---
product_id: 13616210
title: "The Exorcist Paperback – February 1, 1994"
brand: "william peter blatty"
price: "¥8112"
currency: JPY
in_stock: true
reviews_count: 8
url: https://www.desertcart.jp/products/13616210-the-exorcist-paperback-february-1-1994
store_origin: JP
region: Japan
---

# The Exorcist Paperback – February 1, 1994

**Brand:** william peter blatty
**Price:** ¥8112
**Availability:** ✅ In Stock

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- **What is this?** The Exorcist Paperback – February 1, 1994 by william peter blatty
- **How much does it cost?** ¥8112 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.jp](https://www.desertcart.jp/products/13616210-the-exorcist-paperback-february-1-1994)

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## Customer Reviews

### ⭐⭐⭐⭐ 4.0 out of 5 stars







  
  
    A cold chill in horror fiction
  

*by H***S on Reviewed in the United States on October 27, 2015*

It's no wonder horror enthusiasts continue to sanctify and adore this book. It has not been canonized with mere surreptitious praise, for Blatty performed a rare feat, a paradigmic shift in horror fiction. There was horror before The Exorcist and that which came after. He forced us all to peer into those dark corners of our life experience and shiver at the unknown. And what he unfolds in us is deep and frightening. To call this book a demon story is like calling The Old Man and the Sea a fish story. The only real problem is the movie, the 1973 film. We've all seen it. The film not only didn't diminish the literature, as most book-to-screenplays routinely do, but it amplified, it illuminated, it brought the book home, and brought the book into our psychies. Few screenplays have managed that: Gone with the Wind, To Kill a Mockingbird, or The Godfather perhaps.I too, like so many who now remember, dared the chill night air, and stood in a line of eager cinema-goers; a queue two and a half blocks long complete with hotdog vendors and hippie flower girls selling whatever they were selling that night. Like most youngsters of the era, I liked to be swept into a scene, in the thrall of the human condition, and then shocked and assaulted by creatures of a really good writer's imagination. I'm not unique by any means. I mean...the line was long.  But as an adult, a work of fiction has never startled me, never thrown my head back in fright, never made me bite my nails, never done what the visual intensity of a film can still do to my emotional makeup. The written word has another,  more settled, more careful, circumspect connection with a reader than does the film version. And if you've seen the film before you've read the book, the film may dominate the writing. Of course, some books simply cannot be adapted to the screen: flights of fiction-slash-philosopy such as The Brothers Karamozov, the Bhagavad-Gita, the Art of Motorcycle Maintenance, or Gravity's Rainbow. Then there  occur those books which are made and remade into film, each generation re-attempting to convey the richness of the  textual narrative, reinterpreting to a modern ear, using the newest cinematic tools at hand: Beau Gest, The Four Feathers, Hamlet, Lord of the Rings (actually Peter Jackson may have hit the mark with this book.) I cannot envision another remake of The Exorcist. The character cast of the '73 film is already set in stone in my visual cortex, so much so that it illustrated Mr. Blatty's narrative as I read the book.  The strong correspondence between book and film gives the reader no quarter to create the characters, architecture, or landscapes in his own mind. Thus the faces of 13 year old Linda Blair, Ellen Burstyn, Max von Sydow, or the wonderful, late Lee J. Cobb cannot help but come to mind as one pours through the book. The filmmaker's perspectives of Blatty's beloved Georgetown, and not my own experience there, sets the textual backdrops. But this may merely represent the weaknesses of this reviewer's imagination and not trouble that of another reader. On to the book.  The tale begins in Iraq. ( The first generation that read this book would not come preconditioned with the baggage with which today's reader is burdened. In 1971, Iraq meant bible lands, nomads astride camels and deeply ancient mysteries. ) Father Lankester Merrin, an archaeologist-priest exhausted with life, has just completed a dig and is now faced with returning home to the states. But his heart is heavy with an  "inchoate presentiment" of impending evil, evil which he believes he will be called to face and overcome. Having long ago stripped off a youthful fancy that Lucifer, the one-time angel of God, the angel of light, was still trying to get back to God the Father, he now knew that evil sought no such return. Evil is pure evil, and will always come up against the light and against any goodness in this world, and once encountered, must be fought.  In his dig he had come upon a clue to his dreadful prescience of an impending confrontation, a small talisman against Pazuzu, a demon bringing sickness and disease. Before he leaves Iraq, to know at least the face of his enemy, Merrin seeks out and finds the full scale icon of Pazuzu in the ancient ruins of the palace of Ashurbanipal. Though Mr. Blatty doesn't explain his reference to  Ashurbanipal, the student of history, or anyone with an encyclopedia, could easily find out why the author alludes to this ancient Assyrian king. Ashurbanipal ruled his world by sheer terror and the dread of his evil passing. By his own words he would routinely flay the skins from his living enemies and drape them from their own battlements and corpse mounds. He took their people into slavery, but not before he had thrown their infant and adolescent children alive into great human bonfires. Therefore one can sense the horrible character of the demon god Pazuzu, evidenced by the evil king that revered him. And Merrin knew. "He bowed his head. He knew. It was coming."  The exorcism brings the cast of characters to a face-to-face encounter with all of their own alternate realities, whether it's Father Karras's penury and loss of faith, or Chris MacNeil's illusory world of luxury, fame, and wealth. Pazuzu, Satan, Lucifer, devil or demon; whatever invests the life of Regan, soon infects everyone else concerned, and all the previous cares and woes of the world drop away as they face this stark and dominant truth about our existence.  Why do we continue to honor and praise this story? Because it deserves praise and merits honor. Blatty changed horror as we understood it. How often does that happen?

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Hard back is great!
  

*by S***A on Reviewed in the United States on August 19, 2023*

Loved reading!

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Beautifully Written Escapism
  

*by M***N on Reviewed in the United States on September 4, 2020*

Most of us are probably familiar with the movie “The Exorcist,” the 1973 movie based on this novel by William Peter Blatty.  This 2011, 40th anniversary edition of the novel is a revised version by the author.  He said of it, “The 40th Anniversary Edition of ‘The Exorcist’ will have a touch of new material in it as part of an all-around polish of the dialogue and prose. First time around I never had the time (meaning the funds) to do a second draft, and this, finally, is it. With forty years to think about it, a few little changes were inevitable – plus one new character in a totally new very spooky scene. This is the version I would like to be remembered for.”The novel is very cinematic; the movie turned out to be very faithful to the book.  The places and characters are well drawn.  Over fifty years old now, the novel’s plot is not as taut as one might expect from a thriller, but it holds up well.  The shock value of the language has considerably lessened as American discourse has coarsened over the intervening years.  I suspect, too, that belief in possession is not as prevalent now, and so perhaps the subject matter is not as scary or shocking as it once was.The story is nonetheless compelling.  It is based on a real-life exorcism of a boy from Maryland, an anonymous individual who even church authorities are unsure was actually possessed.  Set in Georgetown, the story follows the apparent possession of the young daughter of a movie star, Chris MacNeil, who is shooting a movie on campus.  When foul play is suspected in the death of the director of the movie, a police detective, Lt. Kinderman, picks up the trail.  A troubled young Jesuit, Fr. Karras, who is himself a psychiatrist, is brought in eventually—much later in the story than you might think—to investigate.  Eventually, he teams up with an exorcist, Fr. Merrin, who is modeled after the famous French Jesuit paleontologist Teilhard de Chardin, to perform an exorcism.As a former Jesuit scholastic (one who studied for the priesthood in that order), I was particularly drawn to the priest characters.  Blatty, a Roman Catholic, did a remarkable job capturing what Jesuit priests are like.  Fr. Karras, with his struggles over his faith, is particularly well written.  All of the characters, except for the actor’s much put-upon personal assistant, Sharon, are well developed.  (One wonders why Sharon sticks with her job given the literal crap she has to put up with.)  A side character, Lt. Kinderman, stands out as a Columbo-like character, with many of the TV detective’s mannerisms and modus operandi.  I pictured Peter Falk (even though the character is supposed to have been obese) in the role, but in the movie Kinderman was played by Lee J. Cobb.Whether or not one buys into the reality of exorcism, this is an enjoyable novel, a bit of escapism that asks some still relevant questions about the nature of faith and the reality of the divine and personified evil.

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*Product available on Desertcart Japan*
*Store origin: JP*
*Last updated: 2026-01-26*