The Night Circus
Page 31

They reach a room resembling a large metal birdcage, with only darkness visible through the bars. The door in the floor that they entered through latches once it falls closed and cannot be opened again. There appears to be no other way to exit.
Widget ceases his narration as they investigate each silver bar, finding no hidden openings or cleverly disguised hinges. Poppet grows visibly distressed.
After a considerable amount of time spent trapped within the room, Bailey finds a key concealed in the seat of the swing in the middle of the cage. When he turns it, the swing itself rises and the top of the cage opens, allowing them to climb out, escaping into a dimly lit temple guarded by an albino Sphinx.
While the temple has at least a dozen doors along its walls, Poppet immediately finds one that leads back out into the circus.
She still seems upset, but before Bailey can ask her if something is the matter, Widget checks his watch and finds they are late for their scheduled performance. The three of them agree to meet up again later, and the twins disappear into the crowd.
Bailey has seen the kittens so many times over the last few nights that he practically has their routine memorized, so he opts to explore by himself while he waits for them to be free again.
The particular path he chooses to wander down has no obvious doors, it is only a passageway between tents, endless stripes illuminated by flickering lights.
He notices an uneven spot in the alternating black and white.
Bailey finds a gap in the side of one of the tents. A split in the fabric, each edge dotted with silver grommets, and a black ribbon hangs just above his head, as though this opening was meant to be laced together to keep the tent firmly closed. He wonders if some circus member forgot to re-lace it.
Then he sees the tag. It is the size of a large postcard, attached to the black ribbon the way one might attach a gift card to a present. The tag hangs loosely a few feet off the ground. Bailey turns it over. The picture side shows a black-and-white etching of a child in a bed covered in fluffy pillows and a checkered quilt, not in a nursery but under a star-sprinkled night sky. The opposite side is white, with elegant calligraphy in black ink that reads:
Bedtime Stories
Eventide Rhapsodies
Anthologies of Memory
Please enter cautiously
and feel free to open what is closed
Bailey cannot tell if the tag refers to the break in the tent, or if it has been misplaced from some other tent. Most of the tents have prominently placed signs in painted wood, and entrances that are clearly defined or marked. This one seems as though it was not meant to be found. Other patrons pass by on their way from one part of the circus to another, too absorbed in their conversations to notice him contemplating a postcard-size tag by the side of a tent.
Tentatively, Bailey pulls the unlaced flaps apart, enough to peek inside to try to discern if this is indeed a separate circus attraction and not the back of the acrobat tent or some sort of storage area. He can make out only several twinkling lights and shapes that could possibly be furniture. Still unsure, he pulls the flaps apart enough to enter, stepping inside carefully per the instructions on the postcard, which proves wise as he walks directly into a table covered in jars and bottles and lidded bowls that rattle against one another. He stops, hoping not to knock anything over.
It is a long room, the size of a formal dining room, or maybe it only resembles a dining room because of the table, which stretches the length of the tent, though there is enough room to maneuver around it carefully. All of the jars and bottles are different. Some jars are simple glass mason jars, others are glazed ceramic jars or ornate frosted glass. Bottles for wine or whiskey or perfume. There are silver-lidded sugar bowls and containers that look rather like urns. They appear to be in no particular pattern or order; they are simply strewn across the table. There are additional jars and bottles around the periphery of the room as well, with some on the ground and some on boxes and tall wooden bookshelves.
The only element that correlates the room with the picture on the tag is the ceiling. It is black and covered with tiny twinkling lights. The effect is almost identical to the upward view of the night sky from outside.
Bailey wonders how all of this might relate to a child in bed, or to bedtime stories, as he walks around the table.
He recalls what the tag said about opening things, wondering what could possibly be inside of all of these jars. Most of the clear-glass ones look empty. As he reaches the opposite side of the table, he picks one at random, a small round ceramic jar, glazed in black with a high shine and a lid topped with a round curl of a handle. He pulls the lid off and looks inside. A small wisp of smoke escapes, but other than that it is empty. As he peers inside he smells the smoke of a roaring fire, and a hint of snow and roasting chestnuts. Curious, he inhales deeply. There is the aroma of mulled wine and sugared candy, peppermint and pipe smoke. The crisp pine scent of a fir tree. The wax of dripping candles. He can almost feel the snow, the excitement, and the anticipation, the sugary taste of a striped candy. It is dizzying and wonderful and disturbing. After a few moments, he replaces the lid and puts the jar carefully back on the table.
He looks around at the jars and bottles, intrigued but hesitant to open another. He picks up a frosted-glass mason jar and unscrews the silver metal lid. This jar is not empty but contains a small amount of white sand which shifts on the bottom. The scent that wafts from it is the unmistakable smell of the ocean, a bright summer day at the seashore. He can hear the sound of waves crashing against the sand, the cry of a seagull. There is something mysterious as well, something fantastical. The flag of a pirate ship on the far horizon, a mermaid’s tail flipping out of sight behind a wave. The scent and the feeling are adventurous and exhilarating, with the salty tinge of a sea breeze.
Bailey closes the jar and the scent and the feeling fade, trapped back inside the glass with its handful of sand.
Next he chooses a bottle from a shelf on the wall, wondering if there is any distinction between jars and bottles on the table and the ones that surround it, if there is an indiscernible filing system for these curious containers.
This bottle is tall and thin, with a cork held in place by silver wire. He removes it with some difficulty, and it opens with a popping noise. There is something in the bottom of the bottle, but he cannot tell what it is. The scent wafting from the thin neck is bright and floral. A rosebush full of dew-dripping blossoms, the mossy smell of garden dirt. He feels as though he is walking down a garden path. There is the buzzing of bees and the melody of songbirds in the trees. He inhales more deeply, and there are other flowers along with the roses: lilies and irises and crocuses. The leaves of the trees are rustling in the soft warm wind, and the sound of someone else’s footsteps falling not far from his own. The sensation of a cat brushing past his legs is so genuine that he looks down expecting to see it, but there is nothing on the floor of the tent but more jars and bottles. Bailey puts the cork back in the bottle and returns it to its shelf. Then he chooses another.
Tucked in the back of one of the shelves is a small bottle, rounded with a short neck and closed with a matching glass stopper. He picks it up carefully. It is heavier than he had expected. Removing the stopper, he is confused, for at first the scent and the sensation do not change. Then comes the aroma of caramel, wafting on the crisp breeze of an autumn wind. The scent of wool and sweat makes him feel as though he is wearing a heavy coat, with the warmth of a scarf around his neck. There is the impression of people wearing masks. The smell of a bonfire mixes with the caramel. And then there is a shift, a movement in front of him. Something grey. A sharp pain in his chest. The sensation of falling. A sound like howling wind, or a screaming girl.
Bailey puts the stopper back, disturbed. Not wanting to end on such an experience, he places the strange little bottle back on its shelf and decides to choose one more before leaving to catch up with Poppet and Widget again.
He picks one of the boxes on the table this time, a polished-wood box with a swirling pattern etched into its lid. The inside of the box is lined with white silk. The scent is like incense, deep and spiced, and he can feel smoke curling around his head. It is hot, a dry desert air with pounding sun and powder-soft sand. His cheeks flush from the heat and from something else. The feel and sensation of something as luscious as silk falls across his skin in waves. There is music that he cannot discern. A pipe or a flute. And laughter, a high-pitched laugh that blends harmoniously with the music. The taste of something sweet but spicy on his tongue. The feeling is luxurious and lighthearted, but also secretive and sensual. He feels a hand on his shoulder and jumps in surprise, dropping the lid down on the box.
The sensation ends abruptly. Bailey stands alone in the tent, underneath the twinkling stars.
That is enough, he thinks. He goes back to the flap in the tent wall, careful not to disturb any of the jars or bottles nearby.
He stops to adjust the tag that hangs from the ribbon on the tent flap, so that it is more easily visible, though he is not certain why. The illustration of the child asleep in his bed beneath the stars faces outward, but it is difficult to tell if the child’s dreams are peaceful or restless.
He walks back to find Poppet and Widget, wondering if they might want to head to the courtyard for something to eat.
Then the scent of caramel wafts by as he walks, and Bailey finds he is not particularly hungry after all.
Bailey wanders down curving paths, his mind preoccupied with bottles full of mysteries.
As he turns a corner, he encounters a raised platform with a statue-still occupant, but this one is different than the snow-covered woman he had seen before.
This woman’s skin is shimmering and pale, her long black hair is tied with dozens of silver ribbons that fall over her shoulders. Her gown is white, covered in what to Bailey looks like looping black embroidery, but as he walks closer he sees that the black marks are actually words written across the fabric. When he is near enough to read parts of the gown, he realizes that they are love letters, inscribed in handwritten text. Words of desire and longing wrapping around her waist, flowing down the train of her gown as it spills over the platform.
The statue herself is still, but her hand is held out, and only then does Bailey notice the young woman with a red scarf standing in front of her, offering the love letter–clad statue a single crimson rose.
The movement is so subtle that it is almost undetectable, but slowly, very, very slowly, the statue reaches to accept the rose. Her fingers open, and the young woman with the rose waits patiently as the statue gradually closes her hand around the stem, releasing it only when it is secure.
And then the young woman bows to the statue, and walks off into the crowd.
The statue continues to hold the rose. The color seems more vibrant against the white and black of her gown.
Bailey is still watching the statue when Poppet taps him on the shoulder.
“She’s my favorite,” Poppet says, looking up at the statue with him.
“Who is she?” Bailey asks.
“She has a lot of names,” Poppet says, “but mostly they call her the Paramour. I’m glad someone gave her a flower tonight. I do it myself, sometimes, if she doesn’t have one. I don’t think she looks complete without it.”
The statue is lifting the rose, gradually, to her face. Her eyelids slowly close.
“What did you do with your time?” Poppet asks as they walk away from the Paramour toward the courtyard.
“I found a tent full of bottles and things that I wasn’t sure I was supposed to be in,” Bailey says. “It was … strange.”
To his surprise, Poppet laughs.
“That’s Widget’s tent,” she explains. “Celia made it for him, as a place to practice putting down his stories. He claims it’s easier than writing things out. Widge said he wanted to practice reading people, by the way, so we can catch up with him later. He does that sometimes, to pick up bits of stories. He’ll probably be in the Hall of Mirrors or the Drawing Room.”
“What’s the Drawing Room?” Bailey asks, the curiosity about a tent he hasn’t heard of winning out over the fleeting thought to ask who Celia is, as he does not recall Poppet mentioning the name before.
“It’s a tent that’s made up of blank black walls with buckets full of chalk so you can draw everywhere. Some people only sign their names but others draw pictures. Sometimes Widge will write out little stories, but he draws things, too, he’s quite good at it.”
As they walk around the courtyard, Poppet insists he try a spiced cocoa that is both wonderfully warming and slightly painful. He finds his appetite has returned, so they share a bowl of dumplings and a packet of pieces of edible paper, with detailed illustrations on them that match their respective flavors.
They wander through a tent full of mist, encountering creatures made out of paper. Curling white snakes with flickering black tongues, birds with coal-colored wings flapping through the thick fog.
The dark shadow of an unidentifiable creature scurries across Poppet’s boots and out of sight.
She claims there is a fire-breathing paper dragon somewhere in the tent, and though Bailey believes her, he has difficulty reconciling in his head the idea of paper that breathes fire.
“It’s getting late,” Poppet remarks as they walk from tent to tent. “Do you have to go home?”
“I can stay for a while,” Bailey says. He has become something of an expert at sneaking back into his house without waking anyone, so he has been staying at the circus later and later each night.
There are fewer patrons wandering the circus at this hour, and as they walk Bailey notices that many of them are wearing red scarves. Different types, from heavy cabled wool to fine lace, but each is a deep, scarlet red that looks even redder against all of the black and white.
He asks Poppet about it, once so many flashes of red have passed by that he is sure it is not a coincidence, and recalling that the young woman with the rose had a red scarf as well.