62 pages • 2 hours read
Marty Anderson is a high school teacher driving home from work. While stuck in heavy traffic, he sees a man with glasses and a scar on his hand on a billboard. The billboard reads: “CHARLES KRANTZ […] 39 GREAT YEARS! THANKS, CHUCK!” (98). Marty is unfamiliar with Chuck Krantz but supposes he must be a popular employee at Midwest Trust, the bank where the billboard is situated.
The world is on the brink of collapse. Many animal species are dwindling, and the Internet has suffered frequent interruptions for several months. In the United States, three devastating earthquakes have sent parts of California into the ocean. The country can no longer produce food at a sustainable rate.
Marty reaches home just as his ex-wife, Felicia, a hospital nurse who looks after people who have experienced suicide attempts, calls on his landline. They catch up on each other’s workdays before talking about California. Marty quips that Chuck Krantz’s retirement billboard points to hope in dark times. Felicia indicates that she hasn’t seen the billboard, but recently heard a radio advertisement with the same message. Marty wonders how Chuck’s ad is able to get such wide coverage. He later tries to watch a television show on Netflix, but the app interface is briefly replaced by a pop-up advertisement for Chuck Krantz’s retirement before the Internet connection disappears entirely.
The next morning, Marty is about to leave for work when his neighbor Gus Wilfong informs him that a sinkhole has brought traffic to a complete standstill. Marty speaks to another neighbor named Andrea, who works at Midwest Trust. Andrea tells him that she has also seen television advertisements and graffiti thanking Chuck for 39 years. She doesn’t know Chuck personally but assumes he works at the bank headquarters in Omaha.
Marty and Gus chat about various events that seem to indicate that the end of the world is near. A skywriting plane passes over them and writes out another message thanking Chuck. Later that afternoon, he decides to visit Felicia, hoping to stay with her so they can face the apocalypse together. Her neighborhood development, Harvest Acres, is three miles away. Marty decides to walk.
Marty meets another man going to Harvest Acres named Samuel Yarbrough. Yarbrough indicates that the Earth is rotating more slowly than usual, which accounts for the shorter days. While most people believe that what is happening is a symptom of environmental destruction, Yarbrough believes that the changes in time point to something bigger than the human impact on the environment. Marty jokes that it might have to do with Chuck Krantz, but this makes little sense to Yarbrough in the grand scale of the Earth’s history.
After parting ways with Yarbrough, Marty asks for directions from a little girl. As he explains to the little girl that he and Felicia are better off as friends than as spouses, the power suddenly goes out. Marty reassures the little girl that things will be okay. The girl points out that Chuck Krantz is slowly appearing on the front windows of every house in the neighborhood. Marty urges her to go home. He runs to Felicia’s house and reunites with her.
In a hospital room, a philosophy professor named Doug Beaton waits quietly as his brother-in-law, Chuck Krantz, slowly dies of glioblastoma. Chuck’s son, Brian, arrives, having heard from his mother that the family had opted to turn off Chuck’s life support. Brian grieves that Chuck is still too young to die. He and Doug reminisce over Chuck’s life as an accountant at Midwest Trust, his talent for dancing, and his early love for the train set his grandfather kept. Brian regretfully lists the things Chuck always wanted to do but will never get to now.
Brian asks Doug why God would allow Chuck to die this way. Doug initially suggests that it is a sign of Chuck’s good character, but Brian sees through his attempt at comfort and is dissatisfied. Doug explains his theory that people have whole worlds inside them. Those worlds die when people die, unlike the real world, which is supposed to go on. Doug encourages Brian to be strong for Brian’s mother. Believing that Chuck’s death is imminent, Doug texts his sister, Ginny, to come up from the hospital chapel to say goodbye. Once they are all gathered around Chuck’s bed, Doug thanks Chuck for 39 years of life.
Marty and Felicia watch the stars and planets disappear from the night sky. They admit to one another that they are scared. Marty is about to tell Felicia he loves her when everything goes dark.
Jared Franck is a Boston street musician who plays the drums. A Julliard dropout, he prefers busking to working his part-time job at a record store. He loses himself in the beat as he begins to play.
Janice Halliday is going home from work, distraught that her boyfriend is breaking up with her via text message. She thinks about how she can cope with the end of her relationship as she approaches Jared’s setup.
Chuck Krantz is in Boston for a conference on contemporary finance. Chuck appreciates that his bank is paying for his trip to Boston, but he dislikes the company of the other accountants. He has become resigned to his ordinary, pleasant life, though he is unaware that he will die of cancer in nine months. While walking down Boylston Street, he remembers The Retros, a band he used to sing for in high school. He recalls the way he used to dance the moonwalk with the lead guitarist’s sister, whose name he forgets. When he hears Jared’s drums, Chuck wishes the sister was there to dance with him.
Jared is dissatisfied with how little he has made while busking. He notices a man in a business suit walking up and starts playing a beat that he thinks would match him. The businessman, whose name is Mac, stops, puts his briefcase down, and starts dancing. The passersby are impressed enough to start throwing coins into Jared’s hat.
Chuck is enjoying his dance when he spots a woman, Janice, in the crowd. Chuck invites her to join him, thinking again of the guitarist’s sister. They do splits and spins, impressing the onlookers. When they finish, Chuck tells Janice that their dance is the best thing to happen to him in a long time. He backs away, wondering if people caught his dance on video. He briefly worries how it might reflect on his reputation at the bank and at home.
After packing up the drumkit, Jared goes to Boston Common with Chuck, Mac, and Janice. Jared splits that day’s earnings of $400 among the four of them. Chuck reveals that he learned to dance from extracurriculars in middle school, which Janice echoes. Jared suggests that they could form an act together. Chuck briefly considers it, but declines.
Jared wonders what made Chuck decide to dance that day. As Chuck thinks again about the Retros and the guitarist’s sister, Janice comments that what happened was magic. They part ways with a group hug. Chuck thanks Janice for the dance, then notices how much his body hurts. He continues to wonder what prompted him to dance. The novella suggests that later on, as he dies, Chuck will realize that moments like that are “why God made the world” (136).
When Chuck is seven years old, he loses both of his parents in a car accident. His mother was pregnant at the time, which means that Chuck has also lost his baby sister, who would have been named Alyssa.
Chuck moves in with his grandparents, Albie and Sarah Krantz. Chuck’s grandparents are struggling with grief, but they are able to move on by staying preoccupied with Chuck’s upbringing. Chuck’s grandmother starts teaching him to dance to her favorite rock and roll songs in the kitchen. She also shows him musical films like the Fred Astaire and Ginger Rogers movie Swing Time (1936) and the Gene Kelly film Singin’ in the Rain (1952) to foster his love for dancing.
Chuck is forbidden from entering the cupola in his grandparents’ household, initially because they claim that the floor is too unstable to stand on. Right before Chuck’s 11th birthday, an inebriated Albie reveals that the cupola, which is around a hundred years old, is actually haunted. Albie alludes to two boys—one named Jeffries and the other named Henry Peterson—before hinting that he has seen the Ghost of Christmas Yet to Come in the cupola. He talks about how difficult it is to wait and how he never went into the cupola again for reasons related to Sarah. When Sarah returns home, he refuses to elaborate any further.
Sarah sends Albie off to the grocery store, then explains to Chuck that the house ghosts are just a story Albie loves to tell. When Chuck asks who the Jeffries boy was, Sarah tells him that Jeffries was a neighbor who had been killed in a drunk driving accident. Albie claimed to have experienced a vision of the accident before it actually happened, but Sarah dismisses it as a joke. Chuck senses that Sarah is lying. He regards the cupola with fear and wonder from that moment on. He continuously attempts to open its locked door but never actually enters.
After Sarah gets Chuck hooked on Agatha Christie novels, he gets the idea to ask his neighbor, Mrs. Stanley, about Albie’s visions in the cupola. He offers to visit her under the pretense that he is bringing her some of Sarah’s blueberry muffins. He mentions Henry Peterson to Mrs. Stanley, which prompts her to recollect how Henry had been a bookkeeper for Chuck’s father. Henry died by suicide after his wife left him for another man. Chuck corroborates this information with what Albie had told him about seeing Henry’s death several years before it happened. He wonders if Albie is afraid to reenter the cupola because he also experienced a vision of Sarah’s death.
Chuck’s sixth grade English teacher, Ms. Richards, reads the Walt Whitman poem, “Song of Myself” to his class. Chuck is struck by the line “I am large, I contain multitudes” (147) and stays behind after class to ask what it means. Ms. Richards explains that his mind holds more than the knowledge of people and memories. Chuck contains within him an entire world, which will only continue to grow as he gets older. Thinking of the Jeffries boy and Henry Peterson, he imagines their worlds suddenly ending with their deaths. He asks Ms. Richards if she believes in ghosts. She expresses her view that “memories are ghosts” (148).
That summer, Sarah dies of a stroke at the grocery store. Chuck and Albie are filled with grief, though Chuck suspects that the burden of dread has been lifted from Albie’s shoulders. Chuck doesn’t enter the cupola, but he visits the grocery to see where Sarah died.
At school, Chuck sees a poster for an extracurricular called Twirlers and Spinners. Thinking of Sarah, he decides to join. He turns out to be the best dancer among the boys. The moderator, Ms. Rohrbacher, pairs him with the girls who are having a harder time learning the dances. By the end of the session, Chuck finally gets to dance with Cat McCoy, who is both pretty and the best dancer among the girls.
Chuck impresses everyone when he does the moonwalk to “Billie Jean” by Michael Jackson. He teaches the others, including Cat and Ms. Rohrbacher, how to do it. After the session, Cat suggests doing the moonwalk with Chuck at the Fall Fling. Chuck expresses his worry that everyone will laugh at him for being so short, so Cat offers to lend him her brother’s Cuban heels.
Chuck attends the Fall Fling on his own, allowing him to dance with the girls from Twirlers and Spinners. Cat briefly leaves her date to join Chuck on the floor when “Higher and Higher” by American soul singer Jackie Wilson starts playing. They thrill everyone with their performance and decide not to do a second dance after the first one goes so well. Feeling euphoric, Chuck leaves the gym and delights at the stars in the night sky, believing he has “a right to be wonderful” (155). He spreads his arms out and twirls, accidentally hitting his hand against an exposed wire on a chain-link fence. This gives his hand a scar. Years later, he lies that he had gotten the scar from Cat’s boyfriend. He only tells his wife Ginny the truth a few months before he dies. She wonders why he lied about it for so long. He privately thinks it is because it is part of a much bigger story he cannot tell.
Albie dies while Chuck is in high school. After the funeral, Chuck goes through Albie’s personal effects and finds the house keyring. He takes it up to the cupola and unlocks the door. At first he sees nothing, but then he is granted a vision of his own death. When the vision ends, Chuck realizes he must now wait for his death to come. He resolves to be wonderful.
“The Life of Chuck” is a meditation on life and death. The events of “Act III: Thanks, Chuck!” raise the key thematic question of the novella, as Chuck works toward Overcoming the Fear of Death by embracing the richness of life.
Each of the novella’s three acts uses a different genre to convey the dynamic qualities of Chuck’s life. Act III literalizes the end of the world inside of Chuck by presenting it as an apocalyptic horror. Act II looks at Chuck through the lens of an urban musical drama, bringing people from different walks of life together under the banner of song and dance. Finally, Act I reframes Chuck’s life as a coming-of-age story.
The novella takes place in reverse chronological order. This structure establishes an expectation that the story will either clarify or complicate the nature of what is happening with the additional context of the other acts. By the final act, “Act I: I Contain Multitudes,” it is clear that the novella’s structure is a reversal of the emphasis on waiting. While Chuck has spent most of his life waiting for the moment of his death, the novella reaches this moment almost immediately. King amplifies the absurdity of death by making the inhabitants of Chuck’s inner reality conscious but unaware of what is happening to them. No one can explain who Chuck is or why his advertising coverage is so broad. This eventually resonates with the senselessness Brian feels over losing his father so early. Just as the people in Chuck’s world are unable to explain the mystery of Chuck, Brian challenges his uncle, a philosophy professor, to make sense of the event, knowing that he won’t be able to come up with a satisfying answer.
In truth, death is a specter that haunts Chuck from the beginning of Act I to the end of Act III. He loses his family at an early age and slowly loses his grandparents as he grows up. His grandfather lets him in on the possibility that their house is haunted—a phenomenon that grants Chuck the means to anticipate his death. The last thing the novella reveals is that Chuck has known about the event of his death all along. This not only recontextualizes his experience of death in Act III (the first act), but also magnifies the importance of the events of Act II. Chuck’s dances with Cat and Janice make him feel like his life, however curtailed, was wonderful.
The novella relies heavily on an allusion to Walt Whitman’s poem “Song of Myself” to convey its ideas about the richness of ordinary life. In Act I, Chuck works to understand what it means for him to “contain multitudes.” This idea resonates with disparate events in his life, including his parents’ deaths, his love for dancing, and the ghosts in the cupola. As Chuck comes to understand that life is rich and that it will continue to feel bigger as he gets older, he becomes emboldened to pursue wonder and joy. He joins Twirlers and Spinners, for instance, initially to honor the memory of his grandmother. Once he realizes his natural talent for dancing, however, he throws himself wholeheartedly into the activity to grow it into a passion.
Chuck’s love for dancing becomes a secret part of his life, one that clashes against his public persona as a bank accountant. Chuck hides this part of his life from his family, not because he is embarrassed or ashamed of it, but because he knows it is important for good things to end. He comes to this realization at least twice in the story: first at the Fall Fling, when he and Cat decide not to dance a second time; and second when he dances with Janice, knowing that to continue would ruin the magic of their serendipitous encounter. These moments resonate with Chuck’s final resolution to live a life of wonder.
Chuck fears the cupola because he fears death. He comes of age at the end of the story when he finally decides to enter it, regardless of his grandfather’s story about the ghostly visions it granted. While it turns out that the story was true, Chuck’s vision of his own death allows him to adopt a more mature perspective toward it. By acknowledging death’s inevitability, Chuck overcomes its power in a state of personal intimacy. This is a stark contrast from the beginning of the novella, which found Marty and Felicia in a constant state of dread as the end of the world comes to them.
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By Stephen King