the last book I ever read (Michael Chabon's The Amazing Adventures of Kavalier & Clay: A Novel, excerpt four)

from The Amazing Adventures of Kavalier & Clay: A Novel by Michael Chabon:

The free and careless use of obscenity, like the cigars, the lyrical rage, the fondness for explosive gestures, the bad grammar, and the habit of referring to himself in the third person were wonderful to Sammy; until that summer of 1935, he had possessed few memories or distinct impressions of his father. And any of the above qualities (among several others his father possessed) would, Sammy thought, have given his mother reason enough to banish the Molecule from their home for a dozen years. It was only with the greatest reluctance and the direct intervention of Rabbi Baitz that she had agreed to let the man back in the house. And yet Sammy understood, from the moment of his father’s reappearance, that only dire necessity could ever have induced the Genius of Physical Culture to return to his wife and child. For the last dozen years he had wandered, “free as a goddamn bird in the bush,” among the mysterious northern towns of the Wertz circuit, from Augusta, Maine, to Vancouver, British Columbia. An almost pathological antsiness, combined with the air of wistful longing that filled the Molecule’s simian face, petite and intelligent, when he spoke of his time on the road, made it clear to his son that as soon as the opportunity presented itself, he would be on his way again.

the last book I ever read (Michael Chabon's The Amazing Adventures of Kavalier & Clay: A Novel, excerpt three)

from The Amazing Adventures of Kavalier & Clay: A Novel by Michael Chabon:

In 1939 the American comic book, like the beavers and cockroaches of prehistory, was larger and, in its cumbersome way, more splendid than its modern descendant. It aspired to the dimensions of a slick magazine and to the thickness of a pulp, offering sixty-four pages of gaudy bulk (including the cover) for its ideal price of one thin dime. While the quality of its interior illustrations was generally execrable at best, its covers pretended to some of the skill and design of the slick, and to the brio of the pulp magazine. The comic book cover, in those early days, was a poster advertising a dream-movie, with a running time of two seconds, that flickered to life in the mind and unreeled in splendor just before one opened to the stapled packet of coarse paper inside and the lights came up. The covers were often hand-painted, rather than merely inked and colored, by men with solid reputations in the business, journeyman illustrators who could pull off accurate lab girls in chains and languid, detailed jungle jaguars and muscularly correct male bodies whose feet seemed really to carry their weight. Held in the hand, hefted, those early numbers of Wonder and Detective, with their chromatic crew of pirates, Hindu poisoners, and snap-brim avengers, their abundant typography at once stylish and crude, seem even today to promise adventure of a light but thoroughly nourishing variety. All too often, however, the scene depicted on the label bore no relation to the thin soup of material contained within. Inside the covers—whence today there wafts an inevitable flea-market smell of rot and nostalgia—the comic book of 1939 was, artistically and morphologically, in a far more primitive state. As with all mongrel art forms and pidgin languages, there was, in the beginning, a necessary, highly fertile period of genetic and grammatical confusion. Men who had been reading newspaper comic strips and pulp magazines for most of their lives, many of them young and inexperienced with the pencil, the ink brush, and the cruel time constraints of piecework, struggled to see beyond the strict spatial requirements of the newspaper strip, on the one hand, and the sheer overheated wordiness of the pulp on the other.

the last book I ever read (Michael Chabon's The Amazing Adventures of Kavalier & Clay: A Novel, excerpt two)

from The Amazing Adventures of Kavalier & Clay: A Novel by Michael Chabon:

In all his life, Thomas Kavalier had never been up so early. He had never seen the streets of Prague so empty, the housefronts so sunken in gloom, like a row of lanterns with the wicks snuffed. The corners he knew, the shops, the carved lions on a balustrade he passed daily on his way to school, looked strange and momentous. Light spread in a feeble vapor from the streetlamps, and the corners were flooded in shadow. He kept imagining that he would turn around and see their father chasing after them in his dressing gown and slippers. Josef walked quickly, and Thomas had to hurry to keep up with him. Cold air burned his cheeks. They stopped several times, for reasons that were never clear to Thomas, to lurk in a doorway, or shelter behind the swelling fender of a parked Skoda. They passed the open side door of a bakery, and Thomas was briefly overwhelmed by whiteness: a tiled white wall, a pale man dressed all in white, a cloud of flour roiling over a shining white mountain of dough. To Thomas’s astonishment, there were all manner of people about at this hour, tradesmen, cabdrivers, two drunken men singing, even a woman crossing the Charles Bridge in a long black coat, smoking and muttering to herself. And policemen. They were obliged to sneak past two en route to Kampa. Thomas was a contentedly law-abiding child, with fond feelings toward policemen. He was also afraid of them. His notion of prisons and jails had been keenly influenced by reading Dumas, and he had not the slightest doubt that little boys would, without compunction, be interred in them.

He began to be sorry to have come along. He wished he had never come up with the idea of having Josef prove his mettle to the members of the Hofzinser Club. It was not that he doubted his brother’s ability. This never would have occurred to him. He was just afraid: of the night, the shadows, and the darkness, of policemen, his father’s temper, spiders, robbers, drunks, ladies in overcoats, and especially, this morning, of the river, darker than anything else in Prague.

the last book I ever read (Michael Chabon's The Amazing Adventures of Kavalier & Clay: A Novel, excerpt one)

from The Amazing Adventures of Kavalier & Clay: A Novel by Michael Chabon:

Thomas Masaryk Kavalier was an animated gnome of a boy with a thick black thatch of hair. When he was a very young boy, the musical chromosome of his mother’s family had made itself plain in him. At three, he regaled dinner guests with long, stormy arias, sung in a complicated gibberish Italian. During a family holiday at Lugano, when he was eight, he was discovered to have picked up enough actual Italian from his perusal of favorite libretti to be able to converse with hotel waiters. Constantly called upon to perform in his brother’s productions, pose for his sketches, and vouch for his lies, he had developed a theatrical flair. In a ruled notebook, he had recently written the first lines of the libretto for an opera, Houdini, set in fabulous Chicago. He was hampered in this project by the fact that he had never seen an escape artist perform. In his imagination, Houdini’s deeds were far grander than anything even the former Mr. Erich Weiss himself could have conceived: leaps in suits of armor from flaming airplanes over Africa, and escapes from hollow balls launched into sharks’ dens by undersea cannons. The sudden entrance of Josef, at breakfast that morning, into territory once actually occupied by the great Houdini, marked a great day in Thomas’s childhood.

After their parents had left—the mother for her office on Narodny; the father to catch a train for Brno, where he had been called in to consult on the mayor’s giantess daughter—Thomas would not leave Josef alone about Houdini and his cheeks.