And that, my friends, is all that remains of my original blog entry.
I published my finished-blog for this earlier today, and then - as usually happens with blogger - noticed the spacing/ formatting came out completely (and inexplicably) differently than how it looked in edit-mode. So, I went in to tidy things up, somehow hit "revert to draft," then as I tried to ctrl-Z backwards, it erased the entire blog, then auto-saved before I could do anything else.
I tried a bunch of different things to recover it, but to no avail. Seems to be gone forever. After whimpering helplessly for about twenty minutes, (the horror of all those hours of work receding into oblivion was perhaps the worst, though replacing that hard-won sense of "job well done"ness with the blank-screen of blogger-glitch was a close second) I posted a s.o.s. to the Google Groups board; maybe someone can tell me how to find it.
If so, well, see you then. But, to hang all my hopes on that is too much, so I'm just going to move on.
Rather than attempt to re-create it - because I think the attempt would be so discouraging that I'd give up the entire King's Highway project altogether - I can only say... well, I guess the Overlook got this one. Subsumed into the unholy terror of Room 217, or something. Add "King's Highway pt. 49" to the scrapbook in the boiler room.
(If it was the film, I'd say "Add me to the picture of the July 4th Ball at the end," but since that doesn't appear in the novel, it wouldn't be jake to mention here.)
I thought about trying to piece it all back together from my notes, but... it's just too much. Not only time-wise, but emotional-investment-wise. Also, I rarely keep my handwritten notes once I start saving the blog-in-question to Blogger, so I don't even have the particular passages from the text that I marked as noteworthy, nor my general outline. Too bad.
Here's a laundry list of what I remember, but it of course is not the same: I wrote about child abuse, cultural-colonization of adult over child a la Inventing the Child by Zornado, Disney, and Grimm's Fairy Tales, the Torrance family drama as classic dark mythology/ perfect symbolic representation of America in the 20th century, and what I considered a pretty good argument for The Shining as King's best novel. I talked briefly on the forthcoming Doctor Sleep and King's relationship with the book, then and now, how he psychoanalyzes himself and externalizes his fears in print, what it means to tell this tale when you're a young man with small children vs. as a grandfather with his own boiler-in-the-basement well-tempered and trials endured/ bested.
I focused only on the novel. The film will be next time; that one is still saved, thankfully, just got to finish it. If that one gets erased, I will take this as proof of the hotel not wanting me to write about it. Anyway, I didn't like how every review of the book I read mentioned the film. Understandable, of course, but I wanted to write one focusing only on the book.
Anyway, the labels - slim as they are - still exist from the lost version, and here now are the pics I used, robbed of context and caption, but as a mysterious road-map to a world taken unfairly from us. Look at them as the King's Highway equivalent "Croatoan" written in the trees. RIP, entry 49, Lost At Sea.
NEXT:
If the blog-gods be willing, Stanley Kubrick's The Shining
WE-THE-PEOPLE: I made an attempt to wrest satisfaction from the official Stephen King Forum about the shifting point-of-view in the central story, as discussed in pt. one. And I was wholly unsuccessful. ("TL;DR" was the general response.) If this changes, I'll update it here. Now... please prepare yourselves once again for the startling conclusion to...
DSO: So Marvel is adding their own original stories to the Dark Tower mythos?
Bryant: They are indeed. Or at least,
were. The past few arcs have been more or less straightforward adaptations of
The Gunslinger. And the first was a more or less straightforward adaptation of the young-Roland chunk of
Wizard and Glass. But between those, there were something like
five arcs that were almost wholly new. The first couple were good --
close to great, even -- but they went quickly downhill, and ended up
feeling like overblown fanfic.
I really need to get to work on a big old "episode" guide sort of post.
I think a lot of people might be interested in reading that.
DSO: I almost hope you don't, as then they would call to me like Dark Tower glass at the comic shop. There's even a conveniently collected grab-bag of at least one of the story arcs at the counter of my local, and I've resisted temptation so far. But damn it, when you do, I may have to give in.
Bryant: How do you
take the novel's dedication ("This is for Robin Furth, and the gang at
Marvel Comics.")? I would love to know exactly how aware King is of
those comics. I get the sense that he was involved with them
during the pre-production phase leading up to the first few issues, but
that he soon thereafter stopped having much involvement with them at
all. The timeline of this novel directly contradicts the comics; we see
here that Cort is still in bed, direly ill,
months after his defeat by David the hawk, whereas the Fall of Gilead arc
in the comics (I think it was that one) shows Cort more or less back to
being his old boisterous self, albeit with one less eye. I am fine
with the novel contradicting the comics,
because after the first three arcs or so, I think the comics lost their
way quite badly; it pleases me for King to contradict them.
DSO: Interesting. Reminds me of their old Star Wars comic.
Art and script by Walt Simonson immediately prior to his run on Thor. I was all about these from 1980 through the release of Jedi, then the series/ concepts seemed to drift.
Bryant: I used to have a few of those comics, but I never got to read as many of
them as I wanted. I seem to recall that Han had a smuggler friend that
was a giant green man-rabbit, or something like that. I remember
something to do with landing on a water planet. I remember a cyborg
assassin. We're talking dim, dim memories here ... but vibrantly dim,
if that makes any sense. I wonder, are there collections of that run of
Marvel comics? If so, I'm adding them to my vast, ever-expanding wish
list.
Thing is, given that dedication, I have to wonder what his
stance is. My guess is that he views them the same way he views movie
adaptations: i.e., he sees them as having essentially nothing to do with
his own work. I'm tempted to speculate that they
have, at the very least, kept him thinking about Mid-World, though; and
if that's the case, then I'm all for it.
DSO: I haven't looked at any of those,
so I can only comment from "afar," but I imagine King sees that stuff
as wholly separate from his stuff. Maybe, tho, as you say, it'll help
keep his mind in Mid-World! I know when Marvel got around
to Wolverine: Origin (the first mini-series; I never read anything but
that, tho I know it became an ongoing thing) it was because they didn't
want Hollywood to provide their own version. Maybe King will have
something similar happen when it comes to any or
all of the above.
Bryant:
Yeah, that makes sense. I get the feeling that the relationship with
Marvel is both more and less complicated than it would seem, and it
probably all boils down to King saying, "Yeah, sure, do what you
want, I don't care." I suspect he long ago decided to just trust Robin
Furth implicitly, so that he doesn't have to worry about it in any
active sense. His involvement -- and this is a pure guess on my part --
is probably limited to fielding the occasional
email question from Furth. Who, it should be pointed out, is on the
record as saying that for her, the comics represent a sort of
alternate-universe version of the story. It's all happening on another
level of the Tower, in other words. Fair enough.
DSO: Different levels of the Tower is
the gift that keeps on giving. Theme-wise, another home run for SK with
the absent-father/ avenge-the-mother/ childhood's-end stuff. Many moving
passages. I was very satisfied to see Big Ross's ax settle
into Kells' neck.
Bryant:
Indeed. I've heard the book described as unimportant or irrelevant as
regards its place with the Tower series, but the more I think about it,
the less inclined I am to agree. Roland's matricide at the
end of Book IV was a major event, and the series never really dealt
with it again in any way. As such, the emphasis it receives here --
even if it is the emphasis of showing that Roland was able to make peace
with his mother's memory -- does seem a bit essential
to me.
DSO: Absolutely essential. When I read Wizard and Glass
I thought ok, if this flashback has no real bearing on why Roland
wants to get to the Dark Tower (besides the whole saving-the-omniverse
reason) I'll cry foul. But holy crap, did it ever. I think the same
thing here and for this very reason you describe.
That bit about his Mom living again through him (i.e. "I could see him
falling into the tale, and that please me - it was like hypnotizing him
again, but in a better way. A more honest way. The best part, though,
was hearing my mother's voice. It was like
having her again, coming out from far inside me. It hurt, of course,
but more than not the best things do, I've found. You wouldn't think it
could be so, but - as the old-timers used to say - the world's tilted,
and there's an end to it." (pg. 106)) as he
told the story really got me. King get justified credit for many
things, but I think his ability to bring tears to one's eyes in
never-expected ways is perhaps underrated.
Bryant:
Agreed on all points. He's best-known as a scare-meister, and for good
reason, but the fact is that fear can't exist without love: sometimes
that's love merely for oneself (i.e., I love myself and really
don't want to get torn to pieces by this werewolf), but oftentimes,
it's love for someone else. I can't help but think of the death of
Edgar's beloved daughter in
Duma Key, which I found to be just utterly horrifying.
I'd say the vast majority of his fiction -- and all of his successful fiction -- is deeply rooted in concerns like that.
And I think
that makes its placement between Books IV and V interesting. A hell of a
lot of stories get told in that middle section of the eight-book
structure, but it seems appropriate; it's almost as if Roland
is being forced to come to terms with his past before he can proceed
onward toward the Tower.
And I'm with you; I think there is WAY more of that past that needs to
be told. Where it could/would fit in, though, I do not know. Let's
hope we get to find out someday!
DSO: Let’s discuss the
language and some specific quotes. I made note of a few as I went through
the novel. Let’s start with "Time was a face on the water, and like the
great river before them, did nothing but flow." (pg. 8) This
made me very nostalgic and damn, I can only imagine how often one's
heart aches as an old man. Hell, it aches enough now, on the
tail-end-of-my-thirties. One more: "It was not fair, it was not fair, it
was not fair. So cried his child's heart, and then his
child's heart died a little. For that is also the way of the world."
(pg. 256)
Bryant: As you will see the further
you progress into the series, the overriding emotion of The Dark Tower
seems to be melancholy for a bygone world. Which, really, is probably
the emotion that lurks behind most art; it's probably what
motivates most art. A sense of "this thing is gone, forever, but if I
write about it then maybe it can sorta still be here." This is a big
topic, and probably not tackle-able here, but I definitely think that
the way the Tower series takes past, present,
and future and then makes a smoothie out of them is a compelling facet
of those works.
By the way,
how tempting is it to never say the word "telephone" again, when such a
marvelous synonym as "jing-jang" has been brought into the world?
DSO: It really is, you're right. I like Thankee big-big,
too. Almost all the swap-words Roland uses (castles for chess, etc.) are
fun. Though it's funny which terms get their Mid-World equivalent and
which ones don't. Roland refers to a "lunatic asylum" in
Calla and I thought, 'Now you'd figure that'd be a term they'd have their own word for.'
Bryant:
Made-up languages and words can be a real annoyance if they're done
poorly, but I think King did pretty well. He didn't go too overblown
with it, which leads to why-not-here questions like the one you pose. But I can live with that. That sort of
thing is like cologne; a little dab is really all you need.
DSO: "Once I asked my Da what
civilized meant. 'Taxes,' Big Ross said, and laughed - but not in a funny way." (pg. 111)
Bryant:
You've got to love big-time liberal Stephen King taking a swipe at the
taxman. Even HE hates the taxman. That said, I think it's interesting
that he made the Covenant Man a somewhat ambiguous figure.
Evil, but also kinda helpful; what you need, mayhap, if not exactly
what you want. Someday, somebody will write a highly interesting book
analyzing King's work from a political standpoint. That person will not
be me.
DSO: Oh, I so hope that never
happens... It's probably inevitable.
As for this part, Man-Jesus… ""Before he could continue his dumbshow,
however, the sore above his nipple burst open in a spray of pus and
blood. From it crawled a spider the size of a robin's egg. Helmsman
grabbed it, crushed it, and tossed it aside. Then,
as Tim watched in horrified fascination, he used one hand to push the
wound wide. When the sides gaped like lips, he used his other hand to
reach in and scooped out a slick mass of faintly throbbing eggs. He
slatted these casually aside, ridding himself of
them as a man might rid himself of a palmful of snot he has blown out
his nose on a cold morning." Now that's how you do that. I'm always impressed with a) his willingness to "go
there," and b) how well he can wax-lyrical about such things. Whether
it's describing the mutie horrors of Mid-World or Trooper Wilcox's
demise or Rogette's face-splitting death in
Bag of Bones, there's a beauty to the prose that can't be denied.
Bryant: The
stuff with the spider coming out of Helmsman is just pure nightmare
material. God, I hope I die before I ever have to suffer
through seeing that in a movie.
That said, that particular stretch of the novel was one of my favorites;
I loved those repugnant fellows.
DSO: I agree on the mud-men. Not only
did I enjoy the setting/ events of that part of Tim's journey, it was
great to "meet" them.
And it tied in nicely (if sadly) with the whole theme of wistful memory/ sad sacrifice. Poor bastards.
"Time is a keyhole, he thought as he looked up at the stars... We sometimes bend and peer
through it. And the wind we feel on our cheeks when we do - the
wind that blows through the
keyhole - is the breath of all the living universe." (pg. 245) I
was wondering when the title would make sense/ when these themes of
starkblasts would coalesce. Good stuff.
Bryant: The quotation about how time is a
keyhole, and the wind that blows
through it is the living universe ... man, that's probably one of
the better bits King has ever written. He's continually charged with
having passed his prime eons ago, and I'm continually skeptical; and if
he HAS passed his prime, I think he passed
it very slowly, so that he is still able to turn around and shake its
hand once in a while.
DSO: That charge holds little sway with me. I like that handshake-description, though.
Bryant:
Speaking of starkblasts, a
question pops to mind: what do you make of it? Do you think
that's some sort of sci-fi type of storm that's purely indigenous
to Mid-World? Do you think it's a result of the (probably) nuclear
cataclysm that brought the Old world to its end? Do you think it's a
result of what the Crimson King is doing, and a byproduct of the world
Moving On? Or none of the above?
DSO: I hadn’t considered any of those,
to be honest, but I can’t answer ‘none of the above,’ either. I assumed
it was just some strange weather phenomenon unique to Roland’s world
but not necessarily as a result of the Old Ones. That’s
a cool idea, though, and certainly more than plausible. Perhaps it’s
even alluded to in the text. I didn’t get a sense that it was related to
the CK, though, but perhaps these things gather strength or are even
triggered by his breaking down the Beams. Not like the beam-quakes that come later (sorry, editing this a few weeks after this conversation occured, so I'm as confused-about-sequence-of-events-and-time as Ted Brautigan) but maybe some temporal-tear-in-everything caused simply by the CK doing his business.
Bryant:
You're on the record as to wanting to read a series of spin-off Tim
Stoutheart adventures. Could much the same be said of Sister Everlynne,
the badass mountainous nun? Man, I
definitely want more of her; I can only hope that if King
ever gets around to writing the tale of how Gilead fell to John Farson,
and the tale of how Roland finally got even with Rhea, he will find a
way to incorporate Everlynne into those tales.
She's just too good a character to exist only on a few pages here.
DSO: Agreed 100%. I hope the name of said novel is Bad-Ass Mountainous Nun.
Let's make a list...
- Roland gets even with Rhea
- Fall of Gilead
- Thomas (from Eyes of the Dragon) meets up with Flagg
- Further Adventures of Tim Stoutheart
and it could be that this is revealed in the last two volumes, but I for
one would love a novel-length story of Arthur Eld and Maerlyn and how
the hell all this got started.
I'd also love a book about the Outlaw David Quick, and perhaps Andy
(though I suspect his time is short... I'm about 100 pages from the end
of
Calla). Also: Directive Nineteen and North Central Positronics;
it'd be fun if there was a fake-welcome-to-NCP sort of book published,
or an Atlas of Mid-World coffee table book.
Bryant: I
would add several things to that list, but seeing as how they pertain to
events in the final book, I shan't mention them here. But I agree with
all of the ones you mention.
There also needs to be a third novel in the Talisman-verse;
neither of the extant ones is high on my list of favorite King books,
but they still cry out for conclusion. And presumably, that would have
DT ramifications.
Can I assume
you were reading the mass-market hardback? Probably. If so, how great
is that cover art? I loved it the second I saw it, months before the
book came out, but once I'd actually read the book it made
it even better.
Here it is again.
Sadly, the mass-market edition did not contain the
outstanding interior art by Jae Lee. That's a real shame, and I'm not
sure why King and his publishers decided to go that route. I can't
imagine it made Jae Lee very happy, either; this
was an opportunity for a HUGE number of people to see his work who had
never seen it before. Oh, well; I sure am glad I decided to pony up for
that limited edition.
DSO: Mine does not have
interior art, which makes me mad to discover was an edit/omission. It’s
one of my all-time favorite King covers, though, particularly once I was
finished and looked it over. Rich in detail and quite a stunning
illustration.
Bryant: Just a fantastic cover; the one
for the paperback seems to be from the same artist, but is a different
drawing (painting?).
It's quite good, too.
The decision not to put the Jae Lee art in the
mass-market editions is just galling, mainly because it breaks
precedent with the rest of the series. I get making artwork like that
exclusive to limited editions; I really do. But consistency
matters, and in this instance I think the wrong decision was made.
As somebody who recently read Wizard and Glass
and has since moved on to Wolves of the Calla, how did The
WindThrough the Keyhole
strike you in terms of tone and voice? Does it seem consistent with the
rest of the series? Or does it instead seem like what it is, an add-on
written years after the fact?
DSO: I think the voice is consistent.
Outside of what you mentioned in your other email about the confusion of
the omniscient point of view of the story within a story. Which isn't
so much a tone/voice thing, I guess, but just to mention
it.
Welcome back to the Dark Tower National Park and Wildlife Preserve! You're in for a special treat this time around, as we are joined by our trail guide himself, the man-behind-the-curtain at Truth-Inside-the-Lie and You-Only-Blog-Twice, Mr. Bryant Burnette. Please prepare yourself for... part one of...
THE DOG-TRUTH-BLOG INSIDE THE OMNIBUS.
Together Again For the First Time!! And other hype!!
Overview: Although published in early 2012, this tale-within-a-tale-within-a-tale takes place between the events of Wizard and Glass and Wolves of the Calla.
Tale Number One, "Starkblast": The beginning and end of the book describe Roland's ka-tet seeking shelter from a "starkblast," i.e. a Perfect Storm that occurs in Roland's world every so often and that bumblers like Oy can predict. Roland passes the time by telling Eddie, Susannah, and Jake (and Oy, I guess) an adventure he had shortly after the flashback-events of Wizard of Glass; within this tale, he tells...
Tale Number Two, "Skin-Man": A few months after the flashback-events described in the pink glass at the end of Wizard and Glass, Roland is sent by his father / dinh with another young gunslinger named Jamie to investigate a possibly-supernatural murder spree in the outland mining town of Debaria. A "skin-man," i.e. a shapeshifter who may not even know he is the monster, is preying on the miners and families there. With the help of a mountainous nun named Everlynne and a Richard Farnsworth-esque Sheriff named Peavy, Roland rescues the survivor of one of these attacks, a young boy named Bill, concocts a plan, lays his bait, and gets his man in typical Gunslinger fashion, i.e. with extreme-prejudice.
Before this tale wraps up, he tells young Bill
Tale Number Three, "The Wind Through the Keyhole," about a boy named Tim, whose father is betrayed and killed by his wood-cutting partner, a dickhead man named Kells, a husband in the tradition of Rose Madder's Norman Daniels, or King Claudius from Hamlet. Our old friend Mr. Flagg aka the Ageless Stranger shows up as "Marten Broadcloak" aka The Covenant Man to collect the king's taxes from everyone.
While there, he puts the idea in young Tim's mind that Tim can save his mother from their plight (which now includes blindness from one of Kells'
beatings...) and avenge his murdered father by traveling to the end of the world to see old Maerlyn:
who, we eventually learn, has been imprisoned there, on command of the Crimson King.
Tim leaves to accomplish this and along the way, encounters an impish fairy, a mud dragon, and a tribe of mud-men who hail him as a gunslinger on account of the hand-cannon he carries, given to him by his elderly ex-tutor before he left. (King will always stick a writer, tutor, or teacher into his stories, even ones that take place only in the enchanted forests of Mid-World memory) These mud-men give him Daria, a talking directional device with the patented North Central Positronics guarantee stamped on it, and it leads him to "North Forest Dogan," an enormous tower with a tiger in a cage outside it. A starkblast is brewing, and Tim is certainly to be killed when it comes...
(From here on out, Bryan's-thoughts will be represented by the abbreviation for this blog, i.e. DSO, while Bryant's will be represented by Bryant. I thought about giving us great aliases like Doctor Phil and The Alabama Gunslinger, or Todash Malone and the Positronic Five - or even going the easy-to-confuse / visually-repetitive Bryan/ Bryant route - but... well, I didn't. One last word of trail-caution, travelers: anything unspoiled by the above will be spoiled, and spoiled Gunslinger-style, from here on out. Away we go.)
DSO
: I almost hate
talking about it, as the surprise of the tyger turning into Maerlyn - in the
flesh! - is just fantastic. Is this his only appearance? I can
only imagine how cool it must have been to see him pop up here. How was this for you, having read them all? Is there anything in here
that answered a lingering question or rewarded the long patient reader? Or is this Maerlyn's only appearance?
Bryant: So as to save you any needless
anticipation, I will verify that this is indeed Maerlyn's only appearance in
the series. As far as I know. Within the overall context of the
series (if not the entire Dark
Tower storytelling
universe), I'm not entirely persuaded that it makes any sense. After all,
this isn't young Roland we're talking about; it's young Tim, a character who --
so far as I can tell -- is of zero significance to the overall Tower
mythos. And yet, for Flagg and Maerlyn to have taken such an active role
in his life -- a development that might be coincidental, although I have
a hard time reading it that way -- seems awfully significant.
My personal feeling on the matter
is that Maerlyn almost HAS to serve as the opposite to the Crimson King.
In other words, the CK is working to bring down the Tower, and is very public
and vocal and vigorous about it. Meanwhile, opposing him -- but almost
without anyone ever knowing it (which would explain why he never pops up in any
of the other books) -- is Maerlyn, a force for the power King refers to as the
White. I am tempted to say that he and the Turtle (in It)
are one and the same, and that that is the nature of the sort of thing Maerlyn
does: he puts himself in the position to help bring about small -- relatively
small, at least -- events that help to steer the universe as a whole away from
collapse.
That's obviously pure speculation, and it's SO unsupported by evidence that it
may as well be fanfic. But I kinda like it, personally. And again,
once you start taking a truly macro view of what King is doing with the Tower
series -- by which I am referring to the overall series of connected works,
however big or "small" you want to define it as being -- then I think
you almost have to start posing questions like that, whether or not you decide to
answer them for yourself.
This is all very complicated, and I dearly hope that King plans to tidy it all
up a bit before he proceeds to that clearing at the end of the path.
DSO
: I've been intrigued by the ongoing Arthur Eld/ Excalibur/ Maerlyn's Glass
concept in general. Other worlds than these, indeed.
Bryant: Doesn't that make it seem almost
mandatory for there to be some sort of spinoff series of Tim Stoutheart novels
that explains exactly why, and for what purpose, these cosmic beings are so
interested in such a small figure?
DSO: I thought the same thing. Setting us up for another
Mid-World spell? Tales from Old Mid-World? I'd eat that shit for breakfast, as
Shooter McGavin might say. Especially since he becomes a gunslinger later in
life. (Tim, that is.)
Hell, instead of
Haven, why doesn't somebody just make a Tim Stoutheart
tv series?
Bryant: Oh, don't get me started on how lousy Haven is.
It astonishes me that so many King fans are giving this crap a pass. I
mean, I've seen worse, but compared to any number of shows currently active on
television, this shit just don't pass muster.
DSO: Does Tim appear again? Or is that one of those "tales
for another days," a la Flagg vs. Thomas from Eyes, or the further
adventures of Wyzer and Dorrance from Insomnia, etc.? I hope we get at
least a dozen more Dark Tower books... not to be morbid, but once King passes,
will Joe and Owen have any interest in writing a few? They have their own
distinct styles, and, of course, it doesn't have to be someone in the King
family to do it...
Bryant: If Joe Hill or Owen King do it
someday, I'd be okay with that (although even with them, I'm not sure I think
it would work). Otherwise, I hope and pray it never ever ever ever EVER
happens, because I simply don't think anyone could channel whatever King is
channeling.
DSO: Yeah, it's probably not a good idea, even if Owen or Joe (or
Tabitha or Naomi for that matter) wanted to do it.
Bryant
: How awesome would it be if Naomi turned out to be the
one to continue to King family's march toward the Tower? It seems
unlikely, though; as far as I know, she's never published anything.
It's more likely that Robin Furth would be King's proxy in this regard, and
evidence indicates that that wouldn't be a very good idea. She published
a sorta-prequel to
The Little Sisters of Eluria in the backs of the
comics, and it ... was not very good. Didn't match tonally, didn't match
plot-wise; it just plain didn't work.
DSO: I'd love to see at least a trilogy of Tim's adventures. I'd settle for one. Maybe Marvel
will go in this direction.
Bryant
: I get the sense that Marvel's days on the path of the
Beam are numbered, but you never know.
I'd love to see a movie version of The
Wind Through the Keyhole. Just the central tale, with no allusions to
the larger story. I think that could make a pretty solid dark-fantasy
flick.
DSO: You’re right. As soon as he leaves in search of
Maerlyn, things go from zero to ninety in that direction.
It would even work as
a Rankin-Bass animated feature, perhaps particularly as one.
If anyone decided to make another Rankin/Bass movie, of course.
Similarly, Directive Nineteen. Damn it, what the hell!? I so
wanted to learn what that was. Daria was great, particularly the burgeoning
friendship she developed with Tim. One other thing re: Daria: I get a kick out
of how my parents/ that generation;s approach things like GPS devices. It's
perfectly understandable - they're cool as hell , for any generation - but it
must really be Star-Trek-For-Real for Baby Boomers to interact with GPS devices
and Siri and such. I know my Dad gets a little-boy look on his face when he
talks about his TomTom. Can't blame him. I particularly liked that aspect in
"Big Driver," and I enjoyed it here, as well.
Bryant: Structurally, and in terms of its implications for the
macro view of the Tower series, this is a problematic novel. But Daria is
one of the many, many, many reasons why I am willing to just overlook all of
that in favor of enjoying the book. Daria is great! I also loved
the little malevolent fairy, whose name I cannot remember. Within my
experience as a reader, there is nobody who comes even close to being as good
as King at creating memorable characters. This novel is a fairly slight
work, all things considered, and yet it fairly bursts with excellent new
characters, at least one of whom is nothing more than a souped-up GPS
unit. Fascinating.
As for "Directive 19," I
do not believe it makes any return appearances, although I could be wrong about
that. It might in Book V, actually. Either way, the number 19
definitely appears again.
DSO: Andy responds with "Directive Nineteen" a few
times in Calla, but I'm disappointed to hear we get no further
explanation. Although, for the most part, I kind of like being dropped into the
mystery along with the characters and focusing on their quest/ adventures
rather than a big info-dump of the world-that-was - more tantalizing that way.
Bryant: It's frustrating, but it also makes a lot of
sense. I think there is definitely room to explore the whole sci-fi side
of this story via a spinoff novel of some sort, but I'm not sure how it could
be dropped into an actual Dark
Towernovel or
story without bringing in a character who would basically just be an info-dump
device. And hey, if that's what it takes, I'm all for it ... but
something tells me that unless King can invent for himself a story to hang it
all on, then it'll never happen.
And though that would kinda disappoint me, I'd be okay with it, too. I
can sorta concoct my own half-baked theories, which is the pleasure of
mysterious-and-unrevealed-mythology stories like the ones King is hinting at
here. The downside is that you just know some professional
hack will eventually decide to set 'em all down on paper and sell 'em to
us. I'd like to think that King's estate will persist long enough to
either block that altogether, or at least ensure that it ends up being good,
but hey, you never know. Either way, I'll buy it, because I am a sucker.
DSO: Me, too. Along those lines, I'll have to buy some kind of poster with all the Beam
guardians and the rhymes after this is done, or make one myself. I just love
the concept so much. It reminds me a lot of Elric/ the Eternal Champion. I have
yet to see that come up in Dark Tower commentary/ King interviews, so probably
just one of those Jungian "coincidences."
You mention structural problems, and I just want to spend some time on those. North Central Positronics -
I'm a total nerd for this idea and get excited anytime it appears. I'm dying
to learn more, though I'm not sure if I actually will.
Bryant: Ah, yes, good old NCP. You know, it only now (at this late date) occurs to me that
I have no bleedin' idea what "positronics" is. (Are?)
DSO: Only Dr. Soong knows for sure.
Bryant: Sometimes the word -- if we're to the point where this is considered a
word (and I think we are) -- "lol" is used less than literally, Here, I
literally LOLed.
(Here is Dr. Soong, for those readers who did not have brought TNG to mind by the above.)
DSO: Similarly, though, I have no idea what the hell "Dipolar Computers" are. I keep meaning to look it up.
Bryant: I
seem to recall that Book V touches on some of this a bit, and that there might
be some vague hints in the final two volumes as well; but King never tackles it
head-on, sadly. I am both okay with that AND annoyed by it.
DSO: I was a bit confused by what the point of the North Forest
"dogan" was/is; is this something explained more in the books to
come? Or is it (like Directive Nineteen) left a mystery? Also, since
NCP plays such a self-identified part in Roland's telling of The WindThrough the Keyhole
story, he's obviously familiar enough with concept. He might not know what it
means, but as a term he'd recognize... But I don't recall his mentioning this
in The Waste Lands when this first started appearing. (I flipped through the section right after they destroy The Bear and
didn't see anything) Of course, Roland was losing his mind at the time,
and grappling with other stuff. But given its prominence in the Wind
Thru the Keyhole tale his mom told him, just curious.
Bryant
: Here is where we get into an element of TWTTK that
does not work: it is entirely too vague as to whether the central tale of Tim
Stoutheart represents a story that Roland is literally telling the young boy
who has been menaces by the skin-man (and, consequently, to his tet-mates and
to us), or if that section is merely a representation of the tale Roland is
telling. In other words, that section represents the "real"
version of the story Roland is telling (which was in turn told to him by
Gabrielle, his mother). I say that not because there is any evidence of
it, but because if you assume that it is instead the literal transcription of
the story as told by Roland, then it makes no sense; there is too much
information in it that it seems unlikely that Roland could have possessed, such
as the strong hint that the Covenant Man is actually both Randall Flagg and
Marten Broadcloak. How would his mother have known this? How would
whoever told her the story have known it?
DSO: Yeah, good point! I didn't think of that, but
absolutely. A few sentences (maybe even
just one) would've cleared it up. I mean, in Wizard and Glass, the
traveling-through-the-glass conceit holds it all together
very well. I don't know why he didn't try something similar (not one of
Maerlyn's Globes, per se, but something) here.
Bryant: It simply begs too many questions, so I choose to see it as an omnisicient-POV
representation of the core tale as told by Gabrielle to Roland to the
boy. I'm aware that that is a convoluted mess, but it's the only way I
can make it all make sense; truthfully, it doesn't work, but the tale itself is
so damned good that I'm inclined to take the approach of making shit up in
order to MAKE it all make sense.
The more I think about this element, the more
worrisome it seems. In looking at the text, the first
"Skin-Man" section ends with Roland saying -- AS dialogue -- the
first paragraph of (the "The WindThrough
the Keyhole" section). So really, the text itself gives
evidence that that entire section IS, in fact, meant to be taken literally as a
transcription of the story Roland tells Bill.
And yet, I just don't think that can possibly be the case, due to the
implications it would hold about what Roland does and doesn't know.
This might be a question worth posing on the messeage-boards at King's
site. Maybe Ms. Mod could fish an answer out of King for us. How
cool would that be?
DSO: That'd be great. I'll post it up there and see if anything develops.
Bryant: How did you like the skin-man
sections of the book?
DSO: I liked this bit, but... there wasn't
much to it, was there? As a book-end to the Tim Stoutheart story, it serves its
purpose, but it seemed a bit like a monster-of-the-week sort of episode. I did
enjoy the revelation of the demon-things under the mines and wanted to learn
more about that.
Bryant: It's definitely a vignette moreso
than anything else, but it felt moderately crammed full of import to me.
For one thing, since the stuff with Cort seemingly answers the question --
which had been a persistent one in my brain for several years -- about how
canonical the comics are, that felt like a big weight had been lifted.
And I think also the central conceit is cool, for all its slightness.
It's a nice glimpse at the sort of thing that a Gunslinger has to deal with on
a regular basis; in that way, its very lack of importance seems ... important. It also reinforces the notion of ka being a wheel. After all, this is a
dangerous and bloody assignment, but it's a minor one; and yet despite that, it
leads Roland to some fairly vital information about his mother, which in turns
leads him to some solace. And that, arguably, restores enough of his
confidence and self-worth that it will later set him on the road to the
Tower. Without this episode, or some equivalent to it, would Roland have
come back to himself enough to take on a quest like that? Maybe; maybe
not.
DSO: I wanted to find out what happened to the kid in later years. He goes to live with Everylnne and the sisters of Serenity.
I'd like to think he eventually made his way to Gilead -
not that I want to discover he died or anything.
Bryant: I'm with you; I'd kinda like to know what happens to Bill after this, too.
DSO: Otherwise, the only structural distraction for me was Susannah's "sugar" tic. I kept a count of how many times she called
someone "sugar." Only 6 this time, with 2 "honeybee"s.
Wouldn't be a bad total for the whole story, but she's only in the novel for 33
out of the 309 pages, so... kind of high.
Bryant: Here's my viewpoint on that: King's
tendency to give characters verbal tics like that is one his absolute worst
characteristics, and it's a shame nobody has ever -- seemingly -- talked him
out of it. All that "beep-beep, Richie" and the inane things
that come out of Trashcan Man's mouth and all the "SSDD" in Dreamcatcher
so forth ... it just doesn't work for me, nine times out of ten.
Susannah has some of those characteristics, and so does Eddie, although they
don't bother me all that much, because ... well, to be honest, I don't know
why. And to be fair, the only time it's ever really taken me out
of a story to any meaningful degree is in Lisey's Story, which has an
abominable amount of it.
DSO: It doesn't really bother me,
really, either, any more than Wireman's in Duma Key with his endless "muchachos;" it's just King's style, I guess. I wonder,
though, how no one at Scribner has pointed this out, if only to shield him from
more unflattering accusations than "his style." Whether it's Susannah or Sara Tidwell from Bag of Bones, you'd figure someone would've said "Hey, uh..." Or maybe they do, and
SK is insistent. That would be funny. Maybe he's just got a thing for The Archies:
Bryant: I suspect that this is a side-effect of King "seeing" his characters
so clearly as he writes them; in his brain, that's just what they talk like, so
he is merely transcribing them accurately.
NEXT!
Pt. 2, Wherein we Discuss Quotes, the Art, Starkblasts, and More.
