Praise for The Museum of Abandoned Secrets

“But you’ll warn her, won’t you?” Vadym smiled with the charming immediacy of an adult talking to a child, and I was simply floored—floored, and for a moment fully capable of believing women could find him attractive, even a woman like Vlada. The smile was absolutely genuine, a good, beautiful smile. He wasn’t being dishonest or cunning—he really did not see here a Problem-That-Had-To-Be-Solved situation. And if Vadym doesn’t see it, then it’s not there at all.

I did not ask him, after that, who would warn all the other Katrusyas around the country—the ones who do not go to the British Council School and for whom television is their only window to the world. And I did not even tell him that I resigned from my channel—why? Clearly, the media and everyone involved were low on Vadym’s priority list at the moment; the imminent election tsunami meant something different to him than it did to us, mere mortals—something hard and tangible, some stupendous redistribution of cash masses in the direction I’d be lucky to guess. Only I’m not inclined. In any case, I’ve no doubt that for him things will turn out just fine; Vadym’s not used to losing. It’s only with Vlada he got beat. Got away, that one.

What if she did want to get away from him—only didn’t know how? What if she’d also had her own morning looking through the window onto wet roofs—when she had to force herself out of bed with the new day pulled over her head like a bag and realize that her life took the wrong exit somewhere, that this was no longer her highway, and she had to grab the wheel and twist, back up, back up. Only it’s very hard to do when you live life at the speed Vlada did. Her motor revved till the scenery flew past like a ribbon.

She did. Of course she did—my proud girl who quivered as though set on top of a tightly coiled spring. Proud people who are accustomed to being the ones giving support to others are so bad at sending out their own SOS signals that even when they call you at two in the morning and complain about insomnia, about an irrational fear—if I fall asleep, I’ll die—you do not hear the signal. And even when you can see, having spent five hours straight under the watchful guard of her boyfriend, as if he were ordered explicitly not to leave you alone for a single minute even if his bladder should burst, that something is very much awry indeed, and things are not as good as they’d just recently appeared—you still don’t allow yourself to think that the love glow this couple radiated not so long ago could have been no more than a ghost light, leading a trusting traveler straight into the bog. You do not allow it because you know, in your heart of hearts, that to think so would be to insult your proud friend, because she herself, teeth clenched, must have fought an unimaginably exhausting, life-sucking war before she could admit it—her defeat—to herself.

Now I am absolutely certain that’s exactly what happened.

Now—after today’s Vadym, who has already heroically turned that page (“She was the best thing in my life,” he’d said over Vlada’s coffin, and had I died, R. would’ve said so over mine) of his life and returned to himself—the way he was before Vlada, BV, because people like him do not change and no new experience can turn things upside down inside them; now all the little incidents that had once scraped on my attention as dissonant, accidental splinters line up, in hindsight, into a regular pattern. There was one thing Vadym and Vlada had in common, and it was this thing that like a wrench thrown into a turning gear caught Vlada, brought her to a halt: they both had it living in them and motivating them their entire lives—the fear of defeat.

It was that fear that, ten years earlier, made her break up her marriage with Katrusya’s father (who, ultimately, did not manage to do anything better with his life than to emigrate to Australia, where he, according to different sources, either worked as a night guard or babysat kangaroos). It was that fear that made her hair stand on end when, in the fall of 1990, we were smoking the one cigarette we had between the two of us in the little park on Zolotovoritska—right here, across the street, where the casino now stands (the spot I’ve been circling since—for fourteen years already—as if under the sway of gravitational pull)—and the hot wind of tectonic shifts blew self-published (on Roto Printers back then) leaflets at us, and the bitter coffee from tiny chipped cups scorched the roofs of our mouths. “We had no youth, Daryna.”

We did, Vlada, we did, that was it—our youth, and our country’s youth that was being born out of the tidal roar of the Independence Square, of the boys with seraphic faces and white hunger-strikers’ headbands, not one of whom, back then, had yet thought of paying for being prepared to die. And they were really prepared to die, and those who haven’t died, only got themselves to blame.

Yes, my Vlada had that fear, of course she did, however deep it sat—a genetic fear, inherited from her mother, from Nina Ustýmivna. Or perhaps even older than that—from those grandparents of hers, the Komsomol activists who, in 1933, lit out for the city from the famished country and became teachers at a workers’ night school, and thus did not die together with everyone else in their village—and who knows at what price. And it was because of this fear, which did not allow her, in her own eyes or in the eyes of her jealous community, any right to err, that she got stuck with Vadym for so dangerously long in that stage when you work through your days as if they were wet dirt on a shovel, because in place of your extinguished love, or whatever it was that appeared to have been love, comes emptiness—and into emptiness, always and inevitably, like black water, seeps death: I’m afraid to sleep. I’ll fall asleep—and die.

Shit, now I remember! She even told me, sometime that summer, before our interview, a dream she had—told it to me in detail. The dream was about Vadym, but I only remembered one image from it. (You generally don’t remember other people’s dreams very well; they’re like the plots of movies someone has retold you but that you haven’t seen yourself.) In the dream, Vadym took her somewhere, to a hill, gray as the surface of the moon, and the hill began to slide from under her feet, and she saw it was a pile of concrete sand—really, what could be deader? I think there were even crows in that dream—black, fat, and glossy.

Why couldn’t I have told her then: Vladusya, my dear, cut the cord and run as fast as your legs will carry you—exactly like you did ten years ago; follow your own design, that same mind-boggling pattern of yours. I know you can, you’ve done it before, and you know when it’s time to go under the knife—and to hell with him, this husband of yours, and with his—actually your—penthouse, with its glassed-in floating clouds, mirror surfaces, and white leather ottomans; all that, literally heavenly beauty, with the eternal view of the sky, you could charge admission to that place, that was a heck of a job you did, but to hell with it, tear it from your heart and run. Run because this man, whose one other woman has already gone round the bend, alarmingly, in the loony-bin direction, is clearly dangerous; there are men like that—packed hard inside into an unassailable mass of self-satisfaction that we mistake for strength, and everything they touch, they kill, even sex. Such men like power, and it comes to them easily, because when someone’s plowing ahead with such unassailable confidence, it is very hard not to think that he is the one who has seen the light and will, if you follow him, show it to you, too—hard to believe that such a juggernaut carries with it nothing but itself. But it’s now that I’m all wised up—I knew nothing back then; it was all before I met R., and I was as stupid and naïve as a bunch of parsley. Dara—Dolly—Folly.

Why is the word death of feminine gender in our language; where’d this nonsense come from? Death should be a man; a woman’s death, at least. That’s the way the Germanic people have it, I think, they’ve always been better mystics than we. Spoken by a man, “I killed her”—it even sounds better, more convincing, than when a woman says, “I killed him.” When a man says it, it doesn’t admit any levity of interpretation. I killed him with that one phrase—men don’t talk like that. Or, I killed him with my silent disdain—you’re kidding, right? He doesn’t give a hoot about your disdain, if he even noticed it. What does he notice, really?

I know nothing about the war that may have been raging between them her last autumn, when Vlada was so rapidly withdrawing from us all, cloaked in the cold, otherworldly glint of estrangement, like an acolyte soon to take her vows—I know nothing, and will never know anything more. And Vadym doesn’t know either—I doubt he suspected even then what role he’d been destined to play in her life. (He did get rattled a bit with a chilly draft of recognition when she died—in those first weeks, when he drowned his grief in drink and, like a buffalo, stampeded at nights down the Boryspil highway as if he wanted to catch the runaway and bring her back—but he did not let that recognition rattle him any looser, and no more drafts from the other side will ever get to him again.)

No one, except the dead person herself, can see her death in its entirety. See how it evolved, how it ripened, day by day, like a fruit. The living can only observe, from their side, the result: how the overripe fruit drops from the branch under its own weight. And only the dead, herself, knows how things got that far.

***

“Let me make a living portrait of you, Daryna. I’ve always wanted to.”

The longer I sat there, offering my face to her with my eyes closed, the stronger chills that ran through my body. Brushes, multiplying against my skin like a swarm of butterflies, tickled my mouth, temples, cheeks, eyelids; I was being transported to a different place, disappearing, changing form like a sculpture in the artist’s hands. The music blared inside me, and from there, from the darkness of roaring halls, broken glass poured down my veins, a battle call breaking to the surface—like a challenge to life itself—it thundered: the show must go on! And Vlada’s breath on my face froze like the breath of a tightrope walker hovering above the abyss of a great dark hall: this was no game, no innocent playing at dress-up and do-over, but something as ominously desperate as what Freddie Mercury must have felt in the flight of his own voice—she wanted to bring something important out of me, show me something that mattered a great deal to her; and when that scorchingly bright face finally hit me from the mirror, with the long Egyptian brows, the blood-dark lips (the face of a pagan goddess of war, a priestess of a bloody cult, something about it threatening, witchy, something that made you want to stomp it out, right away, like a fire, go back to the ranks, to the polished TV-screen picture that can reassuringly tell you the brand of the anchorwoman’s suit), I recoiled, terrified. But at the same time I couldn’t take my spellbound eyes off this strange mask, marveling at how, aided merely by the masterly blended colors, it grew out of my own features. Incredible. Perhaps only in dark, low-lit windowpanes, with the texture of the details smoothed away, can human faces be as magnificent as this, and afterward it was in dark windowpanes that I’d glimpse this strange face on myself—and shudder every time. By then the emotional overload was making my whole body shake, all but teeth clattering, and all I could manage was to hide behind a nervous chuckle, like a village girl behind her sleeve: “Matusevych, what have you done to me? I am not like this!”

“Then you were like this in a previous life,” she answered, very serious, “you just forgot.”

“You think?”

In response, she stepped in closer, with that balletic move of hers, upward from below—and kissed me on the lips, running her tongue between them, which brought them, with a gasp, right back to life under the rolled-on lipstick, the feeling back in them again: her little tongue, in comparison to a man’s, turned out to be incredibly soft, tender, like an oyster pried out of its shell. I forgot how long it had been since I was kissed by a woman—at school, at summer camp?—and thought to myself, stunned: so that’s what we girls feel and taste like, some lucky bastards those men! Vlada withdrew and stood in the mirror beside me—a bloody smudge stained her lips like the hand mirror in that famous painting of hers, Contents of a Purse Found at the Scene of the Accident. “Now wait, I’ll take a picture of you.”

And I stayed there waiting, trembling a little—had she told me to slice my wrists at that moment, I would probably have done as she said. But she only brought back her camera—and casually, without aiming, shot off, like a good machine-gunner from the elbow-grip, a whole clip, click-click-click. “And now, the hard-est”—and she stood next to me again, with that bloody smudge across her mouth, holding the camera aimed at the two us in her stretched-out arms, click-click-click. A double portrait: the artist and her (nibbled) model. Or, perhaps, not the model, but the work? No, it wasn’t the model, or the work either. For her, I was something else in that incarnation, a bizarre impersonation of female strength, which she no longer felt in herself. And I remember well the strange alarm that stirred in me when she was aiming at us like that, with both hands, at face level, as if it were a gun muzzle and not a camera lens.

Those pictures remain in her digital archive—Vadym hasn’t destroyed that yet. That’s what he says, at least. I don’t know if I would like to see them now. “Doesn’t matter,” Vlada said, when we looked at the pictures together—“no photograph can ever give you what you get when you look at the thing in flesh, and color photography especially is all smoke and mirrors, bull and opium for the people.” And she was right: The pictures were very impressive but something crept into them that wasn’t there in the mirror—theatricality. We looked like a pair of masqueraders, and my witchy mask no longer mesmerized as powerfully—some magic had gone out of it. This is why, Vlada professed contemplatively, painting can never be replaced, not ever, not with anything. “That’s okay. I’ll use this. I’ll do something with these. I just don’t know what yet...”

And I did not tell her that she’d already done something—to me, only I also didn’t know yet what it was. Washing my face in the bathroom later—with dull regret, as if an unfulfilled promise had breathed so near and passed me by, only brushing me with that one touch on the lips, and then slipping between my fingers (only living beauty can evoke such an aching sense of loss—never the one on canvas)—I felt my knees buckle under me. Just like that, literally, as if the tendons suddenly turned to mush and lost their grip—and up till then I thought “straw legs” was just a figure of speech. Had there been a male artist in Vlada’s stead, everything between us would’ve discharged into clarity by means of immediate sex, and that sex probably would’ve been divine. One of those few times, count them on your fingers, that you remember for the rest of your life—with a complete release from the body such as one experiences in the midst of religious ecstasy, when, as I seem to remember Papa Hemingway wrote, the ground swam, although that was nonsense, too, because there’s no ground left in sex like that, neither ground nor sky, neither up nor down, and love has nothing to do with it. Although I did have one time like that with Aidy, but then I’ve also had one with Artem—that time in the archive, when I first saw the photo of Dovganivna with her comrades and it came over me right on the spot, and that’s when it all started, my life changed.

But Vlada was not a man, and the two of us could not rely on such simple resolutions, programmed into us by Mother Nature herself. Something else, then, was between us, something more unsettling, something akin to the link between a new mother and the fruit of her womb—she gave birth to something in me that night. She set something free, like a large dark bird.

And this remained our secret, one for the two of us—we never talked about it again, didn’t have a chance. Until the day there was no longer anyone to talk to.

How could I have given her the strength I myself did not know was in me?

***

Baldy asked me a question or something. And I tuned him out. Coz I’m drunk. Drink-dong-drunk...I hear bells ringing somewhere, a tinny-tiny little sound. No kidding, I’m drunk, good and drunk, who’d have thunk. Somewhere there was a stage at which I should’ve stopped and lingered, and I didn’t notice how I rolled straight through it. Overdid it. And butter won’t help no mo’.

Baldy was asking whether I am bored. Oh, sure, he needs an audience; he wanted to preen before me, too. And I just tuned him out; how uncivil—did not hear a thing, nada, of what they were talking about.

“I’m n-never bored.”

“Oh, then you are a very special woman. One of a kind—your health!”

But I am bored looking at you, mister. Do you have any idea how boring you are to look at? You’re all so boring, like someone’d just pulled you out of a washer. That’s exactly what you’re like: soggy and wrung out. And you probably imagine yourself all clean and squeaky, right?

“It’s time we got going,” Aidy says. The big sweetie, he’s a bit tipsy, too. And all that alcohol has clarified some things in his head, too: that the only way to get rid of this character is exactly this—to get up and leave altogether. He won’t go by himself, unless someone throws him out. And Aidy can’t throw anyone out for anything. Aidy doesn’t like humiliating people. And thank God for that. Thank God.

Baldy shoots hungry looks all around him, as though he wants to swallow the whole place in one gulp before he leaves, and take it with him, in his gut, like a smuggler carrying diamonds. And sighs sorrowfully, woman-like: oho-ho!

“As old Taras once wrote—”

Who? Baldy quotes with great pathos—although he talks all the time as if he were quoting someone anyway. His generation still uses quotes like scholastics use the Holy Scriptures, sat out their whole lifetimes behind other people’s backs.

“First drink down—makes you spry / second—worry on your mind / third one—now your eyes glow / thought after another follows!”

“Taras Shevchenko wrote that?”

Aidy and I ask him to repeat it, and he does. I love it—like it was written about me. The clinical picture spread out, plain and simple. If only I’d stopped at that third drink—while the eyes still glowed. Aidy hands his credit card to the waiter, and Baldy pretends he is too engaged in the conversation to have noticed this delicate moment. (He’ll ask insincerely later: How much do I owe?—and pretend to be surprised, just as insincerely, that the bill’s already been settled; these old suckers always do that.) He tells me the great bard wrote this on a wall somewhere while he was carousing in a tavern. You know those poets maudits. Although it’s still better than “les saglots longs des violons.” For some reason, this conclusion prompts a surge of patriotic pride in me. (How did I ever get so drunk?)

“It would be good to write it on the wall here somewhere, too,” Aidy contributes, as he always does, a dose of constructive pragmatism. That’s right, this is supposed to be a literary café; no less, they even have some moldy hardbacks huddling on the shelves over there—what idiot would ever want to read in this light? Thought after another follows, that’s very well said indeed.

And, out of some deeply sentimental gratitude to this old art-worm for the aptly supplied quote—as if this quote, for reasons past comprehension, took us to some deeper level of mutual understanding in this place and at this moment, before we got up from the table and parted ways (Will our paths ever cross again, or have they separated forever already?), as if the quote sent us into the throes of an intimacy so urgent we needed to fall into each other’s arms at the feet of Myshko Grytsiuk, whom Vlada considered a genius—in a word, that drunken daze that makes the proletariat, after the umpteenth, by the great bard unforeseen, drink, grab whatever’s handy and crush it on the tablemate’s skull, I open my mouth and blurt, “Did you, by chance, know Vladyslava Matusevych?”

Done, it’s out, can’t take it back. And instantly the face I see before me is no longer weaselly—it’s a hyena’s maw. He-he.

“You know, for me it was enough to have known her matinka, he-he!”

“Nina Ustýmivna?” I’m not being obtuse—I’m slamming on the brakes: something’s coming at me that I do not want to hear, and there’s no way to swerve around it.

“Exactly, exactly. Ninél is her real name.”

Ninél? Yes, indeed, that’s right, Ninél—a name once fashionable among the Soviet bureaucrats, “Lenin” spelled backwards.

“I knew Matusevych Senior, too. He wasn’t actually without talent, as a painter, but that bitch, pardon my language, just drove him to the grave. We used to call her the praying mantis among ourselves, he-he...the spider female that turns the male into protein after the act.... She, by the way, was a beauty, a nuclear blonde; you know—you could bury her alive, and she’d dig herself out with her bare hands, he-he. God spare me from a woman like that.”

Something in his voice, a grating note, tells me he is not married. Or long divorced. Could’ve figured it earlier, not rocket science: his dingy shirt, a general dusting of neglect—it happens when a person has long lived alone and doesn’t have anyone to look him over on his way out. His only consolation—how bad things can be for the married. Especially those who marry beautiful blondes. Vlada also always said that her mom had been a beauty, and I always kept politely quiet: I think the real beauties remain beautiful in old age, and I wouldn’t say that about N.U.

“The fact that Matusevych never fulfilled his potential as an artist,” Baldy continues to gloat, “was all Ninél’s fault, much more so than the Soviets! She couldn’t get him the Government Award, that’s true, although she packed him off to the Central Committee more than once—to confess the mistakes of his youth, and he still didn’t make it to the special-rations ranks, he-he...I’ll finish the cognac, with your permission. No use leaving tears at the bottom—Your health!

“About me, she wrote a denunciation in ’73—to the Union’s political committee and the Art publishing house, whence I was promptly expelled, after that report of hers—for ideological immaturity. And that was the beginning of all my trials and tribulations. Despite the fact that I was a young specialist and they had no right to expel me.” (He is talking as if this all happened just yesterday, the resentment raw in his voice.) “Right before that I published in...” (Bla-bla-bla—he names a periodical from back then, Socialist Painting or Swine Tending, I forget instantly) “my article...” (he rolls out a pretentious multiclause title that whizzes straight over my head and might as well have been in a foreign language) “they called it the generation’s manifesto, the debate in the Union was oh-so-stormy—the last, you could say, stir of freedom.”

“You mentioned a denunciation.”

“And the denunciation, he-he...” (he’s all but rubbing his hands together, so pleased is he to be opening my eyes to the bottomless pit of human depravity) “the denunciation was that beauty’s way of getting back at me for criticizing her husband, among other things. In that article of mine I wrote that he was more successful in his nonfigurative works than he was with the builders of the Chernobyl Nuclear Plant, and that was absolutely true. Except that he’d already been raked over the coals for his nonfiguratives, and it was time for him to distinguish himself. It was a critical year, you know: there’d been one wave of arrests already, Zalyvaha got time, Gorska was killed, a whole bunch of people got expelled from the Union, blacklisted—and Ninél, you know, she was used to comfort, to status; she wouldn’t have taken kindly to being the wife of a persecuted, starving abstractionist. So she packed him off to paint ‘men of labor’ at the Chernobyl Nuclear Plant Project.... ”

“Good Lord, why to Chernobyl?”

“Eh, you, young bucks!” Baldy is all but melting, blissfully, like a living block of butter. He is in his element—the guide to the past, where we are foreign tourists, mouths agape. “They just started building it, right then! All the papers blared about it; poets were falling over each other to sing the peaceful atom on the Pripyat’s shores. It was a win-win subject: it’s not the great leaders you’d be painting again, you know, but men of labor—just like Courbet did—and at the same time you’d be manifesting the correct understanding of the government’s and the party’s policies. Back then, you must remember, few knew—it only came to light after the accident—how dangerous a project it was, that nuclear plant. And that the Ukrainian Academy of Sciences, no matter how deep in Moscow’s pocket it may have been, did not, in the end, give its approval to build the plant in such a densely populated area—only in Moscow, they didn’t give a shit, pardon my language, about some stupid Ukrainian hohlys’ permission.

“It was so ordered—and off went the campaign, and everyone ran to get in line for a creative road assignment. And Matusevych Senior, too. He slapped together a whole series, painted in the realistic manner, of course; it was his first official show. He did have a few interesting uses of color here and there; color was his strength, and you can’t escape yourself at the drop of a hat, just like that—but overall it was a sloppy job, such blatant socialist realism. If they’d given him the award then, it would have been a giant leap for him...” (he spreads his arms, to make his point more visual) “clear to being crowned on the other side of the chessboard, straight into the establishment!” (The establishment seems to drop onto my untouched plate next to the veal filet that’s gone cold, and Baldy blinks at it in passing, with visible regret.)

“That’s what Ninél counted on—and not without good reason. Many careers were made like that at the time—after the best and the most talented went underground, like I did...” (no, I didn’t really hear that last bit, that’s the alcohol finishing my thoughts for me) “the gaps had to be filled somehow. And, sure thing, all this rubbish pushed its way to the top, and the age of the talentless began. But, so that the difference would not be quite so obvious right away, they still mixed in a few of the old beaten-and-denounced; the ones who demonstrated contrition—as long as they were clean on the KGB count, of course.... And they were only too happy—Brecht was fashionable then, and he has Galileo say that it is better to have your hands stained than empty—remember? Many thought so, too: alright, let me get a little dirty, but in exchange I’ll have a chance to do something, in art, in science.... But it didn’t work that way, he-he! All of them, those who went from the underground to the officialdom, met Matusevych’s fate—and never created anything good again! They were left empty-handed, he-he.”

So this, then, is the main justification for his life? And for his own empty hands, which, by his reckoning, are superior to the hands of those who ate better than he did back then, and he wants someone to recognize this. He must make a good professor, actually—he has a way of drawing you in. So much so, in fact, that I’ve sobered back up to that third-drink level: thought after another follows.

And here I am, sitting across from him, some quarter of a century his junior, with my own clean hands, like Pontius Pilate’s—and feel my blouse sticking to my shoulder blades, and notice the stench of my own armpits very clearly; it’s not a hallucination. I, too, am beginning to sweat like him, beginning to ooze, his mirror image on the other side of the table, liquid from every pore. He also drips out of sorrow, I instantly realize and feel, for a moment, remarkably perceptive—a protracted sadness like that, over many years, can make one cry, or it can make one sweat. Looking at him, I see my own future. Myself—in another quarter century, when I, too, won’t have anything left except persuading the grown-up youths (those I manage to latch on to) that I am better than my colleagues because one time, long ago, I didn’t want to soil my hands, and disappeared from the screen. And I’ll have nothing in those hands of mine, either, when those grown-up youths ask: And who exactly are you, miss, and what have you accomplished? Not one more worthwhile thing—just like him.

It all goes around in circles, I realize, horrified (and repulsed by my own indomitable smell)—in circles, over and over again, the same thing in every generation, only the costumes change. It’s a special kind of trap: a whirligig of ruined lives. A Ferris wheel: you’ll get off where you got on. I can’t breathe; I’m going to be sick. Aidy, noticing or sensing something (my smell?), covers my hand with his comforting palm—thank you, love, yes, I understand, it’s time to go, but I have to hear this man out. Hear everything. To the end.

“So Matusevych, then,” the professor carries on his tale, losing most of his oratorical flourish (apparently, he is immune to my smell) “had, at the time, a perfectly realistic chance of improving his lot, and Ninél spared neither time nor effort for this. Wore her own soles off making sure he’d get nominated—and why not, he was practically clean on the KGB count...” (How exactly, one wonders, does he know that?) “a few trifles here and there perhaps, a bit of this and that, dissident acquaintances in his past, but who didn’t have those? The important thing was not to keep them up, and at that, Matusevych was rather abundantly experienced! When he got married, he broke off all contact with his own family—lest someone remind him that his uncle fought in the insurgency. He didn’t even go to visit his mother—this, by the way, also upon Ninél’s insistence; she just couldn’t be too safe, that lady.”

“Wait a minute.” I sober up all the way to the first-drink level. “What uncle in UIA? Wasn’t Matusevych’s family from somewhere around Khmelnitsk?”

Khmelnitsk region—that’s where Vlada went when she was little to her grandmother’s, her father’s mother’s funeral, where she heard the wailing that she remembered for the rest of her life. And that was her only memory of that grandma, because she did not, in fact, ever see her alive, not once.

Baldy magnanimously aims the shiny circles of his glasses at me (and now he reminds me of Beria). “And did you imagine there was no UIA in the Khmelnitsk region?”

“Was there?” Aidy perks up.

“Was there anywhere it wasn’t?” laughs Baldy, a downright homey laugh (his tie has slipped askew). “I come all the way from Sumy, and I remember how my mom hid partisans in the German days! And then when the Reds came, I was told to keep my mouth shut about it, not a peep, because it turned out that partisans they were, alright, but not the right kind...not the Soviet ones. And where Matusevych was from, in Podillya—that was basically Bandera’s backyard!

“But they had to have forgiven him, that uncle of his, long before; Ninél was there at his side, a living, breathing proof of rectitude—she came from the privileged, an apparatchik family, her father started in Party work all the way back with Stalin.... So then, she had a clear plan—to push her husband to the top. And here I come, he-he, a greenhorn, truth-seeking idealist, and plain out declare that Matusevych is rubbish as a Socialist Realist, and that he’s wasting his time doing something his heart isn’t in.”

“Isn’t that a bit of a denunciation, too?”

This slips off my tongue before I can bite it—I’m not quite sober yet, after all. But now, in the pause my words abruptly throw open—this silence is bottomless, and so are Baldy’s eyes as he stares at me, rendered instantly speechless, as if I’d just hit him with a right hook to the chin—in this silence that rings in my ears as though the entire café has also been stunned, lights changed and sound turned off, I finally sober up completely, the daze gone without a trace, like it was never there. Hang on a second. Who was it that looked at me with just such frightened eyes not so long ago? And why did Baldy get so scared?

Aidy is first to come back on line—with an amiable chuckle: he’s getting a kick out of this; he’s admiring me and doesn’t hide it—he can afford to admire me, how awesome I am, how quick my reflexes are. And, since Aidy is the one who is bankrolling the evening, Baldy reacts to Aidy’s signal—and engages again, although he has to force it, creaking and screeching like a rusty machine, flexing the muscles around his mouth: he-he-he. I already know who it was that looked at me exactly like that not so long ago—with the same dread, a cornered animal’s hatred: it was my boss. During our last conversation, when I accidentally, just like this time, reminded him about the dead body buried on his conscience. The reaction’s identical, down to a T; the facial expression’s exactly the same. C’mon, mister, you’re weaseling around, skirting something—you’ve got something to hide, haven’t you?

“He-he...you, my dear, don’t quite grasp the times, do you?” he declares, choosing to resume his magnanimous tone, and partially succeeds, only a few dry sparks crackle under his glasses in the wake of his momentary short circuit. “People took my article as a breath of fresh air! The journal still dabbled then in freethinking, for old times’ sake; it was the last little island like that, but after Ninél’s denunciation the publishers had their air shut off too. Ninél, you see, reasoned somewhat along the same lines as you just did, he-he.... ” (Vindictive, aren’t we? Put the jab right back where it came from.) “Well, you can be forgiven on the grounds of ignorance, but you know this women’s logic of yours. Women always rush to defend their own, in this they’re much like Jews...”

And anti-Semitic, too?

“There are all kinds of women out there. And Jews, as far as I know.”

Aidy grunts his approval again—resigned to the prospect of not getting out of here as quickly as he thought. He nods to the waiter to clear the dishes from our table, pulls out the cigarettes he already put away in his pocket, and lights one up.

“Could I have one, too?” Baldy asks, suddenly, and unexpectedly.

He hasn’t smoked all evening. Means I really got to him. Got him good, looks like. Ha! Am I Columbo, or what? Time to take the initiative: “So, if I understand you correctly, Nina Ustýmivna decided that your exposé could harm her husband’s career, and responded with a preemptive strike?”

For a moment, he doesn’t say anything—as if he were experiencing that strike again.

“A stab in my back,” he says after the pause, drawing on his cigarette with the greed of an old smoker, his Adam’s apple bobbing hungrily—and I see how worn he is. Soggy and worn. And old. “It was a stab in the back. She, essentially, ruined my life, your...” he mocks with a caustic smirk, “Nina Ustýmivna. Unlike her, an apparatchik offspring, I had no protection or patronage whatsoever. They wouldn’t think twice about giving me time—and not on political count, mind you, but for a criminal offense. Vagrancy or hooliganism—like they did with everyone who didn’t have a famous name—workers, students, all the political bottom-feeders...not a mouse would peep. Do you even realize what it was like...” (his voice swells with an altogether theatrical pathos, it appears he’s getting himself worked up again) “to be fired because of a political accusation, for ‘ideological mistakes’? Can you imagine at all how an art historian might survive in 1970s Kyiv if no one would give him a job? How he might feed his family?” (Here I could have pointed out that I myself had once been a child in a family like that, and that our family, after they locked my father up in the loony bin, was fed by my mom. But I doubt it would trip him up—he appears to persist in the conviction that he is the only man in the world ever to have survived something like that.) “What it means—to beg around for small jobs? To write reviews under other people’s names for twelve rubles a piece and consider yourself lucky when you could?” (Something similar may very well be in store for me in the near future, but I don’t want to bring that up.) “My wife left me. She couldn’t stand it after a while; she, too, wanted comfort—as Shakespeare said,” he twists his mouth as if for another he-he, but this time no sound comes out, “Frailty, thy name is woman.”

Shakespeare, Brecht—all this is also a kind of nouveau-riche gilding, like in their McBathrooms, all these quotes he pulls. He is not lying—he’s just bizarrely off-key, as though he were playing his solo on an instrument in need of tuning. Or is it this iresome pathos of his that’s ringing flat in my ear? You can’t deny it: their generation used up our national stockpile of pathos for centuries to come, didn’t leave us anything that could sound natural. Like Vlada making fun of her mother: “Nous sommes les artistes, maman!” Nina Ustýmivna, it’s you again, Nina Ustýmivna.

“And you call it a preemptive strike! Perfidy’s what it was, my dear, common human perfidy! The instinctive response of a cannibal who bites off the head of anyone who dares stand in her way, and moves on without a second thought!” (I wince unwittingly under this verbal barrage—as if it were Vlada who had to listen to all this instead of me.) “She chomped down her own husband, too, and didn’t even blink! He never did get that award, not then, not later; they didn’t let him to the very top,” again he twists his mouth gleefully. “The competition was too stiff for Ninél, too tough for her to bite, and she broke her fangs, her resources were not immeasurable.... Bet my reputation—on that, the lady left her brand for many years to come. For a while there I was simply crossed out of life—in a dead end! Do you understand? Dead!”

“And that’s when you were recruited by the KGB, wasn’t it?”

He remains just like that, mouth not quite closed, halfway through an inhale: a freeze-frame. I can’t help it—it’s my professional proclivity for dramatic effects: as if I really lived inside a mystery series, where I’m also in charge of creating drama, and every time my trick works I get a small professional satisfaction. Aidy, my audience (the only one I have left)—also my view from outside, the director’s voice from outside the frame, the cameraman on the other side of the camera, and the makeup artist with the powder brush at the ready (how quickly did I invest him with the powers of all my old overseeing authorities!)—makes a short, glottal noise that could, if one were so inclined, be taken for applause. He’s so sharp, mind like a steel mathematical trap, that he’s instantly put together all parts of the equation, and even if either one of us still wondered whether I have, in fact, divined the correct solution or stuck my chalk, at random, straight past the blackboard, one glance at Baldy is enough to erase all doubt: he looked as though all his sweat had instantly dried up all over him. A sudden change of seasons: a night of frost—and everything’s stuck.

Oh, I guessed it all right; I bloody well did. He shouldn’t have counted on my ignorance of this topic—I have, like it or not, done hundreds of interviews, with very different people. I’ve got my own personal Google in my head. I even know how much they were paid, these small-time rats on the take like him, for their monthly written reports on what their charges blurted out after a couple drinks—sixty rubles. A nice number, twice Judas’s fee—I bet some wit made it so on purpose. Enough money, when push came to shove, to get you by. So he did.

He is right about one thing: it’s true I cannot imagine how he lived. How he hung around, for years, showing up uninvited at other people’s homes, at the old-time wooden annexes, not yet devoured by the new developments, at the attics of underground studios to glean his shred of borrowed warmth. How he slurped the borsch the women set before him and drank the cognac, the cheap Armenian stuff—there wasn’t anything else back then, berated the Soviet government, viewed the men’s works and pronounced his unwritten judgments on them—with great feeling, I bet, peppering them with quotes, honing his style—and sweating the whole time: oozed murky liquid from all his pores like under-pressed cheese, under the weight of his secret task. And then trudged home—and worked everything he’d heard into a story for his captain. I can’t imagine a life like that. Or how one could endure it for years.

He’ll write nothing about that “little-known stratum of our culture.” He won’t ever write it, no matter how eager he makes himself sound for Aidy. I could tell him this right now, right to his face, absolve him so he wouldn’t suffer any longer; let him stop sweating under his uneased burden, once and for all: he won’t write it because he’s already described all those people—in his reports. He’s already made a story out of it—the one others demanded of him. And this story has stayed with him, has short-circuited his memory. Because it’s always like that with the story; I know it from my own experience: you remember people, alive or dead, not the way you once knew them, but the way you told others they were. Doesn’t matter whom you told—whether you were speaking to TV viewers from the screen, or to a KGB officer in a room with closed doors: you can’t make a different story from the same material, zero out the first one, new text over the old. The material’s burned. Burned, charred, turned to ash, leaving but one trace—the bitter taste of resentment, the eternal sense of having been robbed of your due, the mouth etched into a mournful arc.

He had his story taken from him, taken away. It was done with his consent, with his own hands, and there isn’t anyone to blame now. Maybe he really would have died if he hadn’t agreed—it was those who didn’t agree that died. And those who lived now have no tale to tell us because they’d already told it once. And, unfortunately, not to us.

They should be telling us another story now—a story of taken stories. The story of their defeat, but no one wants to do that. Vlada, too, probably never heard from her mother about that episode with Baldy—and would Nina Ustýmivna even recall it herself? People often forget the evil they’ve done unto others, but retain forever the antipathy toward those they’ve wronged—reasons for this are found and fit into the puzzle later, retroactively. Vlada may have heard Baldy’s name at home, spoken with a bit of scorn, with a magnanimous chuckle, as one commonly speaks of ambitious losers, and may have thought him one. And somehow I find this unfair and hurtful—as if they’d cheated her, my Vlada. As if everyone, all of them, cheated her and were cheating her her entire life, since she was little—all of them driving her, together, into the ditch.

I am tired. Good Lord, this day’s got the best of me. Was it only this morning that I was getting ready to meet with Vadym, rehearsed in my mind the prosecutorial speech I’d prepared about the girls’ show, made sure to choose the right jacket and turtleneck—the same ones I wore to see him in his apartment on Tarasivska, the day Vlada died, counting on the outfit triggering Vadym’s Pavlovian reflexes, engaging subconscious machinery of memory and guilt? What an idiot!—like men even notice what a woman is wearing unless they intend to rip her clothes off.

God...it’s too much for one day—feels like this morning was at least a week ago. And the intoxication’s passed, blew clean out, and I’m cold. I’ve got this chilly shiver running down my back—I might be getting sick; it’s flu season, and there’s this draft from the doors.... And, please, there’s no need to be yelling at me—I’m already tired beyond belief, and can’t possibly muster the effort to react to any stimuli, except maybe if he picked up a knife and went ahead and sliced me into halves like the circus woman in the box, only I doubt I’d come back together again—Aidy, can you do something about this? Why won’t he stop yelling at me?

And look how red he’s turned—crimson, poor thing, the whole bald spot flushed like a jug of cherry liquor split under his skin. God forbid he “took a conceit,” as Aidy likes to say, meaning, had a stroke.... Only separate phrases break through to my awareness. (“Who’s the injured party here? What, was anyone injured because of me? No, no one can say that; go look as long as you want, you won’t find anyone!”) His monologue refuses to coalesce in my mind; it splits and shatters. Plus he is yelling, and I have trouble with yelling even when I’m fully awake—yelling in falsetto now—no longer a baritone—with hysterical girly modulations, which are also somehow fake, as if he’d memorized in advance the right way of screaming his indignity when he is suspected of collaborating with the KGB. Or maybe, in all those years of leading a double life, he lost the ability to speak spontaneously altogether—just forgot how you do it, say what you think, without prepared notes in your mind? (“It was me they threw out on the street like a dog, and it’s your Ninél’s fault! Hers and hers alone! You can’t ever deny it!”)

Aidy coos something soothing to him, as he’s done the whole evening—now would be a good time for me to make amends, curtsy peaceably, maybe even apologize, say I didn’t mean anything like that at all, tell them I want to go home now—stop, enough, enough of these memories, the ripping open of old wounds, of this eternal Ukrainian self-destruction. Aidy slaps his hands on the table like he’s slamming all the demons I’ve summoned back into the boards—enough, time to step out; it’s stuffy here, the ventilation’s crap, and it stinks like dirty socks—he can be squeamish, my Aidy, only it’s not socks, I think, detached as if in someone else’s mind: it’s the stench of decomposing souls. I’ve been reeling them in all day today, drawing them in like a thread on a spool—first Vadym, now this character, and if this is the new journalistic investigation that I’ve assigned myself to, I don’t want to touch it with an ten-foot pole.

And that’s when Baldy bursts open with a new, no longer false, undeniably honest sound: hurried, the last blubbering argument from the shut-off tap, the triumphant cry of well-aged hatred. “But God sees it! He sees it all! Walked over dead bodies she did, and dead bodies she got—or did she think it would always turn out her way? Thought she’d have her bed of roses—first with her husband, and once she drove him to the grave, then with the daughter she’d make into a Big Artist? Vladusya the genius. Yeah right—stamped out a bunch of those folksy paste-jobs of hers, Ms. Cookie-Cutter. Sure they played in Europe, what doesn’t? It’s been a desert for God knows how long. The Brits give out their Turners for shit you wouldn’t believe, and everyone here’s just happy to play along—fancy that, a world-famous artist, drives a sports car! Not very far she didn’t! Now her old matinka gets what she deserved!”

The next sound is that of a chair falling. It’s from under me—and I, on my feet, loom over the defiled table, like Lenin over a pulpit in an old Soviet movie, and yell, choking, at the lenses of those Beria glasses, something barely sentient and incredibly pitiful, something that begins with “How dare you” and instantly makes me want to disappear from the face of the earth. And when Aidy emerges from the ensuing brouhaha, from the snowstorm of the waiters’ white shirts and the dense smatter of faces that have turned to look at me, when he rises to his full monumental height and waves his arms like a conductor over the orchestra pit where the band’s gotten drunk and is now banging out a loud cacophony, I cede my pulpit to him and flee in a most undignified manner. Tripping and painfully slamming my hip into a corner of a chair or a table, blindly ripping my coat off the hook—out, through the doors with their desperate squeal of hinges, into the rancid, soggy, oily gloom the streetlamps are swimming in, down the stairs, coughing and slipping, to the thump of my own boots—and only on the sidewalk, where I stop, do I notice the napkin clenched in my hand: When did I snatch it, and what for, I wonder—was I going to throw it into Baldy’s face?

Night, snowdrifts, streetlamps fringed with mist, clouds above Prorizna running fast, so fast, unwinding into streaks of smoke above the bluish glow from the moon. When I was little, Mom and Dad used to take me for sled rides at nights—they’d hitch themselves to the sled and run down the long winter street, and one time I fell out of the sled on a turn and just lay there, in a snowdrift, a well-padded bundle. In the minute or two it took my parents to realize what had happened, the whole universe came crashing at me, alone—like an astronaut out of his ship, in open space. I remember the sky above—a star-dotted blackness—and the incomprehensible, cosmic silence, the likes of which I never heard again. When my parents returned, noisy and laughing, I already knew the world was different from what they were trying to make me believe it was. That a person was alone in it. And that to cry—something I remember they were very surprised I didn’t do—was futile. There was no one to cry to under this sky.

I don’t know how much time has passed—maybe a minute or two—when the quick scrunch of snow under a familiar step calls to me from behind my back—slush-slush, the thick vapor of breath, the dear smell of a tobacco-scented coat, aftershave, warmth, skin—home. Keys jingle. “Baby, don’t—here, get in the car before you catch a cold on top of everything, come on.”

And only now—after I turn to him, bury my face in his chest, in his dear smell, clawing through the soft fabric of his scarf, between the lapels of his cashmere coat, pressing, burrowing into his whole self, as if digging deeper into the ground to escape an artillery attack—do I finally let all my tears run at once, all of them, accumulated, it seems, over twenty years—from that day when I cried into Sergiy’s chest, the first man to whom I opened up. I let loose with a single blast, as if the cork were knocked out of me with one terrible, hiccupped sob, and the weeping that had sat all day in my throat like barking, breaks out. Like dogs barking.

Mama, Mommy. Aidy, Aidy. Don’t let me go.

***

“You asleep already?”

“You’re kind of different with me now, you know?”

“Uhm-hm?”

“And when you enter me...inside...it’s somehow different...I don’t wait for the climax anymore, you know? It’s just, you’re inside me, and that’s it. Like in a dream. Or like breathing.”

“Is that good or bad?”

“You silly. Good, of course...it’s good. Go back to sleep.”

“Come to me.”

“What, again?”

“Yep. Again and always. What were you even thinking putting this shirt on?”

“Listen, do you believe that? What he said about Vlada’s mom?”

“That she ratted him out? I think so—why else would one hate someone else’s wife like she was family?”

“No, not that. The part about Vlada’s father—that she killed him? Do you believe something like that could happen?”

“Your feet are still cold, you little goose. Here, let me. All kinds of things happen.”

“Have you ever been with a woman like that? One who is killing you, and you know it—day after day?”

“I forgot. I forgot everything that was before. You’ve got the wrong guy to interview.”

“What do you mean, wrong guy? Who else am I gonna ask now?”

“You’re funny. I want you. All the time. Can you believe that?”

“No, listen...earlier in the day even, when I left Vadym’s place, I was thinking the same thing about Vlada. That she had no other way out, with Vadym. That it was like a tunnel, you know, where you can only move forward. What if it’s always like that: When one spouse dies, it’s always the other’s fault? No wonder they didn’t much care for widows in the old days...or widowers, either.”

“Mm-m.”

“No, I mean it. The one who survives, he or she, sort of, didn’t hold on to the other—let them slip. Let death have them, you know?”

“Really? You promise?”

“Cross my heart. Worse comes to worst, we’ll blow ourselves up with one grenade.”

“Why did you say that? About the grenade?”

“How should I know? I was asleep, remember?”

“You poor thing!”

“Yep. You’re the one who roused me—and instead of getting down to business, took me to task about who I killed.”

“I love you. Here, put your paw right here, uh-huh, that’s good...I know you didn’t kill anybody. Honest.”

“Cross your heart? You believe me?”

“I do believe you, Aidy.”

“Let’s sleep then.”