The Ledge

“Cressner sighed, removed the smouldering cigarette holder, and dropped it into a chromium ashtray with a sliding lid. No fuss, no muss. The used cigarette and Stan Norris had been taken care of with equal ease.”

In this quote, King uses an everyday action—discarding a cigarette—as a metaphor for Cressner’s cold, methodical approach to handling problems, including Stan Norris. The casual phrasing “No fuss, no muss” underlines Cressner’s detached and ruthless nature, emphasizing his ability to dispose of challenges, whether they are inanimate objects or human beings.

“He looked genuinely pained. ‘Wager, Mr Norris, wager. Gentlemen make wagers. Vulgarians place bets.’”

In this quote, Cressner’s distinction between a “wager” and a “bet” unveils a facade of sophistication and moral superiority he cloaks himself in. The line reveals his need to elevate himself above common vulgarity, providing insights into his self-perception and delusion of grandeur. Cressner’s emphasis on terminology highlights the psychological manipulation he employs, masking the sinister nature of his actions under a veneer of civility and refinement.

“I suppose he knew that the real mark always convinces himself.”

This quote dives deep into the psychology of manipulation and self-deception. King’s use of the term “mark,” commonly denoting a target or victim, especially in cons or scams, underscores the idea that the most effective manipulations are those where the victim believes they are making a choice of their own free will. By stating that the “real mark always convinces himself,” King is emphasizing the dangerous allure of self-delusion and how it often plays into the hands of those seeking to exploit or control.

“‘Look me right in the face and tell me if you’re a welsher or not.’

He looked at me directly. ‘Mr Norris,’ he said quietly,’’I never welsh.’”

This exchange touches upon themes of trust, integrity, and the ways in which characters assess and assert their reliability. The demand to “look me right in the face” underscores the belief that truthfulness can be discerned through direct, unflinching eye contact. Cressner’s calm and straightforward response, combined with the act of looking directly at Stan, is intended to project sincerity. However, in the context of the story, this assurance of not “welshing” (or going back on a deal) also carries an implicit threat. King’s crafting of this dialogue highlights the tensions of trust and deceit that run through the narrative, showing that even in moments of apparent sincerity, power dynamics and underlying intentions are at play.

“‘The ledge is five inches wide,’ he said dreamily. ‘I’ve measured it myself. In fact, I’ve stood on it, holding on to the balcony, of course. All you have to do is lower yourself over the wrought-iron railing.”

King’s use of the word “dreamily” in describing Cressner’s tone is striking, given the perilous nature of the task being described. This dissonance underscores Cressner’s detachment and perhaps even perverse fascination with the danger of the ledge. The casual mention of measuring the ledge and standing on it emphasizes a morbid meticulousness. Moreover, the phrase “all you have to do” minimizes the sheer terror and danger of the act, presenting it as something almost routine.

“I looked at the ledge. It looked small, I had never, seen five inches that looked so much like two. At least the building was fairly new; it wouldn’t crumble under me.

I hoped.”

This introspective observation reflects Stan’s acute anxiety and fear. The contrasting perception of the ledge’s width—“five inches that looked so much like two”—highlights how anxiety can distort reality, making challenges appear even more daunting. The observation about the building’s age provides a fleeting moment of reassurance, hinting at a desperate search for any semblance of safety. However, the final line, “I hoped,” encapsulates the uncertainty and profound dread of the impending task.

“I waited for the wind to drop, but for a long time it refused to, almost as though it were Cressner’s willing ally. It slapped against me with vicious, invisible fingers, praying and poking and tickling. At last, after a particularly strong gust had made me rock on my toes, I knew that I could wait for ever and the wind would never drop all the way off.”

In this passage, King personifies the wind as a force working against the protagonist, Stan. By suggesting that the wind seems to be “Cressner’s willing ally,” the narrative hints at the overwhelming odds Stan feels he’s up against. The wind isn’t just a natural obstacle; it’s as if it’s conspiring with Cressner to make Stan’s challenge even more daunting. The description of the wind “slapping” and “praying and poking and tickling” paints a vivid picture of the physical and psychological torment Stan is enduring.

“My breath sobbed out of my lungs in a pained whistle. My legs were rubbery. The tendons in my ankles were humming like high-voltage wires. I had never felt so mortal. The man with the sickle was close enough to read over my shoulder.”

This quote captures the profound vulnerability and terror Stan is experiencing in that moment. King’s use of visceral imagery, such as “breath sobbed out” and “legs were rubbery,” conveys a physical and emotional response that is immediate and palpable. The description of the tendons “humming like high-voltage wires” amplifies the sense of extreme tension and fear.

“You get used to pigeons in the city; they’re as common as cab drivers who can’t change a ten. They don’t like to fly, and they give ground grudgingly, as if the sidewalks were theirs by squatters’ rights. Oh, yes, and you’re apt to find their calling cards on the hood of your car. But you never take much notice. They may be occasionally irritating, but they’re interlopers in our world.

But I was in his, and I was nearly helpless, and he seemed to know it.”

This passage reflects Stan’s moment of realization about the power dynamics between man and nature. King starts by presenting the mundane urban experience with pigeons—often regarded as mere background entities or minor annoyances. Descriptions such as “cab drivers who can’t change a ten” and “calling cards on the hood of your car” paint pigeons as trivialities, reinforcing their trivial place in the urban landscape. The assertion that pigeons are “interlopers in our world” emphasizes humanity’s often arrogant perception of dominion over nature. However, the switch in the last line, “But I was in his, and I was nearly helpless,” signifies a stark role reversal. Stan, often so dominant in his urban environment, finds himself vulnerable and out of place in the pigeon’s domain. The line “he seemed to know it” underscores the pigeon’s newfound power and Stan’s discomfort. King flips the narrative, revealing that power dynamics are often circumstantial and context-dependent.

“[B]ut I knew I was going to make it. Halfway down the length of the building, warm yellow light spilled out on Cressner’s balcony. Far beyond I could see the bank sign glowing like a welcome-home banner. It was 10:48, but it seemed that I had spent my whole life on those five inches of ledge.”

King captures Stan’s determination and the slow passage of time during his perilous journey. The phrase “but I knew I was going to make it” exudes a sense of determination and newfound hope, a stark contrast to earlier moments of intense vulnerability. The “warm yellow light” from Cressner’s balcony serves as a beacon, offering both a literal and metaphorical source of warmth and hope amid the darkness and danger. The “bank sign glowing like a welcome-home banner” furthers this sense of nearing safety and the end of his ordeal. Yet, the concluding line, “it seemed that I had spent my whole life on those five inches of ledge,” powerfully encapsulates the psychological weight and trauma of the experience. Time becomes distorted under extreme stress, and King highlights how a mere matter of hours feels like an eternity when one’s life hangs in the balance.

“‘You lousy welsher. You had this planned.’

‘Indeed I did,’ Cressner said, carefully setting his brandy on the mantel. ‘But I’m not a welsher, Mr Norris. Indeed no. Just an extremely poor loser. Tony is here only to make sure you don’t do anything…ill-advised.’ He put his fingers under his chin and tittered a little. He didn’t look like a poor loser. He looked more like a cat with canary feathers on its muzzle. I got up, suddenly feeling more frightened than I had on the ledge.”

In this exchange, King delves into the deceptive nature of Cressner and the intense dynamics between the two characters. Stan’s accusation, “You lousy welsher,” speaks to a feeling of betrayal and the realization that Cressner had ulterior motives. However, Cressner’s nonchalant response, accompanied by the deliberate act of setting down his brandy, projects a veneer of calm and control. His claim of being “an extremely poor loser” is loaded with irony; he is neither acknowledging genuine defeat nor expressing any remorse. Instead, he’s slyly admitting to manipulating the situation in his favor.

“When he turned around, his cosmopolitan world-weary act had curdled a little around the edges. It curdled a little more when he saw Tony lying on the floor and choking on his own blood.”

This passage brilliantly underscores the fragility of facades when confronted with unanticipated violence or trauma. The phrase “cosmopolitan world-weary act” suggests a persona Cressner has cultivated—one of a sophisticated, seen-it-all individual. However, King’s choice of the word “curdled” vividly conveys the rapid disintegration of this façade. Just as milk curdles and becomes sour, Cressner’s carefully crafted demeanor quickly unravels, revealing genuine shock and vulnerability beneath.

“‘I’ll make you a bet,’ I said slowly.

He looked from the barrel of the gun to my face. ‘A—’

‘A bet,’ I repeated. ‘Not a wager. Just a plain old bet.’”

In this passage, King offers a reversal of power dynamics through linguistic choices. The distinction made between “a bet” and “a wager” is deliberate and charged with tension. Initially, Cressner’s insistence on the term “wager” served to elevate the stakes of Stans’s challenge to a more sophisticated, gentlemanly domain, seemingly distancing himself from the gritty realities of the situation. However, when Stan reintroduces the idea of a “bet,” he is effectively stripping away the pretenses, bringing the situation back down to its raw, dangerous essence. The repetition of “Just a plain old bet” emphasizes this demotion and takes a condescending tone, taking Cressner’s own behavior and turning it on him.