Drained by these difficult joys, I was not unhappy when the rain came.
It rained all that night, and far into the morning. In the afternoon the sun came out. Bright green grass shone among thin patches of snow. Joey Czukowski, Mario Salvio, Jimmy Shaw, and I roamed the neighborhood before returning to my cellar for a game of ping-pong. Brilliant black puddles shone in the sunny streets. Here and there on snow-patched lawns we saw remains of snowmen, but so melted and disfigured that they were only great lumps of snow. We did not discuss the events of the last few days, which already seemed as fantastic as vanished icicles, as unseizable as fading dreams. “Look at that!” cried Mario, and pointed up. On a telephone wire black as licorice, stretched against the bright blue sky, a bluejay sat and squawked. Suddenly it flew away. A dark yellow willow burned in the sun. On a wooden porch step I saw a brilliant red bowl. “Let’s do something,” said Joey, and we tramped back to my house, our boots scraping against the asphalt, our boot buckles jangling.
from The Barnum Museum
The Barnum Museum
The Barnum Museum is located in the heart of our city, two blocks north of the financial district. The Romanesque and Gothic entranceways, the paired sphinxes and griffins, the gilded onion domes, the corbeled turrets and mansarded towers, the octagonal cupolas, the crestings and crenellations, all these compose an elusive design that seems calculated to lead the eye restlessly from point to point without permitting it to take in the whole. In fact the structure is so difficult to grasp that we cannot tell whether the Barnum Museum is a single complex building with numerous wings, annexes, additions, and extensions, or whether it is many buildings artfully connected by roofed walkways, stone bridges, flowering arbors, booth-lined arcades, colonnaded passageways.
The Barnum Museum contains a bewildering and incalculable number of rooms, each with at least two and often twelve or even fourteen doorways. Through every doorway can be seen further rooms and doorways. The rooms are of all sizes, from the small chambers housing single exhibits to the immense halls rising to the height of five floors. The rooms are never simple, but contain alcoves, niches, roped-off divisions, and screened corners; many of the larger halls hold colorful tents and pavilions. Even if, theoretically, we could walk through all the rooms of the Barnum Museum in a single day, from the pyramidal roof of the highest tower to the darkest cave of the third subterranean level, in practice it is impossible, for we inevitably come to a closed door, or a blue velvet rope stretching across a stairway, or a sawhorse in an open doorway before which sits a guard in a dark green uniform. This repeated experience of refused admittance, within the generally open expanses of the museum, only increases our sense of unexplored regions. Can it be a deliberately calculated effect on the part of the museum directors? It remains true that new rooms are continually being added, old ones relentlessly eliminated or rebuilt. Sometimes the walls between old rooms are knocked down, sometimes large halls are divided into smaller chambers, sometimes a new extension is built into one of the gardens or courtyards; and so constant is the work of renovation and rearrangement that we perpetually hear, beneath the hum of voices, the shouts of children, the shuffle of footsteps, and the cries of the peanut vendors, the faint undersound of hammers, pickaxes, and crumbling plaster. It is said that if you enter the Barnum Museum by a particular doorway at noon and manage to find your way back by three, the doorway through which you entered will no longer lead to the street, but to a new room, whose doors give glimpses of further rooms and doorways.
The Hall of Mermaids is nearly dark, lit only by lanterns at the tops of posts. Most of the hall is taken up by an irregular black lake or pool, which measures some hundred yards across at its widest point and is entirely surrounded by boulders that rise from the water. In the center of the pool stands a shadowy rock-island with many peaks and hollows. The water and its surrounding boulders are themselves surrounded by a low wooden platform to which we ascend by three steps. Along the inner rim of the platform stand many iron posts about six feet apart, joined by velvet ropes; at the top of every third post glows a red or yellow lantern. Standing on the platform, we can see over the lower boulders into the black water with its red and yellow reflections. From time to time we hear a light splash and, if we are lucky, catch a sudden glimpse of glimmering dark fishscales or yellow hair. Between the velvet ropes and the boulders lies a narrow strip of platform where two guards ceaselessly patrol; despite their vigilance, now and then a hand, glowing red in the lantern light, extends across the ropes and throws into the water a peanut, a piece of popcorn, a dime. There are said to be three mermaids in the pool. In the dark hall, in the uncertain light, you can see the faces at the ropes, peering down intently.
The enemies of the Barnum Museum say that its exhibits are fraudulent; that its deceptions harm our children, who are turned away from the realm of the natural to a false realm of the monstrous and fantastic; that certain displays are provocative, erotic, and immoral; that this temple of so-called wonders draws us out of the sun, tempts us away from healthy pursuits, and renders us dissatisfied with our daily lives; that the presence of the museum in our city encourages those elements which, like confidence men, sharpers, palmists, and astrologers, prey on the gullible; that the very existence of this grotesque eyesore and its repellent collection of monstrosities disturbs our tranquillity, undermines our strength, and reveals our secret weakness and confusion. Some say that these arguments are supported and indeed invented by the directors of the museum, who understand that controversy increases attendance.
In one hall there is a marble platform surrounded by red velvet ropes. In the center of the platform a brown man sits cross-legged. He has glossy black eyebrows and wears a brilliant white turban. Before him lies a rolled-up carpet. Bending forward from the waist, he unrolls the carpet with delicate long fingers. It is about four feet by six feet, dark blue, with an intricate design of arabesques in crimson and green. Each of the two ends bears a short white fringe. The turbaned man stands up, steps to the center of the carpet, turns to face one of the fringed ends, and sits down with his legs crossed. His long brown hands rest on his lap. He utters two syllables, which sound like “ah-lek” or “ahg-leh,” and as we watch, the carpet rises and begins to fly slowly about the upper reaches of the hall. Unlike the Hall of Mermaids, this hall is brightly lit, as if to encourage our detailed observation. He flies back and forth some thirty feet above our heads, moving in and out among the great chandeliers, sometimes swooping down to skim the crowd, sometimes rising to the wide ledge of a high window, where he lands for a moment before continuing his flight. The carpet does not lie stiffly beneath him, but appears to have a slight undulation; the weight of his seated body shows as a faint depression in the carpet’s underside. Sometimes he remains aloft for an entire afternoon, pausing only on the shadowy ledges of the upper windows, and because it is difficult to strain the neck in a continual act of attention, it is easy to lose sight of him there, high up in the great spaces of the hall.