Roland into the Tower; you say that is what you paid your money for, the show you came to see.
I hope most of you know better. Want better. I hope you came to hear the tale, and not just munch your way through die pages to the ending. For an ending, you only have to turn to the last page and see what is there writ upon. But endings are heartless. An ending is a closed door no man (or Manni) can open. I've written many, but most only for the same reason that I pull on my pants in the morning before leaving the bedroom-because it is the custom of the country.
And so, my dear Constant Reader, I tell you this: You can stop here. You can let your last memory be of seeing Eddie,
Susannah, and Jake in Central Park, together again for the first time, listening to the children's choir sing "What Child Is This."
You can be content in the knowledge that sooner or later Oy
(probably a canine version with a long neck, odd gold-ringed eyes, and a bark that sometimes sounds eerily like speech) will also enter the picture. That's a pretty picture, isn't it? /think so.
And pretty close to happily ever after, too. Close enough for government work, as Eddie would say.
Should you go on, you will surely be disappointed, perhaps even heartbroken. I have one key left on my belt, but all it opens is that final door, the one marked ?^b?i W^j)- What's behind it won't improve your love-life, grow hair on your bald spot, or add five years to your natural span (not even five minutes).
There is no such thing as a happy ending. I never met a single one to equal "Once upon a time."
Endings are heartless.
Ending is just another word for goodbye.
TWO
Would you still?
Very well, then, come. (Do you hear me sigh?) Here is the Dark Tower, at the end of End-World. See it, I beg.
See it very well.
Here is the Dark Tower at sunset.
THREE
He came to it with the oddest feeling of remembrance; what Susannah and Eddie called deja vu.
The roses of Can'-Ka No Rey opened before him in a path to the Dark Tower, the yellow suns deep in their cups seeming to regard him like eyes. And as he walked toward that gray-black column, Roland felt himself begin to slip from the world as he had always known it. He called the names of his friends and loved ones, as he had always promised himself he would; called them in the gloaming, and with perfect force, for no longer was there any need to reserve energy with which to fight the Tower's pull. To give in-finally-was the greatest relief of his life.
He called the names of his compadres and amoras, and although each came from deeper in his heart, each seemed to have less business with the rest of him. His voice rolled away to the darkening red horizon, name upon name. He called Eddie's and Susannah's. He called Jake's, and last of all he called his own. When the sound of it had died out, the blast of a great horn replied, not from the Tower itself but from the roses that lay in a carpet all around it. That horn was the voice of the roses, and cried him welcome with a kingly blast.
In my dreams the horn was always mine, he thought. / should have known better, for mine was lost with Cuthbert, at Jericho Hill.
A voice whispered from above him: It would have been the work of three seconds to bend and pick it up. Even in the smoke and the death. Three seconds. Time, Roland-it ahoays comes back to that.
That was, he thought, the voice of the Beam-the one they had saved. If it spoke out of gratitude it could have saved its breath, for what good were such words to him now? He remembered a line from Browning's poem: One taste of the old times sets all to rights.
Such had never been his experience. In his own, memories brought only sadness. They were the food of poets and fools, sweets that left a bitter aftertaste in the mouth and throat.
Roland stopped for a moment still ten paces from the ghostwood door in the Tower's base, letting the voice of the roses-that welcoming horn-echo away to nothing. The feeling of deja vu was still strong, almost as though he had been here after all. And of course he had been, in ten thousand