The Left Hand of God

30

The Opera Rosso is a magnificent semicircle of a theater with a view of the Bay of Memphis to astonish even the most widely traveled. It rises so steeply from the arena itself that overexcited members of the audience have been known to fall to their deaths from the upper tiers. But the purpose of Il Rapido, as this vertiginous rise is called, is to enable the crowd of thirty thousand to gather around the field it encloses and yet feel as if they can touch the action even from the topmost seats.

Duels were of two kinds: duels simplex and duels complex. In the first, just the drawing of blood could lead to the fight ending; in the second, one of the combatants had to die. The Marshal’s opposition to duels complex was driven not so much by compassion, though in old age he found no pleasure in such murderous spectacles, as by the enormous trouble they created. The feuds, squabbles and revenge murders that a deadly quarrel stirred up caused so much general grief that the Marshal had taken to bringing every power he had, formal and informal, to making sure they did not take place. Fights to the death were something that could only cause trouble in general and encourage disrespect for the ruling classes in particular. These days the Red Opera was where Memphis came only to see bullfighting and bearbaiting (though this was becoming unfashionable). Professional boxing matches and executions were also staged there. The opportunity, therefore, to see their betters-and no one knew any different about Cale-murdering each other in public was not to be missed. Who knew when the chance would come again?

From early in the morning of the fight, the huge plaza in front of the Opera Rosso was already packed. The queues for the ten entrances were already thousands deep, and those who soon realized they would not get in milled around in the markets and stalls that appeared on these big occasions like a tented city. There were peelers and riot gendarmes everywhere, watching for thieves and trouble, knowing that disappointment could turn into an ugly fight. All the spivs and gangs of the city were there-the Suedeheads with their gold and red waistcoats and silver-colored boots, the hooligans in their white braces and black top hats, the rockers in their bowlers, monocles and thin mustaches. The girls were out in force too, the Lollards with their long coats and thigh-high boots and shaved heads, the Tickets with their shaped red lips like a cupid’s bow, their tight red bodices and long stockings black as night. There was the calling and shouting and booing and laughing-bursts of music, fanfares as the young Materazzi turned up to be gawped at and envied. And of every penny earned, half ended up with Kitty the Hare.

At executions the hoi polloi used to throw dead cats at the condemned. While this was considered entirely fitting for criminals and traitors, such behavior was strictly forbidden on an occasion like this-disrespect involving one of the Materazzi was on no account to be allowed. However, such bans did not prevent the locals trying, and as the morning wore on, large piles of dead cats, along with weasels, dogs, stoats and the occasional aardvark, grew outside the ten entrances.

At twelve a blast of fanfares for the arrival of Solomon Solomon. Ten minutes later Cale, along with Vague Henri and Kleist, made his way unrecognized through the crowd, only causing attention as the peelers overseeing the queues halted the moving lines and watched with morbid curiosity as the boys passed into the Opera Rosso.