Jamie shoots Mother with Jacobs' gun, and she leaves Mary's body. A horrified Jacobs has a fatal stroke, and Jamie arranges his body to make it look like he shot Mary. Jamie flees the scene and relocates to Hawaii. Later, many of the people cured by Jacobs go insane and kill themselves and others, including Hugh Yates and Astrid who kills her partner and herself. Jamie, one of the few survivors of Jacobs' treatments, is left relying heavily on antidepressants. He recounts his vision of The Null to a psychiatrist, who does not believe him. He acknowledges and takes some small comfort in the possibility that the visions were "lies". However, the novel ends with Jamie going to visit his brother Con who has spent the last two years in a psychiatric hospital after attacking his partner (which Jamie blames on Jacobs’s treatment of Con’s injury decades before); as Jamie goes to leave, he sees a door calling his name and realises that one day he will die and have to face being trapped in The Null under the yoke of Mother. Reception Revival generally received positive reviews, with many critics noting the book's nods to classics of the horror genre, such as Mary Shelley's Frankenstein, Arthur Machen's The Great God Pan, and the cosmic-horror of H. P. Lovecraft. Danielle Trussoni of The New York Times described Revival as "pure Stephen King ... reading Revival is experiencing a master storyteller having the time of his life." Trussoni noted that the book "is filled with cultural allusions both high and low: In addition to the Bible and Frankenstein, there are references to Thomas Edison's work at Menlo Park, Dan Brown, The X-Files, the Forbidden Books (that is, grimoires banned and burned by the Catholic Church) ... As the Kingian references pile up, and become layered into the events of the fictional world, you fall deeper and deeper under the story's spell, almost believing that Jamie's nightmarish experiences actually happened." Elizabeth Hand, writing in The Washington Post also highlights Revivals influences: "King's restrained prose explodes in an ending that combines contemporary realism with cosmic horror reminiscent of H. P. Lovecraft's fiction and the classic film Quatermass and the Pit. The tormented relationship between Jamie Morton and Charles Jacobs takes on the funereal shading of an Arthur Miller tragedy." King's storytelling is praised as offering "the atavistic pleasure of drawing closer to a