Shadowland

by Peter Straub

Genres: Contemporary Fantasy; Horror; Suspense

Synopsis

First setting: an all-male prep school in Arizona, where two sensitive freshmen form a bond based on their interest in magic tricks. Second setting: the labyrinthine house of a weird magician uncle in New England, where the two boys spend a memorable summer being trained in the art of illusion. Or is it real magic? Third setting: an alternate world where dark forces are at play-forces that first show up at the school, but intensify their power throughout the summer.

Only one of them will make it through

Release date: August 18, 2015

Publisher: Berkley

Print pages: 480

Sample

PRAISE FOR

Shadowland

“Gripping!”

—The Memphis Commercial Appeal

“Savor the novel to the fullest.”

—Dayton Daily News

“Eerily effective!”

—Business Week

“You will be transported!”

—Houston Chronicle

“A masterpiece.”

—Richmond News Leader

“A blend of . . . the old horrors that crouch in the dark corners of the adult mind.”

—John Lutz, author of Jericho Man

Berkley books by Peter Straub

FLOATING DRAGON

SHADOWLAND

Shadowland

PETER STRAUB

The two schools, old and new, are inventions of the author and should not be confused with any existing schools. Similarly, Shadowland, its location and inhabitants, are entirely fictional.

I owe many thanks to Hiram Strait and Barry Price for their advice and comments about magic and magicians, and to Corrie Crandall for introducing me to them and to the Magic Castle.

Introduction

by Peter Straub

Along toward the end of 1978, when Gerald Ford had bungled the Oval Office into the damp, eager hands of Jimmy Carter back home and, in my adopted country, James Callaghan’s Labour Party was soon to be trounced by that iron cupcake Maggie Thatcher, I began writing this book on the second floor of the first house I ever owned, 79 Hillfield Avenue, London N8, otherwise known as Crouch End. It was a nice, comfortable place, a terrace house with the living room, dining room, and kitchen on the ground floor, two bedrooms on the top, and my office, two good-sized rooms knocked into one, in the middle. The front half of the office floor contained a television set, bookshelves, red leather furniture, and two of four AR speakers wired up to the amplifier and other sound equipment enthroned on a broad length of wood fixed to the rear wall of the back room and flanked on either side by long oak shelves crammed with LPs and books. Directly opposite the electronic toys—the life-support system, as I thought of them—and pushed up against the corresponding wall stood my desk; another long stretch of wood, this supporting one of a series of bound journals with numbered pages; a jam-pot from which jutted the sharpened points of about a dozen pencils; and, off to the side, an Underwood manual typewriter waiting to be drafted into service at the final siege. Above the desk hung two “book jacket” graphics by R.B. Kitaj that went unnoticed as I bent scribbling over the journal. Most of the time I scarcely heard the wall of sound blasting toward me. Facing a wall when you write really aids your concentration.

In those days, as the above indicates, I wrote everything by hand, filling the left-hand pages of the big journals with an entire first draft, and inserting revisions on the right-hand pages as I went along. When I reached the end of the book, I generally did some more revising in the journals before pulling the typewriter before me, loading it up with two sheets of paper separated by a carbon, uttering a heartfelt groan, and readying my right index finger for its long, coming torture by hunt-and-peck. If I were able to type, why would I bother writing everything out in longhand to begin with? Typing up a whole book at one go cannot be anything but excruciatingly boring, especially for one-fingered typists, but the process gave me another chance to revise. When I began Shadowland, I assumed that the work of the next year and a half would travel along these familiar rails.

A great change was gathering itself to surprise the industrious lad at the desk, but another had already occurred. Our first child, Benjamin Bitker Straub, had been born the previous year, obligingly entering the world to occupy the increased space we had provided for him. By the spring of 1979, Ben was old enough to understand most of what was said to him, and I had jumped at the chance to entertain him by inventing stories.

Nightly, stories poured out of me, as from an inexhaustible source. I had no idea where they were going when I started them, but along the way they always turned into real stories, with beginnings, middles, and ends, complete with hesitations, digressions, puzzles, and climaxes. This was thrilling. My little boy was entranced, and I felt as though I had tapped into the pure, ancient well, the source of narrative, the springwater that nourished me and everyone like me. After I had uncorked maybe twenty of these homemade fairy tales, it occurred to me that I should write some of them down. Now I wish that I’d written down every single one. I made up stories for years, and the only ones I managed to put on paper are in Shadowland. (The best one is about why frogs leap and croak.)

Traditional fairy tales, which I began to investigate soon after I started making up my own, pervade this novel. The beautiful story called “The King of the Cats” is the novel in miniature. Rose Armstrong is Hans Christian Andersen’s Little Mermaid, who accepts human form and forever walks across nails and razor blades. Tom Flanagan and Del Nightingale step in and out of the skins of the lost, wandering children inhabiting the Brothers Grimm’s compilations of folktales, and the Brothers Grimm inhabit Coleman Collins’s mansion.

That same year, I had been moved by John Fowles’s novel, The Magus, which suggested a way to unite the powerful strangeness resulting from the oral tradition with more conventional narrative satisfactions. No one familiar with The Magus who reads Shadowland can fail to notice Fowles’s influence on me, which was profound and pervasive: But this influence was above all liberating, not enslaving. Fowles demonstrated how the seductive uncertainty implicit in theatrical illusion and, even more importantly, the emotional effects of this uncertainty, could find expression in a narrative that itself moved through successive layers of surprise, doubt, suspicion, and uncertainty.

What disrupted the familiar process was an abrupt shot across the bows from my accountant. My previous and still as yet unpublished novel, Ghost Story, had begun to alchemize a startling quantity of moola, ninety-five percent of which James Callaghan’s bloodthirsty Department of Inland Revenue would have for lunch were I not to accept banishment from the United Kingdom—“yesterday,” the accountant said. So after a brief flurry of packing, off to America we sailed, the three of us, on the QE2. There was an agreeable rented house on Crooked Mile Road in Westport, Connecticut, and by the end of the summer, we had signed the papers for an older, larger, even more agreeable house on Westport’s Beachside Avenue. By September, the architect, the contractor, and a platoon of carpenters had turned the place into a beehive.

I wrote the middle third of Shadowland in what would be its dedicatee’s bedroom as soon as all the worker bees had vacated my brand-new office on the floor above. Up there, in the best workplace I’ve ever had or will have, I began the final third, still writing by hand in big journals. In mid-December, 1979, my publishers, Coward, McCann & Geoghegan, demanded a finished manuscript in two months. They had already bought the cover of Publishers Weekly to advertise the book as an October publication. Somehow, I wish I could remember how, I found Barbara Bouchard, a wonderful woman in my neighborhood who was married to an official at the UN and willing to do typing. Every couple of days, after finishing another stretch of pages, I walked over my lawn to Beachside Avenue and over the little stone bridge at the entrance of Burying Hill Beach to Barbara Bouchard’s pretty white house, where Barbara took me to a room on the second floor, settled herself down before her trusty Underwood, me in another chair behind her, and medium-like, flawlessly, typed every word I read aloud to her from my journal. Together, we sailed along to the end of the novel. What an immense satisfaction—it was exactly like telling a story.

Little Red Riding Hood was my first love. I felt that if I could have married Little Red Riding Hood, I should have known perfect bliss.

—Charles Dickens

The key to the treasure is the treasure.

—John Barth

Note

Tom in the Zanzibar

 

More than twenty years ago, an underrated Arizona schoolboy named Tom Flanagan was asked by another boy to spend the Christmas vacation with him at the house of his uncle. Tom Flanagan’s father was dying of cancer, though no one at the school knew of this, and the uncle’s house was far away, such a distance that return would have been difficult. Tom refused. At the end of the year his friend repeated the invitation, and this time Tom Flanagan accepted. His father had been dead three months; following that, there had been a tragedy at the school; and just now moving from the well of his grief, Tom felt restless, bored, unhappy: ready for newness and surprise. He had one other reason for accepting, and though it seemed foolish, it was urgent—he thought he had to protect his friend. That seemed the most important task in his life.

When I first began to hear this story, Tom Flanagan was working in a nightclub on Sunset Strip in Los Angeles, and he was still underrated. The Zanzibar was a shabby place suited to the flotsam of show business: it had the atmosphere of a forcing-ground for failure. It was terrible to see Tom Flanagan here, but the surroundings did not even begin to reach him. Either that, or he had been marked by rooms like the Zanzibar so long ago and so often that by now he scarcely noticed their shabbiness. In any case, Tom was working there only two weeks. He was just pausing between moves, as he had been doing ever since our days at school—pausing and then moving on, pausing and moving again.

Even in the daylit tawdriness of the Zanzibar, Tom looked much as he had for the past seven or eight years, when his reddish-blond curling hair had begun to recede. Despite his profession, there was little theatricality or staginess about him. He never had a professional name. The sign outside the Zanzibar said only “Tom Flanagan Nightly.” He used a robe only during the warming-up, flapdoodling portion of his act, and then twirled it off almost eagerly when he got down to serious business—you could see in the hitch of his shoulders that he was happy to be rid of it. After the shedding of the robe, he was dressed either in a tuxedo or more or less as he was in the Zanzibar, waiting patiently to have a beer with a friend. A misty Harris tweed jacket; necktie drooping below the open collar button of a Brooks Brothers shirt; gray trousers which had been pressed by being stretched out seam to seam beneath a mattress. I know he washed his handkerchiefs in the sink and dried them by flattening them onto the tiles. In the morning he could peel them off like big white leaves, give them a shake, and fold one into his pocket.

“Ah, old pal,” he said, standing up, and the light reflected from the mirror behind the bar silvered the extra inches of skin above his forehead. I saw that he was still trim and muscular-looking, in spite of the permanent weariness which had etched the lines a little more deeply around his eyes. He held out a hand, and I felt as I shook it the thickness of scar tissue on his palm, which was always a rough surprise, encountered on a hand so smooth. “Glad you called me,” he said.

“I heard you were in town. It’s nice to see you again.”

“One gratifying thing about meeting you,” he said. “You never ask ‘How’s tricks?’”

He was the best magician I ever saw.

“With you, I don’t have to ask,” I said.

“Oh, I keep my hand in,” he said, and pulled a pack of cards from his pocket. “Do you feel like trying again?”

“Give me one more chance,” I said.

He shuffled the cards one-handed, then two-handed, cut them into three piles, and then reassembled the pack in a different order. “Okay?”

“Okay,” I said, and he pushed the cards toward me.

I picked up two-thirds of the pack and turned the card now on top. It was the jack of clubs.

“Put it back.” Tom sipped at his beer, not looking.

I slid the card into a different place in the deck.

“Better watch closely.” Tom smiled at me. “This is where the old hocus-pocus comes in.” He tapped the top of the deck hard enough to make a thudding noise. “It’s coming up. I can feel it.” He tapped again and winked at me. Then he lifted the top card off the deck and turned it to me without bothering to look at it himself.

“I can’t figure out how you do that,” I said. If he had wanted to, he could have pulled it out of my pocket, his pocket, or from a sealed box in a locked briefcase: it was more effective when done simply.

“If you didn’t see it then, you never will. Stick to writing novels.”

“But you couldn’t have palmed it. You never even touched it.”

“It’s a good trick. But no good on stage—not much good in a club. They can’t get close enough. Paying customers think card tricks are dull anyhow.” Tom looked out over the rows of empty tables and then up at the stage, as if measuring the distance between them, and while he pondered the uselessness of skills it took a decade to perfect, I measured another distance: that between the present man and the boy he had been. No one who had known him then, when his red-blond head seemed to shoot off sparks and his whole young body communicated the vibrancy of the personality it encased, could have predicted Tom Flanagan’s future.

Of course those of our teachers still alive thought of him as a baffling failure, and so did most of our classmates. Flanagan was not our most tragic failure, that was Marcus Reilly, who had shot himself in his car while we were all in our early thirties; but he might easily have been the most puzzling. Others had taken wrong directions and failed so gently that you could still hear the sigh; one, a bank officer named Tom Pinfold, had gone down with a crash when auditors found hundreds of thousands of depositors’ dollars missing from their accounts; only Tom Flanagan had seemed to turn his back deliberately and uncaringly on success.

Almost as if Tom could read my mind, he asked me if I had seen anyone from the school lately, and we talked for a moment about Hogan and Fielding and Sherman, friends of the present day and the passionate, witty fellow-sufferers of twenty years past. Then Tom asked me what I was working on.

“Well, actually,” I said, “I was going to start a book about that summer you and Del spent together.”

Tom leaned back and looked at me with wholly feigned shock.

“Don’t try that,” I warned. “Nearly every time I’ve seen you the past five or six years, you’ve gone out of your way to tease me with that story. You asked enigmatic questions, dropped little hints—you wanted me to write about it.”

He smiled briefly, dazzlingly, and for a second was his boyhood self, pumping out energy. “Okay. I thought it might be something you could use.”

“Just that?” I challenged him. “Just something I could use?”

“After all this time you must realize that it’s more or less in your line. And I’ve been thinking lately that it’s about time I talked about it.”

“Well, I’m happy to listen,” I said.

“Good,” he said, seemingly satisfied. “Have you thought about how you want to start it?”

“The book? With the house, I thought. Shadowland.”

He considered that for a moment, his chin still propped on his hand.

“No. You’ll get there eventually anyhow. Start with an anecdote. Start with the king of the cats.” He thought about it a moment more and nodded, seeing it as a problem in structure, like his act. I had seen him improve it in a dozen ways, revising with a craftsman’s zeal, always bending it more truly toward the last illusion, which should have made him famous. “Yes. The king of the cats. And maybe you should really start it at the school—the story proper, I mean. If you look back there, you should find some interesting things.”

“Well, maybe.”

“If you look. I’ll help you.” He smiled again, and for the space of the smile his thoughtful tough’s face was that of a man who had looked, and I thought again that whatever his circumstances and surroundings, it was only a dead imagination that could call him a failure.

“It might be an idea,” I said. “But what’s all that about the king of the cats?”

“Oh, don’t worry about that story. It’ll turn up. It always does. Say, I ought to check over some of my equipment about now.”

“You’re too good for a place like this.”

“Do you think so? No, I think we’re pretty well suited to each other. The Zanzibar’s not a bad old room.”

We said good-bye, and I turned away from the bar toward the hazy light rectangle of the open door. A car sped by, a blue-jeaned girl jiggled past in sunlight, and I realized that I was happy to be leaving the club. Tom said that he was suited to the club, but I didn’t believe that, and to me it felt—suddenly—like a prison.

Then I turned around again and saw him sitting in the murk with his sleeves rolled up, and he looked like the ruler of that dark empty room. “You’re here two more weeks?”

“Ten days.”

“I’ll only be in town another week myself. Let’s get together again before I go.”

“That’ll be nice,” Tom Flanagan said. “Oh. By the way . . .”

I lifted my head.

“Jack of clubs.”

I laughed, and he saluted me with his beer glass. He had never once glanced at the card, not even when the trick was over. Casual little miracles like that had nailed him into his life.

The king of the cats?

I hadn’t the faintest idea of what this “story” was, but as Tom had promised, it turned up a few weeks later in a reference book. When I had read it, I knew immediately that Tom’s instincts had been accurate.

When I set the story down here, I am going to put it in the context in which Tom first heard it.

Anecdote:

“Imagine a bird,” the magician said. “Just now—flapping up, frightened, indeed tormented by fear, up out of this hat.”

He twitched the white scarf away from the tall silk hat, and a dove the shade of the scarf beat its wings on the brim and awkwardly fell to the table—a terrified, panicked bird, unable to fly, making a loud clatter of wings on the polished table.

“Pretty bird,” said the magician, and smiled at the two boys. “Now imagine a cat.”

He whisked his scarf once again over the hat, and a white cat slipped over the brim. It came up out of the hat like a snake, flattening itself down onto the table, looking at nothing but the dove. With a slow predatory crawl, the cat went toward the dove.

The magician, who was dressed as a sinister clown in white-face and red wig above black tails, grinned at the boys and abruptly sprang over and backward, landing on his gloved hands. He held himself rigidly still for a second and then folded his legs down and his trunk up in what looked like one flawless motion. Now he was standing where he had been, and he dropped the white scarf over the elongated form of the cat.

When the magician passed his hand into the scarf, it fluttered down onto the flat surface of the table.

Three inches away, the dove still worked its wings and made its terrible clattering noise of panic.

“And that’s it, isn’t it?” the magician said. “Cat and bird. Bird and cat.” He was still grinning. “And since our little friend is still so frightened, perhaps we’d better make her disappear too.” He snapped his fingers, twitched the scarf, and the bird was gone.

“Cats remind me of a true story,” he said to the mesmerized boys, speaking as if he were merely yarning, as if nothing but entertainment was on his mind. “It’s an old story, but the truest stories are very often the oldest ones. This was told by Sir Walter Scott to Washington Irving, and by Monk Lewis to the poet Shelley—and to me by a friend of mine who actually saw it happen.

“A traveler, in other words my friend, was journeying on foot to the house of a companion—not me—where he was going to spend the night. He had been walking all day, and even though it was already late and night was coming on, he was tired enough to rest his feet when he came to a ruined abbey. He sat down, took off his boots, leaned against an iron fence, and began to rub his feet. An odd series of noises made him turn around and peer through the bars of the fence.

“Down below him, on the grassy floor of the old abbey, he saw a procession of cats. They were formed into two long equal lines, and were marching forward very slowly. Now, of course he had never seen anything like that before, and he bent forward to look more closely. It was then that he saw that the cats at the head of the procession were carrying a little coffin on their backs, and were making for, were slowly approaching, a small open grave. When my friend had seen the grave, he looked horrified back at the coffin borne by the lead cats, and noticed that on it sat a crown. As he watched, the lead cats began to lower the coffin into the grave.

“After that he was so frightened that he could not stay in that place a moment longer, and he thrust his feet into his boots and rushed on to the house of his friend. During dinner, he found that he could not keep from telling his friend what he had witnessed.

“He had scarcely finished when his friend’s cat, which had been dozing in front of the fire, leaped up and cried, ‘Then I am the King of the Cats!’ and disappeared in a flash up the chimney. It happened, my friends—yes, it happened, my charming little birds.”

The true beginning of this story is not “More than twenty years ago, an underrated,” etc., but, Once upon a time . . . or, Long ago, when we all lived in the forest . . .

Part One

The School

Arise and sing the praises

Of the school upon the hill

—School song

I

He Dreams Awake

The last day of summer vacation: high cloudless skies, dry intense heat; endings and beginnings, deaths and promises, hover regretfully in the air. Perhaps the regret is only the boy’s—that boy who is lying on his stomach in the grass. He is staring at a dandelion, wondering if he should pull it up. But if he pulls that one up, shouldn’t he also pull up the one growing three feet away, whose leonine head is lolling and bobbling on a stalk too thin for it? Dandelions make your hands stink. On the last day of summer vacation, does he care if his hands smell like dandelions? He tugs at the big tough-looking dandelion nearest him; at least some of the roots pull up out of the ground. He thinks he hears the dandelion sigh, letting go of life, and tosses it aside. Then he slides over to the second weed. It is too vulnerable, with its huge head and thin neck: he lets it be. He rolls over and looks up into the sky.

Good-bye, good-bye, he says to himself. Good-bye, freedom. Yet a part of him looks forward to making the change to high school, to really beginning the process of growing up: he imagines that the biggest changes of his life are about to happen. For a moment, like all children on the point of change, he wishes he could foresee the future, somehow live through it in advance—test the water there.

A solitary bird wheels overhead, so high up it breathes a different air.

Then he must have fallen asleep: later, he thinks that what happened after he saw the bird must have been a dream.

It begins with the air changing color—becoming hazy, almost silvery. A cloud? But there are no clouds. He rolls over onto his stomach and idly looks sideways, where he can see over four backyards. The swing set in the Trumbulls’ yard is so rusty it should not stand another year—the Trumbull children are older than he, but Mr. Trumbull is too lazy to dismantle the swings. Farther on, Cissy Harbinger is climbing out of her pool, stepping toward a lounge chair in such a way that you know the tiles are burning her feet. She gets to the chair and stretches out, trying to deepen her already walnut tan. Then there are two wider backyards, one with a plastic wading pool. Here, Collis Falk, the gardener the boy’s parents have just let go, is riding a giant black lawn mower around the side of a white house. No dandelions there: Collis Falk is a ruthless executioner of dandelions.

Way down there, past the houses and the yards, a man is walking up Mesa Lane. In this old suburb, pedestrians are not as uncommon as they are in a lavish new development like Quantum Hills, but still they are rare enough to be interesting.

The boy still does not know that he is dreaming.

The walking man pauses on Mesa Lane—probably he is a customer of Collis Falk’s, and is waiting for the gardener to swing back toward him so that he can say hello. But no, it seems he is not waiting for the gardener: he is tilting his head back and looking at the boy. Or looking for him, the boy thinks. The man puts his hands on his hips. He must be three hundred yards away: he shimmers a little in the heat from the pavement. The boy has a sudden overwhelming conviction that the little figure is trying to find him . . . and the boy does not want to be seen. He flattens out in the grass. Unexpected fear sparkles in the boy’s chest.

This is an interesting dream, he thinks. Why am I afraid of him?

The air becomes darker, more silvery. The man, who may or may have not seen him, walks on. Collis Falk chugs into sight, appearing to be intent on mowing down the wading pool. Now the boy is blocked from the man’s sight, and he can move.

I’m really scared, he thinks: why? The entire neighborhood has turned unpleasant, somehow tainted and threatening. Though he cannot see the little figure way down there on Mesa Lane, the man is somehow broadcasting chill and badness. . . .

(His face is made of ice.)

No, that’s not it, but the boy scrambles to his feet, starts to run, and then fully realizes he is in a dream, for he sees a building at the end of his backyard which he knows is not there; nor are the thick trees which surround it. The house is only about twenty feet high and has a thatched roof. Two small windows flank a little brown door. This fairy-tale structure is inviting, not threatening—he knows he is supposed to enter it. It will save him from whatever is pacing up and down on Mesa Lane.

And he knows it is a wizard’s house.

When he goes through the trees and opens the door, all of his neighborhood seems to sigh: the rusty swings and the wading pool, Cissy Harbinger and Collis Falk, each brown and green blade of grass, send up a wave of disappointment and regret; and this real regret is from down there, from the man, who knows the boy is blocked from him.

“So here you are,” the wizard says. An old man with an extravagantly wrinkled face mostly concealed behind a foaming beard, dressed in threadbare robes, the wizard is leaning back in a chair, smiling at him. He is the oldest wizard in the world, the boy knows; and then knows that he himself is in the midst of a fairy tale, one never written. “You are safe here,” the wizard says.

“I know.”

“I want you to remember that. It’s not all like that . . . being out there.”

“This is a dream, isn’t it?” the boy asks.

“Everything is a dream,” says the wizard. “This world of yours—a flag in the breeze, a plaything full of meanings. Take my word for it. Meanings. But you’re a good boy, you’ll find out.” A pipe appeared in his hand, and he drew on it and breathed out thick gray smoke. “Oh, yes. You’ll find what you have to find. It’ll be all right. You’ll have to fight for your life, of course, you’ll have tests to pass