Quin?s Shanghai Circus

“A profoundly nutty book full of mysteries, truths, untruths, idiot savants, necrophiliacs, magicians, dwarfs, circus masters, secret agents … A marvellous recasting of history in our century.” —
The New York Times Book Review

“Whittemore's colorful characters … wrestle fitfully with meaninglessness, time, and the grim realities of war… . As in Gabriel Garcia Marquez's
One Hundred Years of Solitude,
characters return in name and shape through their progeny, while people, events, and certain phrases are regularly reintroduced, giving you the feeling that you are wandering through a labyrinth of memory.” —
The Voice Literary Supplement

“The four books which make up the Jerusalem Quartet are among the richest and most profound in imaginative literature… . A superlative body of work.” —Jeff VanderMeer

“An epic hashish dream … cosmic … fabulous … droll and moving.” —
The New York Times Book Review
on
Sinai Tapestry

“An author of extraordinary talents, albeit one who eludes comparison with other writers… . The milieu is one which readers of espionage novels may think themselves familiar, and yet it's totally transformed—by the writer's wild humour, his mystical bent, and his bicameral perception of history and time.” —
Harper's
on
Jerusalem Poker

“The final book in what is one of the most wonderful achievements in 20
^th
-century literature… . Without illusion, but with supreme intelligence and a generous heart, Whittemore shows us just how painful, beautiful, and surprising … life's reversals can be, and how our struggles with ourselves and others can ultimately seem to change time itself.” —
The Philadelphia Inquirer
on
Jericho Mosaic

for Brigid

Foreword

Introduction

Epigraph

The Impostor: 1

Big Gobi: 2

Father Lameraux: 3

Mama: 4

Kikuchi-Lotmann: 5

The Policeman: 6

Himself, Herself: 7

Nichiren: 8

An Editorial Relationship

A Biography of Edward Whittemore

Photo by Carol Martin

“
S
OME TWENTY YEARS AFTER
the end of the war with Japan a freighter arrived in Brooklyn with the largest collection of Japanese pornography ever assembled in a Western tongue. The owner of the collection, a huge, smiling fat man named Geraty, presented a passport to customs officials that showed that he was a native-born American about as old as the century, an exile who had left the United States four decades before
.” Thus begins
Quin's Shanghai Circus
; it ends with the largest funeral procession held in Asia since the thirteenth century.

The year was 1974, the author of
Quin's Shanghai Circus
, Edward Whittemore, a forty-one-year-old former American intelligence agent; he and I had been undergraduates at Yale back in the 1950s, but then we had gone our separate ways, he to the Marines and then the CIA and I to a career in book publishing in New York City. Needless to say, I was pleased that my old Yale friend had brought his novel to me and the publishing house of Holt, Rinehart and Winston where I was editor-in-chief of the Trade Department. I was even more delighted when the reviews, mostly favorable, started coming in, capped by Jerome Charyn in
The New York Times Book Review
: “
Quin
was a profoundly nutty book full of mysteries, truths, untruths, idiot savants, necrophiliacs, magicians, dwarfs, circus masters, secret agents… a marvelous recasting of history in our century.”

In the next fifteen years Whittemore went on to write four more wildly imaginative novels, his Jerusalem Quartet:
Sinai Tapestry
,
Jerusalem Poker
,
Nile Shadows
, and
Jericho Mosaic
. Reviewers and critics compared his work to the novels of Carlos Fuentes, Thomas Pynchon, and Kurt Vonnegut.
Publishers Weekly
called him “our best unknown novelist.” Jim Hougan, writing in
Harper's Magazine
, said Whittemore was “one of the last, best arguments against television… He is an author of extraordinary talents… The milieu is one in which readers of espionage novels may think themselves familiar, and yet it is totally transformed by the writer's wild humor, his mystical bent, and his bicameral perception of time and history.”

Edward Whittemore died from prostate cancer in the summer of 1995 at the age of sixty-two, not much better known than when he began his short, astonishing writing career in the early 1970s. His novels never sold more than 5000 copies in hard covers, three were briefly available in mass market paperback editions. But the Quartet was published in Great Britain, Holland, Spain, Italy, Greece, Scandinavia, Russia, Poland, and Germany where Whittemore was described on its jacket as the “master American storyteller.” The jacket on the Polish edition of
Quin's Shanghai Circus
was a marvelous example of Japanese erotica.

Whittemore graduated from Deering High School, Portland, Maine in June 1951 and entered Yale that fall, a member of the Class of 1955. Another Yale classmate, the novelist Ric Frede, labeled Yale undergraduates of the 1950s “members of the Silent Generation.” The Fifties were also the “Eisenhower Years,” that comfortable period between the Second World War and the radicalism and the campus unrest of the 1960s. Ivy League universities were still dominated by the graduates of New England prep schools. Sons of the East Coast “establishment,” they were closer to the Princeton of F. Scott Fitzgerald and the Harvard of John P. Marquand than the worlds of Jack Kerouac and Allen Ginsberg. They were “gentlemen” and athletes but not necessarily scholars. Often after receiving “gentlemanly C's” at Yale and the other Ivys, they went on to careers on Wall Street or in Washington; to the practice of law, medicine, or journalism. They entertained their families and friends on the playing fields of Yale as well as at Mory's. They ran
The Yale Daily News
, WYBC (the campus radio station),
The Yale Record
(the humor magazine),
The Yale Banner
(the year book), and sang in various Yale music groups. They were usually members of a fraternity and were “tapped” by one of the six secret Senior Societies.

By the Yale standards of the day, Whittemore was a great success, a “high school boy” who made it. Affable, good-looking and trim, he presented a quizzical smile to the world. He casually wore the uniform that was “in”: herringbone tweed jacket, preferably with patches at the elbow, rep tie, chinos and scruffy white buck shoes. In a word, he was “shoe” (short for “white shoe,” a term of social approval). He was not much of an athlete, but he was a member of Zeta Psi, a fraternity of hard-drinking, socially well-connected undergraduates. At the end of Junior year he was tapped for Scroll and Key.

But his real distinction was that he was the Managing Editor of the 1955
Yale News
Board at a time when
News
chairmen and managing editors were as popular as football team captains and the leading scholars of the class. During the immediate postwar years and the 1950s the
Yale News
produced such prominent writer-journalists as William F. Buckley, James Claude Thomson, Richard Valeriani, David McCullough, Roger Stone, M. Stanton Evans, Henry S.F. Cooper, Calvin Trillin, Gerald Jonas, Harold Gulliver, Scott Sullivan, and Robert Semple. They would make their mark at
The New York Times
,
The New Yorker
,
Time
,
Newsweek
,
The National Review
,
Harper's
, and the television networks, and go on to write many books.

I met Ted early in the spring of Freshman year. We were both “heeling” the first
News
“comp,” and as was usually the case with survivors of that fierce “competition” to make the
News
, we remained friends throughout our years at Yale. It was assumed by many of us on the
News
that Ted would head for Wall Street and Brown Brothers Harriman, a blue-chip investment firm where Old Blues from Scroll and Key were more than welcome and where Ted's older brother later was a partner. Or at the very least, he would get on the journalistic fast-track somewhere in the
Time-Life
empire founded by an earlier
News
worthy, Henry Luce.

But we were wrong. Whittemore, after a tour of duty as an officer in the Marines in Japan, was approached there by the CIA and spent the Kennedy years working for the Agency in Europe. During those years Whittemore would periodically return to New York City. “What are you up to?” one would ask. “Oh, this and that.” For a while he was running a socialist newspaper in Rome. After he left the Agency there was a stint with the Addiction Services Agency in New York City. Later, there were rumors that he had a drinking “problem” and that he was taking drugs. He married and divorced twice. He and his first wife had two daughters. And then there were the women he lived with after the second divorce. There were many; they all seemed to be talented—painters, photographers, writers, sculptors, and dancers. There were more rumors. He was living on Crete, he had no job, no money, he was writing. Then silence. Clearly, the “fair-haired” undergraduate had not gone on to fame and glory.

It was not until 1972 or 1973 that Ted surfaced in my life. He was back in New York on a visit. On the surface he appeared to be the old Ted. He was a little rumpled, but the wit, the humor, the boyish charm were still there. Yet he seemed more thoughtful, more reflective, and there was Carol, a woman with whom Ted had become involved while in Crete and with whom he seemed to be living. He was more secretive now. And he had the manuscript of a novel he wanted me to read. I thought the novel was wonderful, full of fabulous and exotic characters, brimming with life, history, and the mysteries of the Orient. The novel that came to be called
Quin's Shanghai Circus
went through three more drafts before we published it in 1974. Set in Japan and China before and during the Second World War, two drafts even began in the South Bronx in the 1920s and involved three young Irish brothers named Quin. By the time the novel came out only one Quin remained and the Bronx interlude had shrunk from eighty pages to a couple of paragraphs.

As mentioned,
Quin
was a bigger success with the critics than it was in the bookstores. Readers loved the novel, even though there were not nearly enough of them. But Whittemore was not deterred. Less than two years later he appeared in my office with an even more ambitious novel,
Sinai Tapestry
, the first volume of his Jerusalem Quartet. Set in the heyday of the British Empire, it takes place in Palestine during the middle of the nineteenth century. Foremost among the larger-than-life characters were a tall English aristocrat, the greatest swordsman, botanist, and explorer of Victorian England; a fanatical trappist monk who found the original Sinai Bible, which “denies every religious truth ever held by anyone;” and an Irish radical who had fled to Palestine disguised as a nun. My favorite was (and still is) Haj Harun, born three thousand years earlier, an ethereal wanderer through history: now an antiquities dealer dressed in a faded yellow cloak and sporting a Crusaders' rusty helmet while pursuing his mission as defender of the Holy City. He had several previous incarnations: as a stone carver of winged lions during the Assyrian occupation, proprietor of an all-night grocery store under the Greeks, a waiter when the Romans were in power, and a distributor of hashish and goats for the Turks. Before I first went to Israel in 1977, Whittemore, who was then living in New York, gave me the names of several people in Jerusalem. One was named Mohammed, the owner of an antiquities gallery. When I finally tracked him down in the Old City I saw before me a fey character who, if he had been wearing a faded yellow cloak and a rusty helmet, would have been a dead ringer for Haj Harun.