Shift: A Novel

materialized in Hoover’s hand. The slant of his smile had grown especially long, slicing open his pasty face like a baked potato. “You’ll need some reading material for the train.”

Forty-eight minutes after he left J. Edgar Hoover’s office, BC was seated in the smoke-filled first-class compartment of the 10:27 bound for New York’s Pennsylvania Station. An officious Negro conductor, his uniform as square on his shoulders as a Marine’s dress blues, helped BC get settled. He punched his ticket, stowed his suitcase in the overhead rack, folded BC’s coat and placed it beside the bag, then laid his hat atop the coat. Finally he lowered the table between BC’s seat and the empty one across from it and set a small foil ashtray on it. He performed each of his tasks with the methodical slowness of someone who marks time not in seconds and minutes but in actions repeated thousands of times a day.

“Is there anything else I can do for you, sir?” the conductor said, already turning away, and BC only shook his head at the stiff fabric stretching between the man’s shoulders. Before his time in Counter Intelligence, BC would have hardly noticed the man, but ten months of surveilling civil rights meetings in chapels and gymnasiums and dusty fairgrounds across Georgia, Alabama, Arkansas, and Mississippi had made him acutely conscious of the people who opened doors for him, took his tickets, brought him food, washed his clothes, and generally stepped to one side when he walked down the street. BC wouldn’t have described himself as a warm person, let alone empathetic; he was quite aware that he was a stiff, shy man who immersed himself in his job the same way this Negro conductor hid inside his uniform. But he prided himself on being polite, especially to his inferiors, and he was deeply disturbed by the thought that he’d spent the last twenty-seven years unwittingly offending a segment of society whose lot in life was hard enough as it was. That he didn’t recognize this disturbance as guilt speaks to the times as much as the person, but even so, he couldn’t help but stare at the conductor as he worked his way down the aisle. BC wondered how deep a grudge the man bore, how sharp. Did he harbor dreams of racial equality or just revenge? Well, probably neither. Not this man. He wore his ridiculous uniform (brass buttons, gold braids, a flat- topped cap with a shiny black visor) like an embarrassing chastity belt that nonetheless protected him from the world’s unwanted advances. It was pretty clear his only desire was to get through the day unscathed, and the next, and the next, and the next, until he was finally eligible for his pension.

BC’s briefcase, filled with a half dozen vague-looking reports on Leary and LSD and something called “The Orphic Flag,” sat next to his seat, but he had chosen to pull out the director’s parting gift instead, deeming it the least far-fetched of his choices of reading material.

The Man in the High Castle by Philip K. Dick. It sat on the fold-out table before him like a fish waiting to have its belly slit so it could be boned. Well, de-boned. Beau- Christian Querrey was not exactly known for his boning.

The black cover had large graphics of the flags of imperial Japan and Nazi Germany, as well as the tagline, or subtitle: “An electrifying novel of our world as it might have been.” Since every novel was essentially a story of the world “as it might have been,” this struck BC as a particularly pointless addendum, even for a work of science fiction.

He traced the book’s edges with his fingertips. His “book reports” had started ten months ago, concurrent with his transfer to COINTELPRO. The genesis had been peculiar, to say the least. In June 1961, during his regular perusal of the major East Coast papers, the agent had read an account of an unusual suicide in Boston. A Harvard freshman had thrown himself into the Charles River wearing a trench coat whose pockets were weighted with old- fashioned flatirons. The pockets had been sewn shut so the irons wouldn’t fall out, as had the coat itself, sealed with thick twine from collar to hem, as if the victim wanted to make sure he wouldn’t slip out of the garment underwater; on top of that, his shoelaces had been knotted together, which would have made swimming that much more difficult. The story pricked at BC’s consciousness, and he called the Boston field office and asked them obtain the body for forensic examination before it was interred. It turned out that the victim had freshly broken bones in both hands, which suggested he’d been in a rather serious fistfight, and cast doubt on the idea that he could have sewn himself into his own coat. There was also a note on his person, sealed in wax paper so it wouldn’t deteriorate in the water, in which the victim said he was killing himself because he felt an incestuous attraction to his sister—a rather remarkable claim, since the victim turned out to be an only child. The victim had been a frequent visitor to Harvard’s student counseling center, however, where he was known as a borderline personality with the “potential” for hallucinations, and the Boston office was reluctant to comply with BC’s request that the death be declared a homicide. BC was insistent: the murderer, he said, had recreated a scene from William Faulkner’s 1929 novel The Sound and the Fury, in which Quentin Compson, a mentally unbalanced Harvard freshman, kills himself because he feels attracted to his sister Caddy; the crime had even taken place on the same day as Quentin’s suicide, June 2.

With a dearth of forensic evidence and a lack of support from his superiors, BC’s only investigative lead was the press. He looked in the Boston papers first, combing through two years’ worth of issues before casting his net wider. It took nearly a month before he found what he was looking for: a series of three deaths on eastern Long Island—a hit-and-run of a young woman, and a murder-suicide involving a middle-aged man and the husband of the woman who’d died in the hit-and-run. The murdered man had been shot and was found face down in a pool; the suicide—and presumed cuckold—had then shot himself. BC was willing to admit that the tableau from The Sound and the Fury was a bit esoteric, but was surprised no one caught a full-scale reproduction of the climax of Gatsby, especially since it had taken place in Great Neck, the inspiration for Fitzgerald’s fictional town of West Egg. The Gatsby reenactment had occurred almost a year before the Boston murder—at the beginning of fall, just as in the novel. If the Boston drowning was the killer’s first crime since that one, it suggested he worked slowly and methodically, which meant BC should have a few months to catch him before he struck again. But as with the Faulkner recreation, there was no physical evidence. So how to anticipate the killer’s next move?

The only thing to go on was the books themselves. Fitzgerald and Faulkner. Two of the three great American writers of the first half of the century, the third being Ernest Hemingway. BC put out a call for libraries up and down the Atlantic seaboard to be on the lookout for runs on Hemingway’s books. Two weeks later he found what he was looking for: a Providence, Rhode Island, man by the name of Freddie Pyle had spent the past two months reading Hemingway’s complete oeuvre in the public library in Fall River, Massachusetts; before that he’d spent several months reading Faulkner novels, and before that—bingo!—F. Scott Fitzgerald. Agents rushed Pyle’s house, but he’d either spotted them or, even worse, had already departed to commit his next crime. The last book he’d checked out was The First Forty-Nine Stories (an awkward title, BC thought, but he guessed that if you only had forty-nine stories then, well, you only had forty-nine stories, though surely a fiftieth would have come along eventually). The agent spent a feverish day and night scrutinizing every story, every sentence, every word in the volume. The first two crimes had been site-specific, so there was every reason to assume the next one would be as well. The only problem was, Hemingway didn’t seem to have written a story set on the East Coast. It was only on his third go-through that BC realized the story called “The Killers” took place in a town called Summit. There was a Summit, New Jersey, forty-five minutes outside New York City. The Bureau thought it was a long shot and wanted to place a call to the local PD and leave it at that, but BC knew he was right. He took a sick day—his first in four years—and raced to New Jersey.

Pyle had been missing for forty-eight hours, so BC had no idea if he would be in time. The victim in the story was a boxer called Ole Andreson, who was killed by a pair of mob hit men for not agreeing to throw a fight. There was only one boxing club in Summit. BC asked the owner if any of his regulars had failed to show up in the past forty-eight hours, and indeed one, Willie Stevenson, had been conspicuously absent that day. Once the nut was cracked, everything fell into place, but even so, BC wouldn’t have been in time if Pyle hadn’t been so scrupulous in his reenactments. In the story, a pair of killers go to a restaurant called Henry’s Lunch Room, where Ole Andreson normally takes his meals. They hold the “nigger” cook and the soda boy, Nick Adams, for several hours, but when it