The offices of Art of the World occupied the two upper stories of a three-storied eighteenth-century mansion with a once magnificent turquoise façade, which had since become faded, and a cornucopia of frivolous curlicues over the windows, whose precise shape was obscured by years of relentless pigeon deposits. The first floor consisted predominantly of a maze of mysterious corridors and blank doors, which terminated, in somewhat disappointing fashion (as Sukhanov had chanced to discover upon getting lost once or twice in his first year as editor), in a glass partition with the laconic sign “Accounting” over it and a sour-looking woman knitting a sweater behind it. There was also a pet store in a corner of the building, a dark, cramped, sad little place, with somnolent guinea pigs and torpid white-eyed fish languishing in thick-walled aquariums beneath dusty plants; its proximity inevitably caused all sorts of useless, repulsive creatures to gravitate to the cubicles of the more tenderhearted of Sukhanov’s secretaries and junior editors. Anatoly Pavlovich harbored a great dislike for all things scaly, crawling, and gill-breathing, and he navigated the long corridors of his private kingdom at a rather brisk pace, preferring not to look too closely at the surrounding desks for fear of meeting the stony stare of some new clammy monstrosity trapped in a mayonnaise jar or a vase too ugly for flowers.
The dinner hour was approaching, and the girls on the second floor surreptitiously powdered their noses, ready to disperse among the neighborhood cafeterias. Their conversations, swerving in shallow eddies from wall to wall, rolled back like an ebbing tide at Sukhanov’s passage but left single phrases behind, to be picked up by his incurious hearing. “A pair of Italian leather boots, just around the corner!” he heard someone say excitedly. As he ascended the stairs, the chatter faded behind him.
The third floor, a yellow corridor with a stained carpet and two rows of doors whose nameplates read like the magazine’s masthead, was quiet and, it struck him after a moment, oddly deserted. The doors were ajar, the offices of his senior staff empty. Quickening his steps, he walked to the far end, toward a recess presided over by Liubov Markovna, his personal secretary, a marvelously efficient woman of indeterminate years with a penchant for painfully pointy pencils. She was at her desk, whispering into the telephone. Seeing him, she abruptly let go of the receiver and, stretching out her arms as if trying to catch something hurtling toward her, began to prattle in an unbecoming manner, “Anatoly Palych, Anatoly Palych, wait a second!”—but the momentum had already carried him across the threshold.
There he stopped and looked about in puzzlement.
The managing editor, Ovseev, a tall, thin, balding man resembling a praying mantis, was sitting in his, Sukhanov‘s, leather chair, reading some items from a pad with a surprising air of authority, while the diminutive, wide-eyed, skittish Anastasia Lisitskaya, Ovseev’s secretary and rumored mistress, tottered on nine-inch heels by his side, taking notes. Pugovichkin, the assistant editor in chief, his shape as small, rotund, and faintly comical as his name, was there too, consulting with the department heads; a few others meandered about the room. In itself, this gathering was not necessarily remarkable, since editorial meetings always took place in Sukhanov’s office—but no meeting was scheduled for another three weeks, and no meeting had ever taken place without his presence.
“What is the meaning of this?” Sukhanov said in a measured voice.
Startled, the editors looked up from their pads, and a hush fell among them.
“Anatoly Pavlovich,” said Ovseev, hurriedly rising from Sukhanov’s chair.
“Why are you all here?”
“Anatoly Pavlovich, we had to call an urgent meeting to discuss a few last-minute changes to the current issue—and since you were supposed to be out of town—”
Lisitskaya’s heels pattered across the floor as she darted to hide behind Ovseev.
Sukhanov marched to his desk, regained possession of his chair, and opened his briefcase with a harsh snap, all his gestures meant to reassert his momentarily lapsed command.
“What nonsense, I wasn’t out of town,” he said curtly. “How could I be, with that Dalí article on my hands? Speaking of which, someone should take it to the printers right away.”
“But,” said Ovseev, “surely you know…” He did not finish the sentence.
“I have it right here, hold on just one… What did you say?” Out of the corner of his eye, he noticed a few people gingerly tiptoeing out of the office, while Pugovichkin drew closer and hovered above him. Looking up, Sukhanov found an exaggerated concern wrinkling the man’s kindly pancake of a face.
“Anatoly Pavlovich, I don’t believe it!” moaned the assistant editor in chief. “Could it be you haven’t heard?”
Sukhanov stared at him blankly.
“I’m afraid,” Pugovichkin said, spreading his plump hands outward in a gesture of futility, “the Dali piece has been postponed.”
“We hope it didn’t give you too much trouble,” Ovseev added with an ingratiating smile. “Of course, it will be published soon, if not in the next issue, then in the one after that for sure—”
“And how, I’d like to know, could this decision be made without me?” Sukhanov thundered incredulously. “How can any of this be happening without me?”
Lisitskaya’s heels fled into the corridor with the sound of a frantic drumroll.
“Well, you see,” said Pugovichkin quickly, “we received this phone call the day before yesterday.” He raised his eyes meaningfully to the ceiling, to indicate a far-off, heavenly sphere of influence—their accepted shorthand for communications from the magazine’s Party liaison. “It appeared that a more… more timely subject had come to someone’s attention, and we were to be sent a new article that very afternoon. On Chagall. We were told that, in view of his recent death… You know, of course, he died this past March…. And since you were leaving…”
“Chagall,” Sukhanov repeated, his voice ominously steady. “They want Art of the World to publish an article on Chagall, and you have actually agreed to it? Be so kind as to tell me I’ve misheard you, Sergei Nikolaevich. Or have you lost your mind?”
The few remaining people slunk outside, and Sukhanov was left alone with his second-in-command. Pugovichkin was talking now, in a rapid, offended monotone, gathering momentum, trying to convince him of something, but for a few minutes Sukhanov heard nothing as he sat staring at the dust particles twirling before him in the stuffy, sun-lacerated air. True, he had allowed the questionable Dali article to be forced upon the magazine, grudgingly resigning himself to this one-time challenge to his authority—but a piece on Chagall would take matters to an entirely new level. The difference between Dali, outrageous by virtue of his foreign birth and viewed therefore as a mere curiosity akin to a two-headed goat in some little-frequented Kunstkammer, and Chagall, who had come from Russia’s own backyard, been appointed Commissar of Fine Arts after the Revolution, taught in a Soviet art academy, and then chosen to leave Russia behind in order to become foreign and outrageous, was just as wide and impassable as the difference between some poor jungle savage who knows nothing beyond the cruel and nonsensical superstitions of his tribe and a man of civilized faith who proceeds to give it up in order to murmur incantations and slaughter chickens. Publishing an article on Chagall would be universally interpreted as an act of rebellion, an absolute break with decades of steadfast traditions of Soviet criticism, which he himself had helped to invent, and as likely as not would prove tantamount to career suicide for him and his senior staff.
Publishing such an article was impossible.
“It will be most welcome, I was assured,” Pugovichkin was saying, trotting back and forth across the office. “In fact, I’ve been told that the Ministry is thinking of organizing a Chagall retrospective in a year or two. Wouldn’t that be something?”
Sukhanov lifted his head. He was no longer angry, only tired, very tired.
“Don’t be so naive, Serezha,” he said quietly. “You sound just like an excitable eighteen-year-old girl I met the other day. Changes, changes, spring in the air, Soviet art is inferior, let’s all say what we think! At least she has the excuse of being young—but you and I, we should know better, we went through it all once before, didn’t we? Honestly, can you not see that this whole Chagall business is nothing but a provocation, a test of loyalty, if you will? The Ministry has no intention of putting on any ‘retrospective.’ It simply hopes to flush out the handful of enthusiastic fools who will believe in all their fine promises and start getting carried away, saying unwise things and publishing unwise articles—and before one has time to blink, they’ll have lost their jobs and been sent off to the provinces, or worse, and new people in their places will say and write the same old things as before.”
Pugovichkin stopped pacing and leaned over the desk.
“I understand your worries,” he said earnestly, “but I think you underestimate the nature of what is happening in the country this time around. Look, Tolya, it’s been less than six months since the leadership change in March, and already, the man has said some pretty radical things. His Leningrad speech, with its barbs at the old guard—”
Sukhanov waved his hand to cut him off. “You don’t know what will happen any more than I do,” he said, “but my prediction is, absolutely nothing. It’s all smoke and no fire. Chagall, imagine that! Who’s next, Trotsky? By the way, who’s the author?”
“Someone with a very Russian name, like Petrov or Vasiliev… I’ll remember in a moment. No one we’ve ever heard of, a curator from somewhere or other—but clearly with friends in high places. If nothing else, it may not be prudent to get them upset.”
“Well, I suppose,” said Sukhanov, frowning, “if written from a certain critical perspective, it might—with some heavy editing, of course—”
“It’s already at the printers,” muttered Pugovichkin, averting his eyes.
Sukhanov looked at his right-hand man across a sudden gap of silence, palpable and unpleasant like an acrid taste in his mouth.
When Pugovichkin spoke, his voice was almost hostile with defensiveness. “Well, what would you have done in my place? I was put on the spot. I was told in no uncertain terms to publish the damn piece. Think about it, the issue must be typeset by Monday, and you were going away, as far as we knew. What was I supposed to—”
“Just why does everyone think I was going away?” Sukhanov interrupted heatedly.
“Must we now belabor the obvious? I called you as soon as I heard, on Tuesday morning, and you weren’t there, but—”
“Tuesday, you say? I was home most of the day.”
“No, you weren’t. I spoke to Vasily, and he told me you were out. I left a detailed message with him, explaining the situation. He said he was about to go to the Crimea with you.”
Sukhanov sat back in his chair.
“Vasily said that?” he asked slowly.
Pugovichkin shrugged. “I think his exact words were ‘with the old man.’ Frankly, at the time I was rather perplexed that you hadn’t mentioned your vacation. I gather you changed your mind about it? In any case, since none of us ever heard back from you, we assumed you’d received the word, agreed to the whole thing, and gone off to the sea with your son. Did he not give you my message?”
Forcing his scattering thoughts to order, Sukhanov recalled the unbearable Tuesday morning he had spent working on the article, with Vasily sulking behind his closed door and the remote telephone ringing intermittently throughout the sluggish, torturous hours. The boy had been angry with him about his failure to convey the Minister’s invitation to a party, he remembered. It suddenly seemed like an event from a very long time ago.
“The issue won’t go to print without my complete approval, and that’s that,” he said in his most formal tone. “Kindly stop the presses and get someone to bring me a copy of the article. If I don’t like it, my Dali goes instead. I’m still in charge here unless I’m told otherwise—and unless I’m told by someone directly. Do you understand me, Sergei Nikolaevich?”
Pugovichkin considered him bleakly.
“I understand perfectly, Anatoly Pavlovich,” he said after a pause, “but if you decide to pull it, you’ll be the one to do all the explaining afterward, as it’s bound to make a couple of very important people very unhappy. And whatever you choose to do, you must let me know by Saturday afternoon at the latest. The typesetters are already complaining as it is.”
“Of course,” replied Sukhanov with a brief nod.
Pugovichkin hesitated for a moment, then walked out of the room, shutting the door behind him with pointed precision. Sukhanov remained sitting at his desk, drumming his fingers against its lacquered edge. Initially, his mind was in a whirl, his feelings undistinguished and pained, the very rhythm of his breathing punctuated by small, distressed, wordless cries of disbelief at so much betrayal—betrayal by the trusted Sergei Nikolaevich and all the rest of his colleagues, betrayal by his son, betrayal even by some nebulous influential individual whom he had probably never met but who nonetheless clearly intended to compromise him by forcing on him this impossible choice….
Then, gradually, a dull premonition of dread began to steal over him like an encroaching shadow, suppressing all other thoughts and emotions; but it was not until some minutes later, when a knock so timid it was almost a scratch sounded on his door and Liubov Markovna crept inside after his second “Come in,” her head pulled into her shoulders, a stack of papers in her outstretched hands, that he knew what it was he so absurdly feared—whose name he was so irrationally certain to see on the title page as a reproachful harbinger of his impending downfall. It would be a most fitting conclusion, he thought with the bitter ghost of a smile, to his disquieting slide into the past. “A very Russian name,” Pugovichkin had said—and what name could be more Russian than that of a three-hundred-year-old dynasty of Russian rulers, what man better suited to write about Chagall than one of his own students? It must be, it had to be him—Oleg Romanov, the stern, courageous, maverick painter who almost half a century ago had so painstakingly fine-tuned one boy’s vision in order to render it receptive to the richness of the world.
In the first few years after Anatoly’s return to Moscow, Romanov had sent him frequent letters, with effortless sketches of lacelike dragonflies and demure mermaids scattered between the lines and faintly colored, oil-stained fingerprints on the margins, but Anatoly, numbed by his father’s death, had tossed them indifferently, at times unopened, into a drawer, postponing his answer in expectation of a thaw in his soul, until eventually the one-sided correspondence had tapered off. Later, after he entered the Surikov Institute, his interest in life returned, but he lacked the time needed to compose a sincere, worthy reply—one that would truly explain his silence of the preceding years. Or perhaps, if he was to be completely forthcoming with himself, the time had been there all along, but the path he had chosen, his determination to use the nimbleness of his brush to secure a comfortable livelihood, his constant struggle to squeeze from his manner the last lingering consequences of Romanov’s unorthodox teachings, made him feel vaguely uneasy, dishonest, unclean—a mild enough discomfort, but one that kept him from writing all through his student years, and that proceeded to intensify into a sensation of acute guilt soon after his graduation. Along with a few other promising young artists, Anatoly was appointed to teach at the Moscow Higher Artistic and Technical Institute, the very place from which Romanov had been exiled to Inza in disgrace some two decades before, accused of “undue impressionism” in his works.
With time, Anatoly’s sense of guilt paled, of course, along with the memory of the man who had inspired it, and obscurely he felt the oblivion to which he had consigned his early artistic discoveries to be an essential ingredient—perhaps the basis—of his continuing peace of mind. He led a measured existence, dutifully moving between the quietened Arbat apartment (the elder Morozov, his son Sashka, and the merry construction worker had all perished in the war, and Anatoly had eventually shifted his modest belongings into one of the empty rooms), the auditoriums in which he staunchly repeated the very phrases and gestures that had once made him draw vicious caricatures of the speakers in his student notebooks, and a studio at the institute, where he produced his canvases of grimy, industrious peasants and grimly determined soldiers, with soulful vistas opening behind their broad, sturdy backs. In 1953, when Stalin died, he and his mother grieved along with everyone; he painted a small commemorative portrait for a local school. Nadezhda Sukhanova was proud of him, and appeared content. They were placed on a waiting list to receive their own flat, and at the end of 1954 moved across the city to the Liubianka neighborhood. His works were occasionally purchased by a garment factory or a Young Pioneers club. He had no close friends, but his days were busy enough without them. He was never cynical in his actions (celebrating the people’s accomplishments that had come at such terrible cost was a worthy pursuit, he had no doubt), but simply uninspired and incurious; he had acquired a habit of adjusting to his surroundings with unquestioning acquiescence, and ceased to distinguish between art and craft—a difference of only two letters, after all. By the time he turned twenty-six, he believed he could follow this path into old age, obtaining in due course an amiable wife and two or three children, making a quiet, pleasant, useful way through the world.
And then came the year 1956, and everything he had once held true—all the comfortable ideas and beliefs and ways of life—was swept away. And as the past certainties melted, dizzying drops and hidden false bottoms were revealed in their stead—and in the whirlwind that followed, my soul, which had weathered the intervening years between adolescence and adulthood by retreating deep into its own rainbow-colored world and dreaming secret, fleeting, iridescent dreams of birds and flowers and stars and angels, emerged once again, and was as before, alive and demanding.
Then, awakening abruptly and discovering only emptiness where warmth and friendship should have been, I tried to find Oleg Romanov across the ravages of space and time. But neither repeated letters to the Inza school nor persistent inquiries among colleagues brought any results—the man had moved, the man had vanished, the man had probably died…. And now, three decades later, Anatoly Sukhanov sat in his sun-flooded office on the top floor of the eighteenth-century mansion in the heart of Moscow, trying to calculate how old his teacher would be (only a few years older than his father-in-law, so it was possible), and watching, with irregular heartbeats, Liubov Markovna’s contrite approach.
“Sorry for the delay,” she said in a voice so low it verged on a whisper, as she slid the manuscript across his desk. He had meant to wait until she left the room, but his eyes descended onto the page before he could prevent it. “Chagall: One Man’s Universe,” the title declared in capital letters. Underneath, he saw the name—D. M. Fyodorov.
Exhaling, he picked up the article and dropped it negligently into his briefcase.
The relentless advance of the past had been finally halted.
“I’m going home now,” he said airily, “but tell Sergei Nikolaevich that I’ll let him know as soon as I can.”
“Yes, Anatoly Pavlovich,” Liubov Markovna whispered behind his back. “Of course, Anatoly Pavlovich. Right away, Anatoly Pavlovich.”
He had hoped to glance at the text during his metro ride home, but spent the minutes in transit with his nose pressed between the chintz shoulder blades of an elderly woman with a multitude of bags, one of which was quite perceptibly oozing a trickle of ice cream onto the floor, while a gangling, pimply fellow sank his chin meditatively into Sukhanov’s neck. On the way out, mildly befuddled, he attempted to exit through a glass door that read, in mirrorlike inversion, “ECNARTNE,” and a very large, formidable figure in a pigeon-gray uniform—whether man or woman, he could not tell—shouted at him in a booming prison guard’s voice that made passersby start and turn and stare, “Where the hell do you think you’re going, old man? Have you gone blind?”
He staggered into the street feeling shaky, tightly clutching his briefcase as if expecting it to be violently torn from his grasp at any moment. When he arrived at his building at last, he wanted to collapse with relief. The lobby embraced him with its familiar marble coolness, and the ancient concierge was already shuffling across the floor to summon the elevator. The two of them stood side by side without speaking, listening to the laborious creaking of the machinery floors above. Nearly a full minute later came a heavy thump, and a light shone through the crack between the folds of the door. The concierge began to swing open the gate.
“Oh, Anatoly Pavlovich, I nearly forgot,” he said in a voice dry as an autumn leaf. “There have been some problems with the elevator, so they asked me to tell everyone on the upper floors to be a bit more careful.”
“What do you mean?” Sukhanov asked inattentively, stepping inside.
“Oh, nothing much,” the concierge replied with an ambiguous smile. “Just make sure the elevator is actually there before you enter it on the way down. Wouldn’t want anyone falling to their deaths, would we now, heh heh heh! Had a close one, too. Two days ago, Ivan Martynovich—you know, that songwriter who lives below you—”
The elevator doors, closing with jerks and shudders, swallowed the rest of his sentence.
Sukhanov felt inordinately glad to find himself at home.
“Hello, I’m back!” he called out hopefully—but the place stayed silent, save for a few spoons that rattled dejectedly in the dining room cupboard. The air in the hallway was damp; the windows had remained open during the previous night’s rain. A ghostly trace of music sent faint vibrations into the corridor from Ksenya’s room. Frowning, he knocked on her door, then, not hearing a response, knocked louder. There was still no answer.
Sukhanov walked in.
The heavy green curtains were drawn, softening the room’s stark, book-filled angularity, and in the semidarkness he heard the shadow of music grow to a stronger presence, more like a whisper or a persistent memory of a song. His daughter was lying flat on her bed, fully dressed, a pair of headphones on her ears, her eyes closed, a strange, tight little smile flickering on her lips. As he bent over her, the music expanded, and he could distinguish a man’s voice singing, although the words remained a soft electronic blur.
“Young people nowadays,” he murmured—partially to dispel with the sound of his own voice the sensation of unease that suddenly brushed him with a darting, clammy, alien touch, not for the first time in Ksenya’s presence. After a moment’s hesitation, he placed his hand on her shoulder. She screamed and sat up so abruptly their heads nearly collided; and for an instant her eyes, dark and veiled, were full of swinging chaos. Then, like a pair of pendulums slowly coming to a stop, her pupils became still in the gray irises.
Breathing out, she tore off the headphones.
“You scared me,” she said. “I didn’t hear you come in.”
“Ah yes, the power of music,” he said, trying to smile. “What are you listening to?”
“No one you’d know.”
“Try me.”
“All right then, Boris Tumanov,” she replied, shrugging. “It’s a homemade tape, he’s part of the new underground.”
“Oh. I see,” he said vaguely. “By any chance, do you know where your mother is?”
“She’s gone to the Tretyakovka with Fyodor Mikhailovich. He wanted to show her some of his favorite works.”
“Oh, I see,” he said again. “So it’s just us, then. Well, well.”
He turned to leave but paused with his hand on the doorknob.
“Ksenya, perhaps,” he said haltingly, “perhaps we could talk?”
She regarded him without enthusiasm.
“Let me guess,” she said. “You’re going to deliver a lecture on how to be a good daughter. Or will this be some sort of fatherly discussion of the facts of life? ‘Now that you are eighteen, my dear, you need to know there is more to boys than meets the eye’—that kind of thing? Well, don’t worry, I know already. I went to school, if you recall. We had sex education.”
He watched a small whirlpool of silence widen between them.
“It’s nothing like that, I just… I just thought we’d talk, that’s all,” he said meekly. “We hardly ever see each other, now that you are so busy with your work…. I wanted to tell you, I’ve read that Hoffmann story you recommended the other day. Very interesting, and you were right, it doesn’t have much in common with—”
Her face relaxed, and her eyes moved dreamily past him.
“Papa, I’m sorry,” she said, “but if it’s nothing urgent, now is really not a good time. I stayed up most of the night doing this assignment, and I was about to take a nap when you came in.”
“Oh,” he said brightly. “Of course. Some other time, then?”
“Some other time,” she said.
She was looking away already, searching for her headphones.
He tried to read the article for the next hour, but could never get past the epigraph—an excerpt from Chagall’s awkward yet oddly poignant poem, three lines of which kept alighting on the tip of his tongue like a stubborn moth, preventing him from moving any further, filling his mind with fluttering flocks of irrelevant associations.
Across the sky fly former inhabitants.
Where do they live now?
In my own torn soul.
The words circled round and round in his mind…. Soon he abandoned the manuscript altogether and stretched out on the couch, his gaze lost in the irregularities of the ceiling. By and by, the cumulative lack of sleep from the past few nights filled his limbs with lead and his thoughts with cotton, and the idea of a nap began to seem wonderfully appealing. In truth, he felt tired enough to sleep through several days in a row.
He had nearly drifted off when the bell rang. He went to unlock the door, pleasantly gliding just above the floor. There was no one on the landing, which was, of course, impossible, so, feeling stubborn, he strode off to check whether someone was hiding in the elevator—but the elevator itself was not there, and, losing balance, he started to fall down the shaft, and it was terrifying at first, this plummeting into the narrow, dimly glimmering abyss full of thick, creaking cables and misshapen shadows and “Do Not Enter” signs and medieval world maps hanging on the dripping walls, but gradually it became darker and darker, and easier and easier, until he found himself floating through the most delightful oblivion of blackness with a smile of full-blown happiness on his lips—and felt rather sorry when the doorbell rang again, cutting his flight short.
It appeared that he had slept for some hours, for it was suddenly late in the evening. The moon drifted brilliantly through the dining room windows as he walked past, and Nina and Dalevich, entering with the effortless laughter of two old friends, surprised him by saying they would not be joining him for supper as they had eaten already, in some nameless cafeteria upon which they had stumbled after their visit to the museum. It hardly mattered, for he did not feel in the least bit hungry, and his body still rang with an overwhelming desire for rest. Nodding agreeably, without listening (Dalevich, as usual, was trying to talk to him about some article he had written), he swam through the thickening air back to the study and, undressing this time, slipped under the blankets and fell asleep once again.
He continued to dream outlandish, not to say disturbing, dreams. Sometime in the middle of the night, he heard dogs barking incessantly in the streets. Their howling soon grew so hoarse and strained, nearly rabid with excitement, that he got up, passed through the sleeping house, and, with a presence of mind unnatural in a dream, found a coat to throw over his pajamas and some shoes in which to deposit his feet, then descended in the elevator (which was there this time), crossed the deserted, moonswept lobby, and expecting the unexpected, stepped outside. In the coolness of the August night, the mysterious woman with the exquisitely drawn features of Nefertiti was drifting aimlessly along the pavements of Belinsky Street, dressed in a diaphanous wedding gown, a pack of maddened homeless dogs following at her dainty satin heels. At his approach, she lifted her lovely, tear-stained face toward him, and said simply and sadly, “He’ll never marry me, I know it. He tells me he will, but he won’t. I understand now. He has a wife and a daughter. He is a very important man—a minister, no less. I understand.”
As she spoke, a delicate vein pulsated in her throat, her mouth was pale and pained like a wilting petal, her eyes glistened like melting, rain-washed gems, and, bright like her eyes, two diamond cascades flowed from her ears. He stared at her with a freedom allowed only in dreams. Behind him, as if mesmerized, the dogs too ceased their barking one after another and, watching her, carefully bared their teeth, dripping saliva onto her trailing gauze train. She said nothing more, only stood there, her piano player’s hands poised in an attitude of grieving supplication—and the whole world lay still and silent around them, like a starry sky’s reflection in the dark waters of an abandoned pond, like a particle of time frozen for all eternity in a marvelous painting, and it was frightening and heartbreaking and beautiful, this strange encounter, woven whole as it was from the moonlit, elusive fabric of the night….
It ended, as dreams must, with hasty, unbecoming absurdity. Unwinding a checkered woolen scarf left in the sleeve of his coat from some previous winter’s dream, Sukhanov tossed it at the dogs in a gesture that was of course futile yet perfectly sensible at the moment, and immediately, forgetting all about them, the pack fell onto the scarf, snarling, tearing, fighting over it. Grabbing her by the elbow, he dragged her inside, and through the echoing lobby, and up a few flights of stairs, to deliver her, slightly out of breath but unresisting, to the door of apartment number five, which he found standing wide open.
“He’ll marry you, don’t worry,” he said generously and insin cerely, as he gave her a gentle push across the threshold. “He’d be a fool not to.”
The last thing he remembered before mounting the stairs to his own eighth floor was the sight of her face, white and streaked with two grooves of running mascara, like a tragic Venetian porcelain mask, floating above a sea of silk and lace and sparkling with diamonds, lifted toward him from the dark cave of the gaping doorway.
After that, his duty performed, Sukhanov’s dream self returned to the couch (in passing hanging the ghostly coat on its hook and removing the nonexistent shoes) and fell into an even deeper slumber. Sometime shortly after dawn he had another dream, not full of melancholy wonder this time, but domestic and simple, containing a promise of happiness like a seed inside its warm soil. Nina, coming into his study on tiptoes, dressed in an old pair of slacks and a faded sweater with a thick, unfeminine collar, which made her look every day of her age and so familiar, so dear, bent over him briefly to drop a light kiss onto his cheek.
“I was hoping to talk to you last night,” she whispered, “but you went to sleep so early, and now I have a seven-thirty train to catch.”
“But where are you going?” he asked tenderly, smiling at the kiss in his sleep.
“To the dacha,” she said. “It may not have rained there. I need to check on the roses.”
“Ah yes, the roses, of course, beds and carpets and fields of roses,” said the dream Sukhanov. “But you’ll be back, my love?”
“I’ll be back,” the dream Nina promised softly. “In a few days.”
“The roses,” he said again, and nodding joyfully, began to sail away, only opening his eyes for an instant to see Nina’s hand hovering over his forehead before descending in a final, swift caress—but by then, he had already been washed onto new, unfamiliar shores.