The Starcomber by Alfred Bester

Take two parts of Beelzebub, two of Israfel, one of Monte Cristo, one of Cyrano, mix violently, season with mystery and you have Mr. Solon Aquila. He is tall, gaunt, sprightly in manner, bitter in expression, and when he laughs his dark eyes turn into wounds. His occupation is unknown. He is wealthy without visible means of support. He is seen everywhere and understood nowhere. There is something odd about his life.
    This is what’s odd about Mr. Aquila, and you can make what you will of it. When he walks he is never forced to wait on a traffic signal. When he desires to ride there is always a vacant taxi on hand. When he bustles into his hotel an elevator always happens to be waiting. When he enters a store, a salesclerk is always free to serve him. There always happens to be a table available for Mr. Aquila in restaurants. There are always last-minute ticket returns when he craves entertainment at sold-out shows.
    You can question waiters, hack drivers, elevator girls, salesmen, box-office men. There is no conspiracy. Mr. Aquila does not bribe or blackmail for these petty conveniences. In any case, it would not be possible for him to bribe or blackmail the automatic clock that governs the city traffic signal system. These things, which make life so convenient for him, simply happen. Mr. Solon Aquila is never disappointed. Presently we shall hear about his first disappointment and see what it led to.
    Mr. Aquila has been seen fraternizing in low saloons, in middle saloons, in high saloons. He has been met in bagnios, at coronations, executions, circuses, magistrate’s courts and handbook offices. He has been known to buy antique cars, historic jewels, incunabula, pornography, chemicals, porro prisms, polo ponies and full-choke shotguns.
    â€œHmimelHerrGottSeiDank! I’m crazy, man, crazy. Eclectic, by God,” he told a flabbergasted department store president. “The Weltmann type, nicht wahr? My ideal: Goethe. Tout le monde. God damn.”
    He spoke a spectacular tongue of mixed metaphors and meanings. Dozens of languages and dialects came out in machine-gun bursts. Apparently he also lied ad libitum .
    â€œSacré bleu. Jeez!” he was heard to say once. “Aquila from the Latin. Means aquiline. O tempora O mores. Speech by Cicero. My ancestor.”
    And another time: “My idol: Kipling. Took my name from him. Aquila, one of his heroes. God damn. Greatest Negro writer since Uncle Tom’s Cabin .”
    On the morning that Mr. Solon Aquila was stunned by his first disappointment, he bustled into the atelier of Lagan & Derelict, dealers in paintings, sculpture and rare objects of art. It was his intention to buy a painting. Mr. James Derelict knew Aquila as a client. Aquila had already purchased a Frederic Remington and a Winslow Homer some time ago when, by another odd coincidence, he had bounced into the Madison Avenue shop one minute after the coveted paintings went up for sale. Mr. Derelict had also seen Mr. Aquila boat a prize striper at Montauk.
    â€œBon soir, bel esprit, God damn, Jimmy,” Mr. Aquila said. He was on first name terms with everyone. “Here’s a cool day for color, oui! Cool. Slang. I have in me to buy a picture.”
    â€œGood morning, Mr. Aquila,” Derelict answered. He had the seamed face of a cardsharp, but his blue eyes were honest and his smile was disarming. However at this moment his smile seemed strained, as though the volatile appearance of Aquila had unnerved him.
    â€œI’m in the mood for your man, by Jeez,” Aquila said, rapidly opening cases, fingering ivories and tasting the porcelains. “What’s his name, my old? Artist like Bosch. Like Heinrich Kley. You handle him, parbleu, exclusive. O si sic omnia, by Zeus!”
    â€œJeffrey Halsyon?” Derelict asked timidly.
    â€œOeil de boeuf!” Aquila cried. “What a memory. Chryselephantine. Exactly the artist I want. He is my favorite. A monochrome,