Paul Auster: City of Glass

"Hello?" he said.

Again, there was a silence on the other end. Quinn knew at once that it was the stranger.

"Hello?" he said again. "What can I do for you?"

"Yes," said the voice at last. The same mechanical whisper, the same desperate tone. "Yes. It is needed now. Without delay."

"What is needed?"

"To speak. Right now. To speak right now. Yes."

"And who do you want to speak to?"

"Always the same man. Auster. The one who, calls himself Paul Auster."

This time Quinn did not hesitate. He knew what he was going to do, and now that the time had come, he did it.

"Speaking," he said. "This is Auster speaking."

"At last. At last I've found you." He could hear the relief in the voice, the tangible calm that suddenly seemed to overtake it.

"That's right," said Quinn. "At last." He paused for a moment to let the words sink in, as much for himself as for the other. "What can I do for you?"

"I need help," said the voice. "There is great danger. They say you are the best one to do these things."

"It depends on what things you mean."

"I mean death. I mean death and murder."

"That's not exactly my line," said Quinn. "I don't go around killing people."

"No," said the voice petulantly. "I mean the reverse."

"Someone is going to kill you?"

"Yes, kill me. That's right. I am going to be murdered."

"And you want me to protect you?"

"To protect me, yes. And to find the man who is, going to do it."

"You don't know who it is?"

"I know, yes. Of course I know. But I don't know where he is."

"Can you tell me about it?"

"Not now. Not on the phone. There is great danger. You must come here."

"How about tomorrow?"

"Good. Tomorrow. Early tomorrow. In the morning."

" Ten o'clock?"

"Good. Ten o'clock." The voice gave an address on East 69th Street. "Don't forget, Mr. Auster. You must come."

"Don't 'worry," said Quinn. "I'll be there."

THE next morning, Quinn woke up earlier than he had in several weeks. As he drank his coffee, buttered his toast, and read through the baseball scores in the paper (the Mets had lost again, two to one, on a ninth inning error), it did not occur to him that he was going to show up for his appointment. Even that locution, his appointment , seemed odd to him. It wasn't his appointment, it was Paul Auster's. And who that person was e had no idea.

Nevertheless, as time wore on he found himself doing a good imitation of a man preparing to go out. He cleared the table of the breakfast dishes, tossed the newspaper on the couch, went into the bathroom, showered, shaved, went on to the bedroom wrapped in two towels, opened the closet, and picked out his clothes for the day. He found himself tending toward a jacket and tie. Quinn had not worn a tie since the funerals of his wife and son, and he could not even remember if he still owned one. But there it was, hanging amidst the debris of his wardrobe. He dismissed a white shirt as too formal, however, and instead chose a gray and red check affair to go with the gray tie. He put them on in a kind of trance.

It was not until he had his hand on the doorknob that he began to suspect what he was doing. "I seem to be going out," he said to himself. "But if I am going out, where exactly am I going?" An hour later, as he climbed from the number 4 bus at 70th Street and Fifth Avenue, he still had not answered the question. To one side of him was the park, green in the morning sun, with sharp, fleeting shadows; to the other side was the Frick, white and austere, as if abandoned to the dead. He thought for a moment of Verineer's Soldier and Young Girl Smiling, trying to remember the expression on the girl's face, the exact position of her hands around the cup, the red back of the faceless man. In his mind, he caught a glimpse of the blue map on the wall and the sunlight pouring through the window, so like the sunlight that surrounded him now. He was walking. He was crossing the street and moving eastward. At Madison Avenue he turned right and went south for a block, then turned left and saw where he was. "I seem to have arrived," he said to himself. He stood before the building and paused. It suddenly did not seem to matter anymore. He felt remarkably calm, as if everything had already happened to him. As he opened the door that would lead him into the lobby, he gave himself one last word of advice. "If all this is really happening," he said, "then I must keep my eyes open."

It was a woman who opened the apartment door. For some reason, Quinn had not been expecting this, and it threw him off track. Already, things were happening too fast. Before he had a chance to absorb the woman's presence, to describe her to himself and form his impressions, she was talking to him, forcing him to respond. Therefore, even in those first moments, he had lost ground, was starting to fall behind himself. Later, when he had time to reflect on these events, he would manage to piece together his encounter with the woman. But that was the work of memory, and remembered things, he knew, had a tendency to subvert the things remembered. As a consequence, he could never be sure of any of it.

The woman was thirty, perhaps thirty-five; average height at best; hips a touch wide, or else voluptuous, depending on your point of view; dark hair, dark eyes, and a look in those eyes that was at once self-contained and vaguely seductive. She wore a black dress and very red lipstick.

"Mr. Auster?" A tentative smile; a questioning tilt to the head.

“That's right," said Quinn. "Paul Auster."

"I'm Virginia Stillman," the woman began. "Peter's wife. He's been waiting for you since eight o'clock."

"The appointment was for ten," said Quinn, glancing at his watch. It was exactly ten.

"He's been frantic," the woman explained. "I've never seen him like this before. He just couldn't wait."

She opened the door for Quinn. As he crossed the threshold and entered the apartment, he could feel himself going blank, as if his brain had suddenly shut off. He had wanted to take in the details of what he was seeing, but the task was somehow beyond him at that moment. The apartment loomed up around him as a kind of blur. He realized that it was large, perhaps five or six rooms, and that it was richly furnished, with numerous art objects, silver ashtrays, and elaborately framed paintings on the walls. But that was all. No more than a general impression-even though he was there, looking at those things with his own eyes.

He found himself sitting on a sofa, alone in the living room. He remembered now that Mrs. Stillman had told him to wait there while she went to find her husband. He couldn't say how long it had been. Surely no more than a minute or two. But from the way the light was coming through the windows, it seemed to be almost noon. It did not occur to him, however, to consult his watch. The smell of Virginia Stillman's perfume hovered around him, and he began to imagine what she looked like without any clothes on. Then he thought about what Max Work might have been thinking, 'had he been there. He decided to light a cigarette. He blew the smoke into the room. It pleased him to watch it leave his mouth in gusts, disperse, and take on new definition as the light caught it.

He heard the sound of someone entering the room behind him. Quinn stood up from the sofa and turned around, expecting to see Mrs. Stillman. Instead, it was a young man, dressed entirely in white, with the white-blond hair of a child. Uncannily, in that first moment, Quinn thought of his own dead son. Then, just as suddenly as the thought had appeared, it vanished.

Peter Stillman walked into the room and sat down in a red velvet armchair opposite Quinn. He said not a word as he made his way to his seat, nor did he acknowledge Quinn's presence. The act of moving from one place to another seemed to require all his attention, as though not to think of what he was doing would reduce him to immobility. Quinn had never seen anyone move in such a manner, and he realized at once that this was the same person he had spoken to on the phone. The body acted almost exactly as the voice had: machine-like, fitful, alternating between slow and rapid gestures, rigid and yet expressive, as if the operation were out of control, not quite corresponding to the will that lay behind it. It seemed to Quinn that Stillman's body had not been used for a long time and that all its functions had been relearned, so that motion had become a conscious process, each movement broken down into its component submovements, with the result that all flow and spontaneity had been lost. It was like watching a marionette trying to walk without strings.