Martinique.
Eamon Bailey, standing next to him in the painting, seemed utterly at peace, joyful
even, in the presence of these men, both of whom were, at least superficially, diametrically
opposed to his values. His portrait, to the lower right of Ty’s, showed him as he
was—grey-haired, ruddy-faced, twinkly-eyed, happy and earnest. He was the public face
of the company, the personality everyone associated with the Circle. When he smiled,
which was near-constantly, his mouth smiled, his eyes smiled, his shoulders even seemed
to smile. He was wry. He was funny. He had a way of speaking that was both lyrical
and grounded, giving his audiences wonderful turns of phrase one moment and plainspoken
common sense the next. He had come from Omaha, from an exceedingly normal family of
six, and had more or less nothing remarkable in his past. He’d gone to Notre Dame
and married his girlfriend, who’d gone to Saint Mary’s down the road, and now they
had four children of their own, three girls and finally a boy, though that boy had
been born with cerebral palsy. “He’s been touched,” Bailey had put it, announcing
the birth to the company and the world. “So we’ll love him even more.”
Of the Three Wise Men, Bailey was the most likely to be seen on campus, to play Dixieland
trombone in the company talent show, most likely to appear on talk shows representing
the Circle, chuckling when talking about—when shrugging off—this or that FCC investigation,
or when unveiling a helpful new feature or game-changing technology. He preferred
to be called Uncle Eamon, and when hestrode through campus, he did so as would a beloved uncle, accessible and genuine.
“Like Bill Murray striding through Pebble Beach,” was how Stenton once described him.
“Loved by all, and I think he really loves them back.” The three of them, in life
and in this portrait, made for a strange bouquet of mismatched flowers, but there
was no doubt that it worked. Everyone knew it worked, the three-headed model of management,
and the dynamic was thereafter emulated elsewhere in the Fortune 500, with mixed results.
“But so why,” Mae asked, “couldn’t they afford a real portrait by someone who knows
what they’re doing?”
The more she looked at it, the stranger it became. The artist had arranged it such
that each of the Wise Men had placed a hand on another’s shoulder. It made no sense
and defied the way arms could bend or stretch.
“Bailey thinks it’s hilarious,” Annie said. “He wanted it in the main hallway, but
Stenton vetoed him. You know Bailey’s a collector and all that, right? He’s got incredible
taste. I mean, he comes across as the good-time guy, as the everyman from Omaha, but
he’s a connoisseur, too, and is pretty obsessed with preserving the past—even the
bad art of the past. Wait till you see his library.”
They arrived at an enormous door, which seemed and likely was medieval, something
that would have kept barbarians at bay. A pair of giant gargoyle knockers protruded
at chest level, and Mae went for the easy gag.
“Nice knockers.”
Annie snorted, waved her hand over a blue pad on the wall, and the door opened.
Annie turned to her. “Holy fuck, right?”
It was a three-story library, three levels built around an open atrium, everything
fashioned in wood and copper and silver, a symphony of muted color. There were easily
ten thousand books, most of them bound in leather, arranged tidily on shelves gleaming
with lacquer. Between the books stood stern busts of notable humans, Greeks and Romans,
Jefferson and Joan of Arc and MLK. A model of the
Spruce Goose
—or was it the
Enola Gay?
—hung from the ceiling. There were a dozen or so antique globes lit from within, the
light buttery and soft, warming various lost nations.
“He bought so much of this stuff when it was about to be auctioned off, or lost. That’s
his crusade, you