Sometimes love does not have the most honorable beginnings, and the endings, the endings will break you in half. It’s everything in between we live for.
—Ann Patchett, from the essay The Sense of an Ending
This is a love story.
Chapter One
I came in on the train and then took a cab, but that didn’t stop the late March drizzle from destroying everything I’d carefully put together at home earlier this afternoon. My hair hangs sodden against my forehead and cheeks. My clothes cling, damp and heavy and chilled. I stripped off my dark, soaked stockings in the gallery bathroom and wrapped them in paper towels to tuck inside my purse, and my legs feel glaringly pale. Instead of the glass of white wine in my hand, I’m desperate for a cup of coffee, or better yet, a mug of hot chocolate. With whipped cream.
I’m desperate for the taste of something sweet.
There should be desserts here, but all I can find are blocks of cut cheese, sweating on the tray among the slaughtered remains of fancy crackers. The bowl of what looks like honey mustard is probably all right, but the companion bowl of ranch dressing looks like a playground for gastrointestinal distress. Courtesy of the rain, I’m more chilled than the cheese, the dips or the wine.
I haven’t seen Naveen yet. He’s flirting his way through the entire crowd, and I can’t begrudge him that. It’s exciting, this new gallery. New York is different than Philly. He needs to make an impression with this opening. He’ll get to me eventually. He always does.
Now I hold the glass of wine in one hand, the other tucked just below my breasts to prop my elbow as I study the photograph in front of me. The artist has blown it up to massive size. Twenty by forty, I estimate, though I’ve always been shit with measurements. The subject matter is fitting for the weather outside. A wet street, puddles glistening with gasoline rainbows. A child in red rubber boots standing in one, peering down at his reflection—or is it a her? I can’t tell. Longish hair, a shapeless raincoat, bland and gender-neutral features. It could be a boy or girl.
I don’t care.
I don’t care one fucking thing about that portrait, the size of it just big enough to guarantee that somebody will shell out the cool grand listed on the price tag. I shake my head a little, wondering what Naveen had thought, hanging this in the show. Maybe he owed someone a favor...or a blow job. The BJ would’ve been a better investment.
There’s a crinkle, tickle, tease on the back of my neck. The weight of a gaze. I turn around, and someone’s there.
“You’d need a house the size of a castle to hang that piece of shit.”
The voice is soft. Husky. Nearly as gender-neutral as the face of the child in the picture. I pause for just a moment before I look into his eyes, but the second I do, my brain fits him into a neat slot. Male. Man. He’s a man, all right, despite the soft voice.
He’s not looking at me, but at the picture, so I can stare at him for a few seconds longer than what’s socially acceptable. Hair the color of wet sand spikes forward over his forehead and feathers against his cheeks in front of his ears. It’s short and wispy in the back, exposing the nape of his neck. He’s got a scruffy face, not just like a guy who’s forgone shaving for a few days, but one who keeps an uneasy truce with his razor at best. He wears a dark suit, white shirt, narrow dark tie. Retro. Black Converse on his feet.
“And who’d pay a grand for it? C’mon.” His gaze slides toward me just for a second or two. Catching me staring. He gestures at the photo.
“It’s not so bad.” I’m not sure why I’m compelled to say anything nice about the picture. I agree, it’s an overpriced piece of shit. It’s a mockery of good art, actually. I should be angry about this, that I’m wasting my time on it as if the consumption of beauty is something with an allotment. Hell, maybe it is.
Maybe I actually have wasted today’s consumption of beauty on this piece of crap. I study it again. Technically, it’s flawless. The lighting, the focus, the exposure. But it’s not art.
Even so, someone will buy it simply because they will look at it the same way I did. They’ll note the perfectly framed shot, the pseudowhimsical subject matter, the blandly colorful mat inside a sort of interesting frame. They will convince themselves it’s just unique enough to impress their friends, but it won’t force them to actually feel anything except perhaps smugness that they got a bargain.
“It looks like art,” I say. “But it really isn’t. And that’s why someone will pay a thousand bucks for it and hang it in the formal living room they use only at Christmas. Because it looks like art but it really isn’t.”
He strokes his chin. “You think so?”
“Yes. I’m sure of it. Naveen wouldn’t have priced it if he didn’t think he could sell it.” I slant the man a sideways look, wishing I could be bold enough to stare at him when he’s facing me, the way I was when he was looking at something else.
“Good. I need to pay my rent. A coupla hundred bucks would be sweet.”
Of course he’s an artist. Men who look like that, in a place like this—they’re always artists. Usually starving. He looks lean enough to have missed a few meals. Standing this close I get a whiff of cigarettes and corduroy, which should make no sense, since he’s not wearing any, but it does because that’s how I work. Tastes and smells and sounds link up for me in ways they don’t for everyone else. I see colors where there shouldn’t be any. The scent of corduroy is par for the course.
“You took that picture?”
“I did.” He nods, not without pride, despite what he’d been saying about it earlier.
If he’d been talking shit about another artist’s piece I’d have liked him less, even if he was telling the truth. I can like him better now. “It’s really not so bad.”
He frowns. Shakes his head. “You’re a bad liar.”
On the contrary, I think I’m an excellent liar.
He looks again at the picture and shrugs. “Someone will buy it because it looks like art but doesn’t ask too much of them. That’s what you’re saying?”
“Yes.”
“You’re the expert.” He shrugs again and crosses one arm over his chest to rest his elbow on as he stares at the photo. I don’t miss the stance—it’s a mirror of my own. He bites at his thumb. It must be an old habit, because the nail is ragged. “The only reason I did this thing was for Naveen, you know? He said he wanted something more commercial. Not, like, doll heads with pencil stubs sticking out of the eye holes and stuff like that.”
I’m a good liar, but not a good poker player. I can’t keep a stone face. I know the piece he’s talking about. It’s been in the back room of Naveen’s Philadelphia gallery for months,