“‘They float,’ it growled, ‘they float, Georgie, and when you’re down here with me, you’ll float, too—'” (King 15). Georgie is terrified of this thing which is lurking just beyond his vision. For him this fear is tangible, but for society today, this fear is the COVID-19 virus. With the current COVID-19 pandemic, many people are experiencing fear and anxiety. Fear can come in many shapes and sizes, which is especially evident in Stephen King’s 1986 novel, It. The novel speaks of an immortal terror in Derry, Maine that no one can kill, but perhaps the children it has tortured in the past can defeat this tangible fear.

        Similar to King’s other horror novels, It involves a great deal of sex and violence; however, when the reader explores the symbolism King infuses into the novel, these graphic actions portray a few of the generic fears that humanity faces. Many may ponder why one should read a horror novel in the middle of something as terrifying as COVID-19, but the kind of fear that King presents is one that has always plagued humanity. It should be read now since the story will distract the reader from the ongoing concern, which is the pandemic. King seems to focus more on phobias than just generic fear, such as dying or growing ill. This novel provides a form of escapism that most people could use while they are trapped in quarantine (better in a bedroom than a sewer).

        One drawback of the novel is that King can seem rather sexist at times when he writes female characters such as Beverly Marsh: “I remember the blue shorts, she would tell them, and how faded they were getting; how tight around my hips and butt” (821). King assumes that women constantly think about and focus on their bodies; however, these thoughts do not occur with all women. When discussing sex, he makes it seem that Beverly is enjoying the activity far more than any of her male friends. This assumption is problematic because male readers may form the impression that all young women are interested in sexual intercourse, which is highly unlikely. In fact, she initiated sex in the first place, once the Losers felt a great sense of despair: “--what she feels is not shame or fear now but a kind of triumph” (1099). King should not assume that an eleven or twelve-year-old girl would feel such a large amount of freedom in having sexual intercourse; assumptions like these can bring shame upon women who do not share similar views. Granted, King is being symbolic by implying that women may feel a great deal of societal pressure to be “pure” and save themselves until marriage. He even goes on to write, “Is this what her father was afraid of? Well he might be!” (1100).

        Sexual assault is a common fear; this fear also holds true for Beverly, who is afraid of being sexually abused by her father. There are numerous examples of this throughout the story, but the novel is worth reading. King’s perspective may be biased at times; however, his views do bring these fears to light. Can fear ever truly be defeated? Is fear inherited, or does it develop over time? By observing the group of children in this novel, the reader will have the ability to answer these questions and many more as he/she follows the deadly adventure of the Losers.