The Amazing Adventures of Kavalier and Clay Part 14

What would become of his mother, grandfather, and brother? Their names might have appeared already on some other list of deaths that no one had bothered to report to him. Was pneumonia contagious? No, he felt fairly certain it was not. But it could be brought on by ill health and misery. If his father had been vulnerable to something like that, what kind of shape must Thomas be in? He imagined that the little food or medicine they possessed went to Thomas before it went to anyone else. Perhaps his father had sacrificed his health for the sake of Thomas's. Had his entire family died? How would he ever find out?

By the time the Adirondack pulled into Albany that afternoon, Joe's adventure into the unknown of war had come to seem one unknown too many for him to bear. He had convinced himself that it was far more likely that both his mother and Thomas were still alive. And if this was so, then they required rescue no less than they had before. He could not abandon them further by running off and trying, like the Escapist, single-handedly to end the war. It was imperative for him to remain focused on the possible. At least-it was a cruel thought, but he could not prevent himself from thinking it-there would now be one visa fewer to try to wrest from the Reich.

He got down from the train at Union Station in Albany and stood on the platform, getting in the way of people who were boarding. A man with round rimless spectacles brushed past, and Joe remembered the man on the Rotterdam's Rotterdam's gangway whom he had mistaken for his father. In retrospect, it seemed like an omen. gangway whom he had mistaken for his father. In retrospect, it seemed like an omen.

The conductor urged Joe to make up his mind; he was holding up the train. Joe wavered. All his doubts were counterbalanced by a powerful urge to kill German soldiers.

Joe let the train go without him, then suffered sharp stabs of regret and self-reproach. He stood outside by the taxi stand. He could get in a cab and order the driver to take him to Troy. If he missed the train at Troy, then he could have the driver take him straight on to Montreal. He had plenty of money in his wallet.

Five hours later, Joe was back in New York City. He had suffered through seven changes of mind on the way down the Hudson. He had spent the entire trip back in the train's club car, and he was much the worse for drink. He stumbled out in the evening. A cold front seemed to have moved in. The air burned his nostrils, and his eyes felt raw. He wandered up Fifth Avenue and then went into a Longchamps and ordered himself whiskey and soda. Then he went once again to the phone.

It took Sammy half an hour to get there; by that time, Joe was drunk enough, if not yet quite filthy stinking. Sammy walked into Long-champs' boisterous bar, pulled Joe off his stool, and caught him in his arms. Joe tried, but this time he could not stop himself. His weeping sounded to his own ears like sad, hoa.r.s.e laughter. None of the people in the bar knew what to make of him. Sammy guided him to a booth at the back of the barroom and handed Joe his handkerchief. After Joe had swallowed the rest of his sobs, he told Sammy the little he knew.

"Could there be some mistake?" Sammy said.

"Such things are always possible," Joe said bitterly.

"Oh, Jesus," Sammy said. He had ordered two bottles of Ruppert's and was staring down at the neck of his. He was not a drinker and had not taken even a sip. "I hate to tell my mother this."

"Your poor mother," Joe said. "And my poor mother." The thought of his mother a widow started him crying all over again. Sammy came around from the other side of the table and slid into the booth alongside him. Then they just sat there for a while. Joe thought back to that morning, when he had stuck his head out into the day and felt as powerful as the Escapist, surging with the mystic Tibetan energies of his rage.

"Useless," he said.

"What is?"

"I am."

"Joe, don't say that."

"I'm worthless," Joe said. He felt that he must leave the bar. He did not want to sit around drinking and crying anymore. He wanted to do something. He would find something that could be done. He grabbed Sammy by the sleeve and shoulder of his peacoat and gave him a push, nearly knocking him out of the booth.

"Out," he said. "Let's go."

"Where are we going?" Sammy said, rising to his feet.

"I don't know," Joe said. "Work. I'm going to work."

"But you just-all right," Sammy said, looking into Joe's face. "Maybe that isn't a bad idea." They left Longchamps and went down into the cool, foul gloom of the subway.

On the southbound platform, a few feet from the cousins, stood a dark, glowering gentleman-reading the cut of his topcoat, or some indefinable emission radiating from his chin or eyes or haircut, Joe felt certain that he was German. This man was giving them the fish-eye. Even Sammy had to agree afterward that the man had been giving them the fish-eye. He was a German right out of a panel by Joe Kavalier, ma.s.sive, handsome in a prognathous, lupine way, wearing a beautiful suit. As the wait for the train dragged on, Joe decided that he did not like what he considered to be the superior manner in which the theoretically German man was looking at him. He considered a number of possible styles, in German and in English, of expressing his feelings about the man and his fish-eye. Finally opting for a more universal statement, he spat, as if casually, onto the platform between him and the man. Public spitting was common enough at the time in that city of smokers, and the gesture might have remained safely ambiguous if Joe's missile had not overshot its mark. Spittle frosted the tip of the man's shoe.

Sammy said, "Did you just spit at that man?"

"What?" said Joe. He was a little surprised himself. "Eh, yes."

"He didn't mean it, mister," Sammy told the man. "He's just a little upset right now."

"Then he makes the apology," the man suggested not unreasonably.

His accent was thick and unquestionably German. He waited for his apology with the air of one accustomed to receiving apologies when he asked for them. He took a step closer to Joe. He was younger than Joe had thought at first, and even more imposing. He looked as if he could more than handle himself in a fight.

"Oh, my G.o.d," Sammy said in an undertone. "Joe, I think that man is Max Schmeling."

There were other people waiting for the train, and they had taken an interest. They started to argue about whether the man whose shoes Joe had spat on was or was not Schmeling, the Black Bull of the Uhlan, former heavyweight champion of the world.

"I'm sorry," Joe mumbled, sort of meaning it.

"What was that?" said the man, cupping a hand to his ear.

"Go to h.e.l.l," Joe said, this time with greater sincerity.

"s.h.i.+t-head," the man said, taking care with his English. With pugilistic quickness, he crowded Joe against an iron pillar, crooked an arm around Joe's neck, and gave him a swift punch in the stomach. Joe's breath deserted his body in a single hard gust and he pitched forward, striking his chin on the concrete platform. His eyeb.a.l.l.s seemed to clang in their sockets. He felt as if someone had opened an umbrella inside his rib cage. He waited, flopped on his belly, unblinking as a fish, to see if he would ever again be able to draw a breath. Then he let out a long, low moan, a little at a time, testing the muscles of his diaphragm. "Wow," he said finally. Sammy knelt beside him and helped him to one knee. Joe gulped up big lopsided gouts of air. The German man turned to the other people on the platform, one arm raised in challenge or, perhaps, it seemed to Joe, in appeal. Everyone had seen Joe spit on his shoe, hadn't they? Then the big man turned and stalked off, way down to the far end of the platform. The train came, and the people all got on it, and that was the end of that. When they got back to Palooka Studios, Sammy, at Joe's request, said nothing about Joe's father. But he did tell everyone that Joe had gotten his a.s.s kicked by Max Schmeling. Joe received their ironic congratulations. He was informed that he was lucky Schmeling had pulled his punch.

"Next time I see that guy," Joe said, to his surprise, "I am going to hit him back."

Joe never did encounter Max Schmeling, or his doppelganger, again. In any case, there is good reason to believe that Schmeling was not in New York at all but in Poland, having been drafted into the Wehrmacht and sent to the front as punishment for his defeat by Joe Louis in 1938.

4

There could not have been more than a couple of thousand German citizens in New York at that time, but in the following two weeks, wherever Joe went in the city, he managed to run across at least one. He seemed to have acquired, as Sammy remarked, a superpower of his own: he had become a magnet for Germans. He found them in elevators, on buses, in Gimbel's and at Longchamps restaurants. At first he would just watch them, or eavesdrop, sizing them up as good Germans or evil ones with sweeping certainty even if they were just talking about the rain or the taste of their tea, but it wasn't long before he began to approach them and attempt to engage them in conversation that was menacingly bland and suggestive. Often enough, his advances were met with a certain amount of resistance.

"Woher kommen Sie?" he asked a man he met buying a pound of steak at the butcher on Eighth Avenue, around the corner from Palooka Studios. he asked a man he met buying a pound of steak at the butcher on Eighth Avenue, around the corner from Palooka Studios. "Schwabenland?" "Schwabenland?"

The man nodded warily. "Stuttgart," he said.

"How is everything back there?" He could feel the note of intimidation creeping into his voice, of menacing innuendo. "Is everybody all right?"

The man shrugged, blus.h.i.+ng, and made a mute appeal to the butcher with a raised eyebrow.

"Is there a problem?" the butcher asked Joe. Joe said that indeed there was not. But when he walked out of the butcher shop with his lamb chops, he felt strangely pleased with himself for having discomfited the man. He supposed that he ought to be ashamed of this feeling. He believed that on some level he was. But he could not seem to keep himself from remembering with pleasure the furtive look and the flushed cheeks when he had addressed the man in his own language.

The following day, a Sat.u.r.day-this was about a week after Joe had learned of his father's death-Sammy took him to see a Brooklyn Dodgers football game. The idea was to get Joe out into the air and cheer him up a little. Sammy was partial to football, and seemed to have a particular fondness for the Dodgers' star back, Ace Parker. Joe had seen English rugby played in Prague, and once he decided there was no great difference between it and American football, he gave up trying to pay attention to the game and just sat smoking and drinking beer in the sharp raw breeze. Ebbets Field had a faintly ramshackle air that reminded him of a drawing in a comic strip-Popeye or or Toonerville Trolley. Toonerville Trolley. Pigeons wheeled in the dark s.p.a.ces of the grandstands. There was a smell of hair oil and beer and a fainter one of whiskey. The men in the crowd pa.s.sed flasks and muttered comically violent sentiments. Pigeons wheeled in the dark s.p.a.ces of the grandstands. There was a smell of hair oil and beer and a fainter one of whiskey. The men in the crowd pa.s.sed flasks and muttered comically violent sentiments.

After a while, Joe realized two things. The first was that he was quite drunk. The second was that, two rows behind him and up a little to his left, there sat a pair of German men. They were drinking beer from big paper cups, grinning, fair, stolid-looking men, brothers perhaps. They kept up an excited commentary and, on the whole, seemed to be enjoying the game, though they did not seem to understand it any better than Joe. They cheered whenever a fumble was recovered, regardless of who recovered it.

"Just ignore them," Sammy warned him, chary of his cousin's aggressive good luck in turning up Germans.

"They are looking at me," Joe said, fairly certain that this was so.

"They are not."

"They are looking over here."

"Joe."

Joe kept glancing back over his shoulder, forcing himself into their consciousness, their experience of the game-practically into their laps. Presently, even in their drunken state, they became aware of his attention. A certain amount of scowling and leering ensued. One of the brothers-they had to be brothers-had a crooked nose and a scarred ear indicating that he was not unfamiliar with the use of his fists. At last, toward the end of the third quarter, Joe overheard what he was quite certain was an anti-Semitic remark pa.s.s from the man who looked like a boxer to his brother or chum. It sounded to Joe as if the man had said, "Jew b.a.s.t.a.r.d." Joe stood up. He clambered over the back of his seat. The row behind him was full, and in the course of clearing it, he elbowed one of his neighbors in the ear. He tumbled into the Germans' row, nearly losing his balance. The Germans laughed, and the arm of a seat jabbed Joe in the side sharply, but he scrambled to his feet and, without a word, knocked the boxer's hat off his head. It fell into a clotted puddle of spilled beer and a rubble of peanuts at the other man's feet. The man with the cauliflower ear looked very surprised, and then astonished when Joe grabbed hold of his s.h.i.+rt collar. Joe yanked so hard that three b.u.t.tons popped loose and shot off in all directions with audible whizzing sounds. But the man had a long reach, and he managed to get a hand around the back of Joe's neck. He pulled Joe to him and, at the same time, with the other hand connected his fist to the side of Joe's skull. While Joe was thus held, bent over the seat with his nose smashed against the man's left knee, the brother pummeled Joe's back over and over as if he were driving nails into a plank with two hammers. Before Sammy and some of the men sitting in the seats around them could pull the two Germans off, they had closed Joe's right eye for him, chipped a tooth, bruised his rib cage, and ruined a new suit. Then an usher came and threw Joe and Sammy out of Ebbets Field. They went quietly, Joe holding a paper cup of ice to the tender orbit of his eye. The pain was keen. There was an odor of urinals along the ramp leading down to the gates of the ballpark, a masculine smell, bitter and bracing.

"What are you doing?" Sammy asked him. "Are you crazy?"

"I'm sorry," Joe said. "I thought he said something."

"Why are you smiling, G.o.d d.a.m.n it?"

"I don't know."

That night, when he and Sammy went to dinner at Ethel Klayman's, he bent down to pick up the napkin he had dropped, and when he sat up again, there was a bright exclamation mark of blood on his cheek.

"You need sutures," said his aunt in her most inarguable tone.

Joe protested. He had given out to his friends that he was afraid of needles and doctors, but the truth was that he felt edified by the wound to his head. It was not that he felt he deserved the pain so much as that it suited him. No matter how well he cleaned the cut, how tightly he compressed it, how thick the bandage he applied, within an hour or so, the first telltale freckle of red would have reappeared. It was like the memory of home, a tribute to his father's stoical denial of illness, injury, or pain.

"It's going to be fine," he said.

His aunt took hold of his elbow with her five-p.r.o.nged iron grapple and sat him down on the lid of the toilet in the bathroom. She had Sammy fetch a bottle of slivovitz that had been left behind by a friend of her late husband in 1935 and not touched since. Then she crooked his head under her left arm and sewed him up. The thread was dark blue, exactly the color of the Escapist's uniform.

"Don't go looking for trouble," she begged him as she worked the long thin needle into his skin. "You'll be getting plenty of trouble soon enough."

After that, Joe went looking for trouble. For no good reason, he started going up, every day, to Yorkville, where there were numerous German beer halls, German restaurants, German social clubs, and German-Americans. Most of the time, he merely skulked around for a while and returned home from these forays without incident, but sometimes one thing led to another. The ethnic neighborhoods of New York have always been alert to the incursions of intemperate strangers. He got himself punched in the stomach yet again, on East Ninetieth Street, waiting for a bus, by a man who did not take kindly to the sneer that Joe armed himself with whenever he ventured uptown. Hanging around a candy store one afternoon, Joe attracted the attention of some little neighborhood boys, one of whom, for reasons having nothing to do with politics or racial theories, shot him in the back of the head with a big wet oyster of a spitball. These boys were all regular readers of the Escapist, and admirers of Joe Kavalier's work. If they had known who it was, they would probably have felt very sorry for peashooting him. But they just didn't like the way Joe looked. They had observed, with the ruthless acuity of boys, that there was something funny about Joe Kavalier, about his rumpled suit, his air of banked and smoldering testiness, the curly strands standing up from his imperfectly slicked-back hair like an exploded clockworks. He looked like a patsy for pranksters and practical jokers. He looked like a man who was looking for trouble.

It must be said at this point that a very large number of German New Yorkers were vehemently opposed to Hitler and the n.a.z.is. They wrote outraged letters to the editors of the major dailies, condemning Allied and American inaction after the Anschluss and the annexation of the Sudetenland. They joined anti-fascist leagues, brawled with brown-s.h.i.+rts-Joe was far from the only young man who went out into the streets of New York that autumn spoiling for a fight-and vigorously supported the president and his policies when they took action against Hitler and his war. Nevertheless, there was a fair number of New York Germans who took open pride in the accomplishments, civil, cultural, sporting, and military, of the Third Reich. Among these was a smaller group that was regularly active in various patriotic, nationalistic, generally racist, and sometimes violent organizations sympathetic to the aims of the homeland. Joe frequently returned from Yorkville with anti-Jewish newspapers and tracts that he read through from front to back, stomach tight with fury, then stuffed into one of three peach crates that he used for a filing cabinet. (The other two held his letters from home and his comic books.) One day, as he was haunting the streets of Yorkville, Joe noticed a sign painted in the window of a second-floor office: ARYAN-AMERICAN LEAGUE Standing there, staring up at the window, Joe underwent a dark fantasy of running up to that office and bursting into that warren of snakes, feet flying right up at you out of the panel as jagged splinters of the door shot in all directions. He saw himself wading into a roiling tangle of brown-s.h.i.+rts, fists and boots and elbows, and finding, in that violent surf of men, triumph, or if not that then atonement, retribution, or deliverance. He watched the window for nearly half an hour, trying to catch a glimpse of an actual party member. No one entered the building or walked in front of the second-floor window. Joe soon gave up and went home.

Inevitably, he went back to Yorkville. There was a konditorei konditorei called Haussman's across the street from the headquarters of the AAL, and from a table by the window Joe had a good view of the door to the building's lobby and of the window. He ordered a slice of the house's excellent Sacher torte and a cup of coffee that was unusually drinkable for New York, and waited. Another slice and two cups later there was still no sign of any Aryan-American at work. He paid his tab and crossed the street. The building's directory, as he had already observed, listed an optometrist, an accountant, a publisher, and the AAL, but none of these concerns appeared to have any patients, clients, or employees. The building-it was called the Kuhn Building-was a graveyard. When he climbed the stairs to the second floor, the door to the AAL offices was locked. Gray daylight through the frosted gla.s.s of the door suggested that there were no lamps turned on inside. Joe tried the k.n.o.b. Then he got down on one knee to examine the lock. It was a Chubb, old and solid, but if he'd had his tools, it would have presented no problem. Unfortunately, his picks and wrench were in a drawer beside his bed down at Palooka Studios. He felt around in his pockets and found a mechanical pencil whose metal pocket clip, attached to the shaft with a two-p.r.o.nged collar, would serve well enough, suitably deformed, as a tension wrench. But there was still the matter of a pick. He went back downstairs and walked around the block until he found a child's bicycle chained to a window grate on East Eighty-eighth Street. It looked like a new bike, sugary red, its chrome parts bright as mirrors and its tires glossy and stubbled. He waited for a moment to make sure that no one was coming. Then he grasped the s.h.i.+ny handlebars and, with savage jabs of the heel of his shoe at the bike's front wheel, managed to spring loose a spoke. He wiggled it free of the wheel rim and then ran back to the corner of Eighty-seventh and York. Using an iron railing as a crimping form and the sidewalk itself as a rough file, he was able to fas.h.i.+on a serviceable pick from the thin strong wire of the spoke. called Haussman's across the street from the headquarters of the AAL, and from a table by the window Joe had a good view of the door to the building's lobby and of the window. He ordered a slice of the house's excellent Sacher torte and a cup of coffee that was unusually drinkable for New York, and waited. Another slice and two cups later there was still no sign of any Aryan-American at work. He paid his tab and crossed the street. The building's directory, as he had already observed, listed an optometrist, an accountant, a publisher, and the AAL, but none of these concerns appeared to have any patients, clients, or employees. The building-it was called the Kuhn Building-was a graveyard. When he climbed the stairs to the second floor, the door to the AAL offices was locked. Gray daylight through the frosted gla.s.s of the door suggested that there were no lamps turned on inside. Joe tried the k.n.o.b. Then he got down on one knee to examine the lock. It was a Chubb, old and solid, but if he'd had his tools, it would have presented no problem. Unfortunately, his picks and wrench were in a drawer beside his bed down at Palooka Studios. He felt around in his pockets and found a mechanical pencil whose metal pocket clip, attached to the shaft with a two-p.r.o.nged collar, would serve well enough, suitably deformed, as a tension wrench. But there was still the matter of a pick. He went back downstairs and walked around the block until he found a child's bicycle chained to a window grate on East Eighty-eighth Street. It looked like a new bike, sugary red, its chrome parts bright as mirrors and its tires glossy and stubbled. He waited for a moment to make sure that no one was coming. Then he grasped the s.h.i.+ny handlebars and, with savage jabs of the heel of his shoe at the bike's front wheel, managed to spring loose a spoke. He wiggled it free of the wheel rim and then ran back to the corner of Eighty-seventh and York. Using an iron railing as a crimping form and the sidewalk itself as a rough file, he was able to fas.h.i.+on a serviceable pick from the thin strong wire of the spoke.

When he got back up to the offices of the Aryan-American League, he knocked on the scarred oak frame of the door. There was no reply. He hitched up his trousers, knelt down, put his forehead to the door, and set to work. The crude tools, lack of practice, and pulsation of his own excitement in his arteries and joints made the work more difficult than it ought to have been. He took off his jacket. He rolled up his sleeves. He tipped his hat into his hands and set it on the floor beside him. Finally he opened his collar and yanked his tie to one side. He cursed and sweated and listened so avidly for the sound of the door opening downstairs that he could not hear the lock through his fingers. It took him nearly an hour to get inside.

When he did, he found not the elaborate laboratory or manufactory of fascism he had been expecting but a wooden desk, a chair, a lamp, a typewriter, and a tall oak filing cabinet. The Venetian blinds were dusty and crooked, and missing slats. The wooden floor was bare and spotted with cigarette burns. The telephone, when Joe lifted the receiver, was dead. On one wall was a framed color lithograph of the Fuhrer in a romantic mood, chin held at a poetic angle, an alpine breeze stirring his dark forelock. Against another wall stood a shelf piled high with various publications, in English and in German, whose t.i.tles alluded to the aims and predictions of National Socialism and the pan-German dream.

Joe went over and stood behind the desk. He pulled out the chair and sat down. The blotter was lost amid a blizzard of notes and memoranda, some typed, some scrawled in a minute and angular hand.

hypnosis used on FT can prove it FT and haschiss.h.i.+n old man of mountain further study FT master swordsman There were bus transfers, candy wrappers, a ticket stub from the Polo Grounds. There was a copy of a book called Thuggee. Thuggee. There were numerous newspaper clippings and articles that had been torn from There were numerous newspaper clippings and articles that had been torn from Photoplay Photoplay and and Modern Screen. Modern Screen. All of the magazine articles, Joe noticed, seemed to be concerned with the film star Franchot Tone. And larded throughout the layers of rubbish and cryptic notations were dozens of comic books: All of the magazine articles, Joe noticed, seemed to be concerned with the film star Franchot Tone. And larded throughout the layers of rubbish and cryptic notations were dozens of comic books: Superman, Marvel Mystery, Flash, Whiz, s.h.i.+eld-Wizard Superman, Marvel Mystery, Flash, Whiz, s.h.i.+eld-Wizard- as well as, Joe could hardly fail to notice, the latest issues of Radio, Triumph, Radio, Triumph, and and The Monitor. The Monitor. In spots, the drifts of paper grew positively mountainous. Paper clips, tacks, and pen nibs were scattered everywhere, like conventional features on a map. A jagged palisade of pencils bristled from an empty Savarin coffee can. Joe reached out and, with two quick sweeps of his arms, sent everything tumbling. The thumbtacks made a pattering sound as they hit the floor. In spots, the drifts of paper grew positively mountainous. Paper clips, tacks, and pen nibs were scattered everywhere, like conventional features on a map. A jagged palisade of pencils bristled from an empty Savarin coffee can. Joe reached out and, with two quick sweeps of his arms, sent everything tumbling. The thumbtacks made a pattering sound as they hit the floor.

Joe went through the drawers. In one he found a statement from New York Telephone promising, reliably as it had turned out, to disconnect service if the AAL account continued unpaid; a typed ma.n.u.script; and, inexplicably, the menu from the recent wedding reception, at the Hotel Trevi, of Bruce and Marilyn Horowitz. Joe yanked out the drawer and tipped it over. The ma.n.u.script split into halves that sprawled like a dropped deck of cards. Joe picked up a page and read it. It appeared to be science fiction. Someone named Rex Mundy was taking aim with his ray pistol at the suppurating hide of a hideous Zid. Someone named Krystal DeHaven was dangling upside down from a chain above the yawning maw of a hungry tork.

He crumpled the page and resumed his raid on the desk drawers. One contained a framed photograph of Franchot Tone, in the lower left corner of which, tucked into the gap between the gla.s.s and the inner edge of the picture frame, was a panel that Joe recognized at once as having been cut from the pages of Radio Comics Radio Comics #1. It was a close-up shot of old Max Mayflower as a young man, rich and devil-may-care. His expression was dreamy, his cheeks were dimpled, and in the word balloon he was saying, "Oh, what do I care? The important thing is #1. It was a close-up shot of old Max Mayflower as a young man, rich and devil-may-care. His expression was dreamy, his cheeks were dimpled, and in the word balloon he was saying, "Oh, what do I care? The important thing is having fun." having fun." Joe noticed that the angle of Max's head, a certain wryness in his expression, and his chiseled nose were very similar, indeed identical, to those of Franchot Tone in the publicity photo. It was a resemblance that no one had ever noticed or remarked on before. Tone was not an actor whose work or face were especially familiar to Joe, but now, as he studied the slender, melancholy long face in the glossy photograph-it was signed Joe noticed that the angle of Max's head, a certain wryness in his expression, and his chiseled nose were very similar, indeed identical, to those of Franchot Tone in the publicity photo. It was a resemblance that no one had ever noticed or remarked on before. Tone was not an actor whose work or face were especially familiar to Joe, but now, as he studied the slender, melancholy long face in the glossy photograph-it was signed To Carl with all the best wishes of Franchot Tone To Carl with all the best wishes of Franchot Tone-he wondered if he could have unconsciously modeled the character on Tone.

In the last, bottom-right drawer, at the back, there was a small, leather-bound diary. On its flyleaf was an inscription dated Christmas 1939. To Carl, someplace to put his brilliant thoughts in order, with love, Ruth. To Carl, someplace to put his brilliant thoughts in order, with love, Ruth. For its first fifty pages or so the diary carried on a tiny and furious handwritten argument, the burden of which-insofar as Joe could make it out-seemed to be that Franchot Tone was a member of a secret league of a.s.sa.s.sins, funded by the company run by Tone's father, American Carborundum, who were bent on eliminating Adolf Hitler. The revelation stopped mid-sentence, and the remaining pages of the diary were taken up by several hundred variations on the words "Carl Ebling," signed in an encyclopedia of styles from florid to scratchy, over and over again. Joe opened the diary to its center, gripped each half, and tore it down the spine into two pieces. For its first fifty pages or so the diary carried on a tiny and furious handwritten argument, the burden of which-insofar as Joe could make it out-seemed to be that Franchot Tone was a member of a secret league of a.s.sa.s.sins, funded by the company run by Tone's father, American Carborundum, who were bent on eliminating Adolf Hitler. The revelation stopped mid-sentence, and the remaining pages of the diary were taken up by several hundred variations on the words "Carl Ebling," signed in an encyclopedia of styles from florid to scratchy, over and over again. Joe opened the diary to its center, gripped each half, and tore it down the spine into two pieces.

When he had finished with the desk, Joe went over to the bookcase. Coolly, methodically, he sent the stacks of books and pamphlets fluttering to the floor. He was afraid that if he allowed himself to feel anything, it would be neither rage nor satisfaction but merely pity for the mad, dusty nullity of Carl Ebling's one-man league. So he proceeded without feeling anything, hands numb, emotions pinched like a nerve. He lifted the picture of Hitler from its hook, and it hit with a tinkle. Proceeding next to the file cabinet, he drew out the top drawer, A-D, upended it, and shook its contents loose, like the Escapist emptying soldiers from the turret of a tank. He yanked out E-J, and was about to send its contents spilling down atop the mound of A-D when he noticed the legend typed on the index tab of one of the very first files in the drawer: "Empire Comics, Inc."

The rather swollen folder contained all ten issues of Radio Comics Radio Comics that had so far appeared; affixed by a paper clip to the first issue were some twenty-five sheets of onionskin, densely typed. It was a report, in the form of a memorandum to All League Members, from Carl Ebling, President of the New York Chapter, AAL. The subject of the memorandum was, of all things, the superpowered escape artist known as the Escapist. Joe sat down in the chair, lit a cigarette, and started to read. In the opening paragraph of Carl Ebling's memorandum, the costumed hero, his publisher, and his creators, the "Jew cartoonists" Joe Kavalier and Sam Clay, were all identified as threats to the reputations, dignity, and ambitions of German nationalism in America. Carl Ebling had read an article in the that had so far appeared; affixed by a paper clip to the first issue were some twenty-five sheets of onionskin, densely typed. It was a report, in the form of a memorandum to All League Members, from Carl Ebling, President of the New York Chapter, AAL. The subject of the memorandum was, of all things, the superpowered escape artist known as the Escapist. Joe sat down in the chair, lit a cigarette, and started to read. In the opening paragraph of Carl Ebling's memorandum, the costumed hero, his publisher, and his creators, the "Jew cartoonists" Joe Kavalier and Sam Clay, were all identified as threats to the reputations, dignity, and ambitions of German nationalism in America. Carl Ebling had read an article in the Sat.u.r.day Evening Post Sat.u.r.day Evening Post[3][3] detailing the success and burgeoning circulation of Empire's comic book line, and he expounded briefly on the negative effects such cra.s.s anti-German propaganda would have on the minds of those in whose hands rested the future of the Saxon peoples-America's children. Next he drew his readers' hypothetical attention to the remarkable resemblance between the character of Max Mayflower, the original Misterioso, and the secret Allied agent Franchot Tone. After this, however, the sense of critical purpose seemed to abandon the author. In the paragraphs that followed, and for the remainder of the memorandum, Ebling contented himself-there was no better way of putting it-with summarizing and describing the adventures of the Escapist, from the first issue detailing his origins through the most recent issue to hit the newsstands. Ebling's summaries were, on the whole, careful and accurate. But the striking thing was the way, as he went along, month by month adding another entry to his dossier on Empire, Ebling's tone of dismissive scorn and outrage moderated and then vanished altogether. By the fourth issue, he had stopped larding his descriptions with terms like "outrageous" and "offensive"; meanwhile, the entries grew longer and more detailed, breaking down at times into panel-by-panel recitations of the action in the books. The final summary, of the most recent issue, was four pages long and so devoid of judgmental language as to be completely neutral. In the last sentence, Ebling seemed to realize how far he had strayed from his original project, and appended with unpunctuated haste that implied a certain shamefaced recovery of purpose, "Of course all this is the usual Jewish warmongering propiganda detailing the success and burgeoning circulation of Empire's comic book line, and he expounded briefly on the negative effects such cra.s.s anti-German propaganda would have on the minds of those in whose hands rested the future of the Saxon peoples-America's children. Next he drew his readers' hypothetical attention to the remarkable resemblance between the character of Max Mayflower, the original Misterioso, and the secret Allied agent Franchot Tone. After this, however, the sense of critical purpose seemed to abandon the author. In the paragraphs that followed, and for the remainder of the memorandum, Ebling contented himself-there was no better way of putting it-with summarizing and describing the adventures of the Escapist, from the first issue detailing his origins through the most recent issue to hit the newsstands. Ebling's summaries were, on the whole, careful and accurate. But the striking thing was the way, as he went along, month by month adding another entry to his dossier on Empire, Ebling's tone of dismissive scorn and outrage moderated and then vanished altogether. By the fourth issue, he had stopped larding his descriptions with terms like "outrageous" and "offensive"; meanwhile, the entries grew longer and more detailed, breaking down at times into panel-by-panel recitations of the action in the books. The final summary, of the most recent issue, was four pages long and so devoid of judgmental language as to be completely neutral. In the last sentence, Ebling seemed to realize how far he had strayed from his original project, and appended with unpunctuated haste that implied a certain shamefaced recovery of purpose, "Of course all this is the usual Jewish warmongering propiganda [sic]!' [sic]!' But it was plain to Joe that there was no real purpose being served by the Ebling memorandum except the exegesis, the precisely annotated recording, of ten months of pure enjoyment. Carl Ebling was, in spite of himself, a fan. But it was plain to Joe that there was no real purpose being served by the Ebling memorandum except the exegesis, the precisely annotated recording, of ten months of pure enjoyment. Carl Ebling was, in spite of himself, a fan.

Joe had received letters from readers over the past months, boys and girls-mostly boys-scattered all over the United States from Las Cruces to LaCrosse, but these were usually limited to rather simple expressions of appreciation and requests for signed pinups of the Escapist, enough that Joe had evolved a standard pinup pose, which at first he drew each time by hand but had recently had photostatted, complete with his signature, to save time. Reading the Ebling memorandum marked the first time that Joe became aware of the possibility of an adult readers.h.i.+p for his work, and the degree of Ebling's pa.s.sion, his scholarly enthusiasm replete with footnotes, thematic a.n.a.lyses, and lists of dramatis personae, however reluctant and shamed, touched him strangely. He was aware-he could not deny it-of a desire to meet Ebling. He looked around at the havoc he had created in the poor, sad offices of the Aryan-American League and felt a momentary pang of remorse.

Then, abruptly, it was his turn to feel ashamed, not only for having extended, however momentarily, the consideration of his sympathy to a n.a.z.i, but for having produced work that appealed to such a man. Joe Kavalier was not the only early creator of comic books to perceive the mirror-image fascism inherent in his anti-fascist superman-Will Eisner, another Jew cartoonist, quite deliberately dressed his Allied-hero Blackhawks in uniforms modeled on the elegant death's-head garb of the Waffen SS. But Joe was perhaps the first to feel the shame of glorifying, in the name of democracy and freedom, the vengeful brutality of a very strong man. For months he had been a.s.suring himself, and listening to Sammy's a.s.surances, that they were hastening, by their make-believe hammering at Haxoff or Hynkel or Ha.s.sler or Hitler, the intervention of the United States into the war in Europe. Now it occurred to Joe to wonder if all they had been doing, all along, was indulging their own worst impulses and a.s.suring the creation of another generation of men who revered only strength and domination.

He never knew afterward whether he failed to hear the sounds of Carl Ebling entering the building, climbing the stairs, and fingering the violated k.n.o.b of the door because he was so lost in thought, or because Ebling walked with a light tread, or if the man had sensed an intruder and hoped to catch him unaware. In any case, it was not until the hinges squealed that Joe looked up to find an older, pastier version of Franchot Tone, the weak chin weaker, the recessive hairline farther along in its flight. He was zipped into a ratty gray parka, standing in the doorway of the Aryan-American League. He was holding a fat black sap in his hand.

"Who the h.e.l.l are you?" The accent was not the elegant Tone drawl but something more or less local. "How did you get in here?"

"The name is Mayflower," Joe said. "Tom Mayflower."

"Who? Mayflower? That's-" His gaze lighted on the fat Empire file. His mouth opened, then shut again.

Joe closed the file and rose slowly to his feet. Keeping his eyes on Ebling's hands, he began to circle sideways around the desk.

"I was just leaving," Joe said.

Ebling nodded and narrowed his eyes. He looked frail, consumptive perhaps, a man in his late thirties or forties, his skin pale and freckled. He blinked and swallowed repeatedly. Joe took advantage of what he perceived to be an irresolute nature and made a dash for the door. Ebling caught him on the back of the head with the blackjack. Joe's skull rang like a coppery bell, and his knees buckled, and Ebling hit him again. Joe caught hold of the doorway, then turned, and another blow caught his chin. The pain swept away the last of the shame and remorse that had been muddling his thinking, and he was aware of a fast freshet of anger in his heart. He lunged at Ebling and caught hold of the arm that swung the sap, yanking it so hard that there was a pop of the joint. Ebling cried out, and Joe swung him by his arm and threw him up against the wall. Ebling's head struck the corner of the shelf on which the n.a.z.i literature had been piled, and he dropped like an empty pair of trousers to the floor.

In the aftermath of his first victory, Joe hoped-he never forgot this wild, evil hope-that the man was dead. He stood breathing and swallowing, ears ringing, over Ebling and wished the twisted soul from his body. But no, there was the breath, lifting and lowering the fragile frame of the American n.a.z.i. The sight of this involuntary, rabbitlike motion stanched the flow of Joe's anger. He went back to the desk and gathered up his jacket, cigarettes, and matches. He was about to leave when he saw the Empire Comics file, with a corner of the Ebling memorandum poking out of the top. He opened the folder, tugged the memorandum free of its clip, and flipped it over. On the back of the last page, using his mechanical pencil, he drew a quick sketch of the Escapist in the standard pose he had developed for pinups: the Master of Escape smiling, arms outstretched, the sundered halves of a pair of handcuffs braceleting his wrists.

To my pal Carl Ebling, he wrote across the bottom in big cheerful American cursive script. he wrote across the bottom in big cheerful American cursive script. Lots of luck, The Escapist. Lots of luck, The Escapist.

5

Shortly after three on the afternoon of Friday, October 25, 1940 (according to both his journal and the statement that he made to police), James Haworth Love, majority shareholder and chairman of the board of Oneonta Mills, was sitting with Alfred E. Smith, president-for-life of the Empire State Building Corporation, in the latter's souvenir-cluttered office on the thirty-second floor of the world's tallest building, when the building manager entered "ashen-faced and looking," as the industrialist put it in his private account of the day's events, "quite as if he were going to be ill." After a careful sideways glance at Love, the building manager, Chapin L. Brown, informed his boss that they had themselves a tricky situation down on twenty-five.

Alfred Emanuel Smith-trounced by Herbert Hoover in his 1928 bid for the White House-had been a political crony and business a.s.sociate of Love's ever since his days as governor of New York. Love was in Smith's office that afternoon, in fact, to enlist Smith as the front man for a syndicate hoping to revive Gustav Lindenthal's old dream of a Hudson River Bridge, eight hundred feet tall and two hundred feet wide, at Fifty-seventh Street, its eastern approaches to be constructed on a large parcel of West Side real estate that had recently come into Love's possession. Smith and Love were by no means confidants-James Love made do without confidants, as far as Smith could tell-but the textile magnate was a man of almost legendary reticence, even secretiveness, well known for keeping his own counsel. With a confidential nod toward his guest, meant to signal his implicit trust in Mr. Love's discretion and good judgment, Smith said he supposed that Brown had better just go ahead and spill it. Brown nodded in turn to Mr. Love, clamped his hands onto his hips as if to steady himself, and let out a brief sigh which seemed intended to express both incredulity and pique.

"We may have a bomb in the building," he said.

At three o'clock, he went on, a man who claimed to represent a group of American n.a.z.is-Brown p.r.o.nounced it "nazzies"-had telephoned to say, in a handkerchief-m.u.f.fled false baritone, that he had hidden, somewhere in the offices of the tenants on the twenty-fifth floor, a powerful explosive device. The bomb was set to detonate, the caller had claimed, at three-thirty, killing everyone in its vicinity, and possibly doing harm to the fabric of the celebrated building itself.

In his police statement, Mr. Love reported that His Honor took the news as gravely as it was delivered, though, as he noted in his journal, no amount of anxiety could have induced a pallor in that rubicund face.

"Have you called M'Naughton?" Smith said. His gravelly voice was soft and his demeanor calm, but there was a strangled quality, as of anger suppressed, in his tone, and his brown eyes, which tended to have the slightly sorrowful cast common among convivial men, bulged from his jowly old-baby's face. Captain M'Naughton was the chief of the building's private fire battalion. Brown nodded. "Harley?" This was the captain of the building's private police force. Brown nodded again.

"They're evacuating the floor," he said. "M'Naughton's boys are in there now, looking for the G.o.dd.a.m.ned thing."

"Call Harley and say I'm coming down," Smith said. He was already on his feet and headed around his desk for the door. Smith was a native of the Lower East Side, a tough boy from the old Fourth Ward, and his feelings for the building of which he was, in the eyes of New York and the nation, the human symbol were intensely proprietary. He took one last backward glance at his office when they went out, as if just in case, Love thought, he would never see it again. It was crammed like an old attic with trophies and mementos of his career, which had taken him nearly to Was.h.i.+ngton but in the end had led him to reign over this (normally) far more harmonious kingdom in the sky. Smith sighed. Today marked the start of the final weekend in the grand two-year adventure of the New York World's Fair, whose official headquarters were in the Empire State Building, and a lavish banquet was on the schedule for tonight in the dining room of the Empire State Club, down on the twenty-first floor. Smith hated to see a lavish banquet spoiled for any reason. He shook his head regretfully. Then, settling his trademark brown derby on his head, he took his visitor's arm and led the way out to the elevator bank. Ten elevators served this floor, all locals running between twenty-five and forty-one.

"Twenty-five," Smith snapped to the operator as they got in. Bill Roy, Smith's bodyguard, came along to guard Smith's old Irish body. "Twenty-five," Smith repeated. He squinted at Mr. Brown. "The funny-book people?"

"Empire," said Mr. Brown. Then he added sourly, "Very funny."

At twenty-nine, the elevator slowed as if to stop, but the operator pressed a b.u.t.ton, and the local, having received a kind of battlefield promotion to express, continued on its way down.