![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kalinara posting in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png){kind=small}
i_read_whatOkay, so, full disclosure. This chapter has an instance of blackface. Specifically, a white character using makeup to pass for a black man (and one with mental disability, so ableism as well). There is context for this, but to be perfectly honest with you, I have no idea if the context mitigates the circumstances or not. Basically, I'm too white to make this call.
And honestly, I think Ms. Elrod is also too white to make this call. While I still enjoy the book, I can definitely say I wish she'd gone with something different.
So we start off with Jack, who has just stopped off at the Stockyards for the night, as he and Escott head over to the fancy restaurant. (Escott picked him up, which is good date etiquette.)
As they drive, Jack confesses that his restricted diet may pose a bit of a problem. Neither he nor Escott had thought of that ahead of time. Escott offers to let him skip the evening, but Jack decides to claim it's a stomach ulcer. He'd rather stick around while Escott investigates his case. Escott doesn't mind.
They discuss Benny Galligar/O'Hara (who had supposedly given Jack the list), but he's nowhere to be found. They wonder if he's skipped town.
So anyway, they get to the restaurant and it is swanky. It is so swanky that Jack actually uses the word "swank" to describe it. And I have a brief moment of existential horror as I wonder if this book isn't what inspired adolescent me to start using that word.
Anyway, they wait by the door for Shoe to arrive, and Shoe definitely knows how to make an entrance. Recall, this is a very fancy restaurant in 1936, so this takes balls. And Shoe definitely has them.
"The chauffeur was out and opening the rear door of the Nash; Burdge, the doorman, stood a little straighter and held the door to the restaurant. It was some credit to his self-control that he wilted only a little when Coldfield emerged into the light. He was postcard perfect in a custom-tailored tuxedo with a satin-lined cape and a silver-headed stick. He carried the clothes comfortably, like Fred Astaire, albeit a much larger-sized Astaire with coal black skin and a beard. He sauntered up to the doorman, who was looking a bit confused as to how to handle the situation. Coldfield gave Burdge a look that banished any inclinations of refusing him entry, and then came in."
I don't know if this scenario is remotely realistic. But I'm reminded of all those medieval writers who insist on including things like rape because it's "realistic to the time period." And I think Ms. Elrod gets what those writers don't. This is escapist fantasy and we're allowed to imagine something a little better, more triumphant than might have been likely.
I want to believe Shoe Coldfield gets this moment where he swans into the fanciest restaurant in Chicago like a king. And Ms. Elrod gives it to me.
Anyway, they get Escott's usual table, and Jack goes through his ulcer-pantomime. He spares a bitter thought about how he finally made it to a fancy restaurant like this and he can't enjoy it. And you know what? Fair. I'd hate that too.
We're told that they get their share of looks. One group leaves, indignant, and Jack notes that they would never have noticed Shoe if he had been part of the cleanup staff, but seeing him as a customer was too much for them. Apparently the other diners decided to mind their own business instead.
At some point during the meal, Escott gets a phone call and has to duck out to talk to an informant. After he leaves, Jack and Shoe engage in small talk. We're told that Escott and Shoe have known each other for about fourteen years, but haven't had much contact since Escott became a private agent. Shoe sidesteps Jack's more prying questions, and Escott never comes back.
Eventually a busboy comes out, and I'll share the description for you for reasons that will be obvious: "We waited. A lone busboy in thick glasses shuffled around cleaning the tables. His walk and movements bothered me for some reason, and when I caught a glimpse of his blank face I knew why. His was the careful heavy-heeled, loose-limbed walk of the mentally retarded. He moved from table to table, cleaning up and wiping down, then looked at us and wondered why we hadn't left yet. He was about fifty, with overlong gray hair, a thrusting box-shaped forehead, and thick gray brows that grew across the bridge of his nose. His mouth was open slightly as he stared at us and then at the waiter, undecided on what to do."
Anyway, Jack and Shoe end up going outside to look for Escott. They hear sounds from the alley, to find some young street kids accosting said busboy. Jack, Shoe, and Shoe's chauffeur scare them off. Shoe is very good at dirty street fighting, and Jack remembers to pull his punches so he doesn't kill anyone.
They check on the busboy, who is mostly nonverbal. Jack and Shoe try to help, until Shoe suddenly calls him a son of a bitch. When they get a closer look they see that part of the busboy's face seems to be coming off. Escott is underneath.
So yeah. I mean. That happened. Escott is very clever of course, but still. I wish Ms. Elrod had done something different.
Anyway, Escott, Shoe and Jack head to the Shoe Box and have a drink. Well, Jack nurses his, of course. Shoe compliments his fighting style, he'd never seen anyone that fast in his life. They toast, and Jack has to swallow it. Fortunately his vampiric nausea is mistaken for just not having a taste for alcohol.
They discuss the caper a bit more, (Jack's role will be getaway driver, according to Escott), until Escott notices Jack's distress and hustles him out, so that he can throw it up in peace.
Well. Not exactly peace. Apparently throwing up is a pretty nasty trigger, and Jack starts getting some very unpleasant flashes. Which, per Escott, looked like a seizure. Escott is nicely sympathetic, though contemplative. And this very amusing exchange happens:
He ah-hummed like a doctor and motioned for me to shut the door, then worked the gears and pointed the car in the general direction of my hotel.
'What's on your mind?' I asked.
'Just an idea… I thought a reenactment of your final moments on the boat—'
'I get it, but it's kind of hard to reenact something if you don't know how it was enacted in the first place.'
'We know you were beaten and shot.'
'You want to beat me up and shoot me?' I said cautiously.
'It is only a suggestion, mind you.'
'Let's keep it that way until I can think it over.'
This is amusing for many many reasons. Not the least being that Jack seems not completely against the idea. He asks if Escott still wants him along, which surprises Escott. But Escott's willing to risk Jack possibly having another episode, and Jack's abilities are very useful. Even if he's not going to be up and around at six, when Escott takes his position on Shoe's crew. Escott is going to leave his car at the hotel, so Jack can drive over when he wakes up.
Then we skip to tomorrow. Jack drives over, and Escott (in disguise again, sigh), lets him in. Escott gives him a rough sketch of the layout and explains that he'll be in the kitchen washing dishes. He'll keep the window open if they need to talk. He suggests Jack seek out the basement particularly.
So Jack plays spy for a while, investigating rooms and closets, until he gets to the basement. He finds a jackpot: a brightly lit laboratory, with one single guard. (Who is absorbed in the Shadow. Jack notes that he should write "Walter" and tell him about his mobster fan.).
Jack continues investigating, making his way into Paco's fairly lavish looking sanctum. There's a portrait, but Jack doesn't recognize it. Jack snoops around a bit more, then goes to find Escott, tapping on the window for his attention. Jack explains the problem with the lab: he can get in but doesn't know what he's looking at.
So they take advantage of the guard's bathroom break to get Escott into the lab, where he finds a book in a safe. It's apparently about alchemy. A con-man has convinced Paco he can turn mercury into gold using some kind of radium. (The radium is phony too of course.) Escott is amused. Jack thinks that Paco's wise to it, and maybe pulling the strings of the con-man instead. Escott concludes that Paco's probably using this scheme to bilk his guests.
Escott and Jack decide that it might be fun to sabotage the lab. Escott has an idea but wants Shoe's people out first. Unfortunately their voices carry a little, catching the attention of the guard. Jack vanishes, while Escott pretends to have wandered down. (Fortunately they're only on the stairs and not in the lab). The guard sends him back up.
They rendezvous at midnight, Escott removes his disguise, and they get to work. As it turns out, Escott comes prepared. We're not told what he takes out of the trunk, but Jack seems suitably impressed. We'll have to wait until next chapter to find out what.
So this chapter was a fun night out, with a bit of drama (and a return of Jack's issues), and the start of a caper. I enjoy it, except for the obvious downside. I think as a kid, I never quite realized that Escott was wearing blackface. The description of Escott in disguise doesn't mention skin tone. But it's indirectly referenced when Jack notes that Shoe could have been washing dishes and the patrons wouldn't have noticed. And of course the bit about only black employees working for black caterers last chapter.
As far as I remember, this is the only such instance in the entire series. I hope I'm remembering right about that.
And honestly, I think Ms. Elrod is also too white to make this call. While I still enjoy the book, I can definitely say I wish she'd gone with something different.
So we start off with Jack, who has just stopped off at the Stockyards for the night, as he and Escott head over to the fancy restaurant. (Escott picked him up, which is good date etiquette.)
As they drive, Jack confesses that his restricted diet may pose a bit of a problem. Neither he nor Escott had thought of that ahead of time. Escott offers to let him skip the evening, but Jack decides to claim it's a stomach ulcer. He'd rather stick around while Escott investigates his case. Escott doesn't mind.
They discuss Benny Galligar/O'Hara (who had supposedly given Jack the list), but he's nowhere to be found. They wonder if he's skipped town.
So anyway, they get to the restaurant and it is swanky. It is so swanky that Jack actually uses the word "swank" to describe it. And I have a brief moment of existential horror as I wonder if this book isn't what inspired adolescent me to start using that word.
Anyway, they wait by the door for Shoe to arrive, and Shoe definitely knows how to make an entrance. Recall, this is a very fancy restaurant in 1936, so this takes balls. And Shoe definitely has them.
"The chauffeur was out and opening the rear door of the Nash; Burdge, the doorman, stood a little straighter and held the door to the restaurant. It was some credit to his self-control that he wilted only a little when Coldfield emerged into the light. He was postcard perfect in a custom-tailored tuxedo with a satin-lined cape and a silver-headed stick. He carried the clothes comfortably, like Fred Astaire, albeit a much larger-sized Astaire with coal black skin and a beard. He sauntered up to the doorman, who was looking a bit confused as to how to handle the situation. Coldfield gave Burdge a look that banished any inclinations of refusing him entry, and then came in."
I don't know if this scenario is remotely realistic. But I'm reminded of all those medieval writers who insist on including things like rape because it's "realistic to the time period." And I think Ms. Elrod gets what those writers don't. This is escapist fantasy and we're allowed to imagine something a little better, more triumphant than might have been likely.
I want to believe Shoe Coldfield gets this moment where he swans into the fanciest restaurant in Chicago like a king. And Ms. Elrod gives it to me.
Anyway, they get Escott's usual table, and Jack goes through his ulcer-pantomime. He spares a bitter thought about how he finally made it to a fancy restaurant like this and he can't enjoy it. And you know what? Fair. I'd hate that too.
We're told that they get their share of looks. One group leaves, indignant, and Jack notes that they would never have noticed Shoe if he had been part of the cleanup staff, but seeing him as a customer was too much for them. Apparently the other diners decided to mind their own business instead.
At some point during the meal, Escott gets a phone call and has to duck out to talk to an informant. After he leaves, Jack and Shoe engage in small talk. We're told that Escott and Shoe have known each other for about fourteen years, but haven't had much contact since Escott became a private agent. Shoe sidesteps Jack's more prying questions, and Escott never comes back.
Eventually a busboy comes out, and I'll share the description for you for reasons that will be obvious: "We waited. A lone busboy in thick glasses shuffled around cleaning the tables. His walk and movements bothered me for some reason, and when I caught a glimpse of his blank face I knew why. His was the careful heavy-heeled, loose-limbed walk of the mentally retarded. He moved from table to table, cleaning up and wiping down, then looked at us and wondered why we hadn't left yet. He was about fifty, with overlong gray hair, a thrusting box-shaped forehead, and thick gray brows that grew across the bridge of his nose. His mouth was open slightly as he stared at us and then at the waiter, undecided on what to do."
Anyway, Jack and Shoe end up going outside to look for Escott. They hear sounds from the alley, to find some young street kids accosting said busboy. Jack, Shoe, and Shoe's chauffeur scare them off. Shoe is very good at dirty street fighting, and Jack remembers to pull his punches so he doesn't kill anyone.
They check on the busboy, who is mostly nonverbal. Jack and Shoe try to help, until Shoe suddenly calls him a son of a bitch. When they get a closer look they see that part of the busboy's face seems to be coming off. Escott is underneath.
So yeah. I mean. That happened. Escott is very clever of course, but still. I wish Ms. Elrod had done something different.
Anyway, Escott, Shoe and Jack head to the Shoe Box and have a drink. Well, Jack nurses his, of course. Shoe compliments his fighting style, he'd never seen anyone that fast in his life. They toast, and Jack has to swallow it. Fortunately his vampiric nausea is mistaken for just not having a taste for alcohol.
They discuss the caper a bit more, (Jack's role will be getaway driver, according to Escott), until Escott notices Jack's distress and hustles him out, so that he can throw it up in peace.
Well. Not exactly peace. Apparently throwing up is a pretty nasty trigger, and Jack starts getting some very unpleasant flashes. Which, per Escott, looked like a seizure. Escott is nicely sympathetic, though contemplative. And this very amusing exchange happens:
He ah-hummed like a doctor and motioned for me to shut the door, then worked the gears and pointed the car in the general direction of my hotel.
'What's on your mind?' I asked.
'Just an idea… I thought a reenactment of your final moments on the boat—'
'I get it, but it's kind of hard to reenact something if you don't know how it was enacted in the first place.'
'We know you were beaten and shot.'
'You want to beat me up and shoot me?' I said cautiously.
'It is only a suggestion, mind you.'
'Let's keep it that way until I can think it over.'
This is amusing for many many reasons. Not the least being that Jack seems not completely against the idea. He asks if Escott still wants him along, which surprises Escott. But Escott's willing to risk Jack possibly having another episode, and Jack's abilities are very useful. Even if he's not going to be up and around at six, when Escott takes his position on Shoe's crew. Escott is going to leave his car at the hotel, so Jack can drive over when he wakes up.
Then we skip to tomorrow. Jack drives over, and Escott (in disguise again, sigh), lets him in. Escott gives him a rough sketch of the layout and explains that he'll be in the kitchen washing dishes. He'll keep the window open if they need to talk. He suggests Jack seek out the basement particularly.
So Jack plays spy for a while, investigating rooms and closets, until he gets to the basement. He finds a jackpot: a brightly lit laboratory, with one single guard. (Who is absorbed in the Shadow. Jack notes that he should write "Walter" and tell him about his mobster fan.).
Jack continues investigating, making his way into Paco's fairly lavish looking sanctum. There's a portrait, but Jack doesn't recognize it. Jack snoops around a bit more, then goes to find Escott, tapping on the window for his attention. Jack explains the problem with the lab: he can get in but doesn't know what he's looking at.
So they take advantage of the guard's bathroom break to get Escott into the lab, where he finds a book in a safe. It's apparently about alchemy. A con-man has convinced Paco he can turn mercury into gold using some kind of radium. (The radium is phony too of course.) Escott is amused. Jack thinks that Paco's wise to it, and maybe pulling the strings of the con-man instead. Escott concludes that Paco's probably using this scheme to bilk his guests.
Escott and Jack decide that it might be fun to sabotage the lab. Escott has an idea but wants Shoe's people out first. Unfortunately their voices carry a little, catching the attention of the guard. Jack vanishes, while Escott pretends to have wandered down. (Fortunately they're only on the stairs and not in the lab). The guard sends him back up.
They rendezvous at midnight, Escott removes his disguise, and they get to work. As it turns out, Escott comes prepared. We're not told what he takes out of the trunk, but Jack seems suitably impressed. We'll have to wait until next chapter to find out what.
So this chapter was a fun night out, with a bit of drama (and a return of Jack's issues), and the start of a caper. I enjoy it, except for the obvious downside. I think as a kid, I never quite realized that Escott was wearing blackface. The description of Escott in disguise doesn't mention skin tone. But it's indirectly referenced when Jack notes that Shoe could have been washing dishes and the patrons wouldn't have noticed. And of course the bit about only black employees working for black caterers last chapter.
As far as I remember, this is the only such instance in the entire series. I hope I'm remembering right about that.