Culture
Vince Carter reaches the Hall of Fame, with grace alongside his jaw-dropping verticality
“‘Zo? Yeah, I got him. (Dikembe) Mutombo? Got him twice. Got the big dude in Indiana, (Rik) Smits. Got Dale Davis, too. Haven’t gotten (Patrick) Ewing yet.” Then, he paused and smiled.
“We play them on Tuesday.”
— Vince Carter, “Fresh Vince,” Sports Illustrated, Feb. 28, 2000
Even watching it live, with his own eyes, in person, it took Shareef Abdur-Rahim a minute to comprehend what he’d just witnessed.
“The thing is, you think of any, just, miraculous play, where you’ve never seen someone do that, make a play like that,” Abdur-Rahim said, 24 years later. “(Derek) Jeter diving. It was like one of those plays. I was on the bench, and it was so quick. He just did it, and you were like, ‘Man, did he really do that?’
“And then looking around, and seeing it again. Even when we went to the locker room, you didn’t get replays that fast. There wasn’t cell phones. It took time to see that again. You’ve never seen anyone do that, do that in a game, this quick, that fast, that reactive. You almost weren’t sure what you’d seen.”
This is what Vince Carter did, in a basketball game, where they kept score and called fouls and everything, to a man who played basketball for France named Frédéric Weis.
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And that was the miracle of Vince Carter, through two-plus decades on the stage. His level of explosive greatness was so unapproachable that it made otherwise sane men question what they’d just seen, for what they’d just seen was impossible. It is why, though his teams rarely were serious contenders for championships during his NBA-record 22 seasons, Carter was an easy selection to this year’s incoming class for the Naismith Memorial Basketball Hall of Fame, and will be inducted in Springfield, Mass., tonight.
Carter, though, often seemed uninterested in the machismo aspect of dunking that was so intoxicating to so many others in the game. (Famously, he liked being in his high school band, where he played saxophone and was a drum major.) The trappings of superstardom didn’t seem to appeal much to him, either. Part of that was just his demeanor; he rarely raised his voice on the court or called attention to himself off it.
“My junior year in high school, I averaged 25, 26 points a game, whatever it was,” Carter said Saturday, when I asked him about his career-long demeanor of not seeking the spotlight, despite his expansive physical gifts.
“We lost in the state finals,” he continued. “My senior year, I make the McDonald’s (All-American) Game, I averaged three to four points less. (People asked), ‘What’s wrong with Vince?’ My scoring went down, but my rebounding went up, my assists when up. My other teammates’ scoring went up. And we won the state championship.
“So I understood at a young age how important your guys you have on your team (are), and how important it is to empower them. As a superstar, and becoming a role player, I understood my role as a superstar: yes, they need me to score. But I need them. I could score 50 points, and we could lose by 30. So what?”
Still, few did big moments like Carter.
Abdur-Rahim, like Carter, was an Olympian in 2000, part of the prohibitively favored U.S. men’s team, which was playing a preliminary game against France in Sydney. Weis, France’s center, stood 7-foot-2. Carter, 6-6, didn’t seem to take that into account when he jumped over Weis, and dunked on his bean.
France went on to win the silver medal, while the U.S. team won gold. No matter. The French media dubbed Carter’s leap over Weis Le Dunk De La Mort — The Dunk of Death.
“I’d seen him since he was 15, 16 years old,” Abdur-Rahim said. “I thought, I’ve seen him do everything. In our McDonald’s All-American dunk contest, he did every single dunk that had been done in an NBA dunk contest — from the free throw line, between the legs. Seventeen years old. He did every single one of them. The part that amazed me was I thought I’d seen him do everything in a game where I’m like, oh, my goodness. It was so fast and it was something you’d never seen before.”
Carter always had those kinds of moves in his bag.
“We were in practice one day,” recalled Sam Mitchell, whose first head-coaching job in the NBA came in 2004, in Toronto.
“We were scrimmaging. Vince gets the rebound and takes off. He gets to half court and throws the ball up ahead. I said, ‘What the hell?’ The ball hits off of the backboard. He catches it and dunks it. I told everybody, go home. It was my second practice. What the f— did I just see? He throws it underhand. Next thing, I see the m—–f—– catch the ball and dunk. I said to everybody, ‘Get the f— out. I gotta go home and have a drink and process this s—.’”
There was, of course, Carter’s bravura performance at the 2000 NBA Dunk Contest, when he overpowered a weekend-long deluge in the Bay Area to electrify the crowd at Oracle Arena with a series of dunks that may have — may have — only been topped by Michael Jordan’s battle in Chicago with Dominique Wilkins in 1987. There was a 50-burger against the 76ers in Game 3 of the Eastern Conference semifinals. There was, much later in his career, a signature game-winning shot when he played for the Mavericks, in their first-round series against San Antonio in 2014.
“The best moment was when he was with the Suns” the year before, recalled former Mavericks majority governor Mark Cuban.
“We were playing them, I think it might have been our outdoors (preseason) game. He gave me the ‘come get me’ look. That summer I called his agent, and we made it happen. Vince is a legend. I’m proud of him.”
During the 1999 lockout, recalled Jerome Williams, a teammate of Carter’s in Toronto for three-plus seasons, the two played in New York City with future Raptor teammate Mark Jackson in a charity game, the Wheelchair Classic.
“It was crazy,” Williams said. “Seeing VC jump out the gym with power and grace on his dunks was mesmerizing. I truly believed he had Jesus Christ himself touch his legs to generate that much power. I knew he was destined for the Hall of Fame from that moment.”
Carter even held everyone’s attention when he wasn’t playing at all, setting off a firestorm when that Raptors-76ers series went to a Game 7. The game was scheduled for late Sunday afternoon. But Carter was determined to attend his graduation from North Carolina in Chapel Hill Sunday morning, when he received the degree in African-American Studies he’d earned the fall before. He got the degree, got on then-owner Larry Tanenbaum’s plane, and got to Wells Fargo Center five hours before tipoff. But Carter only shot 6 of 18 from the floor, missing the potential series-winner at the buzzer, setting off frenzied debate about whether he’d made the right decision.
Carter told me that summer that he’d do it all over again, the exact same way.
“And when I do think about it, I’m proud,” he said. “Proud of the way I was able to fight through it and just handle myself in the manner that some people wouldn’t. It was a special time for me, and I wasn’t gonna let anybody spoil it. And yes, it was spoiled by a missed shot. But you miss shots all the time. There’s gonna be times in your career when you’re gonna miss those shots again and again, and there’s gonna be times when you’re gonna make them, and you’re gonna be a hero. And nobody says nothing but ‘Hey, it was a great day.’”
There are many people who were responsible for basketball succeeding in Toronto after the birth of the expansion Raptors in 1995. There were those directly linked to the team, such as Isiah Thomas, Damon Stoudamire, Chris Bosh — and Carter’s cousin, Tracy McGrady, drafted by Toronto out of high school in 1997.
There were players from Toronto and from the nearby suburbs who helped the game gain traction in a city besotted by its beloved Maple Leafs, players such as Jamaal Magloire and Rick Fox and Leo Rautins. Steve Nash, who grew up in Victoria, British Columbia, had enormous influence nationwide, too, as he won back-to-back league MVP awards.
But Carter’s six-plus seasons in Toronto, after a draft-night trade with Golden State in 1998, made the Raptors appointment viewing. There would be quarters, sometimes halves, where Carter did more to fit in, to be a good teammate, than put his eye-popping skills on display. And then …Vinsanity would happen.
When the Grizzlies left Vancouver for Memphis in 2001, Carter and the Raptors had Canada all to themselves.
“When Charles Oakley joined the team (in 1998), there was one game,” recalled Walker Russell, an assistant coach for the Raptors early in Carter’s career. “He (Carter) was shooting jumpers, wasn’t hitting them, Finally, they called timeout. Oak said, ‘Man, ‘Take one more m—-f—– jump shot. One more. You take one more m—–f—— jump shot!’ Vince walked to the bench, didn’t know what to do.
“After the timeout, he went back in, they went back to playing. He went to the hole, dunked on two dudes. Came back, got another one. Boom. Dunk. Then, came back, got fouled, tried to do this other dunk. Turned the whole game around. The other team called timeout. Oak grabbed him and said, ‘See? Can’t nobody can guard your m—–f—— ass if you go to the hole!’ That’s when ‘Half Man, Half Amazing’ came into effect, that day.”
During his time with the Raptors, Carter won Rookie of the Year in 1999, made six of his eight All-Star teams, averaging 23.4 points and 5.2 rebounds.
“He had a six- or seven-year run in Toronto where, ultimately, Kobe became the guy” in the league, Abdur-Rahim said. “But he was right there as far as the best perimeter player in the league.”
But Carter wanted to make the game easier for others as much as he sought the spotlight.
Part of it was playing for Dean Smith at North Carolina. But, Michael Jordan played at Chapel Hill, and for Smith, too. Both had sick hops; both were grounded in Smith’s fundamentals. But where Jordan embraced the Alpha Male aspect of dominating through verticality, Carter seemed more reluctant to stand out, buying fully into the Carolina Way.
“It was one way,” Carter said on the “Knuckleheads” podcast in 2022 with Quentin Richardson and Darius Miles.
“We’re playing for the regular-season championship, ACC championship, deep in the (NCAA) tournament,” Carter said. “That’s just what it was. It was bigger than you, the individual, (was) what you had to understand. They always talk about the Carolina system, but you learn how to play the game. That’s what kept me around for 20-some years, honestly, learning how to play the game.”
With an assist from Tracy McGrady on one attempt, Carter put on one of the greatest dunk contest performances in the event’s history at the 2000 All-Star Game. (Andrew D. Bernstein / NBAE via Getty Images)
That would help explain why Carter does not dominate the NBA’s all-time leaders’ lists. Some of his highest marks in the stats reflect … attendance.
He’s third all-time in games played, at 1,541, trailing only Robert Parish (1,611) and Kareem Abdul-Jabbar (1,560). He’s 15th all-time in minutes played (46,367). But he’s just 21st all-time in points scored, at 25,728. He only had five career triple-doubles, though he was a willing and quite good passer.
He was a very good shooter from deep during his career, but his best days as an offensive force were well before the NBA’s 3-point revolution, so he was far from a volume shooter; he took more than five per game in only three of his 22 seasons. His career PER of 18.63, according to basketball-reference.com, is only 136th-best in NBA history.
But, here’s the rub. Carter’s 18.63 is the same as Scottie Pippen’s. And no one would question Pippen’s place in the Hall.
Why? Because Pippen has six rings.
“A lot of people think he didn’t work because he was so gifted,” Russell said. “What they don’t know is that every night during the season, we’d be in the gym about 11:30 at night until about 1, 1:15. Every night. And he worked on everything: post ups, running hooks, right hand, left hand. That’s why he could do everything. I think the last part of his career, the last six years, he depended strictly on the fundamentals. Because he had all of that. Didn’t nobody know that. He’d be at the gym. And he liked to come at night, him and his little security guard, Peanut.”
Sean Marks, now the Brooklyn Nets’ general manager, had played against Carter in college, at Cal-Berkeley, in 1998. Taken in the second round of the ’98 draft by the Knicks, Marks went to Toronto along with Oakley in the trade with Toronto for Marcus Camby.
“He did stuff in practice that would be incredible,” Marks said. “It wasn’t just the dunks. It was how fluid he moved, how easily the game came to him. I mean, he worked at it. But the God-given talent. To this day, I don’t think I’ve seen anything like it. The stuff we were privy to in practice, games would stop, because it was so awe-inspiring.
“One practice, he and Tracy gave us a little demonstration of what they were going to do in the dunk contest. And we’d seen some things. And then, when these two (started), they were like kids in a candy store. What were they, 20 years old? You’d finish a two-hour practice, and these guys would put on a dunk show for the next 45 minutes. … It was like me playing on a Nerf hoop at home with my 5-year-old.”
Carter seemed to like the challenge of testing his limits, to see what was physically possible, as much as the games themselves.
“One time we were playing and I drew up a play for him at the end of a game,” Mitchell said. “And Vince did some crazy, stepback fadeaway shot, instead of just a 1-2, pullup jumper, go straight up. And afterward, I said, ‘Vince, what the hell? Why’d you take that shot?’ He said, ‘Coach, the 1-2 was too easy.’ The game was too easy for him.
“I think he got bored sometimes. I think by the time he got to his sixth year in the league, he knew that.”
Said Marks: “He genuinely loved being a showman. I think sometimes he enjoyed surprising himself. He was that good. He told us (before a game), ‘Today, I’m going to catch Dikembe.’ And he did it, it wasn’t in an arrogant sort of way. It was like, I want to see if I can do this. Like, let’s go to the park and see if I can pull off this move. But he was doing it in front of 20,000 people.”
“What ifs” followed Carter throughout his Toronto tenure. What if McGrady had stayed with his cousin, rather than going to Orlando to team with Grant Hill in 2000? What if Carter hadn’t become disillusioned with the Raptors’ ownership and front office by the time Toronto took Bosh in the ’03 draft? Who knows what could have been? Infamously, of course, Carter forced his way out of town in 2004 via a trade to the Nets that led to a decade of recriminations and hurt feelings, with Carter getting lustily booed every time he returned to Air Canada Centre.
“That was my first year being a head coach, being a young coach,” Mitchell recalled. “The team flew me down to Florida to see him. He said, ‘Coach, I hate this is happening to you. I have no issue with you. I’ll give you the opportunity. But my unhappiness is with the organization, and they know what it is.’
“He hated that I was getting caught in the middle of it. He said, ‘I will never ask you to compromise your beliefs for me.’ And he didn’t. He wasn’t a distraction. He didn’t disrespect me. He didn’t do anything. I hated it was like that, because one of the things that you loved about the job was you were getting to coach Vince Carter.”
Carter had occasional big moments in Jersey, and in Dallas. As ever, given his personal equilibrium, he willingly became a sixth man for the Mavericks and Grizzlies later in his career. He kept feeling good, so he kept playing, year after year, for Orlando and Phoenix and Sacramento and Atlanta. He only retired after the 2019-20 season because COVID-19 shut down the league’s non-playoff teams for nine months, including Carter’s Hawks, something from which a 43-year-old couldn’t bounce back.
But the body of work, and the work of Carter’s body, had already made his Springfield case open and shut. The bad times in Toronto have been overcome; the Raptors announced last month that they’ll be retiring Carter’s number 15 on Nov. 2.
“I loved playing the game,” Carter said Saturday. “It wasn’t about the numbers. I read all the time, ‘If he had just …’ I can’t imagine not playing 22 years, and looking at Year 17, and how miserable I probably would have been (not playing). Because I still had the love for the game. And it wasn’t about numbers. If they called me to come play for a team and sit for a championship, I’d chase one now. But it wasn’t about that. Because I still felt that I was going to put the work in at 42, 43 years old to go play. And it felt good to go on the court, and a 19- 21-, 25-year-old comes in there. And they’re like, ‘he’s old.’
“And I’d be like, let’s line it up. Let’s see if I still have it.”
(Illustration: Meech Robinson / The Athletic; Photos: Carmen Mandato / Getty; Sam Forencich / NBAE; Ned Dishman / NBAE via Getty Images)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
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.
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.
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?
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.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
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.
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.
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.
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.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
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.”
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.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, 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 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?
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.
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.”
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.
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.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
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.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, 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, 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.”
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.
“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.
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.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “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 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.”
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.
“I feel the loss.”
Wheaton remembers River Phoenix.
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.
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.
Near the end
of 1971,
Chris
went into a Chicken Delight 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. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them 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.
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.
Culture
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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