Nine Worlds: A Thank You

This has been a con not quite like any other, and it is deserving of a post-con post not quite like any other. I don’t just want to give a shout out to the people I met whose names I can remember and say that I had a good time (although that will come), I want to thank people. An awful lot of people.

I want to thank the organisers for their vision. For wanting to do an event as open in its geekery as the big US cons at which British geeks on a tight budget have only been able to look on with envy. But not only that, I want to thank you for the vision to go further, to make inclusivity front and central. The name, Nine Worlds, frames the space in terms of multiplicity from the outset. It is in stark contrast to the most famous con, Sandiago Comic-Con, which still sounds, whether that is the intention or not,  as though the Real Geeks, the ones for whom the convention is Really For, are the comic fans – implicitly the same (straight, white, male, cisgendered, ablebodied) geeks who form some kind of nebulous Old Guard, who claim to have read the entirety of the DC and Marvell back catalogue and are ready and able to school you on it. I don’t blame Comic-Con for its name – it grew out of comics into something much broader, and that’s fine – but that doesn’t mean I can’t celebrate Nine Worlds for using their fresh start to do something different and better.

And it’s not only surface deep. The inclusivity and multiplicity goes all the way down.

It’s here in the accessibility of the con. Accessibility information is front and centre on the web and in the programme. And it makes a difference. I’ve never seen so many people with (visible) disabilities at a con, and I can only suppose that that is a consequence of them feeling confident that they could go to the con and get about and fully enjoy it, the same as everyone else.

I’ve also never seen so many women. Granted, the presence of women in cons has been more than the zeitgeist would have you believe for years, but with the exception of ‘Just a Minute’, which I went to on the first day (which was led by a man and at first seemed like it would go on without a single woman on the panel, and which did single out the woman on the panel and a gay guy for mockery (however mild) on the basis of their deviation from the (assumed male, straight) norm) you could really feel the difference in attitude in the equal presence and treatment of women, both on the panels and in the audience. I think that’s a consequence of two things: the well-publicised and explained policy on harassment, and having a whole track for events on Geek Feminism across the weekend. That says that the organisers want to make women feel comfortable and safe, but also that they regard the issues women face in Geek Culture not just as valid in themselves, but worthy of devoting time, space, and serious consideration to as an interest of geeks.

And with that in mind we reach the next person I want to thank: Siân Fever, who organised and ran the Geek Feminism track. Due to a Cow-on-the-Line delay, I missed the first Geek Feminist session I was supposed to be helping out with, but she was very understanding and when I attended her ‘What the FRAK is Geek Feminism’ 101 on Saturday morning I was beyond impressed by her understanding of the myriad of issues that face modern feminism in general, and geek feminism in particular; by her clarity in explaining these complex and fraught issues; and by her openness and ability to engage her audience. Honestly, it’s a talk that should be online for everyone to sample. But beyond her talk itself, her willingness to enter into discussion helped set a tone for the weekend and let me know, as a woman, as a feminist, as a geek, that this was a convention that was going to do things right in a way I hadn’t encountered anywhere else.

Whilst we’re on the topic of geek feminism, I want to thank Laurie Penny, whose talk on Cybersexism surprised me by bringing me to tears more than once. It surprised me because in many ways she didn’t say anything I didn’t know already or hadn’t said myself on multiple occasions, but there was an unexpected power to the sense of recognition hearing her say those things gave, and in the fact that she had been given the platform to say those things, which showed that the organisers respected her and recognised the validity of her opinions also. Here were the things that cut so very close to the bone, and that one has said so often one feels mentally hoarse (and suspects, or has even been told, that one is exaggerating and should just shut up about), and they were laid bare in a scenario that said they were worthy of attention, being expressed by an articulate and confident woman. A woman younger than me who has gained national and international recognition for speaking out on these issues and received a backlash beyond the sort of things I have experienced which have led me to have a hair-trigger blocking policy on Twitter and to close my Ask box on Tumblr. A woman who earlier this week received a bomb threat. And for what? For saying things like this:

That male geeks, geeks who were persecuted, isolated, picked on and marginalised at school, still don’t understand – still will not accept – that female geeks were right there with them, being just as geeky, and further marginalised still. Because we were the ones that even the male geeks disdained and persecuted – who are still being disdained and persecuted now. Apparently there were Dungeons and Dragons groups at my school, but I would never have known about it, because the male geeks at my school would not have been seen dead with me. Because it would have ruined their street cred – their geek cred – to give credence of the lowest of the low: a geek who is also a girl.

And she addressed the narrative of my generation where the changes that have been positive for male geeks have had negative effects for female geeks. Where the ‘geeks are cool now’ story has been expressed as a male story of male success in making money and showing the bullies they grew up with by getting the symbols of power and wealth – including getting ‘the girl’. This misogynistic tale most tellingly expressed in The Social Network, that successful tale of a man getting ahead by shaming women in the grossest fashion, and who somehow is presented as winning the sexy lawyer lady at the end of the movie, too, despite his despicable character and misogyny. I couldn’t believe the success and critical acclaim of that movie, and it meant a lot to hear Laurie Penny take it down for the exact reasons I found disgusting and appalling.

I don’t even know how to put into words how much this talk meant to me, and how much that, in itself, surprised me. So I just want to say thank you: thank you Laurie Penny, for saying these things; thank you, Siân Fever, for organising the track that put her there; thank you, Nine Worlds, for giving Siân the power to do that.

And at the same time as the Geek Feminism track was doing all this for me, there were also tracks that addressed LGBT issues, along with fun stuff aimed at queer geeks, too – discos and high tea and poetry. Whilst I don’t know what it’s like to be a queer person being given that validation and celebration and consideration, I can relate to it by considering what the feminism track did to me. And I can see the results – again, there have always been LGBT people at cons and in fandoms and involved in geekery, but there did seem to be a more visible and (this is important) relaxed quotient of LGBT attendees. And that’s fantastic.

There have also been events addressing race issues, and, again, a greater diversity of race, both in attendees and panellists. I’ve seen very few all white panels, and both the New Voices events I attended for debut authors contained a diversity of race and gender and cultural background that I, as both reader and writer, was grateful for. Some of the most interesting readings were from people of colour coming at genre fiction from different angles than mainstream white Anglo-American specfic.

These things might seem poe-faced matters to those who are privileged to enjoy cons without facing the issues some of the rest of us geeks face, but it’s not just about addressing and airing serious issues. Because by addressing and airing the serious issues it’s made the whole of the rest of the con that much more open, relaxed, and enjoyable. I thought I’ve felt geek circles to be welcoming and progressive in the past, but in the context of the experience I’ve had here, those experiences seem pale and fraught and tense. This is how you use geekery to set enthusiasm free. This is how you get all manner of geeks to feel comfortable getting to know strange people and having fun.

And coming from that I have to thank the people who have made the experience better for me on a personal level. My internet friends, Amanda Rutter, Anne Lyle, Jennifer Williams, Doug Strider, Chris Brosnahan, and Liz de Jager, who welcomed me into their midst on Friday evening when I was feeling left out and lonely because I’d come to the con by myself. My old friend, Jo Oldham, who I hadn’t seen in years and who introduced me to her new friends late on Saturday night; and Dave Tallerman, who I caught up with on Sunday. New friends I’ve made this weekend (most of whose names I am ashamed to say I have forgotten in con-overload) like Becky Austin, the best Buffy cosplayer I have ever seen, and her friends who I joined in the ‘Once More with Feeling’ sing-along, and who welcomed me without hesitation when I asked if I could be Tara in their planned live action ‘Once More, with Feeling’ at next year’s con.

And whilst I’m here, I want to thank everyone involved in the Buffy and Doctor Horrible Sing-Alongs on Saturday and Sunday night, especially our fantastic pianist, David Merriman. Someone did get a complete video of the Doctor Horrible one (complete with spontaneous re-enactment of the Town Hall scene, including two excellent Doctor Horrible cosplays), and if she gets permission from everyone involved to share it on YouTube, I’ll share that with you guys, too, because, damn, that was a very special experience.

Overall, there was just such an incredible atmosphere of inclusivity at Nine Worlds. So that, yeah, I want to tell you that I cosplayed Daenerys and people liked my wig, and the programme was full of more varied and wonderful things than I could actually go to, and I got a signed photo of Miltos and he was lovely and he kissed my hand. And I want to tell you the minor gripes: that the dealers room wasn’t that impressive and that lack of free wifi in the main hotel was a definite bummer. But mostly I just want to say: go to Nine Worlds next year. You haven’t been to a con like it and you’ll be missing out if you don’t.

Meditations on death

Spoiler Warning: some spoilers for The Dark Tower vols 1&2, Buffy, Season 6, and Fool’s Fate. I have tried to be restrained, but some things were unavoidable.

Good, all right, I’ll drown, he thought, listening to the roar of the sea. Let me drown.
– Roland in Stephen King (1989: 2), The Dark Tower, Volume 2: The Drawing of the Three

‘”Wherever I… was… I was happy. At peace. I knew that everyone I cared about was all right. […] And I was warm… and I was loved… and I was finished. Complete […] I think I was in heaven. And now I’m not. Everything here is… hard, and bright, and violent […] this is hell. Just getting through the next moment, and the one after that…”‘
– Buffy in ‘After Life’, Buffy the Vampire Slayer, Espenson (2001)

‘”It was such a good dream. I dreamed that we both died here and it was all over. There was nothing more we could do, and everyone agreed that we had tried and it wasn’t really our fault. They spoke kindly of us.”‘
– The Fool in Robin Hobb (2003: 437), Fool’s Fate

‘O that this too too [solid] flesh would melt,
Thaw, and resolve itself into a dew!’
– Hamlet in William Shakespeare (1996), Hamlet, Act I, Scene ii

‘The man in black fled across the desert, and the gunslinger followed.’
– King (1995), The Dark Tower, Volume 1: The Gunslinger

I went for a bath after my run today but was unable to find the book I had been reading. I searched half-heartedly for a bit, but my eye kept being drawn to my bookshelves – to books I had already read and reread. The favourite ones that spend their time waiting for me to decide that there has been just enough time passed that I might read them again without finding that I know every word by heart. And my gaze snagged on possibly my most dearly beloved of all the books – the one I ration to myself with the most treasured care: volume 2 of The Dark Tower, The Drawing of the Three.

Long-term readers of this blog will be aware of the deep and complex feelings I have for the Dark Tower series by Stephen King. Sometimes I feel like a small part of my mind will always be alternating between trying to puzzle out why it affected me so, or holding it at arm’s length, mentally swooning on a couch and crying with all melodrama: ‘It is too much! The wound is still too raw – ask me in another year!’ It’s a level of emotion that I feel uncomfortable expressing. Like someone who has left the ‘get a room’ line behind and is just full-out having sex on the couch whilst other people look on uncomfortably and wonder if it would be worse to say something now or let you get it out of your system and then pretend it never happened. But I’m kinda repressed in that stereotypically British way. I know other people feel fully confident and able to launch in unabashed squee about their most beloved artifacts of affection without fear that others will laugh in their faces. I want to be like that. But I’m not. So I end up putting these awkward caveats out there when I want to talk about The Dark Tower. It may seem to an outsider (i.e. one outside of my head) that I am being a bit over-zealous. If so, I apologise. I just don’t know how to talk about it in mixed company (i.e. Dark Tower converts and those who have yet to adore it/have never seen what all the fuss is about).

Anyway, as I was preparing for my bath my eye kept snagging on this particularly special book and I found myself thinking… ‘You know what? I think maybe it is time again’. And so I picked it up and I ran my bath and I settled down amongst the bubbles, and I read… Within a few short sentences I felt the old feelings beginning to stir again. I had recently finished The Wind Through the Key Hole – King’s supplementary volume ‘4.5’ of The Dark Tower, which I will review in full eventually, but for now will simply remark that it was not the equal of its litter-mates. Almost instantly my pulse quickened, the old excitement and recognition building, saying ‘Yes! Yes! It wasn’t mere hyperbole – this is a better book, the prose is as astonishingly tight and evocative as I remember – Oh! I have missed you!’ But more than this: I had not gone four paragraphs before I hit a sentence that opened up to me yet another layer of nuance, meaning, connections that I had not consciously seen before. For of anything, this is a book of connections, building meaning from references that pluck on our minds and our associations, our deep, shared, psychological rhythms and the cultural artifacts that draw the lines – the supporting beams of our psyches – between them.

Which is lovely, and all, but I’d just settled down for a bath with a favourite book, and now my mind was racing down the connections, seeing new webs and maps of shared themes, mentally composing a blog post I could not sit down to write until after I had washed my hair. I laid down the book, did what I needed to do as quickly as possible, and climbed out of the bath to beginning chasing down quotes.

The line that tripped off this frustrated wave of mental activity was this: ‘Good, all right, I’ll drown, he thought, listening to the roar of the sea. Let me drown.‘. It’s an odd line for the first page of your book – a melancholy line, a line of endings – and odder still for a force of nature like Roland of Gilead to think. Odd or masterful. Roland is dreaming as he lies on the beach at the ‘point of pointless ending’ (King, 1989: 2). He has just sacrificed his symbolic son and symbol of hope in quest of the Dark Tower, having passed through an underworld of tunnels under the mountains that might be likened to Hades, or Hell, or Moria*. A change of landscape can mark emotional transition, and he had come out on the other side of the mountain tunnels, following the night that lasts ten years, to lie here, as water (always symbolic of emotion) roils around him, washing ever closer towards his precious gunbelts – dealers of death, but also his way of life. And here he lies on the edge of consciousness, dreaming that it is not Jake who has ‘drowned’ (the man in black had read the gunslinger his fortune before apparently dying himself, and the card of the Sailor had symbolised Jake ‘He drowns, gunslinger… and no one throws him a line‘) but himself. And he thinks of this: ‘Good, all right, I’ll drown‘.

It’s an opening thick with death metaphor and potential of rebirth, but the rebirth is not presented as a gift. No, here, death is suggested as the release. It is seductive, appealing, absolving. Death is forgiveness from transgression and freedom from responsibility. In his dream, Roland can take the sacrifice upon himself and absolve himself of Jake’s death, but he can also shirk the responsibility of his all-consuming quest for the Tower. It’s a peculiarly selfish dream, given that he has already sacrificed Jake, and therefore the burden of responsibility has been added to by the price of making that death worth it.

So much great fiction – so many truly great moments in literature – has centred around this thought. It’s what makes Buffy’s description of what she calls heaven so achingly powerful: death to her was freedom from pain and responsibility. It was knowing that everyone else was alright, and she didn’t have to protect them anymore. So it is also conceived of in the Fool’s dream from Fool’s Fate. The Fool and Fitz are struggling to survive in the ice-tunnels in a glacier that once housed a city and now forms the living tomb to a dragon whose ‘rebirth’ would enable a whole species to be revived. The symbolism of location and themes is strikingly similar to the underground station in The Dark Tower, only here the metaphor is overladen with ice where the gunslinger’s world is one of dry, dusty, radioactive deserts and barren beaches. Ice is a killer, and it is killing the Fool, who is tempted by the lethargy induced by his slowing metabolism, but it is also a preserver, lowering the metabolism of the dragon so that it has survived in a fantasy equivalent of cryogenic stasis. Moreover, prophecy hangs over this scene, too: the ‘Fool’s Fate’ of the title is the Fool’s own prediction of his death in such a place. It is a death he thinks is necessary, but also fears. The death he dreams of is a different one – not the one he has predicted, one where he simply sits down and gives up; a kinder death, but one he knows he should fight against because he believes that dying in the correct way will bring about a better world. A terrible sort of responsibility, and in the face of that, it does seem like just sitting down and dying might be a good dream, if only: ‘There was nothing more we could do, and everyone agreed that we had tried and it wasn’t really our fault’.

This theme of death as a release from the anguish of responsibility is central to Hamlet, as well. Interestingly, the quotation as I have taken it above is disputed. Some argue that it should read ‘Oh, that this too, too sullied flesh should melt’ (Shakespeare, Act I, Scene ii). I have always held with ‘solid’ because it more accurately reflected the emotion of desiring to dissolve one’s physical self and melt away, emphasising the ‘solid’ implacable impossibility of such a wish, and thus how bitter the emotion is that such release is impossible. It also makes sense from the point of view that Hamlet has not really ‘sinned’ at this point. He might accuse Gertrude of being ‘sullied’ (whether you think he is right to do so or not, that emotion is clearly present) and when he speaks of ‘things rank and gross in nature'(ibid.) possessing the ‘garden’ in which he must persist, one feels he is accusing Claudius of corruption and a pollution of Denmark in contrast to the purity of Hamlet’s own father. But at this stage he has no cause to cast doubt upon his own actions. In fact, he is rather self-righteous in professing that he alone seems to be adequately grieving for his father. On the other hand, the wish to cleanse oneself with self-destruction certainly fits a theme. Tellingly, in his most famous soliloquy, which more consummately concerns suicide and the release of death he remarks:

To be, or not to be: that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them. To die, to sleep –
No more, and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to; ’tis a consummation
Devoutly to be wish’d. To die, to sleep –
To sleep: perchance to dream – ay, there’s the rub,
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause; there’s the respect
That makes calamity of so long life:
For who would bear the whips and scorns of time,
Th’ oppressor’s wrong, the proud man’s contumely,
The pangs of despis’d love, the law’s delay,
The insolence of office, and the spurns
That patient merit of th’ unworthy takes,
When he himself might his quietus make,
With a bare bodkin; who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover’d country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have,
Than fly to others that we know not of?
Thus conscience does make cowards [of us all]
– Shakespeare (1997), Hamlet, Act III, Scene i

‘And thus conscience doth make cowards of us all’. It’s an odd twist on the emotion we’ve seen so strongly evinced in the other texts mentioned above: conscience is what makes Buffy continue to fight despite her despair at being torn from heaven; conscience is what makes the Fool and Fitz press on, even though the Fool believes he walks to a much more terrible death than what the ice alone could offer; conscience is what spurs the gunslinger to wakefulness to fight to save his life and his bullets from the waves and from the lobstrosity that is crawling up the beach towards him. Surely it is conscience that makes a man bear the whips and scorns of time, the slings and arrows of outrageous fortune? Ah, but, Hamlet speculates, would we not all give ourselves into that good night (as Dylan Thomas would say), that ‘sleep of death’ if we did not fear what might come after? If ‘the Everlasting [God] had not fixed/His canon ‘gainst self-slaughter’ (Shakespeare, Act I, Scene ii)?

The answer seems to be ‘no’ – or at least, many of us would not. Our heroes do not. Roland’s beliefs about the after life seem jaded at best. Buffy explicitly states that: ‘I don’t understand about theology or dimensions, or … any of it, really … but I think I was in heaven’. It is her friends’ fear that she might have gone to ‘an untold Hell dimension‘ (Xander in ‘Once More with Feeling’, Buffy the Vampire Slayer, Whedon 2001) that pulled her back to life. Buffy sacrificed herself not knowing what would come next, and it was that sacrifice that was honoured and rewarded with ‘heaven’. Truly, it is not death that she fears, she fears life. Her heroic act in Season 6 is to go on living. The Fool is not typically heroic. He fears death, but he would accept a good death, freed from responsibility.

One of the interesting things about science fiction and fantasy is that these genres allow us to explore our emotions on the other side of death – to attempt a mapping of the undiscovered country. Buffy comes back from a death knowing that death, for her, was easier than life. Roland and the Fool are provided with prophecies concerning death, and Fitz has experienced a sort of death and resurrection. The unique experiences of the Fool and Fitz allow Fitz to comment: ‘”See how pleasant it can be, to have died? Once you’ve died, no one expects you to be a king. Or a prophet.”‘ (Hobb, 2003: 647) and for the Fool to respond: ‘”Years later, when I came to see you at your cottage, I thought, ‘surely he will be healed by now. Surely he will have recovered.’ […] But you had not. You had just… stopped. In some ways. Oh, you were older and wiser, I suppose. But you had not made any move on your own to reach out to life again.”‘ Admittedly this latter is not literally a comment on Fitz’ death and ressurrection, but rather that his magic-enabled actions to remove the worst pains from his memories, and his willful turning away from the responsibilities of life, have been damaging.

There is a wrestling, here – in Hamlet, in Buffy, in Fool’s Fate, in The Dark Tower – with the death wish, and a sort of romance of death, as well as the fear of it. It is a consummation devoutly to be wished, but also to be fought against. There is honour in facing your struggles, but again and again the question is raised as to whether this ‘honour’ is worth the sacrifice of living the pains of life. There’s something darkly humourous in how The Gunslinger‘s famous first line encapsulates this:

‘The man in black fled across the desert, and the gunslinger followed.’
– King (1995: 1)

The man in black is frequently identified with death or presented as an omen of death. His attire resembles that of a priest, and Jake describes how the man in black was the last thing he saw before dying for the first time, and how Walter used Jake’s death as a gateway over to Roland’s world, like the ferryman over the river Styx, taking the dead to the underworld. Yet the gunslinger is himself a purveyor of death. This dealer of death actively pursues the personification of death across a dead landscape and death flees before him. It marks an ironic comment on how all of us are racing towards our graves in a battle we can never win. Every step taken in the struggle for survival brings us closer to the grave. Roland may (or may not) be fighting to save the world, but ultimately the tower that is his goal is dark in the same way that Walter, the man he pursues in the first volume, is darkly clothed. His quest to save the worlds leaves a wave of destruction in its wake. Roland suffers under the weight of the death he deals as well as his responsibility. They are intertwined. Every life he takes in the name of his goal is a promise that the goal will be worth it and it will be reached. And at the start of The Drawing of the Three, where my thoughts on this matter began, he has come to a point of pointless ending. The point where the world seems to drop away and you might step into the waves, you might lie back down and let the lobstrosity do its work, you might accept the sleep of death. And the story of this book is Roland’s tortured climb back out of the metaphorical Moria – the black chasm, or ‘black hole’ as depression is sometimes called for its apparent inescapability.

Roland is emotionally deadened at the start of The Gunslinger, but Jake reawakened a rusty paternal affection. In allowing him to die those flutters of emotions have been crushed. In order to return to his quest, Roland must find a way to revive these reawakened feelings without allowing them to destroy him. Within two pages his potency as a dealer of death, as a quester for The Dark Tower, is dramatically reduced. His bullets and guns are wetted – many of the bullets will never fire again. And, shockingly, he loses two fingers and most of a toe to a lobstrosity. When I first read this it was my first encounter with such shocking and permanent injury to a protagonist. I kept expecting him to get his fingers back. It’s powerful. Moreover, the lobstrosity is possessed of a powerful poison, which is already working in his blood stream by the time he reaches the first door to our world via which he will draw his ‘three’. The rest of the book is the story of an emotionally and physically damaged man learning to lean upon and help other people at least as emotionally and physically damaged as himself: Eddie, the heroin addict; Odetta Holmes/Detta Walker/Susannah Dean, the black lady in a wheelchair with multiple personality disorder; and even Jake himself, in a way.

Not that Roland ever becomes a ‘soft’ man. There’s a grim and delightful humour in one character’s likening him to the Terminator, as an unemotional dealer of death. But pulling yourself out of the mines of Moria doesn’t mean a complete personality overhaul. It’s a fascinating journey through different kinds of recovery, bringing drops of water to the stark desert of Roland’s life. Above all it underlines the difficulty and pain involved in turning away from death and ‘choosing life’ (the opening monologue from Trainspotting, ‘Choose Life’ (John Hodge, 1996), can be seen as setting a frame for exploring this, also).

There is a ‘romance’ of the western, and it is a romance of death. But this romance, this fascination, is not limited to any one genre. It has a strong and complex hold on all our lives. Which is why it can hit so deep when a truly powerful piece of art hits out with something that seems to encapsulate the complexities and contradictions of our emotions on the subject. Strange that I both saw, and didn’t see this in The Dark Tower before. But, for me, that is the mark of truly great art: its rich complexities work on your emotions to powerful effect without your even having to know how such feelings were brought about.


Footnotes:
*Random note prompted by the Wikipedia article on Moria linked to above, because it gave me chills. Wiki notes that: ‘Moria (Sindarin for “Black Chasm”) was the name given by the Eldar to an enormous underground complex in north-western Middle-earth, comprising a vast network of tunnels, chambers, mines and huge halls or ‘mansions’, that ran under and ultimately through the Misty Mountains… It has been suggested that Tolkien — an ardent Catholic — may have used this name as a reference to the mountains of Moriah, where (according to the book of Genesis) Abraham was to sacrifice his son, Isaac. However, Tolkien categorically denied such derivations.’ Anyway, ‘north-western’ initially caught my eye because I thought that the mega electronics and robotics coporation in The Dark Tower was called ‘North Western Positronics’ – it’s not, it’s called North Central Positronics; I am a bad fangirl. However, although no map ever appears in The Dark Tower books, there are indications that the great station and the tunnels than lead there are located in the north-west of Mid World. The second, and more interesting, thing that caught my attention was the biblical reference. Although Tolkein may have denied it, I don’t think King could have been unaware, given that this is the scene for Roland’s sacrifice of Jake. I have suggested elsewhere that these mountains referenced Moria; I think this evidence makes the reference pretty clear.


Espenson, Jane (2001) ‘After Life’, Buffy the Vampire Slayer, Season 6, Episode 3
Hobb, Robin (2003), Fool’s Fate, London: Harper Collins
Hodge, John (1996), Trainspotting
King, Stephen (1995), The Dark Tower, Volume 1: The Gunslinger, London: Warner Books
King, Stephen (1989), The Dark Tower, Volume 2: The Drawing of the Three, London: Sphere
Shakespeare, William, (1997) Hamlet, in The Riverside Shakespeare, Second Edition, G Blakemore Evans et al (eds), Boston & New York: Houghton Mifflin Company
Thomas, Dylan (1996), ‘Do Not Go Gentle Into That Good Night’ (pp. 1465-6), The Norton Anthology of Poetry, Fourth Edition, Margaret Ferguson, Mary Jo Salter, and Jon Stalwarthy (eds), London: W. W. Norton & Company