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Stephen King - The Drawing of the Three (The Dark Tower, Book 2)

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Stephen King The Drawing of the Three (The Dark Tower, Book 2)
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The Man in Black is dead, and Roland is about to be hurled into 20th-century America, occupying the mind of a man running cocaine on the New York/Bermuda shuttle. A brilliant work of dark fantasy inspired by Brownings romantic poem, Childe Roland to the Dark Tower Came.

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

THE DRAWING OF THE THREE

A Viking 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: 1-101-14642-7

A VIKING BOOK

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

375 Hudson Street, New York, New York 10014.

VIKING and the SHIP design are trademarks belonging to Penguin Putnam Inc.

Electronic edition: June, 2003

ALSO BY STEPHEN KING

NOVELS

Carrie

Salems 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 III :

The Waste Lands

The Dark Half

Needful Things

Geralds 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

Everythings Eventual

SCREENPLAYS

Creepshow

Cats Eye

Silver Bullet

Maximum Overdrive

Pet Sematary

Golden Years

Sleepwalkers

The Stand

The Shining

Rose Red

The Storm of the Century

NONFICTION

Danse Macabre

On Writing

To Don Grant,

whos taken a chance on these novels,
one by one.

CONTENTS
ILLUSTRATIONS
INTRODUCTION
On Being Nineteen
(and a Few Other Things)
1

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 Yasgurs farm during the Great Woodstock Music Festival, twice as many Frodos, and hippie Gandalfs without number. J.R.R. Tolkiens 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 Tolkiens.

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 Tolkiens imaginationto the ambition of his storybut 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 didnt have any idea what my kind of story might be, but that didnt matter; I felt positive Id 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 didnt know it in 1966 and 67, and if I had, I wouldnt have cared. I could imaginebarelybeing forty, but fifty? No. Sixty? Never! Sixty was out of the question. And at nineteen, thats just the way to be. Nineteen is the age where you say Look out, world, Im smokin TNT and Im drinkin dynamite, so if you know whats good for ya, get out of my wayhere comes Stevie.

Nineteens a selfish age and finds ones 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 dont 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). Ive written about them at length and need not write about them here. Besides, its the same for you, right? The world eventually sends out a mean-ass Patrol Boy to slow your progress and show you whos boss. You reading this have undoubtedly met yours (or will); I met mine, and Im sure hell be back. Hes got my address. Hes a mean guy, a Bad Lieutenant, the sworn enemy of goofery, fuckery, pride, ambition, loud music, and all things nineteen.

But I still think thats 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, youre able to think. And dream big dreams. The mean Patrol Boy cuts you down to size eventually, and if you start out small, why, theres almost nothing left but the cuffs of your pants when hes 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) isnt 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 outright around the age that is 19 x 2that 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 cant 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, dont let your elders and supposed betters tell you any different. Sure, youve never been to Paris. No, you never ran with the bulls at Pamplona. Yes, youre a pissant who had no hair in your armpits until three years agobut so what? If you dont 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, thats my idea; sit down and

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