36 pages • 1 hour read
Stephen KingChildren of the Corn
Fiction | Short Story | Adult | Published in 1977A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Literary Devices
Ambiguity
Content Warning: This section of the guide includes references to graphic violence, death, horror themes, and religious fanaticism.
Ambiguity is woven into the fabric of “Children of the Corn,” beginning with the moment Burt and Vicky hit a young boy with their car. Although they initially assume the collision was fatal, a closer look at the body reveals that the boy’s throat was cut before he ran into the road and collided with their car. Although the narrative later implies that the boy met his fate at the hands of his murderous peers, the circumstances of his death ultimately remain ambiguous and open to interpretation.
Because the boy is much younger than the cult’s mandated sacrificial age of 19, it cannot be assumed that he was fleeing a traditional blood sacrifice to He Who Walks Behind the Rows. This detail—along with the fact that the specifics of his murder are never revealed—invites speculation as to who wanted the boy dead and why. These questions are never answered, creating ambiguity that runs through the story and remains.
Ambiguity also resurfaces with the introduction of the cult of He Who Walks Behind the Rows. When Burt uncovers the cult’s record book, he speculates as to the manner and motive behind the deaths of the entire population of Gatlin, Nebraska. Although he suspects the children in town formed a violent cult and murdered their parents, the reasons for this and precise causes of death are never explicitly answered in the text. These ambiguous details invite further speculation regarding exactly what happened, how, and why.
Ambiguity also characterizes the enigmatic deity He Who Walks Behind the Rows. It remains unclear whether the demon exists or is a manifestation of the worst elements of human nature. This deliberate uncertainty contributes to one of the text’s central themes: the Fear of the Unknown. “Children of the Corn” also features an ambiguous ending that suggests that some of the children in the cult are growing uncomfortable with the edicts allegedly dictated by He Who Walks Behind the Rows and passed to his followers through Isaac. This burgeoning discomfort hints at the possibility of a future uprising that will generate a new cycle of violence.
Diction
Diction plays a crucial role in “Children of the Corn” by creating a rich and atmospheric narrative that reflects the realities of human thought and speech. King’s lifelong desire to write stories that are true to the imperfect authenticity of real people’s voices is evident in this early short story that develops his signature style.
Burt’s third-person perspective exemplifies King’s unique brand of diction, most notably in lines such as:
He was gripping the steering wheel so hard his knuckles were white. He decided he was holding it that tightly because if he loosened up, why, one of those hands might just fly off and hit the ex-Prom Queen beside him right in the chops (257).
The diction here is colloquial, using informal terms such as “right in the chops,” and it mimics distinctive patterns of Burt’s speech, including the one-word clause “why.” Burt’s reaction to the creepy relics he uncovers in Gatlin’s abandoned Grace Baptist Church also illustrate the authentic—although often inappropriate—way that human beings think through things that baffle and terrify them. For example, as he speculates on the development of the cult and the deaths of the children’s parents, Burt imagines sharing his findings with Vicky by saying:
Vicky, let me tell you a story. It’s about Amos Deigan, who was born Richard Deigan On 4 September 1945. He took the name Amos in 1964, fine Old Testament name, Amos, one of the minor prophets. Well, Vicky, what happened - don’t laugh - is that Dick Deigan and his friends - Billy Renfrew, George Kirk, Roberta Wells, and Eddie Hollis among others - they got religion and they killed off their parents. All of them. Isn’t that a scream? (276).
The informal diction of Burt’s inner monologue and the dialogue between him and Vicky heighten the sense of intimacy and realism. The two characters may not always be likeable, but they are relatable: direct, spontaneous, and funny. This also enables King to create a marked juxtaposition between the flawed humanity of the couple and the pitiless, grandiose verbosity of the cult. Cult leader Isaac’s speeches are marked by a unique diction that blends religious fervor with an unsettling calmness. His style of language mimics that of adult fanatics, and his choice of words reflects his manipulative nature, luring the children into a distorted belief system. This distinctive diction reinforces Isaac’s role as a charismatic but malevolent figure, and is especially unsettling in one so young. Overall, the careful selection of words in “Children of the Corn” enhances the narrative’s emotional impact and establishes a tone that oscillates between the mundane and the supernatural.
Juxtaposition
Juxtaposition, the deliberate placement of contrasting elements, is utilized in “Children of the Corn’’ to highlight the stark contrasts between innocence and evil, love and hate, and faith and fanaticism.
One notable example of juxtaposition is the stark contrast between the idyllic memories of Gatlin as a vibrant town with families and the desolation it has become. King strategically juxtaposes scenes of the town’s peaceful past with the current state of affairs, where the children have become agents of violence. This stark shift accentuates the magnitude of the town’s transformation and intensifies the sense of loss and tragedy.
The juxtaposition of the children’s innocent appearance with their malevolent actions also creates a chilling effect. On the surface—although their clothes are drab and outdated—they appear to be typical children, who laugh, play, and smile at their visitors. But the fact that they are laughing and smiling as they surround Vicky with knives, scythes, and pitchforks reveals a darkness that defies their outward appearance. This stark dichotomy adds depth to the characterization of the cult and reinforces the narrative’s exploration of corrupted innocence.
Nine-year-old cult leader Isaac’s charismatic leadership is also juxtaposed with the destructive consequences of his influence. His calm demeanor and persuasive speeches stand in opposition to the violence that unfolds under his guidance, underscoring the manipulative nature of his character.
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