The Magicians - Lev Grossman [12]
Quentin felt giddy, like he was watching the whole thing on TV. It was ridiculous. But he forced himself to pay attention. This was a competition, and he dominated competitions. That was what he did, and he sensed that the stakes of this one were rising. The table was bare except for a deck of cards and a stack of about a dozen coins.
“I understand you like magic tricks, Quentin,” the woman said. She had a very slight accent, European but otherwise unplaceable. Icelandic? “Why don’t you show me some?”
As a matter of fact, Quentin did like magic tricks. His interest in magic had started three years ago, partly inspired by his reading habits but mostly as a way of fattening up his extracurriculars with an activity that wouldn’t force him to actually interact with other people. Quentin had spent hundreds of emotionally arid hours with his iPod on palming coins and shuffling cards and producing fake flowers from skinny plastic canes in a trance of boredom. He watched and rewatched grainy, porn-like instructional videotapes in which middle-aged men demonstrated close-up magic passes in front of backdrops made of bedsheets. Magic, Quentin discovered, wasn’t romantic at all. It was grim and repetitive and deceptive. And he worked his ass off and became very good at it.
There was a store near Quentin’s house that sold magic supplies, along with junk electronics, dusty board games, pet rocks, and fake vomit. Ricky, the man behind the counter, who had a beard and sideburns but no mustache, like an Amish farmer, grudgingly agreed to give Quentin some tips. It wasn’t long before the student surpassed the master. At seventeen Quentin knew the Scotch and Soda and the tricky one-handed Charlier cut, and he could juggle the elusive Mills Mess pattern with three balls and sometimes, for short ecstatic flights, with four. He earned a small dividend of popularity at school every time he demonstrated his ability to throw, with a fierce, robotic accuracy, an ordinary playing card sidearm so that from a distance of ten feet it stuck edge-on in one of the flavorless Styrofoamy apples they served in the cafeteria.
Quentin reached for the cards first. He was vain about his shuffling, so he broke out a faro shuffle rather than the standard riffle just in case—fat chance—the woman sitting across from him knew the difference, and how ridiculously hard it was to do a good faro.
He ran through his usual routine, which was already calculated to show off as many different skills as possible: false cuts, false shuffles, lifts, sleights, passes, forces. In between tricks he tossed and waterfalled and avalanched the cards from hand to hand. He had regular patter to go with it, but it sounded clumsy and empty in this quiet, airy, beautiful room, in front of this dignified, handsome older woman. The words trailed off. He performed in silence.
The cards made shushing, snapping noises in the stillness. The woman watched him steadily, obediently choosing a card whenever he asked her to, showing no surprise when he recovered it—against all odds!—from the middle of a thoroughly shuffled deck, or from his shirt pocket, or out of thin air.
He switched to the coins. They were fresh new nickels, nicely milled, good crisp edges. He had no props, no cups or folded handkerchiefs, so he stuck to palms and passes, flourishes and catches. The woman watched him in silence for a minute, then reached across the table and touched his arm.
“Do that one again,” she said.
He obediently did that one again. The trick was an old one, the Wandering Nickel, wherein a nickel (actually three nickels) moved mysteriously from hand to hand. He kept showing it to the audience and then cheekily vanishing it again; then he pretended to lose track of it entirely; then he triumphantly