Кинг Стивен - The Drawing Of The Three
sf_fantasy Стивен Кинг The Drawing of the Three The man in black is dead, and Roland is about to be hurled into 20th-centure America, occupuying the mind of a man running cocaine on the New York/Bermuda shuttle. A brilliant waork of dark fantasy inspired by Browning's romantic poem, "Child Roland to the Dark Tower Came."
Synopsis:
Part II an epic saga. Roland, the last gunslinger, encounters three mysterious doorways on the beach. Each one enters into a different person living in New York.
Through these doorways, Roland draws the companions who will assist him on his quest to save the Dark Tower.
1986, Bangor, Maine en en Rustam FB Tools 2005-03-09 http://www.undernet.org irc.undernet.org #bookz 01CC4223-3DFB-42A0-817D-89428D356761 1.0 FB2 made by Rust
ARGUMENT
To Don Grant, who's taken a chance on these novels, one by one.
The Drawing of the Three is the second volume of a long tale called The Dark Tower, a tale inspired by and to some degree dependent upon Robert Browning's narrative poem "Childe Roland to the Dark Tower Came" (which in its turn owes a debt to King Lear).
The first volume, The Gunslinger, tells how Roland, the last gunslinger of a world which has "moved on," finally catches up with the man in black … a sorcerer he has chased for a very long time just how long we do not yet know. The man in black turns out to be a fellow named Walter, who falsely claimed the friendship of Roland's father in those days before the world moved on.
Roland's goal is not this half-human creature but the Dark Tower ; the man in black and, more specifically, what the man in black knows is his first step on his road to that mysterious place.
Who, exactly, is Roland? What was his world like before it "moved on?" What is the Tower, and why does he pursue it? We have only fragmentary answers.
Roland is a gunslinger, a kind of knight, one of those charged with holding a world Roland remembers as being "filled with love and light" as it is; to keep it from moving on.
We know that Roland was forced to an early trial of manhood after discovering that his mother had become the mistress of Marten, a much greater sorcerer than Walter (who, unknown to Roland's father, is Marten's ally); we know Marten has planned Roland's discovery, expecting Roland to fail and to be "sent West"; we know that Roland triumphs in his test.
What else do we know? That the gunslinger's world is not completely unlike our own. Artifacts such as gasoline pumps and certain songs ("Hey Jude," for instance, or the bit of doggerel that begins "Beans, beans, the musical fruit …") have survived; so have customs and rituals oddly like those from our own romanticized view of the American west.
And there is an umbilicus which somehow connects our world to the world of the gunslinger. At a way-station on a long-deserted coach-road in a great and sterile desert, Roland meets a boy named Jake who died in our world. A boy who was, in fact, pushed from a street-corner by the ubiquitous (and iniquitous) man in black.
The last thing Jake, who was on his way to school with his book-bag in one hand and his lunch-box in the other, remembers of his world our world is being crushed beneath the wheels of a Cadillac … and dying.
Before reaching the man in black, Jake dies again… this time because the gunslinger, faced with the second-most agonizing choice of his life, elects to sacrifice this symbolic son. Given a choice between the Tower and child, possibly between damna
