This is the fifth full entry in my re-read of Stephen King’s Dark Tower series, following my reviews of The Gunslinger, The Drawing of the Three, The Waste Lands, Wizard and Glass, and Wolves of the Calla (with a side stop into “The Little Sisters of Eluria”). As a reminder, I’ll be reviewing the book on its own terms in the review; after the review concludes, I will be discussing the book’s connections to the rest of the series to come in the section entitled “All Things Serve the Beam.”
Also, this time I’m going to have a special book-only spoiler section called “The Clearing at the End of the Path,” because there’s one aspect of this book that I wanted to discuss at length, but didn’t want to spoil for people who hadn’t yet read the book. (If you’ve read it, you probably know what it is.)
As I approached Song of Susannah in this re-read, I’m not going to lie; I was a bit anxious. Over the years, Song of Susannah has been held up as the nadir of the series – a mess, the point at which the meta commentary became too much, the book where King’s ambition stretched too far. And in some ways, I’ll grant some of those points. There’s no denying that Song of Susannah sometimes feels like too many books in one, nor that it feels…well, weird. And that’s saying something, given how strange this series is already, and how disjointed the books are almost by design. But more than most, Song of Susannah swings for the fences, going between the surreal to the action-packed, from the nightmarish to the esoteric, often without even a hint of a change coming. And that doesn’t even get into the main thrust of the narrative, which somehow has to explain a truly baffling pregnancy that…well, I can’t even begin to explain this one to you, because King doesn’t quite either, despite the number of pages he devotes to trying to hash it all out.
And yet. (Come on. You knew an “and yet” was coming.)
And yet, by god, broken down to its individual pieces, Song of Susannah WORKS. There’s no denying that King’s ambition cranks up dozens of notches here (and I’ll have lots to say about the major one – and the most controversial one – in a book spoiler section below, before I get to series spoilers), but it’s easy to forget how much King has a way of making even the most bizarre and dysfunctional concepts somehow work when you’re lost in his worlds. On paper, most of Song of Susannah shouldn’t work, but as we immerse ourselves into the heart and soul of these characters, and King brings his worlds to vivid, intense life, it’s hard to remember your complaints while you’re carried along.
More than that, Song of Susannah has some truly great scenes waiting for you, most notably a climactic section that may rank as one of the most disturbing, horrific things King’s ever written – no small feat, that. But it makes sense, because King’s horror usually has at least one foot in the real world, one foot keeping things grounded. But in the world of the Dark Tower, all bets are off – there’s no reality to keep it tethered. And what results is genuinely horrifying and disturbing, with some of the darkest, grimmest images I can remember King writing – an ending (setting aside the coda, which I’ll address in those book spoilers) that leaves you dying for more in a great way. More than that, even with the weird, sometimes disjointed approach that finds us sometimes leaping from scene to scene, King retains that command of momentum and pacing that makes him one of the best writers around – and that goes double here, as King barrels us toward the ending of this series.
But maybe what I really love most about Song of Susannah is the way that it makes King’s ambition for this series plain, crystallizing something that’s been a theme for some time. Song of Susannah, in other words, is the book where it becomes most clear that in many ways, this is King’s most ambitious and career-defining work, in his own mind, and that the book is as much as about him as an author as it is these characters. It’s something that’s been a part of the series since the beginning (if you remember, it’s one reason why I advocate for the original cut of The Gunslinger, because it makes King’s evolution as a writer part of the text of the series), and even more so over the past few, as the ideas of story and storytelling has become more and more intrinsic to the plot of the series as a whole. The idea of stories – why we tell them, how they inspire or define us, how they motivate us – is only more and more relevant as the Tower series progresses, and Song of Susannah starts turning that from subtext to text, as characters grapple with their roles in stories that they had no idea they were a part of.
Does Song of Susannah spend alternately too long on some explanations (Mia/Susannah, I’m looking at you) and not enough on others (how Susannah knows the importance of a street preacher, for instance)? Undoubtedly. Does it suffer from “middle book” syndrome a bit, bridging between the setup of Wolves of the Calla and the payoff of The Dark Tower without sometimes knowing how to define itself? Most definitely. And is there a bit of me that resents spending so much time in this penultimate book of a great series on one of its weirdest, most nonsensical plot threads, to say nothing of the fact that most of it is devoted to maybe my least favorite member of the ka-tet? (Again, I’ll get into why in the spoiler section below.) Yup.
But for all of that, so many of the individual pieces of Song of Susannah work so well that I can overlook that. Any book that features that horrific sequence in the Dixie Pig, the fantastic shoot-out, that eerie scene where they meet a sort of god, and our first glimpses at what lays in the blasted lands near the Tower…when your book has all of that and more, I’m okay with the weaknesses, especially because all of them work so well thematically, and they’re so well told. And more than anything, when a book leaves me this ready to jump into the final volume, even after I’ve already read it…well, it’s doing its job, isn’t it?
The Clearing at the End of the Path (book spoilers follow – no series spoilers) Continue reading “Song of Susannah, by Stephen King / ****”