Stephen King: Wolves of the Calla

And then he said again, all the affirmation necessary in this dark place.

"Yes."

Bangor, Maine December 15, 2002

The debt I owe to the American Western in the composition of the Dark Tower novels should be clear without my belaboring the point; certainly the Calla did not come by the final part of its (slightly misspelled) name accidentally. Yet it should be pointed out that at least two sources for some of this material aren't American at all. Sergio Leone (A Fistful of Dollars, For a Few Dollars More, The Good, The Bad, and The Ugly , etc.) was Italian. And Akira Kurosawa ( The Seven Samurai) was, of course, Japanese. Would these books have been written without the cinematic legacy of Kurosawa, Leone, Peckinpah, Howard Hawkes, and John Sturgis? Probably not without Leone. But without the others, I would argue there could be no Leone.

I also owe a debt of thanks to Robin Furth, who managed to be there with the right bit of information every time I needed it, and of course to my wife, Tabitha, who is still patiently giving me the time and light and space I need to do this job to the best of my abilities.

S.K

Before you read this short afterword, I ask that you take a moment (may it do ya fine) to look again at the dedication page at the front of this story. I'll wait.

Thank you. I want you to know that Frank Muller has read a number of my books for the audio market, beginning with Different Seasons . I met him at Recorded Books in New York at that time and we liked each other immediately. It's a friendship that has lasted longer than some of my readers have been alive. In the course of our association, Frank recorded the first four Dark Tower novels, and I listened to them-all sixty or so cassettes- while preparing to finish the gunslinger's story. Audio is the perfect medium for such exhaustive preparation, because audio insists you absorb everything; your hurrying eye (or occasionally tired mind) cannot skip so much as a single word. That was what I wanted, complete immersion in Roland's world, and that was what Frank gave me. He gave me something more, as well, something wonderful and unexpected. It was a sense of newness and freshness that I had lost somewhere along the way; a sense of Roland and Roland's friends as actual people , with their own vital inner lives. When I say in the dedication that Frank heard the voices in my head, I am speaking the literal truth as I understand it. And, like a rather more benign version of the Doorway Cave, he brought them fully back to life. The remaining books are finished (this one in final draft, the last two in rough), and in large part I owe that to Frank Muller and his inspired readings.

I had hoped to have Frank on board to do the audio readings of the final three Dark Tower books (unabridged readings; I do not allow abridgments of my work and don't approve of them, as a rule), and he was eager to do them. We discussed the possibility at a dinner in Bangor during October of 2001, and in the course of the conversation, he called the Tower stories his absolute favorites. As he had read over five hundred novels for the audio market, I was extremely flattered.

Less than a month after that dinner and that optimistic, forward-looking discussion, Frank suffered a terrible motorcycle accident on a highway in California. It happened only days after discovering that he was to become a father for the second time. He was wearing his brain-bucket and that probably saved his life-motorcyclists please take note-but he suffered serious injuries nevertheless, many of them neurological. He won't be recording the final Dark Tower novel on tape, after all. Frank's final work will almost certainly be his inspired reading of Clive Barker's Coldheart Canyon , which was completed in September of 2001, just before his accident.

Barring a miracle, Frank Muller's working life is over. His work of rehabilitation, which is almost sure to be lifelong, has only begun. He'll need a lot of care and a lot of professional help. Such things cost money, and money's not a thing which, as a rule, freelance artists have a great deal of. I and some friends have formed a foundation to help Frank-and, hopefully, other freelance artists of various types who suffer similar cataclysms. All the income I receive from the audio version of Wolves of the Calla will go into this foundation's account. It won't be enough, but the work of funding The Wavedancer Foundation ( Wavedancer was the name of Frank's sailboat), like Frank's rehabilitative work, is only beginning. If you've got a few bucks that aren't working and want to help insure the future of The Wavedancer Foundation, don't send them to me; send them to

The Wavedancer Foundation

c/o Mr. Arthur Greene

101 Park Avenue

New York, NY 10001

Frank's wife, Erika, says thankya. So do I.

And Frank would, if he could.

Bangor, Maine December 15, 2002