The Night Circus(59)

“You have nothing to be forgiven for,” Friedrick says. “A woman I should like to think I know rather well and a woman I had always considered a mystery are, in fact, the same person. It is surprising, but I do not mind a good surprise. Though I am curious as to why you wrote me that first letter.”

“I enjoyed your writings about the circus,” Celia says. “It is a perspective that I am not able to view it from properly, because I … understand it in a different way. I like being able to see it through your eyes.” When she looks up at him, his soft blue eyes are bright in the afternoon sunlight that shines through the windows, illuminating the speckles of sawdust in the air.

“Thank you, Miss Bowen,” Friedrick says.

“Celia,” she corrects.

He gives her a thoughtful nod before continuing the tour.

The back walls are covered with finished or nearly finished timepieces. Clocks waiting only for final coats of varnish or other minor details. The clocks closest to the windows are already in motion. Each moving in its unique way, but keeping the same harmonious rhythm, a symphony of carefully ordered ticking.

The one that attracts Celia’s attention rests on a table rather than hanging on the wall or sitting on a shelf.

It is a beautiful piece, more sculpture than clock. While many of the clocks are wood, this one is predominantly dark, oxidized metal. A large, round cage set on a wooden base that has been carved into swirling white flames. Within, there are overlapping metal hoops marked with numbers and symbols suspended from the top, hanging amongst the visible gears and a series of stars falling from the filigree cap at the top.

But the clock sits quiet, unmoving.

“This one reminds me of the bonfire,” Celia says. “Is it not finished?”

“No, it is complete, but broken,” Friedrick replies. “It was an experiment, and the components are difficult to balance properly.” He turns it so she can see the way the workings extend through the entirety of the cage, stretching in all directions. “The mechanics are complex, as it tracks astronomical movement as well. I shall have to remove the base and dismantle it entirely to get it running again. I have not yet had the time it will require.”

“May I?” Celia asks, reaching out to touch it. When he nods, she removes one of her gloves and rests her hand on the metal bars of the cage.

She only watches it thoughtfully, she makes no attempt to move it. To Friedrick, it appears she is gazing through the clock rather than simply looking at it.

Inside, the mechanism begins to turn, the cogs and gears waltzing together as the number-marked hoops spin into place. The hands glide to indicate the proper time, the planetary alignments set themselves in order.

Everything within the cage rotates slowly, the silver stars sparkling as they catch the light.

Once the slow, steady tick begins, Celia removes her hand.

Friedrick does not inquire as to how she managed it.

Instead, he takes her to dinner. They do speak of the circus, but spend most of the meal discussing books and art, wine and favorite cities. The pauses in the conversation are not awkward, though they struggle to find the same rhythm in speaking that was already present in their written exchanges, often switching from one language to another.

“Why haven’t you asked me how I do my tricks?” Celia asks, once they have reached the point where she is certain he is not simply being polite about the matter.

Friedrick considers the question thoroughly before he responds.

“Because I do not wish to know,” he says. “I prefer to remain unenlightened, to better appreciate the dark.”

The sentiment delights Celia so that she cannot properly respond in any of their common languages, and only smiles at him over her wine.

“Besides,” Friedrick continues, “you must be asked such things constantly. I find I am more interested in learning about the woman than the magician. I hope that is acceptable.”

“It’s perfect,” Celia says.

They walk together to the circus afterward, past red-roofed buildings glowing in the dying light, going their separate ways only once they reach the courtyard.

Friedrick remains mystified as to why no one seems to recognize her as she walks anonymously amongst the crowd.

When he watches her performance she only catches his eye once with a subtle smile, giving no other hint of recognition.

Later, long after midnight, she appears by his side as he walks, wearing a cream-colored coat and a deep green scarf.

“Your scarf should be red,” Friedrick remarks.

“I am not a proper rêveur,” Celia says. “It would not feel right.” But as she speaks, her scarf shifts in hue to a rich, wine-like burgundy. “Is that better?”

“It is perfect,” Friedrick says, though his gaze remains fixed on her eyes.

She takes his offered arm and they walk together along the twisting pathways, through the dwindling crowd of patrons.

They repeat this routine in the following evenings, though the circus does not remain in Munich long, once the news arrives from London.





In Loving Memory of Tara Burgess

GLASGOW, APRIL 1895




The funeral is a quiet one, despite the number of mourners present. There are no sobs or flailing handkerchiefs. There is a smattering of color amongst the sea of traditional black. Even the light rain cannot push it down into the realms of despair. It rests instead in a space of thoughtful melancholy.