Stephen King
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Customer Reviews:
Total reviews: 692
Average rating: 3.5 of 5
That was one long Jazz solo! 3 out of 5 stars.
2 of 2 people found this review helpful.
Damn. I've been pondering what to write about this for days. Ok, lets git to it! (Jazz reference will be explained :P )
Here's your first clue that the Dark Tower is not going to please everyone (actually the clue is at the very end). He cautions the reader to not read the Coda chapter beause they might dislike it. As if, after reading 1000+ pages of the book, the reader wouldn't read right through!
Second clue is in the Author's note at the end, when King says in advance not to email him to whine, and that he was a little bummed out himself with the end. To be cynical here, does King sound a tad defensive? Sure, ANY final book in a series can't please everyone. But could King's (just slightly) apologist afterword not be a bad sign that something here's gone a little `todash'?
DT is King's `sandbox', where the story can - and does - go anywhere it likes. It's his KILL BILL. It's everything AND the kitchen sink. He's grabbed everything in his mind (Doken) that's been kicking around for his entire life and put it onto paper. In this sense, the book is critic proof for the most part. If one is to point out something in the book that wasn't pulled off satisfactory, where is the context? To what other story can we compare it and say `this is the kind of book it should have been'?
What I'm saying, longwindedly, is that I could see any 2 given people feeling different about the series. To those who gave it 5 stars, cool. 1 star? I can dig. For me, I mostly accepted the conclusion, but what I would have wanted much more was to close it and say 'wow! I want to read it again. Now!' I did not get that feeling. And as fair as it is for people to completely enjoy it, it's not without it's flaws.
One of the things that annoyed me the most was how countless phrases spoken by people (or thought) are something someone else has said. Eddie is constantly thinking about what his brother would have thought of something. Susannah is always thinking about what her Dad would have said. Roland is frequently reminded of a phrase Cort would say, Etc. This was an overused technique. It was in meltdown mode here. He just would not stop.
Chapters constantly overlap, enabling the reader to see the lead up to the same event from a different participant. This is a useful tool, but it is so frequent that the result is that the reader is constantly being halted from finding out what happens next to backtrack, and in this, the final book, it the plot and pacing should be in overdrive. One imagines Roland gesturing his `get on with it' finger twirl. New characters who are introduced do not always need to have a large backstory. Sometimes it's just fine for a person to show up and help out, or get a bullet thrugh the eye. I thought this was one of the major contributors to the excessive length of the book. I don't flinch at doorstopper books, but please maximize your space and keep the gears shifting up in the plot, not down (see PILLARS OF THE EARTH for a massive but always focused story).
And now my last issue has to do with Stephen King being perhaps out of his depth in a 'fantasy' type of epic story. I have read over half of King's fiction, plus Danse Macabre and On Writing. He's a `Jazz' writer. He just goes with the flow, and thats been an asset of his for many of his other books. He's an intuitive freestyler. An improv rapper. The problem with this approach is the longer you try and 'freestyle it', the more chance you have of tripping over something as your mind races to keep track of what you're doing. He's been playing the worlds longest Jazz solo, and while he succeeded in many ways, he's hit plenty of off-notes on the way and it got a little sloppy there at the end.
King has become so entrenched in `antiplotting' that he willfully will NOT plot out anything (he says he did so with Insomnia and wasn't too hot on the result so hasn't tried it again much since). There's always an exception, but from my reading experience, you just cannot tackly a multi-volume epic in this fashion. You have to sit down and outline a little bit or else the whole thing comes off uneven.
Dark Tower readers have pretty much got the biggest imaginations out there. We've seen people walking though doors into alternate earths. We've seen Blood and Mind vampires feasting with Low Men in colorful suits wearing fake human masks. We've seen a politically-incorrect black woman with no legs who throws deadly plates. Robots who wear Dr. Doom capes, wield light sabers, and throw flying balls that are one part Harry Potter Sneetches and one part metal spheres from the movie Phantasm. We've even taken it in stride when a half Human spider gets diarrhea from eating a leprous horse. So having the story zig and zag to this ending, and have many people unsatisfied, is pause for thought. DT readers can handle anything King can throw their way in the Bizarre department, but just can't get behind this fizzled out resolution.
I think that's saying something.
Editorial Review:
Creating "true narrative magic" (The Washington Post) at every revelatory turn, Stephen King surpasses all expectation in the stunning final volume of his seven-part epic masterwork. Entwining stories and worlds from a vast and complex canvas, here is the conclusion readers have long awaited -- breath-takingly imaginative, boldly visionary, and wholly entertaining.Roland Deschain and his ka-tet have journeyed together and apart, scattered far and wide across multilayered worlds of wheres and whens. The destinies of Roland, Susannah, Jake, Father Callahan, Oy, and Eddie are bound in the Dark Tower itself, which now pulls them ever closer to their own endings and beginnings . . . and into a maelstrom of emotion, violence, and discovery.
