The Gunslinger (Dark Tower Series #1)

The Gunslinger (Dark Tower Series #1)

by Stephen King
The Gunslinger (Dark Tower Series #1)

The Gunslinger (Dark Tower Series #1)

by Stephen King


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Notes From Your Bookseller

This book is a whole vibe. It has dangerous characters, a thrilling chase, and, best of all, many more in the series to ensure you fall headlong into this captivating narrative.

“An impressive work of mythic magnitude that may turn out to be Stephen King’s greatest literary achievement” (The Atlanta Journal-Constitution), The Gunslinger is the first volume in the epic Dark Tower Series.

A #1 national bestseller, The Gunslinger introduces readers to one of Stephen King’s most powerful creations, Roland of Gilead: The Last Gunslinger. He is a haunting figure, a loner on a spellbinding journey into good and evil. In his desolate world, which mirrors our own in frightening ways, Roland tracks The Man in Black, encounters an enticing woman named Alice, and begins a friendship with the boy from New York named Jake.

Inspired in part by the Robert Browning narrative poem, “Childe Roland to the Dark Tower Came,” The Gunslinger is “a compelling whirlpool of a story that draws one irretrievable to its center” (Milwaukee Sentinel). It is “brilliant and fresh…and will leave you panting for more” (Booklist).

Product Details

ISBN-13: 9781501143519
Publisher: Scribner
Publication date: 05/03/2016
Series: The Dark Tower , #1
Edition description: Reprint
Pages: 288
Sales rank: 7,082
Product dimensions: 8.30(w) x 5.40(h) x 0.70(d)
Lexile: 750L (what's this?)

About the Author

About The Author
Stephen King is the author of more than sixty books, all of them worldwide bestsellers. His recent work includes the short story collection You Like It Darker, Holly, Fairy Tale, Billy Summers, If It Bleeds, The Institute, Elevation, The Outsider, Sleeping Beauties (cowritten with his son Owen King), and the Bill Hodges trilogy: End of Watch, Finders Keepers, and Mr. Mercedes (an Edgar Award winner for Best Novel and a television series streaming on Peacock). His novel 11/22/63 was named a top ten book of 2011 by The New York Times Book Review and won the Los Angeles Times Book Prize for Mystery/Thriller. His epic works The Dark Tower, It, Pet Sematary, Doctor Sleep, and Firestarter are the basis for major motion pictures, with It now the highest-grossing horror film of all time. He is the recipient of the 2020 Audio Publishers Association Lifetime Achievement Award, the 2018 PEN America Literary Service Award, the 2014 National Medal of Arts, and the 2003 National Book Foundation Medal for Distinguished Contribution to American Letters. He lives in Bangor, Maine, with his wife, novelist Tabitha King.


Bangor, Maine

Date of Birth:

September 21, 1947

Place of Birth:

Portland, Maine


B.S., University of Maine at Orono, 1970

Read an Excerpt


The Gunslinger

The man in black fled across the desert, and the gunslinger followed.

The desert was the apotheosis of all deserts, huge, standing to the sky for what looked like eternity in all directions. It was white and blinding and waterless and without feature save for the faint, cloudy haze of the mountains which sketched themselves on the horizon and the devil-grass which brought sweet dreams, nightmares, death. An occasional tombstone sign pointed the way, for once the drifted track that cut its way through the thick crust of alkali had been a highway. Coaches and buckas had followed it. The world had moved on since then. The world had emptied.

The gunslinger had been struck by a momentary dizziness, a kind of yawing sensation that made the entire world seem ephemeral, almost a thing that could be looked through. It passed and, like the world upon whose hide he walked, he moved on. He passed the miles stolidly, not hurrying, not loafing. A hide waterbag was slung around his middle like a bloated sausage. It was almost full. He had progressed through the khef over many years, and had reached perhaps the fifth level. Had he been a Manni holy man, he might not have even been thirsty; he could have watched his own body dehydrate with clinical, detached attention, watering its crevices and dark inner hollows only when his logic told him it must be done. He was not a Manni, however, nor a follower of the Man Jesus, and considered himself in no way holy. He was just an ordinary pilgrim, in other words, and all he could say with real certainty was that he was thirsty. And even so, he had no particular urge to drink. In a vague way, all this pleased him. It was what the country required, it was a thirsty country, and he had in his long life been nothing if not adaptable.

Below the waterbag were his guns, carefully weighted to his hands; a plate had been added to each when they had come to him from his father, who had been lighter and not so tall. The two belts crisscrossed above his crotch. The holsters were oiled too deeply for even this Philistine sun to crack. The stocks of the guns were sandalwood, yellow and finely grained. Rawhide tiedowns held the holsters loosely to his thighs, and they swung a bit with his step; they had rubbed away the bluing of his jeans (and thinned the cloth) in a pair of arcs that looked almost like smiles. The brass casings of the cartridges looped into the gunbelts heliographed in the sun. There were fewer now. The leather made subtle creaking noises.

His shirt, the no-color of rain or dust, was open at the throat, with a rawhide thong dangling loosely in hand-punched eyelets. His hat was gone. So was the horn he had once carried; gone for years, that horn, spilled from the hand of a dying friend, and he missed them both.

He breasted a gently rising dune (although there was no sand here; the desert was hardpan, and even the harsh winds that blew when dark came raised only an aggravating harsh dust like scouring powder) and saw the kicked remains of a tiny campfire on the lee side, the side the sun would quit earliest. Small signs like this, once more affirming the man in black's possible humanity, never failed to please him. His lips stretched in the pitted, flaked remains of his face. The grin was gruesome, painful. He squatted.

His quarry had burned the devil-grass, of course. It was the only thing out here that would burn. It burned with a greasy, flat light, and it burned slow. Border dwellers had told him that devils lived even in the flames. They burned it but would not look into the light. They said the devils hypnotized, beckoned, would eventually draw the one who looked into the fires. And the next man foolish enough to look into the fire might see you.

The burned grass was crisscrossed in the now familiar ideographic pattern, and crumbled to gray senselessness before the gunslinger's prodding hand. There was nothing in the remains but a charred scrap of bacon, which he ate thoughtfully. It had always been this way. The gunslinger had followed the man in black across the desert for two months now, across the endless, screamingly monotonous purgatorial wastes, and had yet to find spoor other than the hygienic sterile ideographs of the man in black's campfires. He had not found a can, a bottle, or a waterbag (the gunslinger had left four of those behind, like dead snakeskins). He hadn't found any dung. He assumed the man in black buried it.

Perhaps the campfires were a message, spelled out one Great Letter at a time. Keep your distance, partner, it might say. Or, The end draweth nigh. Or maybe even, Come and get me. It didn't matter what they said or didn't say. He had no interest in messages, if messages they were. What mattered was that these remains were as cold as all the others. Yet he had gained. He knew he was closer, but did not know how he knew. A kind of smell, perhaps. That didn't matter, either. He would keep going until something changed, and if nothing changed, he would keep going, anyway. There would be water if God willed it, the oldtimers said. Water if God willed it, even in the desert. The gunslinger stood up, brushing his hands.

No other trace; the wind, razor-sharp, had of course filed away even what scant tracks the hardpan might once have held. No man-scat, no cast-off trash, never a sign of where those things might have been buried. Nothing. Only these cold campfires along the ancient highway moving southeast and the relentless range-finder in his own head. Although of course it was more than that; the pull southeast was more than just a sense of direction, was even more than magnetism.

He sat down and allowed himself a short pull from the waterbag. He thought of that momentary dizziness earlier in the day, that sense of being almost untethered from the world, and wondered what it might have meant. Why should that dizziness make him think of his horn and the last of his old friends, both lost so long ago at Jericho Hill? He still had the guns-his father's guns-and surely they were more important than horns ... or even friends.

Weren't they?

The question was oddly troubling, but since there seemed to be no answer but the obvious one, he put it aside, possibly for later consideration. He scanned the desert and then looked up at the sun, which was now sliding into a far quadrant of the sky that was, disturbingly, not quite true west. He got up, removed his threadbare gloves from his belt, and began to pull devil-grass for his own fire, which he laid over the ashes the man in black had left. He found the irony, like his thirst, bitterly appealing.

He did not take the flint and steel from his purse until the remains of the day were only fugitive heat in the ground beneath him and a sardonic orange line on the monochrome horizon. He sat with his gunna drawn across his lap and watched the southeast patiently, looking toward the mountains, not hoping to see the thin straight line of smoke from a new campfire, not expecting to see an orange spark of flame, but watching anyway because watching was a part of it, and had its own bitter satisfaction. You will not see what you do not look for, maggot,

Cort would have said. Open the gobs the gods gave ya, will ya not?

But there was nothing. He was close, but only relatively so. Not close enough to see smoke at dusk, or the orange wink of a campfire.

He laid the flint down the steel rod and struck his spark to the dry, shredded grass, muttering the old and powerful nonsense words as he did: "Spark-a-dark, where's my sire? Will I lay me? Will I stay me? Bless this camp with fire." It was strange how some of childhood's words and ways fell at the wayside and were left behind, while others clamped tight and rode for life, growing the heavier to carry as time passed. He lay down upwind of his little blazon, letting the dreamsmoke blow out toward the waste. The wind, except for occasional gyrating dust-devils, was constant.

Above, the stars were unwinking, also constant. Suns and worlds by the million. Dizzying constellations, cold fire in every primary hue. As he watched, the sky washed from violet to ebony. A meteor etched a brief, spectacular arc below Old Mother and winked out. The fire threw strange shadows as the devil-grass burned its slow way down into new patterns-not ideograms but a straightforward crisscross vaguely frightening in its own no-nonsense surety. He had laid his fuel in a pattern that was not artful but only workable. It spoke of blacks and whites. It spoke of a man who might straighten bad pictures in strange hotel rooms. The fire burned its steady, slow flame, and phantoms danced in its incandescent core. The gunslinger did not see. The two patterns, art and craft, were welded together as he slept. The wind moaned, a witch with cancer in her belly. Every now and then a perverse downdraft would make the smoke whirl and puff toward him and he breathed some of it in. It built dreams in the same way that a small irritant may build a pearl in an oyster. The gunslinger occasionally moaned with the wind. The stars were as indifferent to this as they were to wars, crucifixions, resurrections. This also would have pleased him.


He had come down off the last of the foothills leading the mule, whose eyes were already dead and bulging with the heat. He had passed the last town three weeks before, and since then there had only been the deserted coach track and an occasional huddle of border dwellers' sod dwellings. The huddles had degenerated into single dwellings, most inhabited by lepers or madmen. He found the madmen better company. One had given him a stainless steel Silva compass and bade him give it to the Man Jesus. The gunslinger took it gravely. If he saw Him, he would turn over the compass. He did not expect that he would, but anything was possible. Once he saw a taheen-this one a man with a raven's head-but the misbegotten thing fled at his hail, cawing what might have been words. What might even have been curses.

Five days had passed since the last hut, and he had begun to suspect there would be no more when he topped the last eroded hill and saw the familiar low-backed sod roof.

The dweller, a surprisingly young man with a wild shock of strawberry hair that reached almost to his waist, was weeding a scrawny stand of corn with zealous abandon. The mule let out a wheezing grunt and the dweller looked up, glaring blue eyes coming target-center on the gunslinger in a moment. The dweller was unarmed, with no bolt nor bah the gunslinger could see. He raised both hands in curt salute to the stranger and then bent to the corn again, humping up the row next to his hut with back bent, tossing devil-grass and an occasional stunted corn plant over his shoulder. His hair flopped and flew in the wind that now came directly from the desert, with nothing to break it.

The gunslinger came down the hill slowly, leading the donkey on which his waterskins sloshed. He paused by the edge of the lifeless-looking cornpatch, drew a drink from one of his skins to start the saliva, and spat into the arid soil.

"Life for your crop."

"Life for your own," the dweller answered and stood up. His back popped audibly. He surveyed the gunslinger without fear. The little of his face visible between beard and hair seemed unmarked by the rot, and his eyes, while a bit wild, seemed sane. "Long days and pleasant nights, stranger."

"And may you have twice the number."

"Unlikely," the dweller replied, and voiced a curt laugh. "I don't have nobbut corn and beans," he said. "Corn's free, but you'll have to kick something in for the beans. A man brings them out once in a while. He don't stay long." The dweller laughed shortly. "Afraid of spirits. Afraid of the bird-man, too."

"I saw him. The bird-man, I mean. He fled me."

"Yar, he's lost his way. Claims to be looking for a place called Algul Siento, only sometimes he calls it Blue Haven or Heaven, I can't make out which. Has thee heard of it?"

The gunslinger shook his head.

"Well ... he don't bite and he don't bide, so fuck him. Is thee alive or dead?"

"Alive," the gunslinger said. "You speak as the Manni do."

"I was with 'em awhile, but that was no life for me; too chummy, they are, and always looking for holes in the world."

This was true, the gunslinger reflected. The Manni-folk were great travelers.

The two of them looked at each other in silence for a moment, and then the dweller put out his hand. "Brown is my name."

The gunslinger shook and gave his own name. As he did so, a scrawny raven croaked from the low peak of the sod roof. The dweller gestured at it briefly: "That's Zoltan."

At the sound of its name the raven croaked again and flew across to Brown. It landed on the dweller's head and roosted, talons firmly twined in the wild thatch of hair.

"Screw you," Zoltan croaked brightly. "Screw you and the horse you rode in on."

The gunslinger nodded amiably.

"Beans, beans, the musical fruit," the raven recited, inspired. "The more you eat, the more you toot."

"You teach him that?"

"That's all he wants to learn, I guess," Brown said. "Tried to teach him The Lord's Prayer once." His eyes traveled out be- yond the hut for a moment, toward the gritty, featureless hardpan. "Guess this ain't Lord's Prayer country. You're a gunslinger. That right?"

"Yes." He hunkered down and brought out his makings. Zoltan launched himself from Brown's head and landed, flittering, on the gunslinger's shoulder.

"Thought your kind was gone."

"Then you see different, don't you?"

"Did'ee come from In-World?"

"Long ago," the gunslinger agreed.

"Anything left there?"

To this the gunslinger made no reply, but his face suggested this was a topic better not pursued. "After the other one, I guess."

"Yes." The inevitable question followed: "How long since he passed by?"

Brown shrugged. "I don't know. Time's funny out here. Distance and direction, too. More than two weeks. Less than two months. The bean man's been twice since he passed. I'd guess six weeks. That's probably wrong."

"The more you eat, the more you toot," Zoltan said.

"Did he lay by?" the gunslinger asked.

Brown nodded. "He stayed supper, same as you will, I guess. We passed the time."

The gunslinger stood up and the bird flew back to the roof, squawking. He felt an odd, trembling eagerness.

"What did he talk about?"

Brown cocked an eyebrow at him. "Not much. Did it ever rain and when did I come here and had I buried my wife. He asked was she of the Manni-folk and I said yar, because it seemed like he already knew. I did most of the talking, which ain't usual." He paused, and the only sound was the stark wind. "He's a sorcerer, ain't he?"

"Among other things."

Brown nodded slowly. "I knew. He dropped a rabbit out of his sleeve, all gutted and ready for the pot. Are you?"

"A sorcerer?" He laughed. "I'm just a man."

"You'll never catch him."

"I'll catch him."

—from The Gunslinger: The Dark Tower I by Stephen King, copyright © 1982, 2003 Stephen King, published by Viking Press, a member of Penguin Group (USA) Inc., all rights reserved, reprinted with permission from the publisher.

Reading Group Guide

The Dark Tower I: The Gunslinger Reading Group Guide from The Dark Tower: The Complete Concordance

1. Who is Roland of Gilead? What is his ancestry? How does his personal history reflect the history of his land?

2. In many ways, Roland reminds us of the semimythical gunslingers of the late-nineteenth-century American West. Like them, he is simultaneously part lawman and part outlaw. Are there any figures from folklore, history, or film that remind you of Roland? How is he similar to them and how is he different? Would you call Roland a hero or an antihero?

3. Why does the term Man in Black have such emotional impact? What images do we automatically associate with such a figure? Do you believe that Walter is actually human? Is he demonic? What role does the demonic play in Roland’s world?

4. One of Roland’s favorite phrases is “the world has moved on.” What does this mean? What do you think Roland’s world was like before it moved on?

5. Throughout The Gunslinger, we are struck by the number of similarities between our world and Roland’s world. The townsfolk of Tull know the words to the Beatles’ song “Hey Jude,” and they use bocks (bucks, or dollars) as their currency. Jake’s description of New York (recounted while he is under hypnosis) reminds Roland of the mythical city of Lud, and the tunnels beneath the Cyclopean Mountains contain the ruins of a subway system that remind Jake of home. How do you explain these similarities? What is the relationship between Roland’s world and our world?

6. Although Sylvia Pittston claims to be a woman of God, she is actually one of the most actively destructive characters found in The Gunslinger. As Roland’s lover Allie says, Pittston’s religion is poison. What role does Pittston play in the novel? Have you come across Pittston-like characters in any of King’s other fiction? How do you explain the discrepancy between Pittston’s professed role as a preacher and her actual allegiance to the Man in Black and the Crimson King? What are the divisions between good and evil in Roland’s world?

7. Nort, the weed-eater Roland meets in Tull, suffers a terrible fate. After being poisoned by the addictive devil grass, he is resurrected by the sinister Man in Black, only to be later crucified by Sylvia Pittston and her followers. The terms resurrection and crucifixion automatically make us reflect upon the biblical account of Jesus’ crucifixion and resurrection, and the belief that, come Judgment Day, the dead will rise and be held accountable for the good and evil of their lives. Why do you think King includes these references? Why do you think Nort is crucified after being resurrected, a direct reversal of the biblical events?

8. Nort is not the only sacrificial figure found in The Gunslinger. Why does the Man in Black call Jake Roland’s “Isaac”? What does this tell us about Roland, about his relationship to the Man in Black, and his relationship to the Dark Tower?

9. When do the characters of The Gunslinger use High Speech? Would it be justified to call this a sacred language? What languages, in our world, are associated with religious ceremonies, ritual, and magic? What makes them special? Can these same attributes be said to belong to High Speech?

10. In literature, settings often serve a symbolic purpose. Throughout The Gunslinger, the landscapes Roland traverses are described as hostile, dry “purgatorial wastes.” Even relatively lush environments, such as the willow jungle, are full of dangerous forces, both mortal and demonic. In terms of its history, why is Roland’s land so dangerous and desolate? What is the symbolic significance of this harshness?

11. Although the setting of the Dark Tower series reminds us of a cowboy Western, King’s Tower novels draw from many other literary genres, including gothic fiction, science fiction, horror, and medieval Romance. Can you identify these elements in The Gunslinger?

12. One of Stephen King’s central inspirations for writing The Gunslinger was Robert Browning’s poem “Childe Roland to the Dark Tower Came.” The Victorians who first read “Childe Roland” saw it as a story of heroism and duty. For them, it was a Romance in which a brave knight attempted to make a pilgrimage even though all before him had failed. More recent critics, however, have read the poem in much more psychological terms. They interpret the landscape that Browning’s Roland traverses as a reflection of the character’s fears, terrors, and preoccupations—in other words, as a reflection of his internal state. In this interpretation, the knight’s search for the Dark Tower ultimately leads him to the center of himself, and to the truth of selfawareness. Do you think that either of these interpretations can be applied to The Gunslinger, in all or in part? Is Roland’s story a heroic tale of a knight on a quest, or can Roland’s travails be read as an allegory for the decisions, strivings, successes, failures, and personal betrayals we all face?

13. Ancient warrior cultures developed strict codes of honor and duty, which we now refer to as heroic codes. Great heroes were expected to be courageous, fearless, and headstrong. They had little or no regard for personal safety and in fact often acted rashly. What a warrior’s peers thought of him mattered above all else, and he thought little or nothing about personal conscience (in the modern sense) or the well-being of the soul. The warrior did not aim to enter Heaven, but to become legendary. Personal honor, family honor, and/or loyalty to the king or chieftain were what made a man worthwhile. Did the gunslingers of Gilead obey a Christian code or a heroic code? What about Roland? Is there a shift between these two codes as the novel progresses?

14. Judeo-Christian culture is primarily a guilt-based culture. In other words, people believe that God alone has the right to judge sins, and that He knows our guilt or our innocence, no matter what the world thinks of us. If an individual is innocent, he (in theory at least) can hold his head high, even though his reputation has been ruined. What matters is personal conscience. Hence, by the same token, if an individual believes he has committed a crime, he will be consumed by guilt, even if no one else ever discovers what has been done. Warrior cultures, on the other hand, were often shame-based cultures. In shame-based cultures, an individual must avoid “losing face,” since the disgrace he or she accrues reflects not only on the individual, but upon the family and the lineage. What a person thinks of himself matters less than what society thinks of him. Did Cort train apprentice gunslingers using guilt or shame? What does this tell us about gunslinger culture? At his hanging, does Hax show either guilt or shame? Why? What kind of culture does he seem to reflect? Does Roland primarily experience guilt or shame? Does this change over the course of the novel? Why, in terms of Roland’s personal development (or lack of it), might this happen?

15. Take a look at the tarot reading Walter does for Roland in the golgotha. How many of these cards are from the traditional tarot deck? Are there any others that seem to be versions of traditional cards? Which cards did King create anew? Which ones actually come from other sources? (Hint: Take a look at T. S. Eliot’s poem “The Waste Land.”) What is your interpretation of this reading? Why do you think Walter burns the card of Life?

16. At the front of the revised edition of The Gunslinger (2003), King adds a quote from Thomas Wolfe’s novel Look Homeward, Angel. (This quote did not appear at the front of the previous edition.) What emotions does this quote arouse in us? Why do you think King added it? Does it affect your interpretation of the novel?

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