THE WASTE LANDS
STEPHEN KING
THE DARK TOWER III
CONTENTS:
ARGUMENT 1
BOOK ONE JAKE: FEAR IN A HANDFUL OF DUST
I. BEAR AND BONE
II. KEY AND ROSE
III. DOOR AND DEMON
BOOK TWO LUD: A HEAP OF BROKEN IMAGES
IV. TOWN AND KA-TET
V. BRIDGE AND CITY
VI. RIDDLE AND WASTE LANDS 391
ILLUSTRATIONS
MIR EMBRACED THE TREE
“HOLD ME STILL, ROLAND”
THE DARK TOWER
KEY AND ROSE
“CHARLIE THE CHOO-CHOO”
THE PLASTER MAN ROARED
ROLAND KNELT BEFORE HER
“BETTER DUCK, DEARIE!”
HE FIRED . . .
BLAINE THE MONO
CRUISED ON LEATHER WINGS
PRANCING AND CAVORTING
ARGUMENT
The Waste Lands is the third volume of a longer tale inspired by and to some degree
dependent upon Robert Browning’s narrative poem “Childe Roland to the Dark Tower
Came.”
The first volume, The Gunslinger, tells how Roland, the last gun-slinger in a world which has “moved on,” pursues and finally catches the man in black, a sorcerer named Walter
who falsely claimed the friendship of Roland’s father in the days when the unity of
Mid-World still held. Catching this half-human spell-caster is not Roland’s ultimate goal
but only another landmark along the road to the powerful and mysterious Dark Tower,
which stands at the nexus of time.
Who, exactly, is Roland? What was his world like before it moved on? What is the Tower
and why does he pursue it? We have only frag- mentary answers. Roland is clearly a land of
knight, one of those charged with holding (or possibly redeeming) a world Roland
remembers as being “filled with love and light.” Just how closely Roland’s memory
resembles the way that world actually was is very much open to question, however.
We do know that he was forced to an early trial of manhood after discovering that his
mother had become the mistress of Marten, a much greater sorcerer than Walter; we know
that Marten orchestrated Roland’s discovery of his mother’s affair, expecting Roland to fail
his test of manhood and be “sent West” into the wastes; we know that Roland laid Marten’s plans at nines by passing the test.
We also know that the gunslinger’s world is related to our own in some strange but
fundamental way, and that passage between the worlds is sometimes possible.
At a way station on a long-deserted coach-road running through the desert, Roland meets a
boy named Jake who died in our world, a boy who was, in fact, pushed from a
mid-Manhattan street corner and into the path of an oncoming car. Jake Chambers died
with the man in black—Walter—peering down at him, and awoke in Roland’s world.
Before they reach the man in black, Jake dies again . . . this time because the gunslinger,
faced with the second most agonizing choice of his life, elects to sacrifice this symbolic son.
Given a choice between the Tower and the child, Roland chooses the Tower. Jake’s last
words to the gunslinger before plunging into the abyss are: “Go, then—there are other
worlds than these.”
The final confrontation between Roland and Walter occurs in a dusty Golgotha of
decaying bones. The man in black tells Roland’s future with a deck of Tarot cards. Three
very strange cards—The Prisoner, The Lady of the Shadows, and Death (“but not for you,
gunslinger”)—are called especially to Roland’s attention.
The second volume, The Drawing of the Three, begins on the edge of the Western Sea not
long after Roland’s confrontation with Walter has ended. An exhausted gunslinger awakes
in the middle of the night to discover that the incoming tide has brought a horde of crawling,
carnivo- rous creatures—”lobstrosities”—with it. Before he can escape their lim- ited range, Roland has been seriously wounded by these creatures, losing the first two fingers of his
right hand to them. He is also poisoned by the venom of the lobstrosities, and as the
gunslinger resumes his journey north along the edge of the Western Sea, he is sickening . . .
perhaps dying.
He encounters three doors standing freely upon the beach. Each door opens—for Roland and Roland alone—upon our world; upon the city where Jake lived, in fact. Roland visits
New York at three points along our time continuum, both in an effort to save his own life
and to draw the three who must accompany him on his road to the Tower.
Eddie Dean is The Prisoner, a heroin addict from the New York of the late 1980s. Roland
steps through the door on the beach of his world and into Eddie Dean’s mind as Eddie,
serving a man named Enrico Balazar as a cocaine mule, lands at JFK airport. In the course
of their harrowing adventures together, Roland is able to obtain a limited quantity of
penicillin and to bring Eddie Dean back to his own world. Eddie, a junkie who discovers he
has been kidnapped to a world where there is no junk (or Popeye’s fried chicken, for that
matter), is less than overjoyed to be there.
The second door leads Roland to The Lady of the Shadows—actually two women in one
body. This time Roland finds himself in the New York of the early 1960s and face to face
with a young wheelchair-bound civil-rights activist named Odetta Holmes. The woman
hidden inside Odetta is the crafty and hate-filled Detta Walker. When this double woman is
pulled into Roland’s world, the results are volatile for Eddie and the rapidly sickening
gunslinger. Odetta believes that what’s happening to her is either a dream or a delusion;
Detta, a much more brutally direct intellect, simply dedicates herself to the task of killing
Roland and Eddie whom she sees as torturing white devils.
Jack Mort, a serial killer hiding behind the third door (the New York of the mid-1970s), is
Death. Mort has twice caused great changes in the life of Odetta Holmes/Detta Walker,
although neither of them knows it. Mort, whose modus operandi is to either push his
victims or drop some- thing on them from above, has done both to Odetta during the course
of his mad (but oh so careful) career. When Odetta was a child, he dropped a brick on her
head, sending the little girl into a coma and also occasioning the birth of Detta Walker,
Odetta’s hidden sister. Years later, in 1959, Mort encounters Odetta again and pushes her
into the path of an oncoming subway train in Greenwich Village. Odetta survives Mort
again, but at a price: the oncoming train severed both legs at the knee. Only the presence of
a heroic young doctor (and, perhaps, the ugly but indomitable spirit of Detta Walker) saves
her life … or so it would seem. To Roland’s eye, these interrelationships suggest a power
greater than mere coincidence; he believes the titanic forces, which surround the Dark
Tower, have begun to gather once again.
Roland learns that Mort may stand at the heart of another mystery as well, one which is
also a potentially mind-destroying paradox. For the victim Mort is stalking at the time the
gunslinger steps into his life is none other than Jake, the boy Roland met at the way station
and lost under the mountains. Roland has never had any cause to doubt Jake’s story of how
he died in our world, or any cause to question who Jake’s murderer was—Walter, of course.
Jake saw him dressed as a priest as the crowd gathered around the spot where he lay dying,
and Roland has never doubted the description.
Nor does he doubt it now; Walter was there, oh yes, no doubt about that. But suppose it
was Jack Mort, not Walter, who pushed Jake into the path of the oncoming Cadillac? Is such a thing possible? Roland can’t say, not for sure, but if that is the case, where is Jake
now? Dead? Alive?
Caught somewhere in time? And if Jake Chambers is still alive and well in his own world
of Manhattan in the mid-1970s, how is it that Roland still remembers him?
Despite this confusing and possibly dangerous development, the test of the doors—and the
drawing of the three—ends in success for Roland. Eddie Dean accepts his place in Roland’s
world because he has fallen in love with The Lady of the Shadows. Detta Walker and
Odetta Holmes, the other two of Roland’s three, are driven together into one personality
combining elements of both Detta and Odetta when the gunslinger is finally able to force
the two personalities to acknowledge each other. This hybrid is able to accept and return
Eddie’s love. Odetta Susannah Holmes and Detta Susannah Walker thus become a new
woman, a third woman: Susannah Dean.
Jack Mort dies beneath the wheels of the same subway—that fabled A-train—which took
Odetta’s legs fifteen or sixteen years before. No great loss there.
And for the first time in untold years, Roland of Gilead is no longer alone in his quest for
the Dark Tower. Cuthbert and Alain, his lost companions of yore, have been replaced by