The Amazing Adventures of Kavalier and Clay. Michael Chabon
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a can of tobacco, lift a train carriage by one corner, play the violin like Paganini, and calculate the velocity of asteroids and comets, one of which bears his name. His name is Alois Berg and the comet is called Berg’s comet, but to the theatergoing public and to his friends he is usually just Big Al. “Come, there is a problem with the water tank.”
Backstage, the instruments of torture and restraint stand in their proper places, looking both menacing and droll, ready for the stagehands to drag, wheel, or hoist them out onto the storied boards of the Palace. There is a regulation, asylum-issue, strap-strewn lunatic’s bed; a large, slender milk can of riveted iron; a medieval Catherine wheel; and an incongruous chrome suit rack, from which dangle on prosaic wire hangers a fantastic array of straitjackets, ropes, chains, and thick leather straps. And there is the water tank, a great oblong box of glass, dolphin-sized, standing on one end: a drowned telephone booth. The glass is inch-thick, tempered, and tamperproof. The seals are neat and watertight. The timbers that frame the glass are sturdy and reliable. The boy knows all this because he built the tank himself. He wears, we see now, a leather apron filled with tools. There is a pencil stuck behind his ear and a chalk string in his pocket. If there is a problem with the tank, he can fix it. He must fix it: curtain is in less than five minutes.
“What’s the matter with it?” The boy—really he is almost a man—makes his way toward the tank with aplomb, heedless of the crutch under his arm, untroubled by the left leg that has been lame since he was an infant.
“It seems to be inert, my boy. Immobilized.” Big Al goes to the tank and gives it a friendly shove. The thousand-pound box tips, and the water inside shivers and sloshes. He could move the tank onstage unaided, but there are union rules, and greater showmanship in the five big stagehands that the feat requires. “In words of one syllable, stuck.”
“Something’s caught in this wheel here.” The young man lowers himself down his crutch, hand under hand, lies on his back, and slides under a corner of the tank’s heavy base. There is a rubber-tired wheel, mounted on a steel caster, at each corner. At one corner, something has lodged itself between tire and caster. The young man slips a screwdriver from his tool belt and starts to poke around.
“Al,” comes his voice from under the tank. “What’s the matter with him today?”
“Nothing, Tom,” Big Al says. “He is merely tired. It’s the last night of the engagement. And he is no longer as youthful as he once was.”
They have been joined, silently, by a small, slender man in a turban. His face is ageless and brown, his eyes dark and sensitive. He has never joined any group, party, or discussion in any way other than silently. Stealth is in his nature. He is laconic and cautious and light on his feet. No one knows how old he is, or how many lives he lived before entering the employ of the Master of Escape. He can be a doctor, a pilot, a sailor, a chef. He is at home on every continent, conversant with the argot of policemen and thieves. There is no one better at bribing a prison guard before a jailbreak stunt to plant a key in a cell, or a reporter to inflate the number of minutes that the Master remained underwater during a bridge leap. He is called Omar, a name so patently corny that it, with the turban and the desert-brown skin, is widely believed by the public to be nothing more than atmosphere, a getup, part of the thrill-making shtick of Misterioso the Great. But if his origins and true name are doubtful, his dusky complexion is genuine. As for the turban, none outside the company know how vain he is about his receding hairline.
“Okay, then what’s the matter with you,” the young man persists. “You and Omar. You’ve been acting strange all day.”
Omar and Big Al exchange looks. The revelation of secrets is more than anathema to them; it goes against their nature and training. They would be incapable of telling the boy, even if they wanted to.
“Imagination,” Omar says finally, decisively.
“Too many pulp novels,” says Big Al.
“Tell me this, then.” The young man, Tom Mayflower, slides out from under the tank, clutching a black leather button lost from a coat front or a sleeve, embossed with a curious symbol, like three interlinked ovals. “What’s the Iron Chain?”
Big Al looks toward Omar again, but his comrade has already disappeared, as silently as he came. Though he knows that Omar has gone to warn the Master, still Big Al curses him for leaving him alone to answer or not answer this question. He takes the button, to whose eyelet a bit of thread still clings, and tucks it into the pocket of his giant waistcoat.
“Two minutes,” he says, suddenly as terse as their turbaned friend. “Have you fixed it?”
“It’s perfect,” Tom says, accepting the great antler hand that Big Al offers, scrambling to his unsteady feet. “Like everything I do.”
Later, he will remember this flip reply and regret it with a flush of shame. For the tank is not perfect, not at all.
At five minutes past eight o’clock, Tom knocks. There is a star on the door, and under it, painted on a strip of card, the words “Mr. Misterioso.” Tom’s uncle, Max Mayflower, has never missed a curtain before. Indeed, his entire act is timed to the half second, tailored and endlessly readjusted to suit the abilities and, increasingly, the limitations of its star. His unheard-of tardiness has caused Big Al to fall silent, and Omar to utter a string of oaths in a barbarous tongue. But neither has the nerve to disturb the man they call Master. It is Miss Plum Blossom, the costumer, who has pushed Tom toward the door. Naturally, the ageless Chinese seamstress is widely believed to be secretly in love with Max Mayflower. Naturally, she is secretly in love with him. There are even rumors about these two and the somewhat misty parentage of Tom Mayflower, but though he loves Miss Blossom and his uncle dearly, Tom takes these rumors for the idle gossip they are. Miss Blossom would never dare disturb the Master in his dressing room before a show either, but she knows that Tom may penetrate certain of the man’s mysteries and humors in a way that no one else can. Behind him, she gives another gentle push at the small of his back.
“It’s Tom,” the young man says, getting no answer. And then takes the unprecedented liberty of opening the dressing-room door unbidden.
His uncle sits at his dressing table. His body has grown fibrous and tough, like a stalk that hardens as it withers. His wiry legs are already clad in the skintight dark blue stuff of his costume, but his upper torso remains bare and freckled, lightly traced with the dull orange wisps that are the sole reminders of the ginger thatch that once covered him. His flaming orange mane has become gray stubble. His hands are wildly veined, his fingers knobbed like bamboo. And yet, until tonight, Tom has never seen a trace in him—not in body, voice, or heart—of the triumph of age. Now he sags, half naked, his bare head gleaming in the lighted mirror like a memento mori.
“How’s the house?” he says.
“Standing room only. Can’t you hear them?”
“Yes,” his uncle says. “I hear them.”
Something, some weary edge of self-pity in the old man’s tone, irritates Tom.
“You shouldn’t take it for granted,” he says. “I’d give anything to hear them cheering that way for me.”
The old man sits up and looks at Tom. He nods. He reaches for his dark blue jersey and pulls it over his head, then tugs on the soft blue acrobat’s boots made for him in Paris by the famous circus costumer Claireaux.
“You’re right, of course,” he says, clapping the boy on the shoulder. “Thank you for reminding me.”
Then he ties on his mask, a kind of kerchief with eyeholes, which knots at the back and covers the entire upper half of his skull.
“You never know,” he says as he starts out of the dressing room. “You may get your chance some day.”
“Not likely,” Tom says, though this is his deepest desire, and though he knows the secrets, the mechanisms, procedures, and eventualities of the escape trade as well as any man alive save one. “Not with this leg of mine.”
“Stranger things have happened,”