Wizard and glass - By Stephen King Page 0,228

noon the bay is a rippling sheet of autumn fire and the men on the boats sit cross-legged, eating their lunches, and know that all they see is theirs-o . . . at least until the gray gales of autumn come swarming over the horizon, coughing out their gusts of sleet and snow.

Closing, closing the year.

Along the streets of Hambry, the Reap-lights now burn at night, and the hands of the stuffy-guys are painted red. Reap-charms hang everywhere, and although women often kiss and are kissed in the streets and in both marketplaces—often by men they do not know—sexual intercourse has come to an almost complete halt. It will resume (with a bang, you might say) on Reap-Night. There will be the usual crop of Full Earth babies the following year as a result.

On the Drop, the horses gallop wildly, as if understanding (very likely they do) that their time of freedom is coming to an end. They swoop and then stand with their faces pointing west when the wind gusts, showing their asses to winter. On the ranches, porch-nets are taken down and shutters rehung. In the huge ranch kitchens and smaller farmhouse kitchens, no one is stealing Reap-kisses, and no one is even thinking about sex. This is the time of putting up and laying by, and the kitchens fume with steam and pulse with heat from before dawn until long after dark. There is the smell of apples and beets and beans and sharproot and curing strips of meat. Women work ceaselessly all day and then sleepwalk to bed, where they lie like corpses until the next dark morning calls them back to their kitchens.

Leaves are burned in town yards, and as the week goes on and Old Demon’s face shows ever more clearly, red-handed stuffy-guys are thrown on the pyres more and more frequently. In the fields, cornshocks flare like torches, and often stuffies burn with them, their red hands and white-cross eyes rippling in the heat. Men stand around these fires, not speaking, their faces solemn. No one will say what terrible old ways and unspeakable old gods are being propitiated by the burning of the stuffy-guys, but they all know well enough. From time to time one of these men will whisper two words under his breath: charyou tree.

They are closing, closing, closing the year.

The streets rattle with firecrackers—and sometimes with a heftier “big-bang” that makes even placid carthorses rear in their traces—and echo with the laughter of children. On the porch of the mercantile and across the street at the Travellers’ Rest, kisses—sometimes humidly open and with much sweet lashing of tongues—are exchanged, but Coral Thorin’s whores (“cotton-gillies” is what the airy-fairy ones like Gert Moggins like to call themselves) are bored. They will have little custom this week.

This is not Year’s End, when the winterlogs will burn and Mejis will be barn-dances from one end to the other . . . and yet it is. This is the real year’s end, charyou tree, and everyone, from Stanley Ruiz standing at the bar beneath The Romp to the farthest of Fran Lengyll’s vaqueros out on the edge of the Bad Grass, knows it. There is a kind of echo in the bright air, a yearning for other places in the blood, a loneliness in the heart that sings like the wind.

But this year there’s something else, as well: a sense of wrongness that no one can quite voice. Folks who never had a nightmare in their lives will awake screaming with them during the week of fin de año; men who consider themselves peaceful will find themselves not only in fistfights but instigating them; discontented boys who would only have dreamed of running away in other years will this year actually do it, and most will not come back after the first night spent sleeping raw.

There is a sense—inarticulate but very much there—that things have gone amiss this season. It is the closing of the year; it is also the closing of the peace. For it is here, in the sleepy Out-World Barony of Mejis, that Mid-World’s last great conflict will shortly begin; it is from here that the blood will begin to flow. In two years, no more, the world as it has been will be swept away. It starts here. From its field of roses, the Dark Tower cries out in its beast’s voice. Time is a face on the water.

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Coral Thorin was coming down the High Street from the Bayview