Pale Fire - Vladimir Nabokov [96]
Jacques d’Argus looked for a twentieth time at his watch. He strolled like a pigeon with his hands behind him. He had his mahogany shoes shined—and appreciated the way the dirty but pretty boy clacked taut his rag. In a restaurant on Broadway he consumed a large portion of pinkish pork with sauerkraut, a double helping of elastic French fries, and the half of an overripe melon. From my rented cloudlet I contemplate him with quiet surprise: here he is, this creature ready to commit a monstrous act—and coarsely enjoying a coarse meal! We must assume, I think, that the forward projection of what imagination he had, stopped at the act, on the brink of all its possible consequences; ghost consequences, comparable to the ghost toes of an amputee or to the fanning out of additional squares which a chess knight (that skip-space piece), standing on a marginal file, “feels” in phantom extensions beyond the board, but which have no effect whatever on his real moves, on the real play.
He strolled back and paid the equivalent of three thousand Zemblan crowns for his short but nice stay at Bever-land Hotel. With the illusion of practical foresight he transferred his fiber suitcase and—after a moment of hesitation—his raincoat to the anonymous security of a station locker—where, I suppose, they are still lying as snug as my gemmed scepter, ruby necklace, and diamond-studded crown in—no matter, where. On his fateful journey he took only the battered black briefcase we know: it contained a clean nylon shirt, a dirty pajama, a safety razor, a third petit-beurre, an empty cardboard box, a thick illustrated paper he had not quite finished with in the park, a glass eye he once made for his old mistress, and a dozen syndicalist brochures, each in several copies, printed with his own hands many years ago.
He had to check in at the airport at 2 P.M. The night before, when making his reservation, he had not been able to get a seat on the earlier flight to New Wye because of some convention there. He had fiddled with railway schedules, but these had evidently been arranged by a practical joker since the only available direct train (dubbed the Square Wheel by our jolted and jerked students) left at 5:13 AM., dawdled at flag stations, and took eleven hours to cover the four hundred miles to Exton; you could try to cheat it by going via Washington but then you had to wait there at least three hours for a sleepy local. Buses were out so far as Gradus was concerned since he always got roadsick in them unless he drugged himself with Fahrmamine pills, and that might affect his aim. Come to think of it, he was not feeling too steady anyway.
Gradus is now much nearer to us in space and time than he was in the preceding cantos. He has short upright black hair. We can fill in the bleak oblong of his face with most of its elements such as thick eyebrows and a wart on the chin. He has a ruddy but unhealthy complexion. We see, fairly in focus, the structure of his somewhat mesmeric organs of vision. We see his melancholy nose with its crooked ridge and grooved tip. We see the mineral blue of his jaw and the gravelly pointillé of his suppressed mustache.
We know already some of his gestures, we know the chimpanzee slouch of his broad body and short hindlegs. We have heard enough about his creased suit. We can at last describe his tie, an Easter gift from a dressy butcher, his brother-in-law in Onhava: imitation silk, color chocolate brown, barred with red, the end tucked into the shirt between the second and third buttons, a Zemblan fashion of the nineteen thirties—and a father-waistcoat substitute according to the learned. Repulsive black hairs coat the back of his honest rude hands, the scrupulously clean hands of an ultra-unionized artisan, with a perceptible deformation