The Talisman: A Novel
Chapter 34: “Send Out Your Passenger!”
by King, StephenIn Chapter 32, “Send Out Your Passenger!,” Jack and Richard find themselves in a tense and surreal situation. Richard, visibly exhausted and disoriented, insists on rearranging his room, which has been pulled out of shape. Despite the eerie silence outside and distant growls, Richard refuses to discuss the unsettling events, attributing his distress to a fever. He lies down on the floor, wrapped in a blanket, and falls asleep, leaving Jack to keep watch. Jack observes the unsettling shifts in reality outside, where lights flicker and the environment seems to slip in and out of existence, heightening the sense of unease.
As the night progresses, Jack spots a grotesque figure approaching—a twisted version of Etheridge, whose appearance is half-human, half-monstrous. The creature demands that Richard surrender his “passenger,” a cryptic plea that adds to the chapter’s ominous tone. Richard, still half-asleep and convinced he is hallucinating due to illness, struggles to comprehend the situation. Jack warns him not to meet the creature’s gaze, but Richard remains fixated, questioning how the figure resembles Etheridge and where it obtained his tie. The creature’s menacing presence and repeated demands create a palpable sense of danger.
The tension escalates when the creature threatens to enter if Richard does not comply, prompting Jack to urgently suggest barricading the window with a bureau. Richard, desperate for reassurance, clings to the idea of visiting the infirmary, seeking solace in a plan that offers a semblance of control. Meanwhile, the creature’s taunts grow more aggressive, claiming Richard’s “passenger” is already dead. The scene is punctuated by Richard’s delirious mutterings about his father and Seabrook Island, hinting at deeper trauma and unresolved fears.
The chapter reaches a climax as rocks are hurled through the window, shattering glass and intensifying the chaos. Richard, trapped in a nightmare-like state, cries out for his father and pleads to avoid the horrors of Seabrook Island. Jack, terrified, shakes Richard awake, but the latter remains trapped in his distress. The chapter ends abruptly, leaving the reader with a sense of impending doom and unanswered questions about the nature of the threats facing Jack and Richard.
FAQs
1. How does Richard’s behavior and dialogue reveal his psychological state in this chapter?
Answer:
Richard exhibits signs of extreme stress, denial, and mental overload throughout the chapter. His childish, lecturing tone (“That’s not where it belongs”) and insistence on routine (neatly arranging his belongings) suggest regression as a coping mechanism. His repeated attribution of events to illness (“this little fever I have”) shows denial of the supernatural threats. The moment he presses Jack’s hand to his forehead seeking validation for his “flu” underscores his desperation to rationalize the unexplainable. His sleep-talking about his father and Seabrook Island reveals deep-seated trauma resurfacing under pressure.2. Analyze the significance of the “Passenger” motif in this chapter. How does it connect to broader themes?
Answer:
The repeated demand to “Send out your passenger!” (shouted by Etheridge’s Twinner) introduces a mysterious, possibly supernatural element tied to possession or hidden identities. The Passenger seems linked to death (“he’s dead and if you don’t send him out soon, you’ll smell him”), suggesting a corrupting force or burden. This connects to themes of duality (Twinner vs. human Etheridge) and hidden truths—Richard’s subconscious references to Seabrook Island hint at repressed memories. The Passenger may symbolize inescapable past traumas or alternate selves, foreshadowing revelations about Richard’s father.3. How does King use sensory details to build tension during the scene with Etheridge’s Twinner?
Answer:
King employs visceral imagery to heighten unease: the Twinner’s “vibrating” eyes like “tuning forks” create hypnotic dread, while its physical decay (dirt-clogged hair, half-paralyzed face, stained clothing) emphasizes its unnatural state. Auditory details—the howling wind, branches “knocking together like bones”—mirror the characters’ fraying sanity. The shattered window glass and rocks hitting the bureau escalate tension through sudden violence. These details anchor the supernatural horror in tangible sensations, making the threat feel immediate and real.4. Contrast Jack and Richard’s reactions to the supernatural events. What does this reveal about their characters?
Answer:
Jack demonstrates pragmatic resilience, urging action (“Help me move the frigging bureau!”) and shielding Richard from the Twinner’s gaze. His awareness of returning to “Seabrook Island” (a reference to prior trauma) shows he accepts the supernatural, albeit fearfully. Richard, however, clings to delusion, insisting his hallucinations are flu-induced. His breakdown (“I want my daddy”) reveals vulnerability Jack lacks. Their dynamic highlights Jack’s protective role and Richard’s fragility, setting up future conflicts where Jack must navigate both physical threats and Richard’s psychological collapse.5. Interpret the symbolic meaning of Richard’s room being “pulled entirely out of shape.”
Answer:
The distorted room symbolizes Richard’s fractured perception of reality. As a character who relies on order (seen in his meticulous habits), the disarray reflects his losing control over his rational worldview. The bed barricading the door and bureau moved to the window represent futile attempts to shield himself from truth. This physical unraveling parallels his mental state—just as the room’s structure fails, so does Richard’s ability to dismiss events as fever dreams, foreshadowing his inevitable confrontation with the supernatural.
Quotes
1. “I’m still glad you came,” Richard said, “and we’ll talk about all of this in the morning. I’m sure it will make more sense then. This little fever I have will be gone then.”
This quote captures Richard’s fragile state of denial, clinging to the hope that his terrifying experiences are merely fever-induced hallucinations. It highlights the tension between reality and delusion that permeates the chapter.
2. “The ivy on the Monkson Field House, which had that morning been skeletal but still faintly green, had now gone an ugly, blighted yellow.”
This vivid description symbolizes the encroaching corruption and decay of the ordinary world as supernatural forces intrude. It marks a turning point where Richard can no longer dismiss the horrors around him.
3. “Send your passenger out, Sloat, he’s dead! He’s dead and if you don’t send him out soon, you’ll smell him when he starts to stink!”
The chilling demand from Etheridge’s Twinner represents the chapter’s central supernatural threat. The grotesque imagery and violent urgency escalate the horror while hinting at deeper mysteries about “passengers” and the dead.
4. “I can’t give him up,” Richard moaned in the weepy, bewildered voice of a five-year-old. “I want my daddy, please someone tell me where my daddy is, he went into the closet but he’s not in the closet now…”
Richard’s feverish breakdown reveals buried childhood trauma intersecting with present terrors. This psychologically raw moment exposes the vulnerability beneath his rational facade as supernatural and psychological horrors converge.