Chandresh watches as she rearranges the plans, a grin spreading across his face as he begins to see what she is doing.

He makes adjustments to the flood of Prussian blue paper himself, responding to her arrangements, surrounding replicas of ancient Egyptian temples with columns of curving bookshelves. They sit together on the floor, combining rooms and halls and stairs.

Chandresh starts to call for Marco, but catches himself.

“I keep forgetting that he’s gone,” he says to Poppet. “Left one day and did not come back. Didn’t even leave a note. You would think someone who was constantly writing notes would leave one.”

“I believe his departure was unplanned,” Poppet says. “And I know he regrets not being able to properly settle his responsibilities here.”

“Do you know why he left?” Chandresh asks, looking up at her.

“He left to be with Celia Bowen,” Poppet says, unable to keep from smiling.

“Ha!” Chandresh exclaims. “Didn’t think he had it in him. Good for them. Let’s have a toast.”

“A toast?”

“You’re right, there’s no champagne,” Chandresh says, pushing aside a pile of empty brandy bottles as he lays out another string of sketches along the floor. “We’ll dedicate a room to them, which one do you think they would like?”

Poppet looks over the blueprints and sketches. There are several that she thinks either or both of them might like. She stops at a drawing of a round, windowless room illuminated only by light that filters through the koi pond enclosed in glass above it. Serene and enchanting.

“This one,” she says.

Chandresh takes a pencil and writes “Dedicate to M. Alisdair and C. Bowen” along the edge of the paper.

“I could help you find a new assistant,” Poppet offers. “I can stay in London for a while.”

“I would appreciate that, my dear.”

The large satchel that Poppet had placed on the floor nearby suddenly falls to its side with a soft thump.

“What’s in that bag?” Chandresh asks, eyeing it with a certain amount of trepidation.

“I brought you a present,” Poppet says brightly.

She rights the bag, opening it carefully and pulling out a small black kitten with splotches of white along its legs and tail. It looks as though it has been dipped in cream.

“Her name is Ara,” Poppet tells him. “She’ll come when she’s called and she knows a few tricks but mostly she likes attention and sitting in windows. I thought you might like the company.”

She puts the kitten gently on the floor and holds her hand above it. The kitten stretches up on its hind legs with a soft mew and licks Poppet’s fingers before turning its attention to Chandresh.

“Hello, Ara,” he says.

“I’m not going to give you your memory back,” Poppet says, watching Chandresh as the kitten attempts to crawl onto his lap. “I don’t know if I could even if I tried, though Widge could probably manage it. At this point, I don’t think you need that weight on you. I think looking forward will be better than looking back.”

“Whatever are you talking about?” Chandresh asks, picking up the kitten and scratching it behind the ears as it purrs.

“Nothing,” Poppet says. “Thank you, Chandresh.”

She leans over and kisses him on the cheek.

As soon as her lips touch his skin, Chandresh feels better than he has in years, as though the last of a fog has been lifted from him. His mind is clear, the plans for the museum becoming cohesive, ideas for future projects aligning themselves in ways that seem completely manageable.

Chandresh and Poppet spend hours arranging and adding to the blueprints, creating a new space to be filled with antiques and art and visions of the future.

The black-and-white kitten paws playfully at the curling paper as they work.

Stories

PARIS, JANUARY 1903

Stories have changed, my dear boy,” the man in the grey suit says, his voice almost imperceptibly sad. “There are no more battles between good and evil, no monsters to slay, no maidens in need of rescue. Most maidens are perfectly capable of rescuing themselves in my experience, at least the ones worth something, in any case. There are no longer simple tales with quests and beasts and happy endings. The quests lack clarity of goal or path. The beasts take different forms and are difficult to recognize for what they are. And there are never really endings, happy or otherwise. Things keep going on, they overlap and blur, your story is part of your sister’s story is part of many other stories, and there is no telling where any of them may lead. Good and evil are a great deal more complex than a princess and a dragon, or a wolf and a scarlet-clad little girl. And is not the dragon the hero of his own story? Is not the wolf simply acting as a wolf should act? Though perhaps it is a singular wolf who goes to such lengths as to dress as a grandmother to toy with its prey.”

Widget sips his glass of wine, considering the words before he replies.

“But wouldn’t that mean there were never any simple tales at all?” he asks.

The man in the grey suit shrugs, then lifts the bottle of wine from the table to refill his own glass.

“That is a complicated matter. The heart of the tale and the ideas behind it are simple. Time has altered and condensed their nuances, made them more than story, greater than the sums of their parts. But that requires time. The truest tales require time and familiarity to become what they are.”

Their waiter stops at their table and converses briefly with Widget, paying no notice to the man in the grey suit.

“How many languages do you speak?” the man asks once the waiter has departed.

“I’ve never stopped to count,” Widget says. “I can speak anything once I have heard enough to grasp the basis.”

“Impressive.”

“I picked up bits and pieces naturally, and Celia taught me how to find the patterns, to put the sounds together in complete sets.”

“I hope she was a better teacher than her father.”

“From what I know of her father they are quite different. She never forced Poppet or me into playing complicated games, for one thing.”

“Do you even know what the challenge you are alluding to was?” the man in the grey suit asks.

“Do you?” Widget asks. “It seems to me it was not entirely clear-cut.”

“Few things in this world are clear-cut. A very long time ago—I suppose you could say once upon a time if you wished it to sound a grander tale than it is—one of my first students and I had a disagreement about the ways of the world, about permanence and endurance and time. He thought my systems outdated. He developed methods of his own that he thought superior. I am of the opinion that no methodology is worthwhile unless it can be taught, so he began teaching. The pitting of our respective students against each other began as simple tests, though over time they became more complex. They were always, at the heart, challenges of chaos and control to see which technique was strongest. It is one thing to put two competitors alone in a ring and wait for one to hit the ground. It is another to see how they fare when there are other factors in the ring along with them. When there are repercussions with every action taken. This final challenge was particularly interesting. I will admit that Miss Bowen found a very clever way out. Though I do regret losing a student of my own in the process.” He takes a sip of his wine. “He was possibly the best student I ever taught.”

“You believe he’s dead?” Widget asks.

The man puts down his glass.

“You believe he is not?” he counters after a significant pause.

“I know he’s not. Just as I know that Celia’s father, who is also not dead, precisely, is standing by that window.” Widget lifts his glass, tilting it toward the darkened window by the door.

The image in the glass, which could be a grey-haired man in a finely tailored coat, or could be an amalgamation of reflections from customers and waiters and bent and broken light from the street, ripples slightly before becoming completely indistinguishable.

“Neither of them are dead,” Widget continues. “But they’re not that, either.” He nods at the window. “They’re in the circus. They are the circus. You can hear his footsteps in the Labyrinth. You can smell her perfume in the Cloud Maze. It’s marvelous.”

“You think being imprisoned marvelous?”

“It’s a matter of perspective,” Widget says. “They have each other. They are confined within a space that is remarkable, one that can, and will, grow and change around them. In a way, they have the world, bound only by his imagination. Marco has been teaching his illusion technique to me, but I’ve not yet mastered it. So yes, I think it marvelous. He thought of you as his father, you know.”

“Did he tell you that?” the man in the grey suit asks.

“Not in words,” Widget says. “He let me read him. I see people’s pasts, sometimes in great detail if the person in question trusts me. He trusts me because Celia does. I do not think he blames you any longer. Because of you, he has her.”

“I chose him to contrast her, and to complement. Perhaps I chose too well.” The man in the grey suit leans into the table, as though he might whisper his words conspiratorially, but the tenor of his voice does not change. “That was the mistake, you realize. They were too well matched. Too taken with each other to be competitive. And now they can never be separated. Pity.”

“I take it you are not a romantic,” Widget says, picking up the bottle to refill his glass.

“I was in my youth. Which was a very, very long time ago.”

“I can tell,” Widget says as he replaces the bottle on the table. The man in the grey suit’s past stretches back a long, long time. Longer than anyone Widget has ever met. He can only read parts of it, so much of it is worn and faded. The parts connected to the circus are clearest, the easiest for him to grasp.

“Do I look that old?”

“You have no shadow.”

The man in the grey suit cracks a smile, the only noticeable change his expression has displayed the entire evening.

“You are quite perceptive,” he says. “Not one person in a hundred, perhaps even a thousand, notices as much. Yes, my age is quite advanced. I have seen a great many things in my time. Some I would prefer to forget. It takes a toll on a person, after all. Everything does, in its way. Just as everything fades with time. I am no exception to that rule.”

“Are you going to end up like him?” Widget nods at the window.

“I certainly hope not. I am content to accept inevitabilities, even if I have ways of putting them off. He was seeking immortality, which is a terrible thing to seek. It is not seeking anything, but rather avoiding the unavoidable. He will grow to despise that state if he does not already. I hope my student and your teacher are more fortunate.”

“You mean … you hope they can die?” Widget asks.

“I mean only that I hope they find darkness or paradise without fear of it, if they can.” He pauses before adding, “I hope that for you and your compatriots as well.”

“Thank you,” Widget says, though he is not entirely certain he understands the sentiment.

“I sent your cradle when you were born to welcome you and your sister to this world, the least I can do is wish you a pleasant exit from it, as I highly doubt I will be there to see you off in person. I hope not to be, in fact.”

“Is magic not enough to live for?” Widget asks.

“Magic,” the man in the grey suit repeats, turning the word into a laugh. “This is not magic. This is the way the world is, only very few people take the time to stop and note it. Look around you,” he says, waving a hand at the surrounding tables. “Not a one of them even has an inkling of the things that are possible in this world, and what’s worse is that none of them would listen if you attempted to enlighten them. They want to believe that magic is nothing but clever deception, because to think it real would keep them up at night, afraid of their own existence.”

“But some people can be enlightened,” Widget says.

“Indeed, such things can be taught. It is easier with minds that are younger than these. There are tricks, of course. None of this rabbits-in-hats nonsense, but ways of making the universe more accessible. Very, very few people take the time to learn them nowadays, unfortunately, and even fewer have natural access. You and your sister do, as an unforeseen effect of the opening of your circus. What is it you do with that talent? What purpose does it serve?”

Widget considers this before he answers. Beyond the confines of the circus there seems to be little place for such things, though perhaps that is part of the man’s point. “I tell stories,” he says. It is the most truthful answer he has.

“You tell stories?” the man asks, the piquing of his interest almost palpable.

“Stories, tales, bardic chronicles,” Widget says. “Whatever you care to call them. The things we were discussing earlier that are more complicated than they used to be. I take pieces of the past that I see and I combine them into narratives. It’s not that important, and this isn’t why I’m here—”

“It is important,” the man in the grey suit interrupts. “Someone needs to tell those tales. When the battles are fought and won and lost, when the pirates find their treasures and the dragons eat their foes for breakfast with a nice cup of Lapsang souchong, someone needs to tell their bits of overlapping narrative. There’s magic in that. It’s in the listener, and for each and every ear it will be different, and it will affect them in ways they can never predict. From the mundane to the profound. You may tell a tale that takes up residence in someone’s soul, becomes their blood and self and purpose. That tale will move them and drive them and who knows what they might do because of it, because of your words. That is your role, your gift. Your sister may be able to see the future, but you yourself can shape it, boy. Do not forget that.” He takes another sip of his wine. “There are many kinds of magic, after all.”