The Dark Tower IV Wizard and Glass

This is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events or locales is entirely coincidental.

 

WIZARD AND GLASS

 

A
Signet
Book / published by arrangement with the author

 

All rights reserved.

Copyright ©
2003
by
Stephen King

This book may not be reproduced in whole or part, by mimeograph or any other means, without permission. Making or distributing electronic copies of this book constitutes copyright infringement and could subject the infringer to criminal and civil liability.

For information address:

The Berkley Publishing Group, a division of Penguin Putnam Inc.,

375 Hudson Street, New York, New York 10014.

 

The Penguin Putnam Inc. World Wide Web site address is
http://www.penguinputnam.com

 

ISBN:
1-101-14644-3

 

A
SIGNET
BOOK®

Signet
Books first published by The Signet Publishing Group, a member of Penguin Putnam Inc.,

375 Hudson Street, New York, New York 10014.

SIGNET
and the “
S
” design are trademarks belonging to Penguin Putnam Inc.

 

Electronic edition: August, 2003

ALSO BY STEPHEN KING
NOVELS

Carrie

’Salem’s Lot

The Shining

The Stand

The Dead Zone

Firestarter

Cujo

THE DARK TOWER I:

The Gunslinger

Christine

Pet Sematary

Cycle of the Werewolf

The Talisman (with Peter Straub)

It

The Eyes of the Dragon

Misery

The Tommyknockers

THE DARK TOWER II
:

The Drawing of the Three

THE DARK TOWER III
:

The Waste Lands

The Dark Half

Needful Things

Gerald’s Game

Dolores Claiborne

Insomnia

Rose Madder

Desperation

The Green Mile

THE DARK TOWER IV
:

Wizard and Glass

Bag of Bones

The Girl Who Loved Tom Gordon

Dreamcatcher

Black House (with Peter Straub)

From a Buick 8

 

AS RICHARD BACHMAN

Rage

The Long Walk

Roadwork

The Running Man

Thinner

The Regulators

 

COLLECTIONS

Night Shift

Different Seasons

Skeleton Crew

Four Past Midnight

Nightmares and Dreamscapes

Hearts in Atlantis

Everything’s Eventual

 

NONFICTION

Danse Macabre

On Writing

 

SCREENPLAYS

Creepshow

Cat’s Eye

Silver Bullet

Maximum Overdrive

Pet Sematary

Golden Years

Sleepwalkers

The Stand

The Shining

Rose Red

Storm of the Century

This book is dedicated to Julie Eugley and Marsha DeFilippo. They answer the mail, and most of the mail for the last couple of years has been about Roland of Gilead—the gunslinger.

Basically, Julie and Marsha nagged me back to the word processor. Julie, you nagged the most effectively, so your name comes first.

Contents

INTRODUCTION ON BEING NINETEEN (AND A FEW OTHER THINGS)

ARGUMENT

PROLOGUE BLAINE

PART ONE RIDDLES

CHAPTER I BENEATH THE DEMON MOON (I)

CHAPTER II THE FALLS OF THE HOUNDS

CHAPTER III THE FAIR-DAY GOOSE

CHAPTER IV TOPEKA

CHAPTER V TURNPIKIN’

PART TWO SUSAN

CHAPTER I BENEATH THE KISSING MOON

CHAPTER II PROVING HONESTY

CHAPTER III A MEETING ON THE ROAD

CHAPTER IV LONG AFTER MOONSET

CHAPTER V WELCOME TO TOWN

CHAPTER VI SHEEMIE

CHAPTER VII ON THE DROP

CHAPTER VIII BENEATH THE PEDDLER’S MOON

CHAPTER IX CITGO

CHAPTER X BIRD AND BEAR AND HARE AND FISH

INTERLUDE KANSAS, SOMEWHERE, SOMEWHEN

PART THREE COME, REAP

CHAPTER I BENEATH THE HUNTRESS MOON

CHAPTER II THE GIRL AT THE WINDOW

CHAPTER III PLAYING CASTLES

CHAPTER IV ROLAND AND CUTHBERT

CHAPTER V WIZARD’S RAINBOW

CHAPTER VI CLOSING THE YEAR

CHAPTER VII TAKING THE BALL

CHAPTER VIII THE ASHES

CHAPTER IX REAPING

CHAPTER X BENEATH THE DEMON MOON (II)

PART FOUR ALL GOD’S CHILLUN GOT SHOES

CHAPTER I KANSAS IN THE MORNING

CHAPTER II SHOES IN THE ROAD

CHAPTER III THE WIZARD

CHAPTER IV THE GLASS

CHAPTER V THE PATH OF THE BEAM

AFTERWORD

INTRODUCTION
O
N
B
EING
N
INETEEN
(
AND A
F
EW
O
THER
T
HINGS
)
I

Hobbits were big when I was nineteen (a number of some import in the stories you are about to read).

There were probably half a dozen Merrys and Pippins slogging through the mud at Max Yasgur’s farm during the Great Woodstock Music Festival, twice as many Frodos, and hippie Gandalfs without number. J.R.R. Tolkien’s
The Lord of the Rings
was madly popular in those days, and while I never made it to Woodstock (say sorry), I suppose I was at least a halfling-hippie. Enough of one, at any rate, to have read the books and fallen in love with them. The
Dark Tower
books, like most long fantasy tales written by men and women of my generation (
The Chronicles of Thomas Covenant,
by Stephen Donaldson, and
The Sword of Shannara,
by Terry Brooks, are just two of many), were born out of Tolkien’s.

But although I read the books in 1966 and 1967, I held off writing. I responded (and with rather touching wholeheartedness) to the sweep of Tolkien’s imagination—to the ambition of his story—but I wanted to write my own kind of story, and had I started then, I would have written his. That, as the late Tricky Dick Nixon was fond of saying, would have been wrong. Thanks to Mr. Tolkien, the twentieth century had all the elves and wizards it needed.

In 1967, I didn’t have any idea what my kind of story might be, but that didn’t matter; I felt positive I’d know it when it passed me on the street. I was nineteen and arrogant. Certainly arrogant enough to feel I could wait a little while on my muse and my masterpiece (as I was sure it would be). At nineteen, it seems to me, one has a right to be arrogant; time has
usually not begun its stealthy and rotten subtractions. It takes away your hair and your jump-shot, according to a popular country song, but in truth it takes away a lot more than that. I didn’t know it in 1966 and ’67, and if I had, I wouldn’t have cared. I could imagine—barely—being forty, but fifty? No.
Sixty?
Never! Sixty was out of the question. And at nineteen, that’s just the way to be. Nineteen is the age where you say
Look out, world, I’m smokin’ TNT and I’m drinkin’ dynamite, so if you know what’s good for ya, get out of my way—here comes Stevie.

Nineteen’s a selfish age and finds one’s cares tightly circumscribed. I had a lot of reach, and I cared about that. I had a lot of ambition, and I cared about that. I had a typewriter that I carried from one shithole apartment to the next, always with a deck of smokes in my pocket and a smile on my face. The compromises of middle age were distant, the insults of old age over the horizon. Like the protagonist in that Bob Seger song they now use to sell the trucks, I felt endlessly powerful and endlessly optimistic; my pockets were empty, but my head was full of things I wanted to say and my heart was full of stories I wanted to tell. Sounds corny now; felt wonderful then. Felt very cool. More than anything else I wanted to get inside my readers’ defenses, wanted to rip them and ravish them and change them forever with nothing but story. And I felt I could do those things. I felt I had been
made
to do those things.

How conceited does that sound? A lot or a little? Either way, I don’t apologize. I was nineteen. There was not so much as a strand of gray in my beard. I had three pairs of jeans, one pair of boots, the idea that the world was my oyster, and nothing that happened in the next twenty years proved me wrong. Then, around the age of thirty-nine, my troubles set in: drink, drugs, a road accident that changed the way I walked (among other things). I’ve written about them at length and need not write about them here. Besides, it’s the same for you, right? The world eventually sends out a mean-ass Patrol Boy to slow your progress and show you who’s boss. You reading this have undoubtedly met yours (or will); I met mine, and I’m sure he’ll be back. He’s got my address. He’s a mean guy, a Bad Lieutenant, the sworn enemy of goofery, fuckery, pride, ambition, loud music, and all things nineteen.

But I still think that’s a pretty fine age. Maybe the best age. You can rock and roll all night, but when the music dies out and the beer wears off, you’re able to think. And dream big dreams. The mean Patrol Boy cuts you down to size eventually, and if you start out small, why, there’s almost nothing left but the cuffs of your pants when he’s done with you. “Got another one!” he shouts, and strides on with his citation book in his hand. So a little arrogance (or even a lot) isn’t such a bad thing, although your mother undoubtedly told you different. Mine did.
Pride goeth before a fall, Stephen,
she said . . . and then I found out—right around the age that is 19 x 2—that eventually you fall down, anyway. Or get pushed into the ditch. At nineteen they can card you in the bars and tell you to get the fuck out, put your sorry act (and sorrier ass) back on the street, but they can’t card you when you sit down to paint a picture, write a poem, or tell a story, by God, and if you reading this happen to be very young, don’t let your elders and supposed betters tell you any different. Sure, you’ve never been to Paris. No, you never ran with the bulls at Pamplona. Yes, you’re a pissant who had no hair in your armpits until three years ago—but so what? If you don’t start out too big for your britches, how are you gonna fill ’em when you grow up? Let it rip regardless of what anybody tells you, that’s my idea; sit down and
smoke
that baby.

II

I think novelists come in two types, and that includes the sort of fledgling novelist I was by 1970. Those who are bound for the more literary or “serious” side of the job examine every possible subject in the light of this question:
What would writing this sort of story mean to me?
Those whose destiny (or ka, if you like) is to include the writing of popular novels are apt to ask a very different one:
What would writing this sort of story mean to others?
The “serious” novelist is looking for answers and keys to the self; the “popular” novelist is looking for an audience. Both kinds of writer are equally selfish. I’ve known a good many, and will set my watch and warrant upon it.

Anyway, I believe that even at the age of nineteen, I recognized the story of Frodo and his efforts to rid himself of the One Great Ring as one belonging to the second group. They
were the adventures of an essentially British band of pilgrims set against a backdrop of vaguely Norse mythology. I liked the idea of the quest—
loved
it, in fact—but I had no interest in either Tolkien’s sturdy peasant characters (that’s not to say I didn’t like them, because I did) or his bosky Scandinavian settings. If I tried going in that direction, I’d get it all wrong.

So I waited. By 1970 I was twenty-two, the first strands of gray had showed up in my beard (I think smoking two and a half packs of Pall Malls a day probably had something to do with that), but even at twenty-two, one can afford to wait. At twenty-two, time is still on one’s side, although even then that bad old Patrol Boy’s in the neighborhood and asking questions.

Then, in an almost completely empty movie theater (the Bijou, in Bangor, Maine, if it matters), I saw a film directed by Sergio Leone. It was called
The Good, the Bad, and the Ugly,
and before the film was even half over, I realized that what I wanted to write was a novel that contained Tolkien’s sense of quest and magic but set against Leone’s almost absurdly majestic Western backdrop. If you’ve only seen this gonzo Western on your television screen, you don’t understand what I’m talking about—cry your pardon, but it’s true. On a movie screen, projected through the correct Panavision lenses,
TG, TB, & TU
is an epic to rival
Ben-Hur.
Clint Eastwood appears roughly eighteen feet tall, with each wiry jut of stubble on his cheeks looking roughly the size of a young redwood tree. The grooves bracketing Lee Van Cleef’s mouth are as deep as canyons, and there could be a thinny (see
Wizard and Glass
) at the bottom of each one. The desert settings appear to stretch at least out as far as the orbit of the planet Neptune. And the barrel of each gun looks to be roughly as large as the Holland Tunnel.

What I wanted even more than the setting was that feeling of epic, apocalyptic
size.
The fact that Leone knew jack shit about American geography (according to one of the characters, Chicago is somewhere in the vicinity of Phoenix, Arizona) added to the film’s sense of magnificent dislocation. And in my enthusiasm—the sort only a young person can muster, I think—I wanted to write not just a
long
book, but
the longest popular novel in history.
I did not succeed in doing that, but I feel I had a decent rip;
The Dark Tower,
volumes one through seven, really comprise a single tale, and the first four volumes run to just over two thousand pages in
paperback. The final three volumes run another twenty-five hundred in manuscript. I’m not trying to imply here that length has anything whatsoever to do with quality; I’m just saying that I wanted to write an epic, and in some ways, I succeeded. If you were to ask me
why
I wanted to do that, I couldn’t tell you. Maybe it’s a part of growing up American: build the tallest, dig the deepest, write the longest. And that head-scratching puzzlement when the question of motivation comes up? Seems to me that that is also part of being an American. In the end we are reduced to saying
It seemed like a good idea at the time.

III

Another thing about being nineteen, do it please ya: it is the age, I think, where a lot of us somehow get stuck (mentally and emotionally, if not physically). The years slide by and one day you find yourself looking into the mirror with real puzzlement.
Why are those lines on my face?
you wonder.
Where did that stupid potbelly come from? Hell, I’m only nineteen!
This is hardly an original concept, but that in no way subtracts from one’s amazement.

Time puts gray in your beard, time takes away your jump-shot, and all the while you’re thinking—silly you—that it’s still on your side. The logical side of you knows better, but your heart refuses to believe it. If you’re lucky, the Patrol Boy who cited you for going too fast and having too much fun also gives you a dose of smelling salts. That was more or less what happened to me near the end of the twentieth century. It came in the form of a Plymouth van that knocked me into the ditch beside a road in my hometown.

About three years after that accident I did a book signing for
From a Buick 8
at a Borders store in Dearborn, Michigan. When one guy got to the head of the line, he said he was really, really glad that I was still alive. (I get this a lot, and it beats the
shit
out of “Why the hell didn’t you die?”)

“I was with this good friend of mine when we heard you got popped,” he said. “Man, we just started shaking our heads and saying ‘There goes the Tower, it’s tilting, it’s falling, ahhh, shit, he’ll
never
finish it now.’ ”

A version of the same idea had occurred to me—the troubling idea that, having built the Dark Tower in the collective
imagination of a million readers, I might have a responsibility to make it safe for as long as people wanted to read about it. That might be for only five years; for all I know, it might be five hundred. Fantasy stories, the bad as well as the good (even now, someone out there is probably reading
Varney the Vampire
or
The Monk
), seem to have long shelf lives. Roland’s way of protecting the tower is to try to remove the threat to the Beams that hold the Tower up. I would have to do it, I realized after my accident, by finishing the gunslinger’s story.

During the long pauses between the writing and publication of the first four
Dark Tower
tales, I received hundreds of “pack your bags, we’re going on a guilt trip” letters. In 1998 (when I was laboring under the mistaken impression that I was still basically nineteen, in other words), I got one from an “82-yr-old Gramma, don’t mean to Bother You w/My Troubles BUT!! very Sick These Days.” The Gramma told me she probably had only a year to live (“14 Mo’s at Outside, Cancer all thru Me”), and while she didn’t expect me to finish Roland’s tale in that time just for her, she wanted to know if I couldn’t please (
please
) just tell her how it came out. The line that wrenched my heart (although not quite enough to start writing again) was her promise to “not tell a Single Soul.” A year later—probably after the accident that landed me in the hospital—one of my assistants, Marsha DiFilippo, got a letter from a fellow on death row in either Texas or Florida, wanting to know essentially the same thing: how does it come out? (He promised to take the secret to the grave with him, which gave me the creeps.)

I would have given both of these folks what they wanted—a summary of Roland’s further adventures—if I could have done, but alas, I couldn’t. I had no idea of how things were going to turn out with the gunslinger and his friends. To know, I have to write. I once had an outline, but I lost it along the way. (It probably wasn’t worth a tin shit, anyway.) All I had was a few notes (
“Chussit, chissit, chassit,
something-something-
basket”
reads one lying on the desk as I write this). Eventually, starting in July of 2001, I began to write again. I knew by then I was no longer nineteen, nor exempt from any of the ills to which the flesh is heir. I knew I was going to be sixty, maybe even seventy. And I wanted to finish my story before the bad Patrol Boy came for the last time. I had no
urge to be filed away with
The Canterbury Tales
and
The Mystery of Edwin Drood.

The result—for better or worse—lies before you, Constant Reader, whether you reading this are starting with Volume One or are preparing for Volume Five. Like it or hate it, the story of Roland is now done. I hope you enjoy it.

As for me, I had the time of my life.

 

Stephen King

January 25, 2003

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