Proceedings of the International scientific and practical conference ―Science, Technology and Culture: Dynamics of Change in the XXI Century‖ (December 1921, 2025) / Publisher website: www.naukainfo.com. – Baku, Azerbaijan, 2026. – 90 p.

61 company clerk: ― Завжди є хтось винний, ... Але не завжди можна звинувачувати” [9, с. 8], ― від страху виростають крила” [9, с. 32] (the latter being the transformation of a freedom-loving soul (translated as – ― цілої”, а не ― сірої” людини (―whole‖ rather than ―grey‖ person); ― Вони були цілими людьми, не несли на собі прокляття сірості, але страждали від своїх фізичних вад. Я міг зрозуміти, як це їх послабило й налякало. Але все одно сердився” [9, с. 729]) through psychological overcoming of dangers. The author equates shame with laughter. The main character defeats the tyrant. Conclusions and prospects for further research. S. King mentions an infinite world that arose from collective (unconscious, created by the people) imagination, that is, from the heritage of humanity, including fairy tales, which influence the formation of the basis for myths and cultural symbols through the deepening of this type of psyche (as opposed to the personal unconscious – with forgotten psychological traumas, memories, and mental complexes that cause fear) with symbols and archetypes. The mythological motifs in the novel reflect the author's creative imagination about the victory of the world of good over the world of evil. S. King was concerned about the inventions and consequences of the game of war, the genetic code of the American nation, capable of providing immunity to the deformed part of the population that was susceptible to weakness, manipulation, indifference to the problems of humanity. He was interested in ways to counter evil and apocalypse as a guarantee of peace in the world. As an analyst of the psycho-emotional state, fears, and tense mental experiences of the narrator Charlie, the novelist believes in a parallel world in Empyrean with two moons and a multiverse. The rich linguistic content of the novel, with elements of Stephen King's dark fantasy ‗Fairy Tale,‘ is filled with rich symbolism from mythology, art, and biblical motifs (there are no direct quotations) with a deep level of meaning (fratricide and curses), allowing the lexical diversity of the artistic text to be revealed, the origins of which reach back to American cultural and literary heritage, attracting recipients, literary scholars and cultural studies specialists. The linguistic content serves as a means of