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Illustration Credit: Laura Jayne Hodkin

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Friday marked the 50th anniversary of the publication of “Carrie” and, as Stephen King, who is 76, remarked on X, “Hard to believe I’m alive to see it.” King’s subsequent success over five decades has earned him an outsize celebrity and a good measure of literary repute — and he seemed, at one time, like a potential bridge between the world of popular novels and mainstream literature.

He’s sold hundreds of millions of books. He was lauded in 2003 by the National Book Foundation for his distinguished contribution to American letters. As detailed in Dan Sinykin’s excellent “Big Fiction,” King changed the nature of publishing: He became a marquee brand when publishers were keenly interested in authorial brands and newly poised to exploit them. But one question lingers: Why hasn’t there been another Stephen King?

Yes, there have been name brand authors who’ve sold millions, like John Grisham and Michael Crichton. A few genre writers might lay claim to King’s combination of commercial success and critical respect, like the crime writer Elmore Leonard. J.K. Rowling, with “Harry Potter,” could boast of a similar level of cultural saturation. But all of the above? The triumvirate of productivity, longevity and renown? King stands alone.

A key to understanding why lies in the essay about “Carrie,” by Amanda Jayatissa, a novelist in her thirties from Sri Lanka, that Times Opinion published last week. She examines how this 50-year-old tale of one woman’s rage — one that she discovered as a 14-year-old — continues to resonate with her and with the world at large. In his ability to tap into the “savage things,” as he writes in “Carrie,” that dwell in our collective subconscious, King stands not as a harbinger of similar writers but as a singular figure.

Anyone still waiting for a next Stephen King will almost certainly be disappointed — the skills and instincts that have fueled his 50-year career have, at least so far, proved impossible to replicate.

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