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13 Things You May Not Know About The Dark Tower Series

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Stephen King’s world-traversing fantasy epic is a fan favorite, but even if you’ve read all eight volumes of The Dark Tower saga and have preordered your tickets to see its big screen adaptation, which opens this weekend, you can probably pick up a few new nuggets and theories about the sweeping work.

1. ROBERT BROWNING’S POETRY INSPIRED THE SERIES.

The first volume of the Dark Tower series, The Gunslinger, drew inspiration from Robert Browning’s poem “Childe Roland to the Dark Tower Came” and King even borrowed the name for his heroic gunslinger Roland Deschain. The author first read the poem during his sophomore year at the University of Maine, and it stuck with him.

King explained his fascination with the poem in a 1989 interview with the Castle Rock News:

“Browning never says what that tower is, but it’s based on an even older tradition about Childe Roland that’s lost in antiquity. Nobody knows who wrote it, and nobody knows what the Dark Tower is. So I started off wondering: What is this tower? What does it mean? And I decided that everybody keeps a Dark Tower in their heart that they want to find.”

2. AN ODD REAM OF PAPER HELPED, TOO.

In an afterward to The Gunslinger, King wrote that, “The Dark Tower began, I think, because I inherited a ream of paper in the spring semester of my senior year of college … The ream of paper I inherited was bright green, nearly as thick as cardboard, and of an extremely eccentric size—about 7 inches wide by 10 inches long, as I recall.” In need of a project to fill out this strange green paper, King began writing the first book in March 1970.

3. T.S. ELIOT'S WORK ALSO MAKES AN APPEARANCE.

Browning isn’t the only famous poet who influenced King. The series’ third installment, The Waste Lands, nearly duplicates the title of T.S. Eliot’s The Waste Land. The two main sections of the novel (“Jake: Fear in a Handful of Dust” and “Lud: A Heap of Broken Images”) directly allude to lines from the poem.

4. THE SERIES WAS AN IMMEDIATE HIT.


Larry French/Getty Images

The Gunslinger came out in a limited hardcover edition in 1982, but the first mass-market edition didn’t drop until 1988. King explained the publication delay in the 1989 Castle Rock News interview:

"There were really two reasons. One was I didn’t think anybody would want to read it. It wasn’t like the other books. The first volume didn’t have any firm grounding in our world, in reality; it was more like a Tolkien fantasy of some other world. The other reason was that it wasn’t done; it wasn’t complete ... [I]t made a certain amount of sense, but there was all this stuff that I wasn’t talking about that went on before the book opens, and when the book ends, there’s all this stuff to be resolved, including: What is this all about? What is this tower? Why does this guy need to get there?"

5. THERE'S MORE THAN ONE HARRY POTTER REFERENCE.

King also paid homage to more contemporary fantasy works. In Wolves of the Calla, the author uses the same font for his chapter titles as the ones used in all seven Harry Potter books. The titular wolves use golden homing grenade-like weapons called “sneetches” (a few letters removed from everyone’s favorite Quidditch ball) stamped with a familiar-looking serial number: 465-11-AA HPJKR. The “HPJKR,” of course, stands for “Harry Potter, J.K. Rowling.”

6. STEPHEN KING MAY WRITE HIMSELF OUT OF THE BOOKS.

Although he’s famous for making cameos in movies and TV miniseries based on his novels, King had second thoughts after including himself as a character in the series. The author mentioned in an interview with fellow scribe Neil Gaiman for The Sunday Times that he would consider writing out the author proxy who appears in the fifth and sixth Dark Tower volumes.

7. THERE'S A BIT OF SPAGHETTI WESTERN IN ROLAND, TOO.

While Roland Deschain takes his name and purpose from his kindred spirit in Browning’s poem, Clint Eastwood’s performance as director Sergio Leone’s spaghetti Western character “The Man With No Name” influenced the character’s look and mannerisms. The King character even winks at the comparison in Song of Susannah, telling Roland, “As The Man With No Name—a fantasy version of Clint Eastwood—you were okay. A lot of fun to partner up with.”

8. YUL BRYNNER IS IN THERE AS WELL.

Wolves of the Calla tips its cap to another famous Western: this time, King shows his adoration for The Magnificent Seven. On the ever-winding path to the Dark Tower, there’s a town named Calla Bryn Sturgis: That’s Bryn as in Yul Brynner, of The Magnificent Seven fame, and Sturgis as in John Sturges, the film’s director.

9. NOT EVEN KING KNEW HOW IT WOULD ALL END.


KENZO TRIBOUILLARD/AFP/Getty Images

King’s slow progress on the series had a tendency to drive fans crazy, and some tried to get the author to reveal where the series was headed. In a foreword to the fourth installment, Wizard and Glass, King wrote that an elderly cancer patient and a fan on death row had both written letters asking for the end. The inmate pledged that he would take the secret to his grave, an offer that King said him "the creeps.”

Unfortunately, King didn’t know how the series would end. “I would have given both of these folks what they wanted—a summary of Roland’s further adventures—if I could have done, but alas, I couldn’t," he wrote in the foreword. "To know, I have to write. I once had an outline, but I lost it along the way.”

10. ROLAND'S UNIVERSE PERMEATES ALL OF KING'S WORK.

In an afterword to Wizard and Glass, King cemented the notion that the universe he wove in The Dark Tower series includes his other works, stating that: “I have written enough novels and short stories to fill a solar system of the imagination, but Roland's story is my Jupiter—a planet that dwarfs all the others ... a place of strange atmosphere, crazy landscape, and savage gravitational pull … I am coming to understand that Roland's world (or worlds) actually contains all the others of my making.” King’s official website even includes a list of user-submitted connections between Roland’s story and his other novels.

11. KING ALSO BORROWED CHARACTERS FROM HIS PREVIOUS BOOKS.

One of the series’ main characters, Father Callahan, first appeared in King’s 1975 vampire novel, ’Salem’s Lot. In his reappearance in The Dark Tower series, the priest discovers a copy of ’Salem’s Lot in a Manhattan bookstore. Other Dark Tower characters to appear in multiple King works: Randall Flagg (The Stand and The Eyes of the Dragon), Patrick Danville (Insomnia), the Crimson King (Insomnia), and Ted Brautigan (Hearts in Atlantis).

12. THERE MAY STILL BE MORE TO COME.

When Rolling Stone asked King in October 2014 if he was done writing The Dark Tower books, the writer gave a cryptic answer: “I'm never done with The Dark Tower. The thing about The Dark Tower is that those books were never edited, so I look at them as first drafts. And by the time I got to the fifth or sixth book, I'm thinking to myself, ‘This is really all one novel.’ It drives me crazy. The thing is to try to find the time to rewrite them. There's a missing element—a big battle at a place called Jericho Hill. And that whole thing should be written, and I've thought about it several times, and I don't know how to get into it.”

13. THE DARK TOWER MOVIE IS FULL OF KING EASTER EGGS.


Columbia Pictures

Nikolaj Arcel's big-screen adaptation of The Dark Tower series, which stars Idris Elba and Matthew McConaughey, is full of fun nods to King's previous work, including The Shining, The Shawshank Redemption, Cujo, and Christine. In one scene, Jake Chambers (played by Tom Taylor) stumbles upon an abandoned amusement park known as Pennywise, the same name as the clown in It.

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The Charming English Fishing Village That Inspired Dracula
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Whitby as seen from the top of the 199 Steps
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The train departed King's Cross at 10:25 a.m. on July 29, 1890. Bram Stoker settled wearily into the carriage for the six-hour journey to Whitby, the fashionable and remote seaside village in North Yorkshire. The sooty sprawl of London gave way to green grids of farmland and pasture, and then windswept moors blanketed in heather and wild roses.

Stoker needed this holiday. The 42-year-old manager of London's Lyceum Theatre had just finished an exhausting national tour with his employer, the celebrated but demanding actor Henry Irving. The unrelenting task of running the business side of Irving's many theatrical enterprises for the past decade had left Stoker with little time for himself. When the curtains fell at the end of each night's performance, he may have felt that the energy had been sucked out of him.

Now he looked forward to a three-week getaway where he would have time to think about his next novel, a supernatural tale that harnessed the sources of Victorian anxiety: immigration and technology, gender roles and religion. In ways he didn't foresee, the small fishing port of Whitby would plant the seeds for a vampire novel that would terrify the world. Stoker started out on an innocent and much-deserved vacation, but ended up creating Dracula.

A photo of Bram Stoker
Hulton Archive/Getty Images

As Stoker emerged from the train station in Whitby, the sounds and smell of the sea would have restored him after the long trip. He loaded his trunk into a horse-drawn cab for the journey up the West Cliff, where new vacation apartments and hotels served the crowds of holidaymakers. He checked into a flat at 6 Royal Crescent, a half-circle of elegant Georgian-style townhomes that faced the ocean.

He often felt invigorated by the seashore: "He's finally on a holiday, away from the hustle and bustle of London, the Lyceum Theatre, and Henry Irving's dominance over him," Dacre Stoker, a novelist and the author's great-grandnephew, tells Mental Floss. "The ocean and the seaside play into Bram's life, and, I believe, in stimulating his imagination."

Stoker's wife Florence and their 10-year-old son Noel would join him the following week. Now was his chance to explore Whitby on his own.

The East Cliff with Tate Hill Pier in the foreground
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"A curious blend of old and new it is," wrote a travel correspondent for the Leeds Mercury. The River Esk divided the town into two steep halves known as the West and East Cliffs. Down a tangle of paths from the brow of the West Cliff, Stoker found himself on the town's famed beach, where people gathered to watch the many vessels at sea or walked along the gentle surf. At the end of the beach was the Saloon, the nucleus of Whitby's social whirl.

"The enterprising manager engages the best musical and dramatic talent procurable, whilst on the promenade a selected band of professional musicians gives performances daily," wrote Horne's Guide to Whitby. Holidaymakers could purchase a day pass to the Saloon and enjoy afternoon tea, tennis, and endless people-watching.

Next to the Saloon, the West Pier featured a long promenade parallel to the river and a three-story building containing public baths, a museum with a collection of local fossils, and a subscription library. Shops selling fish and chips, ice cream, and Whitby rock lined the winding streets. Visitors could watch all kinds of fishing vessels discharging their daily catch, and even hop aboard a boat for a night's "herringing" with local fishermen.

Whitby's East Cliff had a more mysterious atmosphere. Across the town's single bridge, tightly packed medieval cottages and jet factories leaned over the narrow cobbled streets, "rising one above another from the water side in the most irregular, drunken sort of arrangement conceivable," the Leeds Mercury reported.

Above the ancient Tate Hill Pier, a stone stairway of 199 steps (which pallbearers used when they carried coffins) led up the cliff to St. Mary's parish church and its graveyard full of weathered headstones. Towering over the whole scene—and visible from nearly any spot in town—were the ruins of Whitby Abbey, a 13th-century pile of Gothic arches that had been built upon the remains of a 7th-century monastery.

"I think [Stoker] was struck by the setting. He's thinking, 'This is perfect. I have the ships coming in, I've got the abbey, a churchyard, a graveyard'," Dacre Stoker says. "Maybe it was by chance, but I think it just became that perfect scene."

Whitby Abbey
Whitby Abbey
Daverhead/iStock

In Dracula, chapters six through eight kick the narrative into frightening action. By then, real estate agent Jonathan Harker has traveled to Transylvania to negotiate Dracula's purchase of a London property and become the vampire's prisoner. His fiancée Mina Murray, her friend Lucy Westenra, and Lucy's mother have traveled to Whitby for a relaxing holiday, but Mina remains troubled by the lack of letters from Jonathan. She confides her worries and records the strange scenes she witnesses in her journal.

On the afternoon of his arrival, according to a modern account compiled by historians at the Whitby Museum, Stoker climbed the 199 Steps to St. Mary's churchyard and found a bench in the southwest corner. The view made a deep impression on Stoker, and he took note of the river and harbor, the abbey's "noble ruin," the houses "piled up one over the other anyhow." In his novel, Mina arrives in late July on the same train as Stoker, mounts the 199 Steps, and echoes his thoughts:

"This is to my mind the nicest spot in Whitby, for it lies right over the town, and has a full view of the harbor ... It descends so steeply over the harbor that part of the bank has fallen away, and some of the graves have been destroyed. In one place part of the stonework of the graves stretches out over the sandy pathway far below. There are walks, with seats beside them, through the churchyard; and people go and sit there all day long looking at the beautiful view and enjoying the breeze. I shall come and sit here very often myself and work."

The churchyard gave Stoker a number of literary ideas. The following day, Stoker chatted there with three leathery old Greenland fisherman who likely spoke in a distinct Yorkshire dialect. They told Stoker a bit of mariner's lore: If a ship's crew heard bells at sea, an apparition of a lady would appear in one of the abbey's windows. "Then things is all wore out," one of the sailors warned.

Stoker ambled between the headstones that sprouted from the thick carpet of grass. Though most of the markers' names and dates had been erased by the wind, he copied almost 100 into his notes. Stoker used one of them, Swales, as the name of the fisherman with a face that is "all gnarled and twisted like the bark of an old tree," who begins talking with Mina in the churchyard. Mina asks him about the legend of the lady appearing in the abbey window, but Swales says it's all foolishness—stories of "boh-ghosts an' barguests an' bogles" that are only fit to scare children.

St. Mary's churchyard
St. Mary's churchyard, which Mina calls "the nicest spot in Whitby."
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For the first few days in August, Stoker was occupied by the summer's social calendar. He likely enjoyed dinner with friends arriving from London, and went to church on Sunday morning. On the 5th, Stoker's wife and son joined him at 6 Royal Crescent. The next several days may have been spent at the Saloon, promenading on the pier, and making social calls, as it was the custom for newly arrived visitors to visit with acquaintances in town.

But Whitby's infamous weather had the ability to turn a sunny day somber in an instant. August 11 was a "grey day," Stoker noted, "horizon lost in grey mist, all vastness, clouds piled up and a 'brool' over the sea." With Florence and Noel perhaps staying indoors, Stoker set off for the East Cliff again and chatted with a Coast Guard boatman named William Petherick. "Told me of various wrecks," Stoker jotted. During one furious gale, a "ship got into harbor, never knew how, all hands were below praying."

The ship was the Dmitry, a 120-ton schooner that had left the Russian port of Narva with a ballast of silver sand. The ship encountered a fierce storm as it neared Whitby on October 24, 1885, and aimed for the harbor.

"The 'Russian' got in but became a wreck during the night," according to a copy of the Coast Guard's log, which Petherick delivered to Stoker. The crew survived. In a picture taken by local photographer Frank Meadow Sutcliffe just a few days after the storm, the Dmitry is shown beached near Tate Hill Pier with its masts lying in the sand.

'The Wreck of the Dmitry' (1885), by Frank Meadow Sutcliffe
The Wreck of the Dmitry (1885), by Frank Meadow Sutcliffe
Courtesy of the Sutcliffe Gallery

Petherick's account gave Stoker the means for his vampire's arrival in England, the moment when the mysterious East disrupts the order of the West. Mina pastes a local newspaper article describing a sudden and ferocious storm that hurled Dracula's ship, the Demeter from Varna, against Tate Hill Pier. The Coast Guard discovered the crew had vanished and the captain was dead. Just then, "an immense dog sprang up on deck and … making straight for the steep cliff … it disappeared in the darkness, which seemed intensified just beyond the focus of the searchlight," the article in Mina's journal reads. The dog was never seen again, but townsfolk did find a dead mastiff that had been attacked by another large beast.

Mina describes the funeral for the Demeter's captain, which Stoker based on scenes from an annual celebration he watched on August 15 called the Water Fete. In reality, thousands of cheerful spectators lined the quays as a local band and choir performed popular songs and a parade of gaily decorated boats sailed up the river, with banners fluttering merrily in the breeze, according to the Whitby Gazette's report. But through Mina, Stoker transformed the scene into a memorial:

"Every boat in the harbor seemed to be there, and the coffin was carried by captains all the way from Tate Hill Pier up to the churchyard. Lucy came with me, and we went early to our old seat, whilst the cortege of boats went up the river to the Viaduct and came down again. We had a lovely view, and saw the procession nearly all the way."

The final week of Stoker's holiday elicited some of the most important details in Dracula. On August 19, he bought day passes to Whitby's museum library and the subscription library. In the museum's reading room, Stoker wrote down 168 words in the Yorkshire dialect and their English meanings from F.K. Robinson's A Glossary of Words Used in the Neighborhood of Whitby, which later formed the bulk of Mr. Swales's vocabulary in his chats with Mina.

One of the words was "barguest," a term for a "terrifying apparition," which also refers specifically to a "large black dog with flaming eyes as big as saucers" in Yorkshire folklore, whose "vocation appears to have been that of a presage of death," according to an account from 1879.

"I do think Stoker meant for that connection," John Edgar Browning, visiting lecturer at the Georgia Institute of Technology and expert in horror and the gothic, tells Mental Floss. "Moreover, he probably would have meant for the people of Whitby in the novel to make the connection, since it was they who perceived Dracula's form as a large black dog."

Downstairs, Stoker checked out books on Eastern European culture and folklore, clearly with the aim of fleshing out the origins of his vampire: Curious Myths of the Middle Ages, a travelogue titled On the Track of the Crescent, and most importantly, William Wilkinson's An Account of the Principalities of Wallachia and Moldovia: with Various Observations Relating to Them.

The library building where Stoker discovered Dracula
The library building where Stoker discovered Dracula
Courtesy of Dacre Stoker

From the latter book, Stoker wrote in his notes, "P. 19. DRACULA in Wallachian language means DEVIL. Wallachians were accustomed to give it as a surname to any person who rendered himself conspicuous by courage, cruel actions, or cunning."

The Wilkinson book gave Stoker not just the geographical origin and nationality for his character, but also his all-important name, redolent of mystery and malice. "The moment Stoker happened upon the name of 'Dracula' in Whitby—a name Stoker scribbled over and over on the same page on which he crossed through [the vampire's original name] 'Count Wampyr,' as if he were savoring the word's three evil syllables—the notes picked up tremendously," Browning says.

By the time Stoker and his family returned to London around August 23, he had developed his idea from a mere outline to a fully fledged villain with a sinister name and unforgettable fictional debut.

"The modernization of the vampire myth that we see in Dracula—and that many contemporary reviewers commented upon—may not have happened, at least to the same degree, without Stoker's visit to Whitby," Browning says. "Whitby was a major catalyst, the contemporary Gothic 'glue', as it were, for what would eventually become the most famous vampire novel ever written."

Bram Stoker visited Whitby only once in his life, but the seaside village made an indelible mark on his imagination. When he finally wrote the scenes as they appear in Dracula, "He placed all of these events in real time, in real places, with real names of people he pulled off gravestones. That's what set the story apart," Dacre Stoker says. "That's why readers were scared to death—because there is that potential, just for a moment, that maybe this story is real."

Additional source: Bram Stoker's Notes for Dracula: A Facsimile Edition, annotated and transcribed by Robert Eighteen-Bisang and Elizabeth Miller

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25 of Oscar Wilde's Wittiest Quotes
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By Napoleon Sarony - Library of Congress, Public Domain, Wikimedia Commons

On October 16, 1854, Oscar Fingal O'Flahertie Wills Wilde was born in Dublin, Ireland. He would go on to become one of the world's most prolific writers, dabbling in everything from plays and poetry to essays and fiction. Whatever the medium, his wit shone through.

1. ON GOD

"I think that God, in creating man, somewhat overestimated his ability."

2. ON THE WORLD AS A STAGE

"The world is a stage, but the play is badly cast."

3. ON FORGIVENESS

"Always forgive your enemies; nothing annoys them so much."

4. ON GOOD VERSUS BAD

"It is absurd to divide people into good and bad. People are either charming or tedious."

5. ON GETTING ADVICE

"The only thing to do with good advice is pass it on. It is never any use to oneself."

6. ON HAPPINESS

"Some cause happiness wherever they go; others whenever they go."

7. ON CYNICISM

"What is a cynic? A man who knows the price of everything and the value of nothing."

8. ON SINCERITY

"A little sincerity is a dangerous thing, and a great deal of it is absolutely fatal."

9. ON MONEY

"When I was young I thought that money was the most important thing in life; now that I am old I know that it is."

10. ON LIFE'S GREATEST TRAGEDIES

"There are only two tragedies in life: one is not getting what one wants, and the other is getting it."

11. ON HARD WORK

"Work is the curse of the drinking classes."

12. ON LIVING WITHIN ONE'S MEANS

"Anyone who lives within their means suffers from a lack of imagination."

13. ON TRUE FRIENDS

"True friends stab you in the front."

14. ON MOTHERS

"All women become like their mothers. That is their tragedy. No man does. That's his."

15. ON FASHION

"Fashion is a form of ugliness so intolerable that we have to alter it every six months."

16. ON BEING TALKED ABOUT

"There is only one thing in life worse than being talked about, and that is not being talked about."

17. ON GENIUS

"Genius is born—not paid."

18. ON MORALITY

"Morality is simply the attitude we adopt towards people whom we personally dislike."

19. ON RELATIONSHIPS

"How can a woman be expected to be happy with a man who insists on treating her as if she were a perfectly normal human being?"

20. ON THE DEFINITION OF A "GENTLEMAN"

"A gentleman is one who never hurts anyone’s feelings unintentionally."

21. ON BOREDOM

"My own business always bores me to death; I prefer other people’s."

22. ON AGING

"The old believe everything, the middle-aged suspect everything, the young know everything."

23. ON MEN AND WOMEN

"I like men who have a future and women who have a past."

24. ON POETRY

"There are two ways of disliking poetry; one way is to dislike it, the other is to read Pope."

25. ON WIT

"Quotation is a serviceable substitute for wit."

And one bonus quote about Oscar Wilde! Dorothy Parker said it best in a 1927 issue of Life:

If, with the literate, I am
Impelled to try an epigram,
I never seek to take the credit;
We all assume that Oscar said it.

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