The Cabinet of Curiosities (Pendergast #3)(63)
The prospect was vague, indistinct: detail at this location was unimportant. Pendergast did, however, allow himself to sample the air. It smelled strongly of coal smoke, damp earth, and horse manure.
He descended the steps, turning onto Seventy-sixth Street and walking east toward the river. Here it was more thickly settled, newer brownstones abutting old wood-and-frame structures. Carriages swayed down the straw-strewn street. People passed him silently, the men dressed in long suits with thin lapels, women in bustles and veiled hats.
At the next intersection he boarded a streetcar, paying five cents for the ride down to Forty-second Street. There, he transferred to the Bowery & Third Avenue elevated railway, paying another twenty cents. This extravagant price ensured him a palace car, with curtained windows and plush seats. The steam locomotive heading the train was named the Chauncey M. Depew. As it hurtled southward, Pendergast sat without moving in his velveteen chair. Slowly, he allowed sound to intrude once more into his world: first the clatter of the wheels on the tracks, and then the chatter of his passengers. They were engrossed with the concerns of 1881: the president’s recovery and the imminent removal of the pistol ball; the Columbia Yacht Club sailing regatta on the Hudson earlier that afternoon; the miraculous curative properties of the Wilsonia Magnetic Garment.
There were still gaps, of course—hazy dark patches, like fog—about which Pendergast had little or no information. No memory crossing was ever complete. There were details of history that had been irrevocably lost.
When the train at last reached the lower stretches of the Bowery, Pendergast disembarked. He stood on the platform a moment, looking around a little more intently now. The elevated tracks were erected over the sidewalks, rather than along the middle of the street, and the awnings below were covered in a greasy film of oil drippings and ash. The Chauncey M. Depew gave a shriek, beginning its furious dash to the next stop. Smoke and hot cinders belched from its stack, scattering into the leaden air.
He descended skeletal wooden stairs to ground level, alighting outside a small shop. He glanced at its signboard: George Washington Abacus, Physiognomic Operator and Professor of the Tonsorial Art. The broad thoroughfare before him was a sea of bobbing plug hats. Trams and horsecars went careering down the center of the road. Peddlers of all kinds jostled the narrow sidewalk, crying out their trade to all who would listen. “Pots and pans!” called a tinker. “Mend your pots and pans!” A young woman trundling a steaming cauldron on wheels cried, “Oysters! Here’s your brave, good oysters!” At Pendergast’s left elbow, a man selling hot corn out of a baby’s perambulator fished out an ear, smeared it with a butter-soaked rag, and held it out invitingly. Pendergast shook his head and eased his way into the milling crowd. He was jostled; there was a momentary fog, a loss of concentration; and then Pendergast recovered. The scene returned.
He moved south, gradually bringing all five senses fully alive to the surroundings. The noise was almost overwhelming: clattering horseshoes, countless snatches of music and song, yelling, screaming, whinnying, cursing. The air was supercharged with the odors of sweat, dung, cheap perfume, and roasting meats.
Down the street, at 43 Bowery, Buffalo Bill was playing in the Scout of the Plains stage show at the Windsor. Several other theaters followed, huge signs advertising current performances: Fedora, Peck’s Bad Boy, The Darkness to the North, Kit, the Arkansas Traveler. A blind Civil War veteran lay between two entrances, cap held out imploringly.
Pendergast glided past with barely a glance.
At a corner, he paused to get his bearings, then turned onto East Broadway Street. After the frenzy of Bowery, he entered a more silent world. He moved past the myriad shops of the old city, shuttered and dark at this hour: saddleries, millinery shops, pawnbrokers, slaughterhouses. Some of these buildings were distinct. Others—places Pendergast had not succeeded in identifying—were vague and shadowy, shrouded in that same indistinct fog.
At Catherine Street he turned toward the river. Unlike on East Broadway, all the establishments here—grog shops, sailors’ lodging houses, oyster-cellars—were open. Lamps cast lurid red stripes out into the street. A brick building loomed at the corner, low and long, streaked with soot. Its granite cornices and arched lintels spoke of a building done in a poor imitation of the Neo-Gothic style. A wooden sign, gold letters edged in black, hung over the door:
J. C. SHOTTUM’S CABINET
OF
NATURAL PRODUCTIONS
&
CURIOSITIES
A trio of bare electric bulbs in metal cages illuminated the doorway, casting a harsh glare onto the street. Shottum’s was open for business. A hired hawker shouted at the door. Pendergast could not catch the words above the noise and bustle. A large signboard standing on the pavement in front advertised the featured attractions—See the Double-Brained Child & Visit Our New Annex Showing Bewitching Female Bathers in Real Water.
Pendergast stood on the corner, the rest of the city fading into fog as he focused his concentration on the building ahead, meticulously reconstructing every detail. Slowly, the walls came into sharper focus—the dingy windows, the interiors, the bizarre collections, the maze of exhibit halls—as his mind integrated and shaped the vast quantity of information he had amassed.
When he was ready, he stepped forward and queued up. He paid his two pennies to a man in a greasy stovepipe hat and stepped inside. A low foyer greeted his eye, dominated on the far side with a mammoth skull. Standing next to it was a moth-eaten Kodiak bear, an Indian birchbark canoe, a petrified log. His eyes traveled around the room. The large thighbone of an Antediluvian Monster stood against the far wall, and there were other eclectic specimens laid out, helter-skelter. The better exhibits, he knew, were deeper inside the cabinet.