made their way to the platform, and sat on a bench. Both stared ahead, mesmerised by a pair of enormous posters. One showed a model in an embroidered top and jeans, smiling; the second, the same model in the same pose, but wearing underwear that matched the outfit.
âBasically everything here is advertised with breasts?â Nina asked.
âYep.â
âI saw a poster in a shoe shop in Les Halles, with a naked woman and a pair of sneakers.â
âLook at that.â Leela pointed at a furniture ad: a photograph of a sofa, over which a voluptuous yet toned naked woman sprawled.
âHm.â
With a rushing and a clattering, the small train rattled into place, its lights flashing. Leela and Nina, an elderly lady near them, and a disaffected looking youth in baggy jeans and white hooded sweatshirt all moved towards the doors and reached for the handles.
The building Nina lived in was bourgeois in a quieter way than Leelaâs; smaller, more subdued. There was no elevator. They walked through a dark hall, up a wooden staircase and to the third floor. Doisneau, said the name plate. Nina brought out a key.
The flat was unexpected â why? It had all the traces of another life, an established life not like Leelaâs or her friendsâ: a hall table, letters, bills, an umbrella stand, pictures; in the living room, two tall, shuttered windows that opened onto a balcony. There was a table in one corner, a divan bed, a kilim, and a succulent plant that looked insolently comfortable. Leela was surprised to feel a pang of longing.
âThis is my room.â
She followed the other girl, who moved quickly, like a small nervous animal, pulling a curtain, opening a door.
The room was narrow and long; Ninaâs bed lay against a wall, and there was a desk, with her laptop, a plant, a bookshelf, a hanging wardrobe.
âItâs lovely,â Leela said.
âDo you want to see my family?â Nina pointed at pictures in a collage on the wall: a balding, tall, outdoorsy man, and a plump woman with fine eyes stood outside a Scandinavian looking house on a hillside.
âI like your house,â Leela said.
âItâs very typical of houses in New Zealand. Thereâs a lot of modern architecture, and trying to bring the outside in. Thatâs my brother.â This was a tall, blond young man, handsome but pained.
âHeâs gorgeous. Is he coming to visit?â
Nina laughed. âNo plans. Heâs a poet, did I tell you? Or he wants to be one.â She sighed. âHeâs working in a petrol station, heâs got no money. Itâs not easy.â
They passed again through the narrow room, into the small hallway, then back into the living room. Nina went to the kitchen, a neat, 1970s cupboard-lined area with colourful glass here and there, to make tea and take out the cheese. Her face crinkled. âDo you feel like a little glass of wine? I have a bottle open.â
Leela laughed. âOkay.â
They sat on either side of the table, their folders out and their faces growing warmer, their expressions more indistinct as they drank and laughed and ate cheese and bread and salad. A spear of sun slanted in through the window behind Nina, lighting part of her hair. Leela watched dust fall. She felt dazed, not by the wine, or the overtures of friendship as Nina told her more about Thomas, the guy from the concert. Theyâd gone out once or twice. âItâs not serious,â she said, but her face was eager. âIâm not sure how much we have in common.â It was instead the unspoken sense of their homes, in other countries: Leelaâs a strange place familiar only from early childhood and emotion, the India to which her parents had unexpectedly returned, a place of silence, bird calls, a balcony next to her room, trees outside, and the life of the facing building; and Ninaâs, the modern house in an open landscape, near a beach where Christmas