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The adult Gordon LaChance is looking back to his childhood and recounting the coming-of-age event that most influenced the course of his life. He talks about how difficult it is sometimes to put important thoughts and ideas into words that will make sense to another person.
In August, near the end of a long, hot summer, the narrator, Gordon “Gordie” LaChance, and his friends, Chris and Teddy, are hanging out in their club, a treehouse overhanging a vacant lot in Castle Rock. Gordie describes it as a kind of social club with no name and a loose and fluctuating membership. They play cards and smoke and tell stories. The three boys are playing cards when their friend, Vern Tessio, arrives out of breath.
Vern tells them something that he overheard from his older brother. Three days earlier, Ray Brower, a boy their own age from nearby Chamberlain, had gone missing. Vern just overheard his older brother, Billy, talking with a friend about finding Ray Brower’s body but being unable to tell anyone about it because they had found it while joyriding in a boosted car. They found the body near the train tracks and theorized that he must have been lost and following the tracks to get home and was hit by a train. The boys concoct a plan to tell their parents that they are camping out in a field near Vern’s house and go instead to find the body.
Gordie explains how the four boys are able to get away with disappearing overnight without their parents knowing. Chris’s father is violent and usually drunk. Teddy’s father is in an asylum, having gone on a violent rampage in which he pressed Teddy’s ears to a hot stove, burning them badly. Teddy is reckless and impulsive, prone to death-defying stunts. Gordie’s parents had never wanted a second son, so when his older brother, Denny, died, they seemed almost to forget about Gordie’s existence. Gordie sometimes feels that his family wishes that he was the one who died.
Gordie interpolates a story that he wrote much later called “Stud City.” The story is about Eddie “Chico” May, a young man whose older brother, Johnny, recently died in a car wreck just like Gordie’s own brother did. Its family dynamics are full of anger, betrayal, secrets, and even a little love. After a big family argument, Eddie takes off in his car with no destination but the future.
The boys collect their camping equipment. Chris and Gordie meet first, and Chris shows Gordie his father’s .45 pistol, which he has taken just in case they run into any trouble. The four boys meet at the field behind Vern’s house near noon, and they plan their route. They plan to follow the railroad tracks directly to the town of Harlow where Vern’s brother saw the body. They estimate it to be about a 20-mile walk.
The day is hot, and they soon run out of water and realize that no one thought to bring any food. They decide to refill their canteens at the faucet at the town dump, then pool their money, coming up with $2.37.
The boys hear a train approaching, and three of them go down the bank to a safe distance, but daredevil Teddy declares that he is going to dodge the train. He positions himself in the middle of the tracks, but Gordie grabs him and drags him off just in time. Teddy attacks Gordie, screaming with rage as the train roars past.
When peace is finally restored, the boys climb the fence surrounding the dump and fill their canteens, then lie down for a rest. The dump is an exciting place in which Chopper lives—the dog belonging to the dump-keeper, Milo Pressman. Chopper is a rarely-seen creature rumored to be a combination wolf/Irish wolfhound/Doberman/German Shepherd trained by Milo to “sic” specific points of anatomy. A first-time trespasser might lose a foot, a leg or a hand, but on second offense, Milo would (allegedly) issue the command to “Sic! Balls!”
After a rest, the boys flip coins to decide who will walk down the road to the small shop to buy food. On the first toss, they come up with equal heads and tails. On the second toss, they come up four tails, a very bad omen. On the third toss, Gordie comes up heads and the other three show tails. Gordie feels a thrill of fear as if fate had thrown a shadow over the other three.
Gordie leaves the others and goes down the road to the Florida Market where he buys food for the rest of the trip. The owner tries to cheat him first by putting a thumb on the meat scale, then adding up the total wrong. When Gordie corrects him both times, the owner calls him a smartass and other slurs and threatens to punch him if he ever comes back.
Returning to the dump, Gordie decides to take a shortcut through the yard. As he is climbing over the gate, he is spotted by Milo Pressman. Gordie runs for the other side of the yard and climbs the fence to rejoin his friends moments before Chopper catches him. Gordie realizes that Chopper is just an ordinary mutt. An enraged Milo Pressman taunts Teddy by calling his father a “loony,” and the boys have difficulty holding Teddy back from climbing over the fence and attacking the big man. The confrontation ends with the boys walking away.
Gordie reflects that maybe their adventure is a lot more serious than they had understood at the outset and that maybe they deserve their bad luck. As he is thinking this, Teddy suddenly bursts into hysterical tears over Milo’s insults about his father. None of the boys knows what to do until Chris, the toughest of them all, puts his arm around Teddy and comforts him. Gordie wonders how Teddy can be so fiercely protective of his father when his father nearly killed him.
When Teddy recovers his composure, he apologizes for ruining the good time, but Vern says that their quest isn’t supposed to be fun. It is supposed to be solemn–even scary. Vern is afraid to look at the body, but he feels like he has to, no matter the consequences.
The boys reach the Castle River. The only way to cross is over the railroad trestle. Being on the tracks when a train came would be certain death. Chris and Teddy go first, then Gordie and Vern. Halfway across, a train comes up behind them. Chris and Teddy get off, and Gordie forces Vern along ahead of him. They leap off the tracks just as the train roars by.
“The Body” is a coming-of-age story in which four 12-year-old boys set out on a quest to view the dead body of a boy their own age who had disappeared a few days earlier. Together, they uncover the mysteries of mortality and by extension the finite nature of life. King employs devices derived from medieval chivalric romances including quests, obstacles, fantastical antagonists, and retold legends.
After the introduction, the story opens on the boys in their club. The description of the club is similar to the club that will be described in “The Breathing Method”: it has no name other than “the club”, and the membership is loose and fluctuating with a few core members and what Gordie calls “wet ends” who come and go. The club is also characterized by stories—mainly told by Gordie, who plays a kind of sacred role to the other boys as the one who can produce the miracle of stories. The relationship between the boys in the club speaks to the theme of The Importance of Male Friendship. Whereas Chris is a knight figure in this quest, exhibiting physical and emotional strength and bringing a weapon, Gordie’s diegetic purpose in this “club” reflects his wider function as narrator of this tale.
Both the framing device of Gordie relaying this story while an older man, as well as his role as a storyteller as a child, reflect the medieval traditions of retold legends. Gordie’s story about Eddie May is an example of what Gordie means when he talks about thoughts and feelings that can’t be conveyed in words. Stories are a way for Gordie to communicate his feelings about his own family life. Like Eddie, Gordie feels a sense that his parents have betrayed him, held things away from him, loved his brother in a way they couldn’t love him. The feelings that he expresses in the story are far more complex and conflicted than the feelings that communicates about his real life. This underpins the significance of King’s allusions to a long history of human storytelling.
The boys encounter their first two obstacles on their quest. The incident with Teddy on the train tracks foreshadows the boys’ later confrontation with the train on the trestle and illustrates an element of Teddy’s character: that he is more likely to turn against a rescuer than against the threat itself. Later, they encounter the dog, Chopper. He is a creature of fantastical status—a quasi-dragon. The boys’ small world is full of mysteries that loom larger than reality in their minds. Metaphorically, the real world has become the special, magical world of the quest, and it is taking on magical qualities and proportions. Moments later, when Gordie has crossed the line of the fence, the dragon is revealed as an ordinary medium-sized mongrel. This reality highlights the juxtapositions that King draws throughout this collection between the child and the adult world.
The shop owner offers a more prosaic challenge through which King parodies the obstacles of medieval chivalric romance—there is nothing fantastical about this real antagonist. The shop owner looms large—a big, menacing adult who doesn’t hesitate to try to cheat a child or threaten him with bodily harm. The boys are learning that the adult world, rather than protecting them as adults should do, is willing to betray children. Milo Pressman acts similarly when he taunts Teddy about his father. This learning highlights the coming-of-age in the story which signals The Arc of Transformation.
King intensifies the rising action during the race across the trestle. Gordie speaks of driving Vern ahead of him; like Chris, Gordie takes responsibility for a weaker companion in spite of his own fear. Thus, Gordie is the last in line, the closest to death. In keeping with King’s allusions to chivalric romance, Gordie shows some of the same chivalrous instinct as Chris that motivates them both to help and protect the weaker members of their company, although that instinct is less well-developed in Gordie. His character development further signals The Arc of Transformation.
The outcome of the coin toss at the dump foreshadows the revelation that the other three boys will all die young, although Gordie makes clear that their deaths are still well into the future, implying that they will all survive the quest. This allusion to their future death augments the sense of legend in the framing device of older Gordie telling the story. Their confrontation with death in the form of Ray Brower is a metaphor for their leap of understanding into adulthood.
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