Ed McCarthy and Robert Childan

Ed McCarthy, the shop foreman at W-M Corporation, and Robert Childan, the owner of American Artistic Handcrafts Inc., occupy opposite ends of the Pacific States of America's art market. McCarthy is a craftsman who, after being fired from W-M Corporation, partners with Frank Frink to create Edfrank Custom Jewelry, producing original, handwrought pieces. Childan is a dealer in historic American artifacts, catering to Japanese collectors who prize objects with "historicity." Their paths cross when McCarthy, as the Edfrank salesman, visits Childan's store to offer the new jewelry, initiating a relationship that will test both men's values and reshape Childan's business philosophy.

The Consignment Deal

McCarthy's first visit to American Artistic Handcrafts Inc. is marked by awkwardness and desperation. He arrives with a wicker hamper of jewelry, but Childan initially dismisses him, saying "No thanks. Not in my line." However, Childan, ever the shrewd businessman, sees an opportunity to exploit the inexperienced salesman. He offers to take the jewelry on consignment, a deal that requires no upfront payment and shifts all risk onto the maker. McCarthy, hoping for a sale, agrees, leaving his best pieces with Childan. The terms are stark: Childan takes two-thirds of the proceeds when items sell, and the store assumes no liability for theft or damage. McCarthy leaves feeling defeated, having spent over an hour setting up his display only to be outmaneuvered.

Childan's Transformation

Initially, Childan views the Edfrank jewelry as a mere gamble, a way to diversify his stock without investment. He marks up the prices and considers the pieces "small sculptures" and "exclusive creations." But his attitude shifts dramatically after a conversation with Paul Kasoura, a Japanese businessman who recognizes the jewelry's unique quality. Paul describes the pieces as possessing "wu," a Chinese concept of spiritual balance and authenticity that transcends mere historicity. He tells Childan, "This object has made its peace with the universe," and urges him to take moral responsibility for the jewelry's success. Childan, initially bewildered, begins to see the pieces as symbols of a new American creativity, a departure from the fake antiques that have come to dominate his trade. He tells Mr. Tagomi, "These are the new life of my country, sir. The beginning in the form of tiny imperishable seeds. Of beauty."

The Impasse and Its Resolution

Despite his growing appreciation, Childan's relationship with McCarthy remains transactional and fraught. When McCarthy returns to the store later, he finds that Childan has not sold any of the consigned pieces. The two men have a tense exchange, with McCarthy accusing Childan of not trying. Childan, however, is now convinced of the jewelry's worth and refuses to compromise its integrity by mass-producing it as good-luck charms, a proposal from an importer that Paul Kasoura had relayed. Childan's rejection of this lucrative offer marks a turning point: he chooses authenticity over profit, aligning himself with the artisans' vision. This decision, though it strains his relationship with McCarthy, ultimately elevates Childan in his own eyes and in the eyes of others, as he becomes a champion of contemporary American art.

Thematic Significance

The relationship between McCarthy and Childan embodies the novel's central tension between historicity and authenticity. Childan's initial reliance on "historicity"—the aura of age and provenance that makes an object valuable—is challenged by the Edfrank jewelry, which has no history but possesses an intrinsic, almost spiritual quality. Through his dealings with McCarthy, Childan learns to value the present and the creative act over the past and the mere accumulation of objects. Their relationship also highlights the economic realities of the PSA, where Japanese collectors dominate the market and white Americans like Childan and McCarthy must navigate a complex hierarchy of place and power. Ultimately, their connection suggests that even in a world shaped by conquest and commodification, there is room for genuine human creativity and moral choice.