The Dark Tower

Not see? because of night perhaps? — why day
Came back again for that! before it left
The dying sunset kindled through a cleft:
The hills, like giants at a hunting, lay,
Chin upon hand, to see the game at bay,—
‘Now stab and end the creature — to the heft!’

XXXIII

Not hear? When noise was everywhere! it tolled
Increasing like a bell. Names in my ears
Of all the lost adventurers, my peers—
How such a one was strong, and such was bold,
And such was fortunate, yet each of old
Lost, lost! one moment knelled the woe of years.

XXXIV

There they stood, ranged along the hillsides, met
To view the last of me, a living frame
For one more picture! In a sheet of flame
I saw them and I knew them all. And yet
Dauntless the slug-horn to my lips I set,
And blew. ‘Childe Roland to the Dark Tower came.’

Author’s Note

Sometimes I think I have written more about the Dark Tower books than I have written about the Dark Tower itself. These related writings include the ever-growing synopsis (known by the quaint old word Argument) at the beginning of each of the first five volumes, and afterwords (most totally unnecessary and some actually embarrassing in retrospect) at the end of all the volumes. Michael Whelan, the extraordinary artist who illustrated both the first volume and this last, proved himself to be no slouch as a literary critic as well when, after reading a draft of Volume Seven, he suggested — in refreshingly blunt terms — that the rather lighthearted afterword I’d put at the end was jarring and out of place. I took another look at it and realized he was right.

The first half of that well-meant but off-key essay can now be found as an introduction to the first four volumes of the series; it’s called “On Being Nineteen.” I thought of leaving Volume Seven without any afterword at all; of letting Roland’s discovery at the top of his Tower be my last word on the matter. Then I realized that I had one more thing to say, a thing that actually needed to be said. It has to do with my presence in my own book.

There’s a smarmy academic term for this—“metafiction.” I hate it. I hate the pretentiousness of it. I’m in the story only because I’ve known for some time now (consciously since writing Insomnia in 1995, unconsciously since temporarily losing track of Father Donald Callahan near the end of ’Salem’s Lot) that many of my fictions refer back to Roland’s world and Roland’s story. Since I was the one who wrote them, it seemed logical that I was part of the gunslinger’s ka. My idea was to use the Dark Tower stories as a kind of summation, a way of unifying as many of my previous stories as possible beneath the arch of some über-tale. I never meant that to be pretentious (and I hope it isn’t), but only as a way of showing how life influences art (and vice-versa). I think that, if you have read these last three Dark Tower volumes, you’ll see that my talk of retirement makes more sense in this context. In a sense, there’s nothing left to say now that Roland has reached his goal…and I hope the reader will see that by discovering the Horn of Eld, the gunslinger may finally be on the way to his own resolution. Possibly even to redemption. It was all about reaching the Tower, you see — mine as well as Roland’s — and that has finally been accomplished. You may not like what Roland found at the top, but that’s a different matter entirely. And don’t write me any angry letters about it, either, because I won’t answer them. There’s nothing left to say on the subject. I wasn’t exactly crazy about the ending, either, if you want to know the truth, but it’s the right ending. The only ending, in fact. You have to remember that I don’t make these things up, not exactly; I only write down what I see.