Lair of Dreams (The Diviners #2)
Libba Bray
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For Alvina & Greg
True love is the best thing in the world, except for cough drops. Everybody knows that.
—William Goldman, The Princess Bride
And for Alex Hillian
1970–2013
Sweet dreams, Senator.
PART ONE
New York City, 1927
Every city is a ghost.
New buildings rise upon the bones of the old so that each shiny steel beam, each tower of brick carries within it the memories of what has gone before, an architectural haunting. Sometimes you can catch a glimpse of these former incarnations in the awkward angle of a street or a filigreed gate, an old oak door peeking out from a new facade, the plaque commemorating the spot that was once a battleground, which became a saloon and is now a park.
Underground, it’s no different.
Beneath the streets, this city grows. Tracks push farther out into Brooklyn, Queens, and the Bronx. Tunnels connect one place to another, closing the distance between impossible and possible. So many people to move. The city’s aspirations do not stop at ground level. The whine of the drill and the clank of the pickax serenade the workers as they clear out rock for a new subway tunnel. Sweat binds layers of dust to the men till it’s hard to tell where they leave off and the gloom begins. The drill bites away bedrock in small mouthfuls. It’s hard, tedious work. And then suddenly, they’re breaking through the rock too fast.
“Watch it! Watch it, now!”
A wall of earth drops away. The men cough and cough, choking on the thick air. One of them, an Irish immigrant named Padraic, wipes a dirty forearm across his sweaty brow and peers into the large hole the drill has made. On the other side is a tall wrought-iron gate gone to rust, one of those ghosts of an earlier time. Padraic shines his flashlight through the gate’s bars, and the rusty coating brightens like the dried blood of an old wound.
“I’ll be,” he says and grins at the others. “Might be somet’ing worth havin’ inside.”
He tugs and the rusted gate shrieks open, and then the men are inside the dust-choked hole of a forgotten part of the city’s past. The Irishman whistles as his beam bounces around the tomblike room, revealing wooden panels grayed with cobwebs, tile mosaics obscured by layers of grime, a light fixture dangling precariously from a broken chain. A train car sits half-buried under a mountain of fallen dirt. Its wheels are silenced, but in the darkness, it’s almost as if the workers can hear the faint whine of metal on metal lingering in the preserved air. Padraic’s flashlight beam shines across the tracks, tracing them backward to a dead tunnel. The men move close and peer into the murkiness. It’s like looking into hell’s gaping mouth, tracks for tongue. The tunnel seems to go on forever, but that’s just the dark talking.
“What’s in here, then?” Padraic asks.
“A speakeasy,” says another man, Michael, chuckling.