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Word Processor of the Gods
Word Processor of the Gods
Word Processor of the Gods
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"Word Processor of the Gods"
Short story by Stephen King
Original titleThe Word Processor
CountryUnited States
LanguageEnglish
GenresFantasy, short story
Publication
Published inPlayboy (1st release),
Skeleton Crew
Publication typeMagazine
PublisherPlayboy Media Corp
Media typePrint (Periodical)
Publication dateJanuary 1983

"Word Processor of the Gods" is a short story by American writer Stephen King, first published in the January 1983 issue of Playboy magazine under the title "The Word Processor". It was collected in King's 1985 book Skeleton Crew.[1]

Plot summary

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Richard Hagstrom, a middle-aged writer, is disenchanted with his tyrannical wife Lena, his disrespectful teenage son Seth, and his life in general. His teenage nephew Jonathan suddenly dies in a car accident caused by the writer's abusive brother Roger, who was driving drunk. Roger dies in the crash, along with Jonathan's gentle, kind mother, Belinda (who had originally dated Richard before Roger married her). From the boy's effects, the writer is given a word processor, which Jonathan was seemingly in the process of cobbling together from a dozen different sources before he died. When the writer turns it on, the start-up message displays "Happy birthday, Uncle Richard", revealing that it was intended as a birthday gift for the main character. At home, Richard discovers that the processor has the mysterious ability to affect reality, but the electronics in the patchwork machine are brittle and will not function for long.

While in the middle of testing the processor, Richard's son returns home alongside his obnoxious band members. Overhearing his son badmouthing him, Richard deletes him, which retroactively erases his existence. His bandmates are gone, his room is empty, and every trace of him ever living there is gone. When his wife returns home, he finds she is now even fatter than when she left, the result of never having any children. After she verbally abuses him, he deletes her as well.

With the processor now rapidly deteriorating, Richard impulsively rewrites reality, making the nephew his own son, and his sister-in-law his wife, moments before the processor irreparably breaks. He turns around, finding the nephew alive once again, now calling him "Dad".

Adaptations

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"Word Processor of the Gods" was adapted for an episode of the Tales from the Darkside TV series,[2] first broadcast November 25, 1984.

See also

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References

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Word Processor of the Gods

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from Grokipedia
"" is a by American author , first published in the January 1983 issue of magazine under the original title "The Word Processor." The narrative centers on Richard Hagstrom, a frustrated high school English teacher and aspiring writer, who receives a custom-built as a gift from his recently deceased nephew, Jonathan. This unusual machine, constructed by Jonathan using scavenged parts including a monitor resembling a divine eye, possesses a capability: any text typed and then deleted from its screen erases the corresponding , while new entries can manifest desired changes into existence. Hagstrom's discovery of the device's reality-altering powers unfolds amid personal and dissatisfaction; after a car accident claims the lives of his brother, his brother's wife , and his promising nephew Jonathan, Richard discovers the custom-built word processor that Jonathan had been creating as a gift for him. Initially skeptical, Hagstrom tests the machine by deleting references to his own unhappy marriage and disabled, resentful son, only to witness those elements vanish from his life, replaced by idealized alternatives he types into being. The story explores the seductive allure of this godlike technology, as Hagstrom's actions spiral into moral quandaries, highlighting themes of , , and the corrupting influence of unchecked power over one's fate. Later included in King's anthology Skeleton Crew (1985), the tale spans approximately 20 pages and blends elements of , horror, and speculative fantasy, marking an early literary exploration of word processing technology's potential in fiction. It was adapted into the eighth episode of the first season of the anthology television series , which aired on November 25, 1984, with a teleplay by Michael McDowell that closely follows the original plot while emphasizing the machine's eerie, otherworldly mechanics.

Publication and Background

Publication History

"Word Processor of the Gods" first appeared under the original title "The Word Processor" in the January 1983 issue of magazine, published by Playboy Enterprises. The story, approximately 7,000 words in length, marked one of King's contributions to the magazine during his early period of frequent short fiction publications alongside his rising novel output. It was collected and retitled "Word Processor of the Gods" in King's 1985 anthology Skeleton Crew, published by in hardcover with a total of 512 pages, where the story spans pages 271–288. This inclusion came amid King's prolific 1980s career, which saw the release of novels such as Christine (1983) and (1983), solidifying his status in horror literature. Subsequent reprints have appeared in various editions of Skeleton Crew, including the 1986 Signet paperback, the 2016 Scribner trade paperback (672 pages), and the February 2025 Scribner edition (672 pages). International versions of Skeleton Crew have also featured the story in translations across languages such as French, German, Spanish, and Japanese, with publishers like Albin Michel and Heyne adapting it for global audiences up to the present day. No major standalone anthologies outside Skeleton Crew have reprinted the story, maintaining its primary association with King's 1985 collection.

Inspiration and Development

In the early 1980s, acquired a Wang System 5 , a bulky dedicated machine costing around $11,500, which marked his transition from typewriters to early for writing. This device, with its prominent "insert," "delete," and "execute" functions, directly inspired the central magical element in his , as King explored the god-like control it afforded over text. King expressed fascination with emerging computer in interviews and his own writings, viewing it as a transformative tool for that blurred the line between creation and revision. In the introduction to his 1985 collection Skeleton Crew, he reflected on the experience: "Writers are used to playing , but suddenly now the was literal," capturing his sense of awe and unease at the machine's power to reshape narratives effortlessly. This interest stemmed from his broader curiosity about how could amplify or disrupt the creative process, a theme he often revisited in his work during that era. The story developed amid King's highly productive phase for short fiction in the early 1980s, following the success of his debut novel Carrie (1974) and preceding epic-length works like It (1986). During this period, King contributed numerous tales to magazines, culminating in collections such as Night Shift (1978) and Skeleton Crew (1985), where "Word Processor of the Gods" appeared after its initial magazine outing. Self-referential aspects appear in the author-protagonist, who embodies King's contemporary struggles with the demands of writing amid personal and familial pressures, mirroring the author's own life as a prolific creator balancing career and home. The story's debut in Playboy magazine in January 1983 represented a key moment in King's ongoing contributions to high-profile periodicals.

Plot and Characters

Plot Summary

Richard Hagstrom, a struggling and , learns of the tragic of his older , Roger's wife , and their son Jonathan in a car accident caused by Roger's . As Jonathan's birthday gift to his uncle, the boy had constructed a custom , which is delivered to Richard's home shortly . Dismayed by his own unhappy life—marked by a contentious to his nagging wife and a lazy, belligerent teenage son —Richard sets up the unusual device in his study, noting its homemade appearance with a phosphor-dot screen monitor and no printer. Upon powering it on, the screen displays the message "HAPPY BIRTHDAY UNCLE RICHARD JON," revealing Jonathan's personal touch. Experimenting, Richard types the sentence "My wife's photograph hangs on the west wall of my study," executes it, and sees the portrait appear; he then deletes the sentence, only to find the portrait vanishing from the wall and all traces of her presence fading from the house. Emboldened, he types a command to create a pouch containing twelve gold coins, which materializes beside the machine, though the screen briefly flashes "OVERLOAD." Realizing the device's godlike ability to alter reality through typed words, Richard notes the machine beginning to overheat. Richard first erases his son Seth by typing a deletion command, causing Seth, his belongings, and all records of him to disappear instantly from existence, leaving Richard guilt-ridden yet relieved. He then deletes Lina in the same manner, watching her vanish instantly along with her jewelry and other possessions. As the machine begins to overheat and smoke, Richard hastily rewrites his reality: he types that Belinda is now his loving wife, residing happily with him, and that Jonathan is his devoted son, alive and well. The screen confirms the changes just as the word processor erupts in flames, destroying itself irreparably. Emerging from the study, finds and Jonathan waiting outside as his , greeting him warmly with no of the or prior lives, seamlessly integrated into his improved existence.

Main Characters

Hagstrom serves as the central figure in the story, depicted as an unsuccessful writer and high school who harbors deep resentment toward his due to his unhappy marriage and overall dissatisfaction with his life. His background as a struggling creative drives his interactions, positioning him as a man seeking escape from his personal failures. Lina Hagstrom, 's wife, is portrayed as abusive and materialistic, frequently nagging him that exacerbates their strained relationship. As the of Seth, she embodies the domestic tensions that define Richard's home life. Seth Hagstrom, the son of Richard and Lina, is characterized as a delinquent and troublemaker, contributing to the familial discord through his rebellious behavior and lack of direction. Jonathan Hagstrom, Richard's deceased nephew, is a tech-savvy teenager whose tragic in a car accident prompts the arrival of a unique gift in the form of a custom-built . He is idealized by Richard as a talented young inventor and the nephew's passing underscores themes of loss within the family dynamic. Belinda Hagstrom, Jonathan's mother and Richard's sister-in-law, is presented as gentle and attractive, offering a contrast to the negativity in Richard's immediate household. Her relationship to the highlights the interconnected resentments and affections that influence Richard's worldview.

Themes and

Central Themes

The story "Word Processor of the Gods" delves into the theme of regret and the seductive allure of altering the past, particularly through Richard Hagstrom's profound dissatisfaction with his unfulfilling career as a high school and his strained life, which he seeks to overwrite using the supernatural device. This motif underscores the human tendency to dwell on "what if" scenarios, amplified by the instantaneous power to manifest changes, yet it warns of the psychological toll of such retroactive interventions. Central to the narrative is an exploration of selfishness and moral ambiguity, as Richard employs the word processor's godlike abilities for personal gain, ultimately erasing his existing family members to craft an idealized existence, thereby critiquing the ethical perils of prioritizing self-interest over others' lives. This act reveals the protagonist's internal conflict, where initial grief-fueled desperation evolves into calculated opportunism, highlighting the blurred lines between victimhood and villainy in the face of unchecked power. Family dynamics and dysfunction form another core theme, contrasting the toxic, resentment-filled relationships in Richard's original life—marked by an abusive wife and a delinquent son—with the harmonious, fabricated family he creates post-rewrite, which exposes the fragility of bonds built on rather than genuine connection. Such portrayals how unresolved familial resentments can drive destructive choices, emphasizing the irreplaceable value of authentic, albeit imperfect, relationships. The double-edged nature of emerges as a prominent theme, portraying the as a tool capable of both creative liberation and catastrophic destruction, mirroring 1980s cultural anxieties about the rapid rise of personal computing and its potential to disrupt human agency. While it empowers to reshape reality, its limitations and unforeseen repercussions serve as a about innovation's capacity to amplify human flaws. Subtly woven throughout is a commentary on the writer's life, reflecting creative frustration and the tantalizing temptation to "edit" reality itself, with Richard's profession as a struggling symbolizing the godlike aspirations and ethical dilemmas inherent in authorship. This meta-layer draws parallels to the act of , where the power to invent or revise narratives invites profound responsibility.

Literary Style and Devices

"Word Processor of the Gods" employs a third-person limited perspective centered on Richard Hagstrom, fostering an intimate connection with his internal struggles and desires while subtly introducing unreliability through his increasingly desperate and self-justifying mindset. This choice allows readers to experience Richard's mounting frustration with his mundane life alongside him, heightening emotional investment without broader omniscience that might dilute the personal stakes. As noted in linguistic analyses of King's work, this perspective underscores the metalinguistic theme of writing as a transformative act, mirroring Richard's own creative impulses. The story masterfully blends horror, fantasy, and dark humor within a framework of magical realism, where the functions as an improbable yet eerily plausible device that rewrites physical reality through typed commands. King's evokes an unsettling atmosphere, as seen in descriptions like words emerging "eerily, like a voice from the grave, these words swam up, green ghosts, from the darkness," which infuses the technological with dread. This fusion is amplified by ironic undertones, such as the protagonist's gleeful deletions leading to absurd yet horrific outcomes, injecting dark humor into the otherwise grim proceedings. The magical realism serves to critique human , portraying the machine's power as both liberating and corrupting. Pacing in the contrasts a deliberate slow build-up of Richard's domestic discontent—detailing his loveless , financial woes, and professional mediocrity—with abrupt, accelerating climactic alterations once the activates, creating a of reality-shifting events that propel the story toward its resolution. This structure mirrors the dual nature of the device: mundane drudgery giving way to godlike intervention. Symbolically, the embodies a divine instrument of creation and erasure, its biblical echoes reinforced by the title's of "gods," positioning itself as a perilous force akin to the Word in lore that brings worlds into being or unmakes them. The concise format of the , clocking in at around 20 pages, emphasizes a sharp twist ending and ironic closure, where Richard's bid for unravels in a final, unforeseen deletion, underscoring the perils of unchecked revision. This stylistic economy avoids extraneous details, focusing instead on pivotal moments to maximize impact and surprise. Such techniques enhance the exploration of , making the protagonist's hasty changes feel viscerally immediate and irreversible.

Adaptations and Reception

Television Adaptation

"The short story 'Word Processor of the Gods' by Stephen King was adapted for television as the eighth episode of the first season of the anthology horror series Tales from the Darkside, titled 'The Word Processor of the Gods,' which originally aired on November 25, 1984. The episode was written by Michael McDowell, adapting King's 1983 story, and directed by Michael Gornick. Running approximately 20 minutes, it fits the syndicated half-hour format typical of the series, produced by Laurel Entertainment during the early 1980s wave of horror anthologies. Bruce Davison stars as Richard Hagstrom, the struggling writer who inherits a supernatural word processor from his deceased nephew, with supporting roles including Karen Shallo as his wife Lina and Patrick Piccininni as their son Seth. To accommodate the medium, the incorporates to depict the word processor's magical properties, such as glowing screens and sudden environmental changes when text is deleted or added, contrasting the more descriptive, internal focus of the original prose. Key differences include expanded scenes to build within the episode's runtime, such as more pronounced interactions highlighting family tensions, with slight alterations to the dynamics—portraying as more nagging and as a rebellious teen—for added dramatic impact, while preserving the core plot of Richard using the device to rewrite his unhappy life. The episode is available in modern releases, including DVD collections of Season 1 and the complete series, though it has not been widely remastered for high-definition streaming platforms."

Critical Reception and Legacy

Upon its publication in Stephen King's 1985 collection Skeleton Crew, "Word Processor of the Gods" received positive attention from critics for its inventive premise blending emerging computer technology with supernatural horror. Christopher Lehmann-Haupt in highlighted the story's clever conceit of a capable of altering reality, praising King's ability to pose provocative questions about technology's power through such fantastical elements. Similarly, the commended the "lively" idea of a using the device to erase and rewrite his life, though it noted the sentimental climax lacked a harder emotional impact. Some critiques pointed to limitations in the narrative's execution and character dynamics. The Kirkus Reviews observed that while the twist provided satisfaction, it resolved too warmly without delivering a sharper horror punch, diluting the story's tension. In modern analyses, scholars have remarked on the story's dated portrayal of 1980s computing technology, which now feels quaint amid advanced digital tools, potentially underscoring the protagonist's self-centered actions as reflective of era-specific anxieties but less resonant today. The story's legacy endures as an early fictional exploration of word processing's transformative potential, influencing later depictions of technology's eerie integration into daily life. Matthew G. Kirschenbaum's Track Changes: A Literary History of Word Processing (2016) analyzes it as capturing the "unsettling ghostliness" of nascent digital writing tools, marking King's prescient engagement with computing's cultural shift. It has been referenced in academic studies of King's works. Culturally, "Word Processor of the Gods" receives minor nods in discussions of 1980s fears surrounding computing's dehumanizing effects, as explored in Tony Magistrale's Landscape of Fear (1988), which frames it within King's technohorror motifs. Its 1985 adaptation as a Tales from the Darkside episode contributed to its media footprint, but as of 2025, no major further adaptations or reboots have emerged.
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