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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It was surprising, and a bit troubling, to see Dupin remove my letters from his coat. Should I describe the physical appearance of the Baron here, you would see how difficult it was to deny him conversation despite the inexcusable treatment for which he had been responsible. He was expensively dressed, in a gaudy, almost dandyish white suit and gloves of the flash order, with a flower out of his button-hole, and very well groomed, wearing an orderly mustache. There were brilliant studs in his shirt-bosom and some glittering jewels on his watch-guard and on two or three rings on his fingers, but to his credit he seemed to take no pains to show them. His boots were polished so voluptuously they seemed to absorb all the warmth of the sun. He was dramatic and inviting; he was, in short, magazinish.

Most of all, his mannerisms exuded an excess of civility and philanthropy-I mean by philanthropy the sort that would rescue prostitutes off the street by bringing one or two home with him. Although he had abducted me to a deserted fortress, I found myself worrying that I not appear rude in his presence. I calmly asked how he had found me in Paris.

"Among those I still count as friends in Paris are several members of the police who survey visitors from abroad quite closely. Your final letter mentioned you would be searching for Auguste Duponte-and I only supposed you might look for him here. Bonjour confirmed you were indeed in the area." He smiled at the beautiful nymph, now smoking a cigarette; she had previously followed me to Café Belge the evening of Duponte's risky billiards game.

"How is it she is called Bonjour?" I asked quietly, as though to avoid her hearing. I confess that even in the midst of all this, the question distracted me. I was presently ignored, however.

I wonder if it was just the name that fascinated me. No, I do not think so. She was quite beautiful in the expressiveness of her small mouth and large eyes. She showed no particular interest either in me or in our proceedings, but this did not lessen my own fascination.

"I am quite confident we can now complete our arrangement, Brother Quentin," the Baron said, knocking me from my trance. He unfolded my letters and showed them to me.

"Arrangement?"

He rebuked me with a frown of disappointment. "Monsieur. The arrangement by which we shall together solve Edgar Poe's death!"

The forcefulness of his announcement almost made me forget why this was not possible. "There is a mistake here," I said. "I am afraid you are not, in fact, the model for Poe's tales of Dupin as I had once speculated. I have found the true one-Auguste Duponte. You did read that in my last letter?"

"Was that what it meant to say? I only thought it was a jest for you to speak of Duponte. Monsieur Duponte has begun his analysis of the beloved Poe's shocking and wrongful demise then, I suppose? He is determined to sift it to the utmost?"

"Well…we have entered rather deeply into secret examinations. More I cannot say." I spun around with renewed restlessness, but there was still nowhere to go. I admit that, perversely, I did not entirely want to escape from the predicament. It was thrilling to hear someone speak impassionedly of Poe's death. It had been a long time of me talking of it to Duponte, with nothing granted in return.

"I can tell, Monsieur Quentin, you have got yourself in an awkward position," Dupin said. He pressed his hands together as though in prayer, then let them curl into a double fist. "But I am the real Dupin-I am the one you have sought all along."

"What a claim!"

"Is it? I am a special constable for the English. What is that but the preserver of truth? I never lost a single case as an attorney-that record is as unbendable as iron. What is an attorney but an announcer of truth? Who is the real Dupin but truth's protector? You and I are attorneys, Monsieur Clark; the whole world of justice is our territory. If we lived at the time when Aeneas descended into hell, we would have gone underneath the earth with him just to be present at an audience of Minos, wouldn't we?"

"I suppose," I said. "Though I usually tend to mortgages and the like."

"It is time to enter the financial arrangements you suggest in your letter for my service and begin. We all will profit in this together."

"I will do nothing of the sort. I have told you: I am loyal to Auguste Duponte. It is him in whom I believe."

Bonjour directed a quick warning glance at me.

Dupin sighed and crossed his arms. "Duponte has flattened out long ago. He has the acute disease we may call precision, and throws a dead weight on all he does. Why, he is like the old, dying painter who can only pretend in his mind that he is the artist he once was. A puppet of his own brain."

"I suppose you are interested in this for the money so you may pay the debts," I said indignantly. "Auguste Duponte is the original ‘Dupin,' Monsieur Baron, however much you dare to use him up with insults. You are fortunate he is not present here."

The Baron stepped closer to me, and his next words dripped out slowly. "And what would your Duponte do if he were here now?"

I wanted to tell him Duponte would crack his skull into two, but I could neither remember the French for it, nor convince myself it was true. Claude Dupin, mustache and jewels equally shining, grinned as he instructed Bonjour to bring me up to the carriage.

She took my arm with a grip as surprisingly hard as Hartwick's and led me ahead through the trench. In Paris, men are hardly needed at all for the operation of society. I had by this point seen women, unattended by any men, as hatters, drivers of huge carts, butchers, milkmen (or "milkwomen"), intriguers, and money-changers, even waiters at the baths. I had once heard a female-rights orator in Baltimore argue that if women held the occupations of men they would be more virtuous. Here was a young woman who might be happy to disagree.

We had walked out of the hearing range of the Baron. I turned to Bonjour. "Why do you serve his wishes?"

"You were told to speak?"

I marveled to hear this from a lady who seemed a few years younger than Hattie, and with a voice as raspy as a decayed old man's and oddly mesmerizing. "I suppose I wasn't, but Bonjour-miss-mademoiselle. Mademoiselle Bonjour, you should ensure your safety from this man."

"You wish only to save your own bacon."

That would have been most wise, I suppose-but self-preservation had not been first on my mind. There had been in the gleam of her eyes a visible independence of spirit, to which I found myself instantly attached. The only blemish on the smooth skin of her face was a scar-or, properly speaking, more of a dent-that ran vertically over her lips, stretching above and below them and forming a rather enchanting cross with her smile.

"They are coming fast!" a voice shouted in French from above. Hartwick was running toward his master with an elongated spyglass in his hand.

"They've found us!" Dupin yelled. "Get to the carriage!"

Apparently, some of the Baron's less welcoming friends had come looking for him. All of my company began to run toward the carriage.

"Make haste, you ass, cut dirt!" Dupin said as he ran past me.

I saw Hartwick, standing closer to the carriage, fall at the sound of a shot, clumsily stumbling on the rocks. He had started to yell, "Dupin," but the word was lost. When he was rolled lifelessly upon his side by one of the others, it could be seen that his ear was gone, replaced by a circle of dark red.

As my eye caught the horror of this and the path to the carriage became steeper, I tripped and fell back down the side of the trench. I suppose this might have also been seen as strategic, so I could separate from my captors. In fact, it was the sight of the pistol drawn by the Baron Dupin that left my feet unbalanced. Bonjour swerved back for me.

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