The Alienist - Caleb Carr [107]
A sudden shout of “Jesus Christ, I never seen a fat man move like that in my life!” came from across the terrace, and I was about to make another request for quiet when I saw my friends already attending to the job. Marcus was then free to proceed:
“First of all, the slashing downstrokes and the extreme angularity of a lot of the characters suggest a man who’s pretty tormented—he’s under enormous inner tension of some kind, and it can’t find any vent other than anger. In fact, the thrusting, snapping motion of the hand—you see it, here?—is so pronounced that a tendency toward physical violence, and maybe even sadism, is pretty safe to assume. But it gets more complicated than that, because there are other, contrasting elements. In the high register, what’s called the ‘upper zone’ of the writing, you can see these florid little wanderings of the pen. They usually indicate a writer with imagination. In the lower zones, on the other hand, there’s a fair amount of confusion—it’s most apparent in the tendency to place the loops of letters like g and f on the wrong side of the stem. It doesn’t happen every time, but the fact that it keeps happening is important, given that he’s been trained in penmanship and is at all other times very deliberate and very calculating.”
“Excellent,” Kreizler judged; yet I noticed his pen wasn’t moving. “But I wonder, Detective Sergeant, if these last elements could not have been divined from the contents of the note, as well as from your initial and somewhat more scientific analysis of the handwriting?”
Marcus smiled and nodded. “Probably. And that shows why the so-called art of reading personality into handwriting hasn’t been accepted as a science yet. But I thought it’d be useful to include the observations, because they at least show no marked inconsistency between the content and the script of the note. If it were a fake, you’d almost certainly find that kind of a gap.” Kreizler accepted the statement with a nod, though he still didn’t write any of it down. “Well, that about does it for the handwriting,” Marcus concluded, as he pulled out his vial of carbon powder. “I’m just going to dust the edges of the paper itself for fingerprints and make sure we get a match.”
As he did so, Lucius, who’d been scrutinizing the envelope, spoke up: “There’s nothing particularly revealing about the postmark. The thing was sent from the Old Post Office by City Hall, but our man probably traveled to get there. He’s careful enough to expect that the postmark will be examined. But we can’t rule out the possibility that he lives in the City Hall area.”
Marcus had pulled a set of photographed prints from his pocket, and was holding them against the now smudged letter.
“Um-hmm,” he noised. “A match.” And as he said it the unrealistic but flickering hope that the note was a forgery was snuffed out.
“Which leaves us,” Kreizler said, “with the considerable task of interpreting the contents.” He pulled out his watch and checked the time—nearly nine. “It might be better if our minds were fresh, but…”
“Yes,” Sara said, her balance finally restored, “but.”
We all knew what the “but” was—our killer wasn’t factoring rest periods for his pursuers into his schedule. With that pressing thought in mind, we got up to depart for Number 808 Broadway, where coffee would be brewed. Whatever engagements any of us had been foolish enough to make for later in the evening were implicitly canceled.
As we left the terrace, Laszlo touched my arm, indicating that he wanted a private word. “I had hoped that I was wrong, John,” he said, as the others went ahead. “And I still may be, but—I’ve suspected from the beginning that our man has been observing our efforts. If I’m right he probably