WINNER OF THE PULITZER PRIZE
The beloved, award-winning The Amazing Adventures of Kavalier & Clay, a Michael Chabon masterwork, is the American epic of two boy geniuses named Joe Kavalier and Sammy Clay. Now with special bonus material by Michael Chabon.
A "towering, swash-buckling thrill of a book" (Newsweek), hailed as Chabon's "magnum opus" (The New York Review of Books), The Amazing Adventures of Kavalier & Clay is a triumph of originality, imagination, and storytelling, an exuberant, irresistible novel that begins in New York City in 1939. A young escape artist and budding magician named Joe Kavalier arrives on the doorstep of his cousin, Sammy Clay. While the long shadow of Hitler falls across Europe, America is happily in thrall to the Golden Age of comic books, and in a distant corner of Brooklyn, Sammy is looking for a way to cash in on the craze. He finds the ideal partner in the aloof, artistically gifted Joe, and together they embark on an adventure that takes them deep into the heart of Manhattan, and the heart of old-fashioned American ambition. From the shared fears, dreams, and desires of two teenage boys, they spin comic book tales of the heroic, fascist-fighting Escapist and the beautiful, mysterious Luna Moth, otherworldly mistress of the night. Climbing from the streets of Brooklyn to the top of the Empire State Building, Joe and Sammy carve out lives, and careers, as vivid as cyan and magenta ink. Spanning continents and eras, this superb book by one of America's finest writers remains one of the defining novels of our modern American age.
A part of the 50 Reader Store Essentials list.
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Random House Trade Paperbacks
June 12, 2012
Number of Print Pages*
Adobe DRM EPUB
* Number of eBook pages may differ. Click here for more information.
Excerpt from The Amazing Adventures of Kavalier & Clay (with bonus content) by Michael Chabon
Part One--The Escape Artist
In later years, holding forth to an interviewer or to an audience of aging fans at a comic book convention, Sam Clay liked to declare, apropos of his and Joe Kavalier's greatest creation, that back when he was a boy, sealed and hog-tied inside the airtight vessel known as Brooklyn, New York, he had been haunted by dreams of Harry Houdini. "To me, Clark Kent in a phone booth and Houdini in a packing crate, they were one and the same thing," he would learnedly expound at WonderCon or Angouleme or to the editor of Comics Journal. "You weren't the same person when you came out as when you went in. Houdini's first magic act, you know, back when he was just getting started. It was called 'Metamorphosis: It was never just a question of escape. It was also a question of transformation." The truth was that, as a kid, Sammy had only a casual interest, at best, in Harry Houdini and his legendary feats; his great heroes were Nikola Tesla, Louis Pasteur, and Jack London. Yet his account of his role-of the role of his own imagination-in the Escapist's birth, like all of his best fabulations, rang true. His dreams had always been Houdiniesque: they were the dreams of a pupa struggling in its blind cocoon, mad for a taste of light and air.
Houdini was a hero to little men, city boys, and Jews; Samuel Louis Klayman was all three. He was seventeen when the adventures began: bigmouthed, perhaps not quite as quick on his feet as he liked to imagine, and tending to be, like many optimists, a little excitable. he was not, in any conventional way, handsome. His face was an inverted triangle, brow large, chin pointed, with pouting lips and a blunt, quarrelsome nose. He slouched, and wore clothes badly: he always looked as though he had just been jumped for his lunch money. He went forward each morning with the hairless cheek of innocence itself, but by noon a clean shave was no more than a memory, a hoboish penumbra on the jaw not quite sufficient to make him look tough. He thought of himself as ugly, but this was because he had never seen his face in repose. He had delivered the Eagle for most of 1931 in order to afford a set of dumbbells, which he had hefted every morning for the next eight years until his arms, chest, and shoulders were ropy and strong; polio had left him with the legs of a delicate boy. He stood, in his socks, five feet five inches tall. Like all of his friends, he considered it a compliment when somebody called him a wiseass. He possessed an incorrect but fervent understanding of the workings of television, atom power, and antigravity, and harbored the ambition-one of a thousand-of ending his days on the warm sunny beaches of the Great Polar Ocean of Venus. An omnivorous reader with a self-improving streak, cozy with Stevenson, London, and Wells, dutiful about Wolfe, Dreiser, and Dos Passos, idolatrous of S. J. Perelman, his self-improvement regime masked the usual guilty appetite. In his case the covert passion-one of them, at any rate-was for those two-bit argosies of blood and wonder, the pulps. He had tracked down and read every biweekly issue of The Shadow going back to 1933, and he was well on his way to amassing complete runs of The Avenger and Doc Savage.
The long run of Kavalier & Clay-and the true history of the Escapists birth-began in 1939, toward the end of October, on the night that Sammy's mother burst into his bedroom, applied the ring and iron knuckles of her left hand to the side of his cranium, and told him to move over and make room in the bed for his cousin from Prague. Sammy sat up, heart pounding in the hinges of his jaw. In the livid light of the fluorescent tube over the kitchen sink, he made out a slender young man of about his own age, slumped like a question mark against the doorframe, a disheveled pile of newspapers pinned under one arm, the other thrown as if in shame across his face. This, Mrs. Klayman said, giving Sammy a helpful shove toward the wall, was Josef Kavalier, her brother Emil's son, who had arrived in Brooklyn tonight on a Greyhound bus, all the way from San Francisco.
"What's the matter with him?" Sammy said. He slid over until his shoulders touched cold plaster. He was careful to take both of the pillows with him. "Is he sick?"
"What do you think?" said his mother, slapping now at the vacated expanse of bedsheet, as if to scatter any offending particles of himself that Sammy might have left behind. She had just come home from her last night on a two-week graveyard rotation at Bellevue, where she worked as a psychiatric nurse. The stale breath of the hospital was on her, but the open throat of her uniform gave off a faint whiff of the lavender water in which she bathed her tiny frame. The natural fragrance of her body was a spicy, angry smell like fresh pencil shavings. "He can barely stand on his own two feet"
Sammy peered over his mother, trying to get a better look at poor Josef Kavalier in his baggy wool suit. He had known, dimly, that he had Czech cousins. But his mother had not said a word about any of them coming to visit, let alone to share Sammy's bed. He wasn't sure just how San Francisco fitted in to the story.
"There you are," his mother said, standing up straight again, apparently satisfied at having driven Sammy onto the easternmost rive inches of the mattress. She turned to Josef Kavalier. "Come here. I want to tell you something." She grabbed hold of his ears as if taking a jug by the handles, and crushed each of his cheeks in turn with her lips. "You made it. All right? You're here."
"All right," said her nephew. He did not sound unconvinced.
She handed him a washcloth and went out. As soon as she left, Sammy reclaimed a few precious inches of mattress while his cousin stood there, rubbing at his mauled cheeks. After a moment, Mrs. Klayman switched off the light in the kitchen, and they were left in darkness. Sammy heard his cousin take a deep breath and slowly let it out The stack of newsprint rattled and then hit the floor with a heavy thud of defeat. His jacket buttons clicked against the back of a chair; his trousers rustled as he stepped out of them; he let fall one shoe, then the other. His wristwatch chimed against the water glass on the nightstand. Then he and a gust of chilly air got in under the covers, bearing with them an odor of cigarette, armpit, damp wool, and something sweet and somehow nostalgic that Sammy presently identified as the smell, on his cousin's breath, of prunes from the leftover ingot of his mother's "special" meatloaf-prunes were only a small part of what made it so very special-which he had seen her wrap like a parcel in a sheet of wax paper and set on a plate in the Frigidaire. So she had known that her nephew would be arriving tonight, had even been expecting him for supper, and had said nothing about it to Sammy.
Josef Kavalier settled back against the mattress, cleared his throat once, tucked his arms under his head, and then, as if he had been unplugged, stopped moving. He neither tossed nor fidgeted nor even so much as flexed a toe. The Big Ben on the nightstand ticked loudly. Josef's breathing thickened and slowed. Sammy was just wondering if anyone could possibly fall asleep with such abandon when his cousin spoke.
"As soon as I can fetch some money, I will find a lodging, and leave the bed," he said. His accent was vaguely German, furrowed with an odd Scots pleat.
"That would be nice," Sammy said. "You speak good English."
"Where'd you learn it?"
"I prefer not to say."
"It's a secret?"
"It is a personal matter."
"Can you tell me what you were doing in California?" said Sammy. "Or is that confidential information too?"
"I was crossing over from Japan!'
"Japan!" Sammy was sick with envy. He had never gone farther on his soda-straw legs than Buffalo, never undertaken any crossing more treacherous than the flatulent poison-green ribbon that separated Brooklyn from Manhattan Island. In that narrow bed, in that bedroom hardly wider than the bed itself, at the back of an apartment in a solidly lower-middle-class building on Ocean Avenue, with his grandmother's snoring shaking the walls like a passing trolley, Sammy dreamed the usual Brooklyn dreams of flight and transformation and escape. He dreamed with fierce contrivance, transmuting himself into a major American novelist, or a famous smart person, like Clifton Fadiman, or perhaps into a heroic doctor; or developing, through practice and sheer force of will, the mental powers that would give him a preternatural control over the hearts and minds of men. In his desk drawer lay-and had lain for some time-the first eleven pages of a massive autobiographical novel to be entitled either (in the Perelmanian mode)Through Abe Glass, Darkly or (in the Dreiserian) American Disillusionment (a subject of which he was still by and large ignorant). He had devoted an embarrassing number of hours of mute concentration-brow furrowed, breath held-to the development of his brain's latent powers of telepathy and mind control. And he had thrilled to that Iliad of medical heroics, The Microbe Hunters, ten times at least. But like most natives of Brooklyn, Sammy considered himself a realist, and in general his escape plans centered around the attainment of fabulous sums of money.
From the age of six, he had sold seeds, candy bars, houseplants, cleaning fluids, metal polish, magazine subscriptions, unbreakable combs, and shoelaces door-to-door. In a Zharkov's laboratory on the kitchen table, he had invented almost functional button-reattachers, tandem bottle openers, and heatless clothes irons. In more recent years, Sammy's commercial attention had been arrested by the field of professional illustration. The great commercial illustrators and cartoonists Rockwell, Leyendecker, Raymond, Caniff-were at their zenith, and there was a general impression abroad that, at the drawing board, a man could not only make a good living but alter the very texture and tone of the national mood. In Sammy's closet were stacked dozens of pads of coarse newsprint, filled with horses, Indians, football heroes, sentient apes, Fokkers, nymphs, moon rockets, buckaroos, Saracens, tropic jungles, grizzlies, studies of the folds in women's clothing, the dents in men's hats, the lights in human irises, clouds in the western sky. His grasp of perspective was tenuous, his knowledge of human anatomy dubious, his line often sketchy-but he was an enterprising thief. He clipped favorite pages and panels out of newspapers and comic books and pasted them into a fat notebook: a thousand different exemplary poses and styles. He had made extensive use of his bible of clippings in concocting a counterfeit Terry and the Pirates strip called South China Sea, drawn in faithful imitation of the great Caniff. He had knocked off Raymond in something he called Pimpernel of the Planets, and Chester Gould in a lockjawed G-man strip called Knuckle Duster Doyle. He had tried swiping from Hogarth and Lee Falk, from George Herriman, Harold Gray, and Elzie Segar. He kept his sample strips in a fat cardboard portfolio under his bed, waiting for an opportunity, for his main chance, to present itself.