Stephen King – The Gunslinger

During the fourth period of waking and walking, they literally stumbled on a handcar.

The gunslinger ran into it chest­high, and the boy, walking on the other side, struck his forehead and went down with a cry.

The gunslinger made a light immediately. “Are you all right?” The words sounded sharp, almost waspish, and he winced at them.

“Yes.” The boy was holding his head gingerly. He shook it once to make sure he had told the truth. They turned to look at what they had run into.

It was a flat square of metal that sat mutely on the tracks. There was a see­saw handle in the center of the square. The gunslinger had no immediate sense of it, but the boy knew immediately.

“It’s a handcar.”

“What?”

“Handcar,” the boy said impatiently, “like in the old movies. Look.”

He pulled himself up and went to the handle. He managed to push it down, but it was necessary to hang all his

weight on the handle. He grunted briefly. The handcar moved a foot, with silent timelessness, on the rails.

“It works a little hard,” the boy said, as if apologizing for it.

The gunslinger pulled himself up and pushed the handle down. The handcar moved forward obediently, then stopped. he could feel a drive­shaft turn beneath his feet. The operation pleased him — it was the first old machine other than the pump at the way station that he had seen in years which still worked well, but it disquieted him, too. It would take them to their destination that much quicker. The curse­kiss again, he thought, and knew the man in black had meant them to find this, too.

“Neat, huh?” The boy said, and his voice was full of loathing.

“What are movies?” The gunslinger asked again.

Jake still did not answer and they stood in a black silence, like in a tomb where life had fled. The gunslinger could hear his organs at work inside his body and the boy’s respiration. That was all.

“You stand on one side. I stand on the other side,” Jake said. “You’ll have to push by yourself until it gets rolling good. Then I can help. First you push, then I push. We’ll go right along. Get it?”

“I get it,” the gunslinger said. His hands were in helpless, despairing fists.

“But you’ll have to push by yourself until it gets rolling good,” the boy repeated, looking at him.

The gunslinger had a sudden vivid picture of the Great Hall a year after the spring Ball, in the shattered, hulked shards of revolt, civil strife, and invasion. It was followed with the memory of Allie, the woman from Tull with the scar, pushed and pulled by the bullets that were killing her in reflex. It was followed by Jamie’s face, blue in death, by

Susan’s, twisted and weeping. All my old friends, the gunslinger thought, and smiled hideously.

“I’ll push,” the gunslinger said.

He began to push.

They rolled on through the dark, faster now, no longer having to feel their way. Once the awkwardness of a buried age had been run off the handcar, it went smoothly. The boy tried to do his share, and the gunslinger allowed him small shifts — but mostly he pumped by himself, in large and chest­stretching rises and failings.

The river was their companion, sometimes closer on their right, sometimes further away. Once it took on huge and thunderous hollowness, as if passing through a prehistoric cathedral narthex. Once the sound of it disappeared almost altogether.

The speed and the made wind against their faces seemed to take the place of sight and to put them once again in a frame of time and reference. The gunslinger estimated they were making anywhere from ten to fifteen miles an hour, always on a shallow, almost imperceptible uphill grade that wore him out deceptively. When they stopped he slept like the stone itself. Their food was almost gone again. Neither of them worried about it.

For the gunslinger, the tenseness of a coming climax was as unperceivable but as real and as accretive as the fatigue of propelling the handcar. They were close to the end of the beginning. He felt like a performer placed on center stage minutes before the rise of the curtain; settled in position with his first line held in his mind, he heard the unseen audience rattling programs and settling in seats. He lived with a tight, tidy ball of unholy anticipation in his belly and welcomed the exercise that let him sleep.

The boy spoke less and less; but at their stopping place one sleep­period before they were attacked by the

Slow

Mutants, he asked the gunslinger almost shyly about his coming of age.

The gunslinger had been leaning against the handle, a cigarette from his dwindling supply of tobacco clamped in his mouth. He had been on the verge of his usual unthinking sleep when the boy asked his question.

“Why would you want to know that?” He asked.

The boy’s voice was curiously stubborn, as if hiding embarrassment. “I just do.” And after a pause, he added:

“I always wondered about growing up. It’s mostly lies.”

“It wasn’t growing up,” the gunslinger said. “I never grew up all at once. I did it one place and another along the way. I saw a man hung once. That was part of it, though I didn’t know it then. I left a girl in a place called King’s Town twelve years ago. That was another part. I never knew any of the parts when they happened.

Only later I knew that.”

He realized with some unease that he was avoiding.

“I suppose the coming of age was part, too,” he said, almost grudgingly. “It was formal. Almost stylized; like a dance.” He laughed unpleasantly. “Like love.

“Love and dying have been my life.”

The boy said nothing.

“It was necessary to prove one’s self in battle,” the gunslinger began.

Summer and hot.

August had come to the land like a vampire lover, killing the land and the crops of the tenant farmers, turning the fields of the castle­city white and sterile. In the west, some miles distant and near the borders that were the end of the civilized world, fighting had already begun. All reports were bad, and all of them palled before the heat that rested over this place of the center. Cattle lolled empty­eyed in the pens of the stockyards. Pigs grunted listlessly, unmindful of knives whetted for the coming fall. People whined about taxes and conscription, as they always have; but there was an emptiness beneath the apathetic passion play of politics. The center had frayed like a rag rug that had been washed and walked on and shaken and hung and dried. The lines and nets of mesh which held the last jewel at the breast of the world were unraveling. Things were not holding together. The earth drew in its breath in the summer of the coming eclipse.

The boy idled along the upper corridor of this stone place which was home, sensing these things, not understanding. He was also empty and dangerous.

It had been three years since the hanging of the cook who had always been able to find snacks for hungry boys, and he had filled out. Now, dressed only in faded denim pants, fourteen years old, he had already come to the widened chest­span and lengthening legs that would characterize his manhood. He was still unbedded, but two of the younger slatterns of a West­Town merchant had cast eyes on him. He had felt a response and felt it more strongly now. Even in the coolness of the passage, he felt sweat on his body.

Ahead were his mother’s apartments and he approached them incuriously, meaning only to pass them and go upward to the roof, where a thin breeze and the pleasure of his hand awaited.

He had passed the door when a voice called him:

“You. Boy.”

It was Marten, the enchanter. He was dressed with a suspicious, upsetting casualness — black whipcord trousers almost as tight as leotards, and a white shirt open halfway down his chest His hair was tousled.

The boy looked at him silently.

“Come in, come in! Don’t stand in the hall! Your mother wants to speak to you.” He was smiling with his mouth, but the lines of his face held a deeper, more sardonic humor. Beneath that there was only coldness.

But his mother did not seem to want to see him. She sat in the low­backed chair by the large window in the central parlor of her apartments, the one which overlooked the hot blank stone of the central courtyard. She was dressed in a loose, informal gown and looked at the boy only once

— a quick, glinting rueful smile, like autumn sun on stream water. During the rest of the interview she studied her hands.

He saw her seldom now, and the phantom of cradle songs had almost faded from his brain. But she was a beloved stranger. He felt an amorphous fear, and an uncoalesced hatred for Marten, his father’s right­hand man (or was it the other way around?), was born.