Roland and Eddie encounter the 1977 version of Stephen King, a functioning alcoholic and family man with a newly-established career as a novelist. King structures the book in “stanzas” which culminate in the most “meta” plot twist in the series when the author himself shows up as a character. This seems to have been King’s intention, but it comes at a crucial point in the overall narrative when adjusting the style halts the story’s momentum. None of the Dark Tower novels are “bad,” but Song of Susannah is so different from the other books that it sticks out like a sore thumb. Something is wrong at the Tower, and its effects ripple through time, space, and the multiple realities Roland finds himself traveling through. All we know is that he seeks The Dark Tower, which readers come to learn is sort of a linchpin of reality itself. We meet Roland as he crosses an impossibly huge desert, trailing the Man in Black. Roland is the last of the gunslingers, heirs of Arthur Eld, the figure we’d know as King Arthur of Camelot. Very briefly, Roland Deschain’s world is one of magic, chivalry, demons, and lots of guns and doors. Loosely based on the Robert Browning poem “Childe Roland to the Dark Tower Came”, King’s epic series consists of seven main novels and two other longer narratives which are tangential to the main story. In our (perhaps lesser) reality, Amazon passed on the project, possibly because with its Wheel of Timeseries and the upcoming Lord of the Ringsshow, a third big-budget sci-fi/fantasy series is just not feasible. In an alternate universe, perhaps one just next door to ours, Amazon gave the green light to former Walking Dead showrunner Glen Mazzara’s adaptation of Stephen King’s magnum opus, The Dark Tower.
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