didn’t let it get to me.
Nadine was another of those towering women, but then I’m only five foot two, so a lot of women tower over me. And she was disgustingly thin, with Cleopatra hair and black almond-shaped eyes. And an attitude. And that terrible accent. A recent infusion of royal blood in a Swiss clinic? As far as Nadine was concerned, there was no one smarter, more beautiful or as important as she. I was almost certain she’d shelled out a fortune for face-lifts and tummy tucks. Too bad they can’t invent the ego tuck. I did the only thing I could in that moment and whispered, “You’ve got something black stuck between your front teeth.”
As I headed out into the cold to buy lox, she was furtively trying to catch her reflection in the glass of one of the exhibits.
When I got back to the gallery, everyone was getting a little sloppy. They’d finished four bottles of champagne and were starting in on another. I set the food trays down on a table in the main part of the gallery. They moved toward the trays with all the grace of a pack of jackals. Paul Bleeker looked over at me several times between mouthfuls of cream cheese and caviar, a queasy expression on his face, as though he had an ulcer that had just started acting up. No light of recognition dawned though, and he turned back to his little claque, munching canapés and beaming hundred-watt smiles. He didn’t remember me.
I poured myself a large glass of bubbly. Nadine would never notice. She had just draped herself all over Paul, as close to being a human overcoat as anyone ever got. I watched him extract himself delicately from her grip, reach into his pocket and pull out a small square black box. He was still smoking those silly Sobranies. But I forgave him when he lit up. I wanted to be that cigarette, stroked by those eloquent fingers, moistened by those sensuous lips, thrust in and out of his mouth…and then he looked around, spied Jeremy’s urn, removed the lid and flicked his ashes into it.
I was there in a second to snatch it away. “That’s not an ashtray,” I splurted.
“Hey…it’s full of ashes.” He must have realized what it was because he banged his hand against his forehead.
“A friend of yours?”
I nodded, hugging the urn.
“Really sorry. And you are?” He squashed the R like a true North American. His accent had temporarily lost all its Britishness.
“Lucy Madison. Assistant manager here.”
“How’re ya doing. Sorry about your friend.”
“Me, too.”
And then I did the unthinkable. I gave in to grief in front of my idol. Tears rollicked down my face. Paul Bleeker took my elbow and guided me into the washrooms. He parked me near the ladies’ mirror then went into a cubicle and came back with a huge wad of toilet paper. It was cheap, scratchy toilet paper. Nadine liked to cut corners with those little things.
He handed it to me and I mopped my face. Kindness always makes it worse for me and my tears turned to those jerky hiccuppy sobs.
I felt an arm pull me into a leather-clad shoulder and a hand stroked my hair.
When I’d calmed down a little, I said, “Actually, it was my grandfather.” I stared at the urn.
Paul Bleeker just nodded as if he understood absolutely everything, everything from my feelings of loss to super-strings theory…and then a strange light came into his eyes. You have to be careful when famous artists get strange lights in their eyes and you happen to be holding a dead person’s ashes in your hands. For one thing, the famous person usually has enough money to finance his eerier inspirations.
I pulled back a little. Paul had already changed tack though. He took my chin in his hands and began turning my head from side to side. “Have you ever modeled?” he asked.
“For an artist?”
“No, for a mechanic. Well? Have you?”
“Informally.” I recalled an old boyfriend from university days who had once used me as a model. His basement suite had been glacial, its decor, early dirty gym sock, late pizza box and cigarette butt in beer bottle. He fancied himself to be the next Francis Bacon. When he finally let me glimpse his work, I looked like a fat mutant baby after a nuclear meltdown.
“Only head modeling,” I said primly. The world was not going to get the chance to laugh at any of my naked body parts even if the artist was as famous as Paul Bleeker.
“Pity,” he said. “You have a somewhat classical look.”
If he had gone on to say “Rubenesque” I would have been forced to deck him. But he said, “Give me your phone number anyway. You never know when I might need a head.” It was a ploy, of course, but I quickly rattled off my number and the gallery’s e-mail address. I could hear the natives getting restless beyond the bathrooms, and the irritated staccato of Nadine’s size ten Ferragamo heels clacking toward us. Paul Bleeker scribbled fast in his little black book and pocketed it as Nadine came through the doorway.
She just avoided snarling at me. “Lucy, you better get out there and start cleaning up. It’s a hell of a mess.” She turned to Paul and said so sweetly it made my teeth hurt, “Umberto’s all right for you?” He nodded, then shrugged at me, a poor helpless creature caught up in the tide of his adoring fans.
They were all gone by the time I came out of the bathroom. I put Billie Holiday on the CD player and cleaned up. It was nearly eleven when I trudged back out into the cold. I was freezing by the time I got on the bus. As it jostled through the slushy dark streets, I pictured the lucky group, stuffing themselves at Umberto’s Ristorante, funghi porcini, risotto di mare, tiramisù. Nadine taking second and third helpings.
Then I thought about what I would do if Paul Bleeker actually phoned me. Would I dare to tell him that I was a sometimes painter?
Would we be able to talk about…art? It’s a word I usually have to whisper because it’s all become so tricky.
When I first started making big paintings, I figured that with people hanging animal carcasses in galleries or cutting off their own body parts, bleeding to death and calling it artistic expression, I had a lot of leeway. My work is ultra-conservative in comparison to just about everybody else’s. I like decorative, and I like functional. I like something I can hang on my own wall. And for that I usually get into trouble. I was harassed at university for the “prettiness” of some of my paintings. But I couldn’t help it. I had started depicting my night dreams, in a kind of quasi-naïf, colorful, surreal way. They were so much more vivid and promising than anything that was happening in my waking life. They were full of wild things and creatures: tigers, snakes, bluebirds; orchids, roses, turquoise oceans and murky-green ponds. Sky jokingly christened my work “Frida Kahlo without the mustache.” In my night dreams, I once wore a shawl of white silk embroidered with brightly colored vines, birds and flowers, over a gorgeous tight-fitting red silk dress with matching shoes. Of course, my nighttime body is beautiful. But I think that’s good, don’t you? It means that whatever I really look like in the daytime or consciously think of myself, my deepest, barest mind thinks I’m okay.
At class exhibitions, my work was always put in the out-of-the-way poorly lit back rooms. It didn’t bother me. Somebody always found their way back there. And I don’t know why, but when the exhibitions were dismounted, pieces of mine always went missing. I don’t want to use the word stolen. I prefer to call it art appreciation.
If there’s one thing you have
