“Your company has been requested this evening because I have a project I am beginning, an endeavor, you might say. I do believe it is an endeavor that will appeal to all of you, and that you may each, in your unique ways, aid in the planning. Your assistance, which is entirely voluntary, will be both appreciated and well compensated,” he says.
“Stop beating around the bush and tell us what your new game is, Chandresh darling,” Mme. Padva says, swirling her brandy. “Some of us aren’t getting any younger.” One of the Burgess sisters stifles a giggle.
“But of course, Tante Padva.” Chandresh bows in her direction. “My new game, as you so appropriately call it, is a circus.”
“A circus?” says Lainie Burgess with a smile. “How marvelous!”
“Like a carnival?” Mr. Barris asks, sounding mildly confused.
“More than a carnival,” Chandresh says. “More than a circus, really, like no circus anyone has ever seen. Not a single large tent but a multitude of tents, each with a particular exhibition. No elephants or clowns. No, something more refined than that. Nothing commonplace. This will be different, this will be an utterly unique experience, a feast for the senses. Theatrics sans theater, an immersive entertainment. We will destroy the presumptions and preconceived notions of what a circus is and make it something else entirely, something new.” He gestures at Marco who spreads out the rolls of paper on the table, holding down the corners with an assortment of paperweights and oddities (a monkey skull, a butterfly suspended in glass).
The plans are predominantly sketches surrounded by notes. They show only fragments of ideas: a ring of tents, a central promenade. Lists of possible attractions or acts are scrawled down the sides, some crossed out or circled. Fortune-teller. Acrobats. Conjurer. Contortionists. Dancers. Fire artists.
The Burgess sisters and Mr. Barris pore over the sketches, reading each note as Chandresh continues. Mme. Padva smiles but remains seated, sipping her brandy. Mr. A. H— does not move, his expression inscrutable and unchanged.
“It is merely in conceptual stages, and that is why I ask you all here now, for the inception and development. What it needs is style, panache. Ingenuity in its engineering and structure. To be infused with the mesmerizing, and perhaps a touch of mystery. I believe you are the proper group for this undertaking. If any of you disagree, you are welcome to leave but I respectfully request you speak of this to no one. I prefer that these plans be kept undisclosed entirely, at least for now. Very sensitive at this point, after all.” He takes a long draw off his cigar, blowing out the smoke slowly before he concludes. “If we do things properly, it will undoubtedly take on a life of its own.”
There is silence when he finishes. Only the crackle of the fire fills the room for several moments as the guests look from one to the other, each waiting for someone to respond.
“Might I have a pencil?” Mr. Barris asks. Marco hands him one, and Mr. Barris begins drawing, taking the rudimentary sketch of the circus’s layout and developing it into a complex design.
Chandresh’s guests remain there until just before dawn, and when they do finally depart there are three times the number of diagrams and plans and notes than there had been when they arrived, strewn and pinned around the study like maps to an unknown treasure.
Condolences
NEW YORK, MARCH 1885
The announcement in the paper states that Hector Bowen, better known as Prospero the Enchanter, entertainer and stage magician of great renown, died of heart failure in his home on the fifteenth of March.
It goes on about his work and his legacy for some time. The age listed is erroneous, a detail few readers perceive. A short paragraph at the end of the obituary mentions that he is survived by a daughter of seventeen years of age, a Miss Celia Bowen. This number is more accurate. There is also a notice that though the funeral services will be private, condolences may be sent via the address of one of the local theaters.
The cards and letters are collected, placed in bags, and brought by messenger to the Bowens’ private residence, a town house that is already overflowing with appropriately somber floral arrangements. The scent of lilies is stifling and when Celia can no longer tolerate it, she transforms all of the flowers into roses.
Celia leaves the condolences piled on the dining-room table until they begin to overflow into the lounge. She does not want to deal with them, but she cannot bring herself to toss them away unread.
When she is unable to avoid the matter further, she makes a pot of tea and begins to tackle the mountains of paper. She opens each piece of mail one by one and sorts them into piles.