Clay's journey from Boston to Maine interestingly reverses the Heart Of Darkness-esque expedition at the center of King's earlier Dreamcatcher. Thus, Cell opens up as a quest novel, albeit more compact and with a narrower focus than The Stand, The Talisman, or the epic Dark Tower series. Clay's only response is to find his son, and to ensure his safety. Small and large pockets of violence erupt seemingly out of nowhere. At the nearby Boston Common, a man suddenly turns on his dog, attempting to bite its ear off. A proper woman in a business suit in line ahead of him at the ice cream stand goes ballistic, lurching forward to tear the ice cream vendor apart. When the Pulse hits, its result is swift and bloody. He's in downtown Boston, and the only things on his mind are presents for his son and his estranged wife, and an ice cream cone for himself. The main thrust of the story concerns Clay Riddell, a graphic novel artist and writer who has just gotten his big break before the Pulse hits. As the earlier novella 'Everything's Eventual' utilized email as a vehicle to hypnotically suggest people into suicide, in Cell, cell phone users are suddenly affected by something known as The Pulse, turning them instantly into mindless, zombie-like creatures: primitive, aggressive, and brutally violent. Cell, King's first full-length work of fiction since the finale of the Dark Tower series, examines a different sort of technological horror: the destructive possibilities of mass communication. Later, longer works like The Tommyknockers and The Waste Lands are more nuanced, looking more deeply at the way people interact with technology that they don't understand. Early works like 'Trucks' and 'The Mangler' (later collected in Night Shift) explore the horrors of machinery out of human control. Technology has always unnerved Stephen King. I offered to make a deal with the devil, and the devil actually came through

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