back to an independent consciousness, occasionally skipping over the needs of the other. But itâs striking. I flap out some of his hair between my fingers, air-drying it. I imagine his studentsâthat Victoria, in particularâfocusing on the way that my husbandâs hair moves during a long lecture on fiction craft or one of his digressions on the Acmeist poets. Heâs the kind of good-looking that takes itself for granted, that even at thirty-four doesnât fully understand the extent of its power. Even now, women linger on his face as they move past him to get to the corner with all the watercolors.
We move deeper into the show.
âSeriously. Tell me more. Whereâs the love story?â I pull him out of the way of a guided tour bent on its systematic survey of the art. But heâs already thinking of something else, I can tell by the distracted way his mouth slacks open.
âHey, I think I really need to see it for myself.â He leans down, hand around my shoulder. He pushes a fistful of hair behind my ear. âCan I come in to the office?â
I pause, genuinely confused. âSee what?â
âThe Order. Itâs incredible, right?â
My heart stumbles, trips. âYeah, it kind of is.â
âSo it exists. God, to touch the thing. That she wore it. Ekaterina Velikaia.â
âBut what do you need to touch it for? Iâll show you a digital.â
On the wall behind Carl, I read out loud a Kandinsky quote: ââMust we not then renounce the object, throw it to the winds and instead lay bare the purely abstract?ââ
âSeriously, Tan. A digital is hardly the same thing. I just feel like I have to touch it with my own hands.â
âOf course. But the consignor was very adamant that no one but a serious buyer should even breathe on the thing.â
âAre you serious?â
âI also have an incredible Goncharova, just stunning. A very rare Spanish Dancer ?â
âJesus. Why am I even surprised?â He brushes by the art with barely a glance and for a moment submerges into the sea of the tour group. I feel a numb devastation, then perform my cognitive tricks to recover. Everythingâs fine, everythingâs fine. A bad situation is a momentary setback, nothing more.
I look for him on the other side of the crowd. âLook, you should come to the preview. You can see it then. Itâll be behind glass and thereâs going to be so much great art. Youâll love the Archipenko too.â
âYou donât want me to touch it. You donât even want me to be anywhere near it. You want to keep me apart from it. Itâs yours. Itâs all yours.â Before I know it, heâs an entire room ahead, staring neither at the Kupka nor the Picabia. He stuffs his hands into the pockets of his pressed khakis, then takes them out. His hair is still wet, stubbornly wet.
My friends warned me about the beginnings of marriages, like clumsy fumblings of any new skill. âThose first years are the worst, believe me,â my best friend Alla warned me. âYou think you made the biggest mistake and will want to run from it every single day.â But her statement seemed so counterintuitive that I dismissed it right away. What about its opposite, the wearing off of bliss, the slow understanding of the person you married?
âThatâll never happen with us,â I assured Alla. Carl was perfection. Exotic, voluminous, firebird perfection. I had somehow managed to trap it, convinced it to fall in love with me.
As Iâm deciding on how best to approach my husbandâs mood, I glimpse a clientâs shock of gray hair. My first thought is to try and avoid him, but heâs already seen me and is steering his wife over. A specialist is a salesperson first; she canât be seen ignoring her clients. This man happens to be one of my favorites too, a grandfatherly bon vivant who reminds me of my own