The Night Circus - Erin Morgenstern [63]
“Doing more is exhausting,” Celia protests. “I can only control so much.”
“It’s not enough,” her father says.
“When will it be enough?” Celia asks, but there is no reply, and she stands alone amongst the stars.
She sinks to the ground, picking up a handful of pearl-white sand and letting it fall slowly through her fingers.
*
ALONE IN HIS FLAT, Marco constructs tiny rooms from scraps of paper. Hallways and doors crafted from pages of books and bits of blueprints, pieces of wallpaper and fragments of letters.
He composes chambers that lead into others that Celia has created. Stairs that wind around her halls.
Leaving spaces open for her to respond.
The Ticking of the Clock
VIENNA, JANUARY 1894
The office is large but looks smaller than it is due to the volume of its contents. While a great deal of its walls are composed of frosted glass, most of it is obscured by cabinets and shelves. The drafting table by the windows is all but hidden in the meticulously ordered chaos of papers and diagrams and blueprints. The bespectacled man seated behind it is almost invisible, blending in with his surroundings. The sound of his pencil scratching against paper is as methodical and precise as the ticking of the clock in the corner.
There is a knock on the frosted-glass door and the scratching pencil halts, though the ticking clock pays no heed.
“A Miss Burgess to see you, sir,” an assistant calls from the open door. “She says not to bother you if you are otherwise occupied.”
“Not a bother at all,” Mr. Barris says, placing his pencil down and rising from his seat. “Please, send her in.”
The assistant moves from the doorway and is replaced by a young woman in a stylish lace-trimmed dress.
“Hello, Ethan,” Tara Burgess says. “My apologies for dropping by unannounced.”
“No apologies necessary, my dear Tara. You look lovely, as always,” Mr. Barris says, kissing her on both cheeks.
“And you haven’t aged a day,” Tara says, pointedly. His smile wavers and he looks away, moving to close the door behind her.
“What brings you to Vienna?” he asks. “And where is your sister? I so rarely see the two of you apart.”
“Lainie is in Dublin, with the circus,” Tara says, turning her attention to the contents of the room. “I … I wasn’t in the mood so I thought I would do some traveling on my own. Visiting far-flung friends seemed a good place to start. I would have sent a telegram but it was all a bit spontaneous. And I wasn’t entirely sure if I would be welcome.”
“You are always welcome, Tara,” Mr. Barris says. He offers her a seat but she does not notice, drifting through the tables covered in highly detailed models of buildings, stopping here and there to investigate a detail further: the arch of a doorway, the spiral of a staircase.
“It becomes difficult to tell the difference between old friends and business associates in cases like ours, I think,” Tara says. “Whether we are the kind of people who make polite conversation to cover shared secrets or something more than that. This one is marvelous,” she adds, pausing at a model of an elaborate open column with a clock suspended in the center.
“Thank you,” Mr. Barris says. “It’s quite far from completion. I need to send the finished plans to Friedrick so he can start construction on the clock. I suspect it will be much more impressive when built to scale.”
“Do you have the plans for the circus here?” Tara asks, looking over the diagrams pinned to the walls.
“No, I don’t, actually. I left them with Marco in London. I meant to keep copies on file but I must have forgotten.”
“Did you forget to keep copies of any of your other plans?” Tara asks, running a finger along the line of cabinets fitted with long thin shelves, each one piled with carefully ordered papers.
“No,” Mr. Barris says.
“Do you … do you find that strange?” Tara asks.
“Not particularly,” Mr. Barris says. “Do you think it strange?”
“I think a great