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56 pages 1 hour read

Stephen King

Joyland

Fiction | Novel | Adult | Published in 2013

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Pages 217-283Chapter Summaries & Analyses

Pages 217-283 Summary

The first thing Devin notices he arrives at the park with Annie, Mike, and Milo is that Joyland is awake—the loudspeakers blasting summer music. Fred Dean meets them at the wide-open gates, wearing the fancy suit he reserves for special VIP guests. He greets Annie like a visiting queen, and then he shakes hands with both Mike and Milo.

Lane runs the Choo-Choo Wiggle. He is wearing an engineer’s cap instead of his bowler, but he wears it tilted at the same cocky angle.

Mike goes on a few rides. He is starting to tire when he and Annie mount the merry-go-round. Fred Dean tells Devin to meet them at the Ferris wheel, and Devin knows just what’s expected of him. Devin gets into his Howie costume for the last time. As Annie, Mike, and Fred approach the wheel, Devin leaps from cover and goes into his Howie dance. Then, he throws his arms wide, and Mike falls into them, telling Mike he is a really good Howie.

Their final ride is the Carolina Spin. The wheel carries Devin, Mike, and Annie up until the world opens beneath them with the ocean on one side and the North Carolina lowlands on the other. At the top of the arch, Mike throws his hands in the air and says that he is flying, and he knows how it feels to be a kite.

After the Ferris wheel, they pass the Annie Oakley shy, and Fred asks if they want to try their skill. Mike tells his mother to try. Taking one of the little .22 BB guns, Annie takes 10 shots and hits five of the bigger targets. Then, having got the range and adjusted the sights, she takes another 10 shots, and this time, she hits eight of the smallest targets. Devin notices Lane wiping a smudge of grime off the back of his neck.

Looking around, Annie realizes Milo isn’t with them. They spot the little dog sitting in front of the Horror House. Devin and Mike go to fetch him. When they reach the ride, they hear the rumble of one of the ride cars rolling along its track. The doors bang open, and an empty car emerges. It rolls to the end of the track and comes to a gentle stop. Devin, standing at Mike’s side, hears him whisper, “Okay.” Devin glances into the stalled car and glimpses something under the seat—the blue hairband Linda Gray was wearing when she died.

Back at home, Devin and Annie get Mike to bed exhausted but radiant, Mike asks if Devin saw Linda, and Devin shakes his head. He had been jealous of Tom seeing Linda, but he could never be jealous of Mike. As Devin leaves, he hears Mike say, “Be careful, Dev, it’s not white. (240).

Devin joins Annie in the kitchen. Annie talks a little about the things she wanted to do with her life before Mike was born. Since then, Mike has been her whole life, and everything after he is gone is a blank. She never finished college. She had thought of becoming a famous anthropologist, also of winning a gold medal in marksmanship at the Olympics and try to win back her father’s love. Rifle marksmanship had been the only real connection may have between them before Mike was born. On stage, he’s a charismatic preacher with a thick shock of white hair in the real world, he’s a jerk with a few good points; at least he has a good relationship with Mike, even if he still believes in his heart that Mike’s illness and death are a punishment on Annie. Annie is tired of holding a grudge; she is going to take Mike to see his grandfather before he dies.

Annie invites Devin to go upstairs with her. When Devin he confesses that this will be his first time, she says, “Good.” She first makes sure that Devin understands this is a one-time experience, not a romantic relationship. Devin’s first attempt is premature. His second goes somewhat better. The third time around, he does himself proud.

Lying in bed, Annie reminisces again about her father. She was never able to share his beliefs however hard she tried. Shooting was the only thing that worked between them. She remarks that he probably has half a dozen guns locked in a safe in this house.

Devin returns to his room at Mrs. Shoplaw’s house. He wakes in the middle of the night when the tropical storm makes landfall, rattling the house. He lies awake thinking about the pictures Erin gave him of Linda Gray and her anonymous murderer. He thinks of Mike’s repeated insistence that “it’s not white” and of something that has been subconsciously nagging him about those pictures. Suddenly, it all crashes together in his mind. He lays out the photographs and recognizes the killer.

At that moment, the phone rings. It’s the killer. Devin asks what he wants, but the killer says Devin already knows. He tells Devin to meet him at Joyland. If he doesn’t, the killer will break into Annie’s house and cut her and Mike’s throats.

Passing the payphone in Heaven’s Bay, Devin sees a maintenance truck falling behind him and knows that the killer, Lane Hardy, is following him. Devin finds the gates of Joyland open and drives to the Ferris wheel. Lane signals him to get out of his car. Lane asks them how he got the Horror House car to roll the way it did. He thinks it was some kind of remote-control gadget. Devin replies that there was no gadget, and asks whether Lane saw Linda Gray. Lane sneers that Devin can’t scare him with a ghost story. He has known Devin was after him ever since he pulled off Eddie Parks’s gloves when he had the heart attack. After that, it was only a matter of time before Devin and Erin figured out the truth.

Lane forces Devin to climb onto the Ferris wheel and gets in behind him, handing Devin a remote control to start the wheel. As the wheel turns and the car rises into the storm, he makes Devin throw the remote over the side.

Devin guesses that once Lane has satisfied his curiosity as to how Devin figured out he was the killer, Lane will shoot him and then himself. Devin tells him he actually didn’t figure it out until moments before Lane telephoned him, but Lane doesn’t believe him.

As the car is swooping down, Devin sees something moving up Joyland Avenue toward them like a sheet of dark canvas blown in the wind. Hoping to buy time, he tells Lane how he figured out Lane was the killer. The main thing was the cap the killer wore. In each shot of him taken by one of the Hollywood girls, he was wearing his hat tipped at a different angle. Lane has a habit of doing that with his derby; he’s not even aware of it. Then, there were the gray streaks he saw in Lane’s hair. The killer in the photos was blond. When Devin noticed Lane wiping a smudge off the back of his neck that day, it wasn’t dirt or grease, it was hair dye.

As the wheel comes down again, Devin recognizes the moving object on the main drag as a vehicle with its lights off. To keep Lane distracted, Devin says that Lane must have known about the Hollywood girls going around taking pictures; that was part of the fun for him—killing Linda practically in public. It’s the risk that gives him the thrill.

Their car is coming down for the third time when Devin hears someone shout “Devin, duck!” He does and hears a liquid whip-crack report. The car passes the loading point again, and Devin sees Annie Ross with a rifle in her hands. Beside him, Lane collapses with a bullet hole in the middle of his face.

When Devin gets off the wheel, he and Annie work out a cover story so they don’t have to tell the police that Eddie Parks died of a second heart attack that night and warned Mike that Devin was in trouble. Mike awakened Annie and told her she had to get a gun and go to Devin’s aid.

Six days later, Mike, Annie, and Devin are sitting on the boardwalk in front of the old Victorian. Mike and Annie are getting ready to leave. Devin is planning to stay on at the park until Thanksgiving and help Fred get everything buttoned up. He’s going back to school for the spring semester.

About five months after that, Devin is back in school, living in a grubby apartment and in love with a girl named Jennifer when he gets a call from Annie. Mike has died—quickly and without pain from a fever.

A few weeks later, Devin and Annie are back in Heaven’s Bay. Milo is with them, grieving the disappearance of his boy. Annie’s father isn’t there. He refused to participate in a “pagan ceremony.” Putting a handful of Mike’s ashes in a pocket taped to his kite, they launch it, watching it rise higher and higher as the ashes stream out into the wind.

Pages 217-283 Analysis

Forty years later, the older Devin still remembers Mike and Annie’s day at the park in perfect detail. This perfect memory is his antidote to cynicism. It calls into question the idea that once childhood is gone, it can never be reclaimed. At least Devin has fixed one piece of childhood permanently in his heart. Perhaps the purpose of coming-of-age is not to abandon childhood but to carry it with you.

The park stirs itself awake one last time in the fall to celebrate the arrival of Mike, the summer child, who is drawing close to his own autumn. The day at the park with Mike is Devin’s last day of childhood. There is still a symbolic death and resurrection to come in his confrontation with Lane in the midst of the storm at the top of the Carolina spin, but he has let go of the things he has been holding onto—Wendy and Linda. Mike, representing the summer that dies and can never return, gives Devin one last perfect day of childhood.

Mike’s view from the wheel at the end of the summer and Devin’s first look at the beginning bookend both Mike’s and Devin’s last childhood summer. Mike will soon be gone, flown away, and Devin will have grown up and moved on.

Mike never goes through the Horror House. Instead, Linda comes out to him. She emerges from the darkness like Persephone, heralding the new spring and the rebirth of life. Mike, already standing on the edge of death is the only one able to see her, although Devin is the one who has been seeking her out, hungry to understand what she represents Mike’s mere presence seems to have been enough to call her up from the underworld. Mike later explains that Linda simply hadn’t known how to get out. She was trapped without a guide, and Mike plays the role of psychopomp, showing her the way into the afterlife just as he guides Devin and Annie into the life-after.

The scene at the Annie Oakley range serves to illustrate that Annie is a crack shot. That will be necessary when she comes through in the end to save Devin by shooting Lane on the moving Ferris wheel. It is not only foreshadowing; it ensures that her rescue of Devin is believable.

Just before he falls asleep that night, Mike repeats for the third time that “it’s not white.” A few minutes later, Annie describes her father as having white hair. Devin still doesn’t make the connection between “white” and “hair,” or the more significant connection to the threads of gray or white he saw in Lane’s hair a few days earlier or the dye stain on the back of his neck.

Annie is no longer craving her father’s affection or allowing their broken relationship to dictate her choices. Despite his cruelty, she has admitted that he has a few good qualities. He sees Mike’s illness as a punishment on Annie for rejecting his beliefs and by extension himself. His persistence in this belief is possibly the only means he has of expressing his sense of rejection. Unable to tell Annie how he feels, he attributes his feelings to God.

Mike’s desire to spend time with his grandfather might represent his last task—to help his grandfather finally come of age himself. If so, Buddy Ross’s refusal to attend the “pagan ceremony” suggests that his identity is so deeply wrapped up in his religion that he can’t relate to people outside of it. If he were able, or willing, to see Mike’s vision of heaven, he might be set free as well. Unlike Annie and Devin, he refuses to let go of the past.

In a boy’s coming-of-age story—assuming the boy question is old enough—the leap into the adult world may be represented by lovemaking, often for the first time and often with an older woman. The ritual doesn’t necessarily represent a relationship. Annie and Devin have their own paths that they have to follow.

Devin’s day in the park with Mike and Annie represents his last day of childhood. The next step in his transformation is the descent into the underworld and confrontation with death. This is where the ghost story intersects with the hard-boiled detective story. Evil in the hard-boiled genre usually has to do with human corruption. Lane is a purely material monster and about as corrupt as a human can be.

Passing through the gates of Joyland is reminiscent of entering the gates of hell. The storm represents chaos and transformation. The wheel lifts Devin up into the teeth of the wind and rain, where he confronts Lane and faces him down.

Another writer might have set the scene in the Horror House, but Linda has already been released, and the ride no longer has its former association with death. Devin’s confrontation scene takes place on the wheel because the wheel has twice shown him the magical world of Joyland—once at the beginning of the summer and again at the end. Now it shows the same world torn by wind and darkness, its peace shattered. Devin is about to be expelled from the world of childhood innocence.

At first glance, it appears that Devin is saved by deus ex machina (an act of God—or Annie). In fact, King is not a fan of firearms and fisticuffs, and his protagonists rarely win the day by fighting. They do engage in physical conflict, but more often than not, their triumph is in confronting evil face-to-face. Devin doesn’t need to fight Lane or kill him in order to achieve his coming-of-age. He faces Lane, speaks truth to him, unravels the deceptions and disguises, and understands Lane as he wanted to understand Linda Gray. Understanding is what Devin has sought all along. After that, what happens to Lane is incidental.

When the confrontation is over, Devin is ready to move on. Going back to school for the spring semester (and falling in love again) represents rebirth into a new life. Mike’s death takes place offstage and in the spring. Mike, too, is being reborn into a new life in his own way. The symbolism of the name Heaven’s Bay becomes evident when Mike requests that his remains be released there, in his favorite place in the world. Whatever afterlife exists, this is what heaven would be to him. He wants his earthly remains to become a part of the wind and water of this place where Joyland—and that could be interpreted as a name for heaven as well—represents endless summer.

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