The Exorcist leaves scares for the silver screen

The Exorcist is every parent’s nightmare: Losing a child to a horrible, un-diagnosed disorder that changes the child into a murderous monster while it kills her.

A blurry face on front cover of The Exorcist.
Nothing is clear in The Exorcist, not even the victim herself.

A divorced actress, Chris MacNeil, distracted by work, notices odd sounds in her apartment before she notices odd behavior in her 11-year-old daughter.

When Chris finally consults a doctor, he can find nothing to account for Regan’s sudden personality change.

Chris turns to a Jesuit priest who is also a psychiatrist. Father Karras knows the church is skeptical of reports of possession and unlikely to authorize an exorcism without very good reasons.

Dust jacket notes say William P. Blatty read every work in English on the subject of exorcism before writing The Exorcist. That’s how the novel reads: like research notes propped up by cardboard figures.

The novel is gruesome but not terrifying. To create terror, readers must see the victims as people like themselves, but Blatty’s characters lack personalities.

Subplots about a creepy butler with a drug-addicted daughter and a Columbo-styled homicide detective pad the novel without adding to the main story.

Like Love Story, The Exorcist needs to be acted out, and like that novel’s author, Blatty was a screenwriter before this, his first novel.

The Exorcist by William P. Blatty
Harper & Row, ©1971. 340 p.
1971 bestseller #2. My grade: C

© 2018 Linda Gorton Aragoni