After a later reread of Dark Tower I'd made my peace with it. But after From A Buick 8 and The Colorado Kid -- both of which pissed me off much more than DT (which at least actively fucked up, not passively) -- I just couldn't muster the stones to try Cell or Duma Key (despite the good things I heard about the latter and half of the former). I really am not sure why I picked this up, probably only because of the mega-sale on amazon.
Tore through it like a motherfucker, pissing off my family over Thanksgiving by stealing away to get a few more pages in when I could. I loved the whole damn thing, and it's still rolling around in my head. So did not expect to be as invested in all the various outcomes that I was. Even characters we didn't get a POV from until the last 50-100 pages, I was wrapped up in.
Seriously: How the hell did King manage to get me so affected by the fate of Ollie Dinsmore, even though the whole situation was obvious as to where it was going, and so very Spielbergian heartstring-pulling? Probably the steady death count going on at the north side of the Dome. Christ, I did not see him slowly letting children and a dog die like that, but it seemed like every other page someone was pointing out a corpse to someone just waking up.
As it began, I was afraid the book would be another all-premise-no-story affair like Buick 8 and TCK, but King assembled a great cast of characters and let the characters drive the plot once the premise was plopped down. I didn't even mind the psychic dog(s)! Which were thankfully only brief elements.
This was so much better than I was expecting -- not sure if I'll throw it up with his 70s-80s greats... YET -- he just sold me the paperbacks for the ones I let go by this decade. I can handle the fuckups, knowing he can still pull off a winner with both scope and style. He earned a couple future flops too, what the hell.
[Overdue edit, so as to not slur a great McQueen film]