Erin Morgenstern: The Night Circus

“There is also a… package for you, sir,” the manager says as he opens the door, ushering the magician into the cramped office before slipping off to attend to other theater matters, having no desire to witness what might become of this encounter.

The magician scans the office, a stack of letters in one hand, a black velvet cape lined with shockingly white silk cascading behind him, expecting a paper-wrapped box or crate. Only when the girl looks up at him with his own eyes does he realize what the theater manager was referring to.

Prospero the Enchanter’s immediate reaction upon meeting his daughter is a simple declaration of: “Well, fuck.”

The girl returns her attention to her boots.

The magician closes the door behind him, dropping the stack of letters on the desk next to the teacup as he looks at the girl.

He rips the envelope from her coat, leaving the pin clinging steadfastly to its button.

While the writing on the front bears his stage name and the theater address, the letter inside greets him with his given name, Hector Bowen.

He skims over the contents, any emotional impact desired by the author failing miserably and finally. He pauses at the only fact he deems relevant: that this girl now left in his custody is, obviously, his own daughter and that her name is Celia.

“She should have named you Miranda,” the man called Prospero the Enchanter says to the girl with a chuckle. “I suppose she was not clever enough to think of it.”

The girl looks up at him again. Dark eyes narrow beneath her curls.

The teacup on the desk begins to shake. Ripples disrupt the calm surface as cracks tremble across the glaze, and then it collapses in shards of flowered porcelain. Cold tea pools in the saucer and drips onto the floor, leaving sticky trails along the polished wood.

The magician’s smile vanishes. He glances back at the desk with a frown, and the spilled tea begins seeping back up from the floor. The cracked and broken pieces stand and re-form themselves around the liquid until the cup sits complete once more, soft swirls of steam rising into the air.

The girl stares at the teacup, her eyes wide.

Hector Bowen takes his daughter’s face in his gloved hand, scrutinizing her expression for a moment before releasing her, his fingers leaving long red marks across her cheeks.

“You might be interesting,” he says.

The girl does not reply.

He makes several attempts to rename her in the following weeks, but she refuses to respond to anything but Celia.

SEVERAL MONTHS LATER, once he decides she is ready, the magician writes a letter of his own. He includes no address, but it reaches its destination across the ocean nonetheless.

Tonight is the final performance of a very limited engagement. Prospero the Enchanter has not graced the London stage in some time, and the booking is for a single week of performances, with no matinees.

Tickets, though exorbitantly priced, sold out quite quickly, and the theater is so packed, many of the women keep their fans at hand to flutter against their décolletage, warding off the heavy heat that permeates the air despite the autumnal chill outside.

At one point in the evening, each of those fans suddenly becomes a small bird, until flocks of them loop the theater to uproarious applause. When each bird returns, falling into neatly folded fans on their respective owners’ laps, the applause only grows, though some are too stunned to clap, turning fans of feathers and lace over in their hands in wonder, no longer at all concerned about the heat.

The man in the grey suit sitting in the stage-left box does not applaud. Not for this, nor for a single trick throughout the evening. He watches the man upon the stage with a steady, scrutinizing gaze that never wavers through the entire duration of the performance. Not once does he raise his gloved hands to clap. He does not even lift an eyebrow at feats that elicit applause or gasps, or the occasional shriek of surprise, from the rest of the rapt audience.

After the performance has concluded, the man in the grey suit navigates the crush of patrons in the theater lobby with ease. He slips through a curtained door leading to the backstage dressing rooms unnoticed. Stagehands and dressers never so much as glance at him.

He raps on the door at the end of the hall with the silver tip of his cane.

The door swings open of its own accord, revealing a cluttered dressing room lined with mirrors, each reflecting a different view of Prospero.

His tailcoat has been tossed lazily over a velvet armchair, and his waistcoat hangs unbuttoned over his lace-edged shirt. The top hat which featured prominently in his performance sits on a hatstand nearby.

The man appeared younger on the stage, his age buried under the glare of the footlights and layers of makeup. The face in the mirrors is lined, the hair significantly greying. But there is something youthful in the grin that appears as he catches sight of the man standing in the doorway.

“You hated it, didn’t you?” he asks without turning away from the mirror, addressing the ghostly grey reflection. He wipes a thick residue of powder from his face with a handkerchief that might once have been white.

“It is a pleasure to see you too, Hector,” the man in the grey suit says, closing the door quietly behind him.

“You despised every minute, I can tell,” Hector Bowen says with a laugh. “I was watching you, don’t try to deny it.”

He turns and extends a hand the man in the grey suit does not accept. In response, Hector shrugs and waves his fingers dramatically in the direction of the opposite wall. The velvet armchair slides forward from a corner packed with trunks and scarves while the tailcoat floats up from it like a shadow, obediently hanging itself in a wardrobe.

“Sit, please,” Hector says. “It’s not as comfortable as the ones upstairs, I’m afraid.”

“I cannot say I approve of such exhibitions,” the man in the grey suit says, taking off his gloves and dusting the chair with them before he sits. “Passing off manipulations as tricks and illusion. Charging admission.”

Hector tosses the powder-covered handkerchief onto a table littered with brushes and tins of greasepaint.

“Not a single person in that audience believes for a second that what I do up there is real,” he says, gesturing in the general direction of the stage. “That’s the beauty of it. Have you seen the contraptions these magicians build to accomplish the most mundane feats? They are a bunch of fish covered in feathers trying to convince the public they can fly, and I am simply a bird in their midst. The audience cannot tell the difference beyond knowing that I am better at it.”

“That does not make it any less frivolous an endeavor.”

“These people line up to be mystified,” Hector says. “I can mystify them easier than most. Seems a waste to let the opportunity pass by. Pays better than you might think, as well. Can I get you a drink? There are bottles hidden around here somewhere, though I’m not entirely sure there are glasses.” He attempts to sort through the contents of a table, pushing aside piles of newspapers and a birdless birdcage.

“No, thank you,” the man in the grey suit says, shifting in his chair and resting his hands on the handle of his cane. “I found your performance curious, and the reaction of your audience somewhat perplexing. You were lacking in precision.”

“Can’t be too good if I want them to believe I’m as fake as the rest of them,” Hector says with a laugh. “I thank you for coming and suffering through my show. I’m surprised you even turned up, I was beginning to give up hope. I’ve had that box reserved for you the entire week.”