Matthew Pearl - The Poe Shadow

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The Poe Shadow: краткое содержание, описание и аннотация

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MATTHEW PEARL'S second novel is based on what he calls "one of literary history's most persistent gaps." Edgar Allan Poe died, Pearl tells us, "at the age of 40 in a Baltimore hospital on Oct. 7, 1849, four days after being found in distress at Ryan's inn and tavern." The stubbornly unexplained gap occurred in the five days preceding his appearance at the tavern.
Poe was supposed to be almost anywhere other than Baltimore: he was traveling from Richmond to New York with a planned stop in Philadelphia, not Baltimore. No one knows how he came to be in the city – or, for that matter, how he ended up at the tavern. For some of us, this pretty much describes a really great Saturday night, but when it happens to the master of darkness, just days before his untimely death, it has the makings of a mystery.
Pearl takes us back to those few lost days through the inquiries of Quentin Clark, a Poe-mad young Baltimorean who is dismayed not just by the writer's death but by the press's apathetic reponse to the news. Clark takes it upon himself to look into matters and rectify this slight to his hero. The trouble is, Clark is a stock character from the world of commercial thrillers: a man with a lot to lose, imperiled by his own obsession. Engaged to a beautiful young woman, the son of wealthy and very proper parents and pursuing a career as a lawyer, he may sacrifice them all to his devotion to Poe.
Clark haunts the writer's grave, visits the hospital where he lay dying and tracks down the Poe cousins. But wherever he turns, he's met with indifference or outright obstruction. Finally, in desperation, he turns to another source of information: the pages of a book. Clark has always admired Poe's "Murders in the Rue Morgue" and the other mysteries featuring C. Auguste Dupin, the brilliant Frenchman who solves crimes too baffling for the Paris police. "Dupin's reasoning followed a method Poe called ratiocination," Clark reminds himself, "employing one's imagination to achieve analysis, and one's analysis to climb the heights of imagination."
When Clark stumbles on a newspaper item suggesting that Dupin was based on a real Frenchman, he promptly takes off for the Continent. Of course, there turns out to be more than one candidate for this honor, and soon a couple of testy Frenchmen are racing back to America, eager to snatch whatever glory they might from Poe's death.
Baroquely orchestrated complications ensue, up to and including a threat to the future of the French republic. As he demonstrated in his serial-killers-and-philosophers best seller, "The Dante Club," Pearl is a fine scene-setter and a resolute, if not always inspired, plotter. "The Poe Shadow" is thick with intrigue and thicker still with carefully researched (and ostentatiously displayed) details.
Pearl, who taught literature at Harvard before embarking on his literary career, sometimes displays a wonderfully knowing tone, and enjoys playing with 19th-century lingo. When a Baltimore police officer asks Clark if he has a wife and is told that he has a fiancée, the officer warns: "You should have much to occupy yourself without needing to think of this unhappy affair, then. Or your sweetheart might give you the mitten." Sadly, Pearl's plot is not all sweethearts and mittens.
With its bewildered narrator and its attempt to marry the rational and the spooky, "The Poe Shadow" seems to be modeled on Poe's own writing, but it's missing a crucial element: brevity. Although Pearl has a real affinity for 19th-century America, he overwhelms the strengths of his book with a hurricane of ersatz Victorian prose. He doesn't just disinter Poe's story; he disinters the language of Poe's time. After a while, you feel like you're trapped in a sepia-toned faux-daguerrotype. Pearl has created a museum rather than a world. And no one lives in a museum.

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"On the other hand," I said, "dear Miss Hattie, there is a certain peace to it, separated from the bustle of the streets and the concerns of other people."

"Oh, Auntie!" She turned jovially to the other woman. "Perhaps I crave the bustle too much. Do you think our family blood runs too warm for Baltimore after all, Auntie?"

A word about the woman being addressed, the one sitting in front of the hearth on an armchair as if it were a throne, the stately dame with a shawl wrapped around her as though it were a monarch's robe, Auntie Blum-yes, a word more about her since her influence will not diminish as our story's complications set in. She was one of that stalwart species of lady who seemed lost in her choicest bonnets and social habits but in fact possessed an ability to jostle her listener to his core, in the same trifling tone with which she critiqued the table of a rival hostess. For instance, during the same visit to my parlor she found occasion to comment offhandedly, "Quentin, isn't it fortunate, Peter Stuart finding you for his partner?"

"Ma'am?"

"Such a mind for business he possesses! He is a man of flat-footed sense, depend upon it. You are the younger brother of the pair, allegorically I mean, and soon shall be able to boast you are like him in all respects."

I returned her smile.

"Why, it is like our Hattie and her sisters. One day she shall be as successful in society as them-I mean if she becomes a wife in time, of course," Auntie Blum said, taking a long taste of the scalding hot tea.

I saw that Hattie looked away from both of us. Her aunt was the one person in the world who could remove Hattie's wonderful self-assurance. This angered me.

I placed my hand on Hattie's chair, near her hand. "When that time comes, her sisters will learn how to be true wives and mothers from this woman, I assure you, Mrs. Blum. More tea?"

I did not want to mention anything related to Edgar Poe in their hearing on the chance that Auntie Blum would find some excuse to inform Peter, or write a concerned epistle on the state of my life to my great-aunt, with whom she had been very hand and glove over the years. I found myself relieved, indeed, when each interview with that woman closed without my having said a word about my investigations. However, the restriction would make me anxious to resume my recent searches as soon as the Blums had departed.

On this occasion, when I boarded an omnibus I was addressed by the conductor as though I had just spit tobacco juice on the floor. "You!"

I had forgotten to hand over my ticket. An inauspicious start. After correcting this, the bus conductor painstakingly studied the portrait I held up for him before deciding the face was unfamiliar.

This portrait of Poe, published after his death, was not of the highest quality. But I believed it captured the essentials. His dark mustache, straighter and neater than his curling hair. The eyes, clear and almond shaped-eyes with restlessness almost magnetic. Forehead, broad and prominent above the temples, so that from certain angles he must look to have no hair-a man who could be all forehead.

As the doors closed and I was bumped into a seat by the line of oncoming passengers, a short and wide fellow tugged at my arm with the end of his umbrella.

"Pardon me!" I cried.

"Say, the man in that illustration, I think I'd seen him a while ago. Sometime in September, like you said to the conductor."

"Truly, sir?" I asked.

He explained that he rode the same bus almost every day and remembered someone who looked just like the man in the portrait. It happened as they were leaving the omnibus.

"I recollect it because he asked for help-wanted to know where a Dr. Brooks lived, if I remember. I'm an umbrella mender, not a city directory. "

I readily agreed with the point, although I did not know if the latter comment was meant for me or Poe. N. C. Brooks's name was familiar enough to me-and certainly would have been to Edgar Poe. Dr. Brooks was an editor who had published some of Poe's finest tales and poems, which had helped introduce Poe's work to the Baltimore public. Finally, some real proof that Poe had not entirely disappeared into the air of Baltimore after all!

The horses' rumbling was starting to slow, and I jumped out of my seat as the vehicle began rolling to its next stop.

I hastened to my law chambers to consult with the city directory for Dr. Brooks's address. It was six in the evening, and I had assumed Peter had retired already after finishing his appointments at the courthouse. But I was wrong.

"My dear friend," he bellowed over my shoulder. "You look startled! Nearly jumped out of your skin!"

"Peter." I paused, realizing when I spoke that I was out of breath. "It is only-well, I suppose I was presently on my way out again."

"I have a surprise," he said, grinning and lifting his walking stick like a scepter. He blocked my way to the door, his hand groping for my shoulder.

"There is to be a grand blow-out this evening at my home, with many friends of yours and mine, Quentin. It was very lately planned, for it is the birthday of one who is most-"

"But you see I'm just now…" I interrupted impatiently, but stopped myself from explaining when I saw a dark glint in my partner's eyes.

"What, Quentin?" Peter looked around slowly, with mock interest. "There is no more to do here this evening. You have somewhere you must rush to? Where?"

"No," I said, feeling faintly flushed, "it is nothing."

"Good, then let us be right off!"

Peter's table was overrun with familiar faces, in celebration of Hattie Blum's twenty-third birthday. Shouldn't I have remembered? I felt a terrible tinge of remorse at my insensitivity. I had seen her for every one of her birthdays. Had I strayed so far from my ordinary path to forsake even the most pleasurable affairs of society and intimate friends? Well, one visit to Brooks, and I believed my preoccupation could be happily concluded.

There were as highly respectable ladies and gentlemen there that night as could be obtained in Baltimore. Yet wouldn't I have preferred to be in Madame Tussaud's chamber of murderers just then, anywhere just then but caught in slow and smooth conversation, when I had such a momentous task tempting me!

"How could you?" This was spoken by a large, pink-faced woman who appeared across from me when we sat down to the elaborate supper.

"What?"

"Oh dear," she said with a playful and humble moan, "looking at me-plain old me!-when there is such a specimen of beauty next to you." She made a gesture at Hattie.

Of course, I hadn't been looking at the pink-faced woman, or not intentionally. I realized I had fallen into one of my staring fits again. "I am surrounded by pure beauty, aren't I?"

Hattie did not blush. I liked that she did not blush at compliments. She whispered to me with a confidential air, "You are fixated on the clock, and have overlooked our most fascinating guest, the duck braised with wild celery, Quentin. Will not that demon Mr. Stuart allow you one evening free without work?"

I smiled. "It is not Peter's fault this time," I said. "I'm just picking, I suppose. I have little appetite these days."

"You can speak to me, Quentin," Hattie said, and seemed at that moment of a gentler cut than any woman I had ever met. "What do you think about now with such trouble on your face?"

"I am thinking, dear Miss Hattie…" I hesitated, then said, "Of some lines of poetry." Which was true, for I had just reread them that morning.

"Recite them, won't you, Quentin?"

In my excessive distraction I had taken two glasses of wine without eating properly to balance the effects of the spirits. So with a little persuasion, I found myself agreeing to recite. My voice hardly sounded familiar to me; it was round and bold and even resonant. To convey the style of presentation, the reader should stand wherever he happens to find himself and venture to pronounce in solemn and moody tones some of the following. The reader must also imagine meanwhile a cheery table exhibiting that species of abrupt, grating silences that accompany imposed interruptions.

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