eyelash? How does that work anyway?â
âI donât think so. You get only one chance at a wish.â Carl leans back against the pillow, his Grecian profile dipping into his book. Then, just as abruptly, he shuts it. His lips outline the rim of my ear and I allow him to diffuse my entire day, a day more stressful than I can admit even to myself. I try to sink into feeling only, but the mental collage is of a frowning Marjorie, Mr. Reed Brooks seeking rescue from the submarine of the viewing room.
âYouâre so beautiful,â I breathe as if my words will transport me where it matters.
âAnd you,â he says. âAnd you.â But in it I detect a mournful spiral.
*Â Â Â *Â Â Â *
The next day, the Museum of Modern Art is less crowded than usual because of a dripping March rain. Carl and I run in soaked and dump our jackets in the coat check. Since Iâm a corporate member, we enter the museum for free, two tickets handed to me once I flash my Worthingtonâs ID. I hand one to Carl.
I love museums the way my husband loves libraries, for their civilized silence, the generosity of their gifts, that they can make you see familiar work in a new way depending on the curatorial point of view, the angle of the historical context. I love being surrounded by thousands of strangers yet encased in our own cocoon, the sound of our wet shoes tapping the floor in rhythm, the murmur of self-confident opinions around us. I pay partial attention to the show, but mostly itâs about the pleasure of ambling, of peaceful interaction with Carl. No demands from clients, no pressures from Deanâs office. A rare Saturday with my husband.
âOkay, so Iâve got the new novel all mapped out,â Carl says, veering me around dutiful scrutinizers of section labels. The exhibition brings together many of the most influential works in abstractionâs early history and covers a wide range of artistic production.
âReally? Tell me.â
âOkay, so picture this. Itâs set in St. Petersburg in 1911 at the Stray Dog Café. You know, the one where Mandelstam and Akhmatova and Tsvetaeva argued and read poetry and drank red wine. It was a famous hangout for the greatest poets of the era. Before the Revolution. Itâll be like a Russian Cabaret. â
âUh-huh.â
âWhat do you think? Does it sound viable to you?â
I have no idea what heâs talking about, but pretend I do. Itâs always sobering how much more Carl knows about my own history. He pulls back each finger, chapter by chapter. âItâll open in the 1960s with Robert Frost visiting the elderly Akhmatova in Leningrad and move back in time.â
âThat sounds amazing,â I say, probably too loudly because a few people without headphones look up at me, irritated. We are all standing in front of a map that links people and countries, slashes of red connecting Picasso to Liubov Popova and Vanessa Bell.
âItâs just in the research stages right now,â he insists. âBut doesnât it sound fascinating?â
âI canât wait to read it. Whenever youâre ready.â
âI might show it to someone else first. If thatâs okay.â
I pretend that the suggestion of this arrangement is perfectly acceptable, even as it stings.
Carl is letting his hair grow longer, the preppy 1980s way it looked when I first met him. That impossible golden flax, pin-straight, straining over his ears and collar. I note that heâs made the style decision without sharing it with me. When we first got together, he would ask for my feedback on the most minute things: loafers or the Top-Siders? The paisley or polka-dotted umbrella? Even matters of diet: should I eat this late if weâre having an early dinner? Should I skip the fries? Will the salad fill me up, do you think?
I suppose after four years of marriage, itâs natural that our minds will take turns