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Before Dan Hurley’s UConn master class, he was a high school history teacher

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Before Dan Hurley’s UConn master class, he was a high school history teacher

Juan Santamaria’s World History II teacher comes up often, more than any 38-year-old’s high school teacher should. Santamaria recently attended a soccer event in Kansas City and found himself in a crowd of basketball fans. He noticed a man reading “The Miracle of St. Anthony,” a book about legendary high school basketball coach Bob Hurley Sr.

“You know, I know his son, Dan Hurley,” Santamaria said.

“No way,” the man replied. “I love Dan.”

“I’m serious,” Santamaria said. “He was my history teacher.”

His audience wasn’t buying it.

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“Yes,” Santamaria said. “That’s how he started.”

UConn coach Dan Hurley has spoken often about his days at St. Benedict’s Preparatory School in Newark, N.J., and how they shaped the man he is now: an elite college basketball coach, winner of the last two men’s national titles, who this summer turned down a chance to coach the Los Angeles Lakers.

Not as much is known about Hurley’s days as a teacher, a role often required of high school coaches. He referenced them during a news conference in April at the Final Four in Arizona, discussing how he learned to control a classroom, first at St. Anthony, where he taught health, physical education, sex education and driver’s education, then at St. Benedict’s, where he worked from 2001 to 2010.

How did this ultra-intense coach, one with a red-faced reputation for challenging players and officials, adapt to the classroom, teaching the French Revolution and the collapse of the Roman Empire?

Informed recently that The Athletic had spoken with about a dozen former St. Benedict’s students, as well as leadership and faculty, about his teaching days, Hurley laughed. “Oh, God,” he said, as if unsure of what was to come. A liberal studies major at Seton Hall with a minor in criminal justice, Hurley said teaching World History II was probably the most nervous he’s been in his life. He also doesn’t think he’s ever worked harder.

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St. Benedict’s in the early 2000s had a diverse enrollment of about 500. It was an all-boys school, grades seven through 12. The school calendar included out-of-classroom sessions designed to get students involved in community service or other activities such as hiking or martial arts. The dress code was button-down shirts with ties, although in later years this changed to hoodies.

Hurley, who had just lost his job as an assistant coach at Rutgers, worked in admissions in addition to coaching and teaching. He was 28 and married with a 2-year-old son. On most days, his work schedule unfolded like this:

8:30-11 a.m.: Teaching history. World History II, which most students took as sophomores, covered European history, starting with the Middle Ages. Leading up to his first week, Hurley studied beyond the textbook because he was convinced “some wise-ass kids were going to test me.” Those close to him, however, thought it was a good fit.

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“I thought history was probably up his alley because it’s a lot of memorization,’’ said Hurley’s older brother, Arizona State coach Bobby Hurley. “You don’t have to do labs or anything. If he was doing that, I’d be scared he might blow the school up or something.”

11 a.m.-2 p.m.: Visiting schools. Driving a school-issued vehicle, Hurley would visit grade schools in Newark, Irvington and East Orange and talk to students about the benefits of St. Benedict’s. This showcased Hurley’s people skills, overlooked throughout his career in basketball.

“He’s one of those guys, if people catch him getting on a player or getting on an official, it’s, ‘Oh, that’s what he’s like,’” said P.J. Carlesimo, who coached Hurley at Seton Hall. “But if you talk to the players in particular, or guys he taught, they’d say, ‘No, no, no.’ They’d do anything for him.”

3-6 p.m.: Coaching basketball. Hurley would finish his practice plan and run practice. Some nights the Gray Bees might have a game. Others, he’d stay late and greet visitors at a school fair. If nothing else, Hurley would return home and grade papers.

Father Edwin Leahy, the headmaster at St. Benedict’s, never doubted Hurley would put in the work, mostly because Hurley had watched his dad do it for years at St. Anthony, where he had won 26 state championships.

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“St. Anthony was just a tiny little box in the middle of Jersey City right before the Holland Tunnel and everybody did whatever they had to do to make the thing work,’’ Leahy said. “Danny grew up in that kind of an environment of watching these adults, whether they were the religious sisters or the lay people who would do whatever they had to do. So teaching history, I don’t think it was something that he was excited about at first, but he knew you did whatever you had to do.”

Former students describe Hurley mostly in three ways: He had a presence. He had a sense of humor. And he had swag.

“Growing up as a kid in the inner city, in Newark or anywhere around there, you knew all the neighbors,” said Joe Carratura, Class of 2004. “You could play outside all day long. Everybody sat on their stoop. Miss Susie down the street was your babysitter. It was just a community, and he felt like he belonged there.”

Marc Onion taught English. Shortly after Hurley’s hire, Onion went and watched a summer basketball workout. He noticed the AC was shut off and Hurley had his guys playing not full court but full gym, with the bleachers pulled back. No out of bounds. No fouls. Just grab the ball and go. A test of wills.

In the classroom, Onion noticed a different environment but similar control. Hurley walked around the room. He posted up in the corner. He never sat behind his desk. “He’d sit along the front edge and sort of be the big commander over the kids in the room,” Onion said. “He had the wherewithal to know that, ‘All right, I’m going to be attentive to every guy in this space just by being in really close proximity.’”

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“I think the worst thing sometimes to say about the teacher and the class is there’s no discipline,” Hurley said. “Like, ‘The kids show no respect for the teacher.’ So for me it felt like if I ever went behind the desk, my presence wouldn’t be just as strong. And I’d be opening up the door for some level of anarchy.”

Most of Hurley’s classes had 20 or so students. Some called him “Coach.” Others called him “Hurley.” He assigned them nicknames. If someone wore a Dennis Rodman jersey, he became “Rodman” for the rest of the school year. If someone had slicked-back hair, he became “Slick.” Santamaria, a 2004 grad, was shortened to “Santa-man.”

Hurley announced test scores by football position and jersey number. Those who scored in the 80s were wide receivers. We got a Jerry Rice. Those who failed, scoring in the 20s, for example, would get a running back. Oh, we got an Emmitt Smith over here.

Certain positions you’d want to avoid, Hurley said.

“You would go in there and you’d know there was going to be a joke here and there,” Santamaria said. “I enjoyed his class because I knew there was going to be banter. There was going to be some humor, some zings being thrown around, which always made it fun.”

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Hurley wore khakis and a basketball pullover. (“I’ve never been a clothes person,” he said.) He walked with swagger. Students called it the “Hurley Shuffle” and tried to mimic it in the hallway. “People have always made fun of the way I walk,” Hurley said. He had receding hair and a growing midsection. At lunch, Hurley would go with faculty members to Branch Brook Park where he would grab a few hot dogs with sauerkraut, onions or chili. Plan B was pizza.

His teaching style was direct. One student described it as, “Don’t bust my balls, I won’t bust yours.” Another joked that he felt like he had to get his work done because he didn’t want to have to run line drills in the gym. Nearly all agreed Hurley held them accountable.

“He cared about what he was doing and he cared about the kids that were with him,” said Jim Duffy, who also taught history. “I mean, the nickname stuff sounds cutesy, but to a certain extent that becomes a way of classroom management. Which is a whole trick to teaching because if you can’t manage a classroom, they’re going to eat you alive, whether you’re the basketball coach or not.”



Hurley’s second consecutive national title put him in rarefied air, but he still thinks of his high school coaching days. (Jamie Squire/Getty Images)

St. Benedict’s allowed students to hold jobs around the school. The program was designed to teach responsibility, while putting money in students’ pockets. Marcos Novoa’s job was to clean the gym, which included Hurley’s office.

Novoa didn’t have Hurley in class. He wasn’t much of a basketball fan. But nearly every day, he entered Hurley’s office, which was the size of a cubicle, and cleaned out his garbage or straightened his desk. He was a jokester. Hurley was a jokester. They got along well.

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“We were all kids, but it almost felt like he could be one of us,” said Novoa, now a police officer in New Jersey. “If I had an issue, and I didn’t want to bring it to anyone important so to speak, I would probably feel more comfortable going to him first. To me, he was somebody I could relate to a little bit more than others.”

Mike Malinowski credits Hurley for getting him started on his path to teaching. One day in the fall of 2003, he was eating breakfast in the school cafeteria when Hurley and another teacher called him over. They asked Malinowski about his college plans. Malinowski listed four schools he was considering. Hurley told him he needed to choose Rutgers.

“He put me on that trajectory,’’ said Malinowski, now in his 15th year as a teacher. “I attended that university because of him. I went there, I met my wife. I got involved with a bunch of other great teachers and professors. I mean, indirectly, did it eventually lead me to become a teacher? … I can’t lie and say I became a teacher because of him, but I would be remiss if I didn’t say I’m a better teacher because of my experience with him.”

As a basketball coach, Hurley took St. Benedict’s to a national level. He went 223-21 over nine years, agonizing over each loss as Hurleys do. If St. Benedict’s had a difficult game coming up, he would have a test or a History Channel video ready for the next day’s class, something that would give him time to reset should the Gray Bees lose. Calling out was not something teachers did at St. Benedict’s. Hurley doesn’t recall taking one sick day in nine years.

(Speaking of losing, when Hurley called last spring to discuss the Lakers job, Leahy told him he was out of his mind and needed to think of his wife, Andrea. “You’re going to lose more games with the Lakers than you’re going to lose at UConn, and you’re a mental case when you lose,” Leahy said he told Hurley. “You’re going to come home to Andrea and she’s going to hit you over the head with a pot. You can’t do that.”)

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Most of the St. Benedict’s students who spoke to The Athletic have followed Hurley’s career. From Wagner to Rhode Island, then to Connecticut, where the 51-year-old is starting his seventh season, they still see the same guy. Most said that if they would cross Hurley on the sidewalk, he may not know their names, but he would recognize their faces.

“I’m pretty sure if you put us in a room with Hurley, he’s gonna be the same exact person he was 20 years ago,” said Rui Ribeiro, a 2005 grad. “He’s going to crack jokes and make fun of this and talk about that. That’s just the type of person he is, which is good. You shouldn’t change just because you’re succeeding in life.”

Hurley, who was recently inducted into the St. Benedict’s Hall of Fame, said teaching was a lot like coaching. Classes were like practices. Tests and quizzes were like games. He wanted to show students he was prepared. He wanted to make it fun. He wanted to show he cared. Looking back, he considers it the most important time of his professional life, which is why he once talked with Leahy about returning one day to teach history and coach ball, a career come full circle.

With UConn about to chase a third consecutive national title, Hurley knows this seems far-fetched.

“I’ve always in my mind … who knows at the end whether you’ve had enough of the high end of sports and you just wanted to get back to pure coaching or an experience like that,” he said, before pausing. “In the end, maybe. Who knows.”

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(Top photo: Michael Reaves / Getty Images)

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

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Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

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Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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