The Night Circus - Erin Morgenstern [61]
The postmark is from New York, but he does not recognize the signature as belonging to any of the rêveurs he has met in passing in that or any other city.
Dear Miss Bowen, he begins.
He hopes that he will receive another letter in turn.
Collaborations
SEPTEMBER–DECEMBER 1893
Marco arrives at Mr. Barris’s London office only a few minutes before his scheduled appointment, surprised to find the normally well-ordered space in near bedlam, full of half-packed crates and stacks of boxes. The desk is nowhere to be seen, buried beneath the chaos.
“Is it that late already?” Mr. Barris asks when Marco knocks on the open door, unable to step inside due to a lack of available floor. “I should have left the clock out, it’s in one of those crates.” He waves at a line of large wooden crates along the wall, though if one of them is ticking it is impossible to tell. “And I meant to clear a path, as well,” he adds, pushing boxes aside and picking up piles of rolled blueprints.
“Sorry to intrude,” Marco says. “I wanted to speak with you before you left the city. I would have waited until you were settled again, but I thought it best to discuss the matter in person.”
“Of course,” Mr. Barris says. “I wanted to give you the spare copies of the circus plans. They are around here somewhere.” He sifts through the pile of blueprints, checking labels and dates.
The office door closes quietly, untouched.
“May I ask you a question, Mr. Barris?” Marco inquires.
“Certainly,” Mr. Barris says, still sorting through rolls of paper.
“How much do you know?”
Mr. Barris puts down the blueprint in his hand and turns, pushing his spectacles up on the bridge of his nose to better regard Marco’s expression.
“How much do I know about what?” he asks after the pause has gone on too long.
“How much has Miss Bowen told you?” Marco asks in response.
Mr. Barris looks at him curiously for a moment before he speaks.
“You’re her opponent,” he says, a smile spreading across his face when Marco nods. “I never would have guessed.”
“She told you about the competition,” Marco says.
“Only in the most basic of terms,” Mr. Barris says. “She came to me several years ago and asked what I might say if she were to tell me that everything she does is real. I told her that I would have to take her at her word or think her a liar, and I would never dream such a lovely lady to be a liar. And then she asked what I might design if I did not have such constraints as gravity to concern myself with. That was the beginning of the Carousel, but I imagine you knew that already.”
“I assumed as much,” Marco says. “Though I was not certain to what degree you were knowingly involved.”
“I am in the position to be quite useful, as I see it. I believe stage magicians employ engineers to make their tricks appear to be something they are not. In this case, I provide the opposite service, helping actual magic appear to be clever construction. Miss Bowen refers to it as grounding, making the unbelievable believable.”
“Did she have anything to do with the Stargazer?” Marco asks.
“No, the Stargazer is purely mechanical,” Mr. Barris says. “I can show you the structural plans if I can locate them in this mess. It was inspired by a trip to the Columbian Exposition in Chicago earlier this year. Miss Bowen insisted there was no way to improve it, though I think she may have something to do with keeping it running properly.”
“Then you are a magician in your own right, sir,” Marco says.
“Perhaps we simply do similar things in different ways,” Mr. Barris says. “I had thought, knowing Miss Bowen had an opponent lurking somewhere, that whomever you might be, you were not in need of any assistance. The paper animals are astonishing, for example.”
“Thank you,” Marco says. “I have