insists that he is open to the possibility that hauntings are real: “I may never win the Pulitzer Prize for investigating The Barking Ghost in Mount Hope Cemetery, but I would have written fairly about him if he had shown up” (373). However, Mike does not require “evidence” to indulge in various superstitious behaviors. In the very first scene, he tells Olin about his “lucky Hawaiian shirt […] the one with the ghost repellent” (367). While Mike’s smile indicates that the latter remark is ironic, he later admits that he attaches quasi-supernatural significance to the shirt; when Olin observes the cigarette that Mike wears behind his ear, Mike confesses that it is “[p]art affectation, part superstition […] Like the Hawaiian shirt” (368). His attachment to the cigarette stems largely from his past as a smoker and the memory of his late brother, who died of lung cancer. Mike believes on some level that wearing it can rescue him from the same fate.
The distinction the story establishes between belief and superstition parallels a split between the rational and irrational—a split best captured by Olin’s remark that room 1408 posed a particular threat to Mike because Mike “believed too much in nothing” (401). The claim appears paradoxical: A belief in nothing would seem to be not so much a belief as the absence of belief. However, the remark hints at an innate human propensity for belief that Mike’s behavior bears out. It is not simply that Mike engages in various superstitious actions, but rather that he transmutes his skepticism into an article of faith—i.e., a belief, which the story suggests is something like the rationalized superstitious instinct.
Olin further implies that belief typically structures how one experiences reality, noting that ghosts appear to people who believe in ghosts. Room 1408, however, is in some sense a symbol of pure irrationality; items disappear and reappear, images change, and ultimately even the laws of geometry break down, with the room devolving into “swoops and mad tilts” (397). Nevertheless, Mike (irrationally) clings to rationality for as long as he can, his “belief in nothing” rendering him particularly susceptible to the room’s danger. Indeed, it is only when he embraces unthinking superstition that he escapes. Without his lucky cigarette, he might have forgotten about the matchbook, and without nonsensically using the matchbook to set his “lucky” shirt on fire—something he does “without so much as a single thought” (397)—the room’s door would not have opened for him.
It is no coincidence that King chose to make the character of Mike Enslin a professional writer. Many of King’s other works feature writers as central characters, including Jack Torrance from The Shining and Paul Sheldon from Misery. As King often writes from experience, one can make an easy connection between the conflicts and internal struggles of his writer characters with his richly lived life as a career writer.
In “1408,” King seeks to tackle the writer’s struggle between cynicism and idealism, especially with regard to influence over the writer’s career path. Writers like Mike sometimes begin their creative journeys as idealists, but in time, some writers replace their idealism with cynicism, as Mike does, because of the nature of what sells to publishers and to the public. The pressure to make a living contributes to this transition as many writers find themselves working from byline to byline to make paltry sums. Some writers will go so far as to compare their progress to the success of other writers, which only deepens their sense that their writing is not valued in the same way. These factors can push a writer to abandon their fidelity to truth and chase work that will help to sustain them, even if the subject of that work runs contrary to what they believe. Ironically, they are usually aware of this dissonance, which causes a great inner turmoil within the writer.
Mike’s career trajectory seems to have followed this very arc. The story makes it abundantly clear that idealism was the guiding force throughout the earliest parts of Mike’s writing career. He had received formal training in creative writing and subsequently “starved on the payroll of The Village Voice” (372) while working on stories and poems he believed in. He even held private aspirations to be accepted by the literary establishment as a Yale Younger Poet. Yet none of these aspirations ever bore any fruit, and the only thing the story reveals next in the sequence of his writing career is that he had personally devised the concept for his first book in the Ten Nights series.
It can be deduced that sometime between his lukewarm reception as a literary writer and the publishing of his first book, Mike determined that it was necessary to pivot away from his stories and poems in favor of a book concept that was easy to execute. When this concept resulted in profit, Mike saw no other way forward than to capitalize on its success. Returning to his previous work would only alienate the audience he had found.
In the story, Mike’s cynicism applies not only to his writing career, but to his belief in the supernatural. This theme thus serves the story on multiple levels and allows Mike to undergo a complete transformation in character as he confronts his disbelief and the reality of his writing career.
Room 1408 is unique in the sense that its haunting is unusual to the conventions of haunted hotel room stories. It is also lacking in that much of Mike’s complete experience includes phenomena Olin may have no awareness of. Mike witnesses the distortion of door frames, picture frames, and the shape of the room itself. He hears a malevolent voice on the telephone whose true nature is never explained nor addressed. He sees some kind of beast approach him through a crack in the wall, but Mike is unable to identify what it actually is.
What ultimately makes 1408 a terrifying location isn’t that it is home to a paranormal entity, but that it is home to an entity that no one can explain. On separate occasions, both Olin and Mike acknowledge that there is something in the room that isn’t a spiritual presence or a ghost. When Rufus Dearborn sees the light emanating from the room, he is reminded of the sun in the Australian desert, which felt alien to him.
The text makes several references to death, whether that be in the many who perished within the room before Mike’s visit, in the cigarette that he keeps behind his ear, or in the references to his brother’s demise. Fearing death, a process that no one can explain, is a common human experience. The room in many ways symbolizes death as it corrodes the minds and bodies of those who venture inside. In Mike, the room creates frightening, violent imagery, even twisting his memory of his brother’s death into a much more violent occurrence. The room uses hell-like imagery and unexplained violence as a visual manifestation of death.
The fear of the unknown is a universal experience. Even if one has never seen ghosts or stayed in a haunted hotel, it is easy to feel unnerved by the acknowledgment of an entity that is difficult to understand. King uses lack of clarity to create an unsettling atmosphere and to make the reader fill in the blanks of what is occurring, whether that is in Mike’s head, literally in the room, or both. This tactic has been used by Gothic writers long before King, and he uses these classic techniques to create a horrific story that can’t be entirely explained, much to the discomfort of the reader.
By Stephen King