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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"What of his suggestion, made in a letter to Dr. Snodgrass, that you would not help his literary career?"

"Edgar believed I was jealous, I suppose," Neilson answered forthrightly. "I myself attempted something of a literary career in my youth, as I have said to you before. Because of this, he concluded that I was envious of the amount of literary notice he did achieve, both positive and negative."

"Were you?"

"Envious? Not in the way Edgar believed. I did not perceive myself equal to him. Rather, if I ever were jealous, it was from an observation that his writing carried a quality of genius, of naturalness, that my own lacked however meticulously I labored at it."

"I can't forget," I said firmly to my host, "that you hindered the chance for the police to investigate your cousin's death, Mr. Poe."

"Is that what you think?" He remained placid. "I understand why you would believe that. However, it was Officer White, before you arrived at the police station house, who was quite adamant that there should not be the least investigation made, for, you see, the Baltimore police are in the habit of fancying that there are no crimes in our city, particularly any crimes toward tourists. In my practice, I often represent those accused of petty wrongs, and depend much on the police to be reasonable to certain offenders, and felt I had little choice but to cooperate with Officer White's desires in the matter. I could see that he was wont to make an example out of those who tried to demonstrate more criminal acts in Baltimore than were already known, and so when I saw you at the police station house, I tried my best to dissuade you from any further pursuit for your own good. Sometimes I do not think our justice is so different from the days of witchcraft-crimes are seen only when it suits the accusers." He walked toward the door of the room. "I see that you believed me overly hostile toward my cousin in our first meetings. Follow me, Mr. Clark."

We moved into Neilson Poe's library. There was a row of books and magazines of Edgar Poe's writings that nearly rivaled my own. In my great surprise, I examined its contents, removing a particular volume or periodical from the impressive collection as I went.

Neilson could see that I was taken aback at his apparent devotion to Edgar's writings. He smiled and explained. "I had been angry at Edgar in his last years, and even after his death, for I knew he saw himself as superior to me all along. He saw my life as dilapidated in its artistic qualities. I knew, in short, that he had hated me for many years! Yet it occurred to me that I had never hated him. It has occurred to me, further, that Edgar was a man who represented himself through his literary productions-that was him, more than the physical form and character he presented in person, more than any letter he might write in a fit of anger, or some comment he might pass in an excited state to an acquaintance. His art was never meant to be popular, it was not meant to have a principle or a moral sense, but it was his true form of being. "

As he spoke, Neilson situated himself in the corner of his library and, as he swiveled his chair for a volume of Edgar Poe's Tales of the Grotesque and Arabesque, there was a twitch at the side of his mouth that seemed a distinct quality of Edgar Poe's. To hide my observation of him, I removed from the shelf the April 1841 number of Graham's, containing the first tale of Dupin, "The Murders in the Rue Morgue." I held it reverently and thought of my own library, my own collection, my home, Glen Eliza, which no doubt had been disturbed and ruined by the police in their various searches for evidence of my guilt and obsessions.

"Do you know he was paid only fifty-six dollars for his first Dupin tale?" Neilson said, seeing the object of my interest. "In the time since his death, I have seen the press push and splatter him. I have seen that shameful and unjust biographer make Edgar whomever he would like. Remember, this is my name, too, Mr. Clark. Poe is the name of my wife, and my children are Poes-as my sons' children will be. I am Poe. In the last months, I have read and reread nearly all that my cousin wrote, and have felt with each turn of the page greater affinity with him, a closeness of the highest order, as though the same words might have come from me that he had managed to extract from our common blood. Tell me, Mr. Clark, you had met him?" he asked offhandedly.

"No."

"Good!" said Neilson. Seeing my puzzled reaction, he continued. "I mean only that it is better that way. Seek to know him through the words he published. His genius was of such a rare quality, hardly to be sustained in this world of magazinists, that he could not but believe all were against it and that, given time, even friends and relatives would turn into enemies. His perception, frightened and anxious on this point, was a result of a world harsh to literary pursuits-a harshness I discovered for myself in my youth. His life was a series of experiments on his own nature, Mr. Clark, that brought him far from the movements of our world into a knowledge only of the perfection of literature. We cannot know Edgar Poe as a man, but can know him well as the genius he was. This is why he could not be fairly read until after his death-by me, by you, and now, perhaps, by the world." He paused. "You are feeling better now, Mr. Clark?"

I found I could think more clearly and had been freed of a surge of wild emotions that had before consumed me. I could only remember my latest actions as one thinks of a dream, or a distant memory. I blushed a bit in embarrassment to think of how Neilson had found me. "Yes, many thanks. I fear I had been rather overexcited when you came upon me at Amity Street."

"Please, Mr. Clark," he chuckled in surprise, "you must hardly blame yourself for being poisoned."

"What do you mean?"

"The doctor who examined you was quite certain that you had been mildly poisoned. He found traces of the white powder still in the posterior of your mouth, an expert mixture of several chemicals. Do not worry. He was also rather certain the effects had quite exhausted themselves and were not permanently harmful in these doses."

"Poison? But who-" I stopped myself, knowing with sudden clarity the answer. The guards at the prison who, with great vigilance, constantly replaced the pitchers of water on my cell table. Officer White, frustrated with my continued denials in the interviews with him, had likely been the one to order it: to confuse my mind enough to extract some kind of statement of responsibility, to ensure a confession of my wrongs! Indeed, I now also possessed Neilson Poe's information about White's desire to suppress the inquiry I had demanded. He would have poisoned me until I confessed or died, or was driven to harm myself. My life had been saved through the means of my chance escape.

All the derangement of my mental state in the hours after leaving the prison became clear to me and stung my mind. Searching for Poe-digging his grave with the belief that he was alive-invading his former home from so many years earlier! That person had dropped from me and I stood taller now, seeing all that was happening with perfect vision.

Neilson seemed momentarily thoughtful and, perhaps, anxious. "Perhaps you do need more rest, Mr. Clark."

"The boy," I said suddenly. "The messenger boy of whom you spoke, the one who helped you carry me, and then who returned with the doctor. Where is he?" I had not seen anyone in the house other than the children.

Neilson hesitated. I could hear a new sound, unmistakable and increasing. Horses, high-stepping through the watery streets; a carriage's wheels splashing behind.

Neilson raised his head at the sound. "I am a member of the bar, Mr. Clark," he said. "You are a fugitive from justice, and I have done my duty by sending the police word of your presence. I have a responsibility. Yet, somehow, I cannot help but think that you, of all people, have the ability to vindicate the memory of my unhappy kinsman and my name. I would be pleased to serve as your defender in court, should you wish." I remained frozen in place. "Remember, Mr. Clark, you were an officer of the court, too. You have a duty to choose."

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