rather—ah—interesting.”
Something in the way Pendergast said “interesting” sent the faintest of shudders through Nora.
ONE
T HE M USEUM’S VAST C ENTRAL A RCHIVES LAY DEEP IN THE BASEMENT, reachable only through several sets of elevators, winding corridors, stairs, and passageways. Nora had never been to the Archives before—she did not, in fact, know anybody who ever had—and as she descended deeper and deeper into the bowels of the Museum, she wondered if perhaps she had made a wrong turn somewhere.
Before accepting the job at the Museum, she had taken one of the tours that threaded their way through its endless galleries. She had heard all the statistics: it was physically the largest museum in the world, consisting of two dozen interconnected buildings built in the nineteenth century, forming a bizarre maze of more than three thousand rooms and almost two hundred miles of passageways. But mere numbers could not capture the claustrophobic feeling of the endless, deserted corridors.
It was enough,
she thought,
to give the Minotaur a nervous breakdown.
She stopped, consulted her map, and sighed. A long brick passageway ran straight ahead, illuminated by a string of light bulbs in cages; another ran off from it at right angles. Everything smelled of dust. She needed a landmark, a fixed point to get her bearings. She looked around. A padlocked metal door nearby had a weathered sign:
Titanotheres.
A door across the hall from it read:
Chalicotheres and Tapiroids.
She checked the oversized map, finally locating her position with difficulty. She wasn’t lost, after all: it was just ahead and around the corner.
Famous last words,
she thought, walking forward, hearing the echoing rap of her heels against the concrete floor.
She stopped at a massive set of oaken doors, ancient and scarred, marked
Central Archives.
She knocked, listening to the rap resound cavernously on the far side. There came a sudden rattle of papers, the sound of a dropped book, a great clearing of phlegm. A high-pitched voice called out, “Just a moment, please!”
There was a slow shuffling, then the sound of numerous locks being unfastened. The door opened, revealing a short, round, elderly man. He had a vastly hooked red nose, and a fringe of long white hair descended from the gleaming dome above it. As he looked up at her, a smile of greeting broke out, dispelling the air of melancholy on his veined face.
“Ah, come in, do come in,” he said. “Don’t let all these locks frighten you. I’m an old man, but I don’t bite.
Fortunate senex!
”
Nora took a step forward. Dust lay everywhere, even on the worn lapels of the man’s jacket. A lamp with a green shade cast a small pool of light on the old desk, piled high with papers. On one side sat an elderly Royal typewriter, perhaps the only thing in the room not covered in dust. Beyond the desk, Nora could see cast-iron shelves laden with books and boxes stretching back into a gloom as deep as the ocean. In the dimness, it was impossible to judge how far the room extended.
“Are you Reinhart Puck?” Nora asked.
The man set up a vigorous nodding, his cheeks and bow tie flapping in response. “At your service.” He bowed, and for an alarmed moment Nora thought he might reach out to kiss her hand. Instead, there was another loud sound of phlegm being forced against its will somewhere within his windpipes.
“I’m looking for information on—on cabinets of curiosities,” Nora continued, wondering if that was the correct pluralization.
The man, busy re-locking the door, glanced over, his rheumy eyes lighting up. “Ah! You’ve come to the right place. The Museum absorbed most of the old cabinets of early New York. We have all their collections, their papers. Where shall we begin?” He slammed the last bolt home, then rubbed his hands together, smiling, clearly happy to be of service to someone.
“There was a cabinet of curiosities in lower Manhattan known as Shottum’s
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