The Museum of Abandoned Secrets (80 page)

So I retreat.

“You ever think of cutting back on smoking, Dad?” is all I say.

“No worries!” he responds, unexpectedly chipper, apparently happy to hear the topic change. “You can’t fell me with an ax!”

“Yeah, that’s what you think...I can hear it all the way over here—‘the box of whistles playing,’ as Grandpa used to say.”

We exchange a few more routine lines—fading fluctuations, an exponential process.... He’s right, it’s time to sleep. Now—I can feel it—I’ll go out cold as soon as I put my head on the pillow, just like Lolly did earlier. And will sleep like a log, without dreams.

“Tell Daryna,” Dad reminds me before he hangs up.

“About what?”

“About Adrian, what else?”

“Oh, yeah. Sure, I will.”

“Good night then. You all take care of yourselves now, okay?”

“You too, Dad. Good night. Sweet dreams.”

Click.

Beep-beep-beep...

I sit, holding the receiver, now mute, in my hands, and stare at it as if waiting for something else. A thought pops up—a last bubble of oxygen from the bottom of the well, stirred up by the rock: if I ever have children, I’d like a girl—they have it a bit easier in this world after all.

Dude, time to sign off, you’ve still got the whole day to figure out tomorrow. Or rather, the whole day today.

And the day after. And the one after that.

Alright. How do I get to my feet again?

From the Cycle
Secrets: Untitled/Ohne Titel/Sans Titre

“W
here did you get this?” Daryna asks.

“What?” the cuckoo yokel replies, half-spooked.

Just about had it wit’ dem all, he did. Dey’d come and talked up such a storm you couldn’t hear your own self think. Da other ones, dose come before, bought da clock and sideboard and wanted the other clock too, dat littler one over dere dat father brought from the war, when da wife put her foot down, said I ain’t gonna let you clean me all out—dey didn’t wag dem’s tongues for nothing, one-two, counted off the dollars, loaded up da things into dem van and gone oft! Dese new ones catechize you worse than cops, God forbid.

But, he’s no fool; he’s caught on to which way da wind’s blowing, right off. If not for dis skirt he’d seen on TV, he’d of told her boyfriend to go stick it and dat’d of been end of story. Wouldn’t of listened to nothing. Clear as day, he’s that antiques-Yulka’s boozer ex who’d called here before, and tried to get him. Da one who scared the daylights out of Yulka, so she asked to not come to her work and meet up in da park instead. Looks like he couldn’t suck anything off of Yulka no more, so he’d gone found him a new one.

She’s not bad to look at, either, he’s done well.... What’d she seen in him? Tho, you wouldn’t tell he’s a boozer just by looking at him, and his hands don’t shake yet. Must be a heck of a fucker—milks ’em all dry, and dem girls probably thank him afterward.... Heck, I got nothing to complain about either, thank God. Do one a good turn myself if da chance arose.... No helping it—he squeezed the antiques-Yulka in the mudroom after she’d let him pinch her tit. She’d of let him hold it and ball it, too. She clucked right back at him, and stuck her hand into his pants, and said, Wow! You could tell she’d took a shine to him right off, back when
he first came to her store and she took him out to an expensive diner, said, if my boozer turns up now we’ll have no peace....

Young girl like dat, they always got eyes for a man with some ’sperience, ’specially if she’d got burned already once. But—dat’s all bygones, old news. And he’s a family man hisself: might get hungry somewhere else, but likes to sup at home anyhow. Dis one here—she’s quick as a fox, look at her eyes sweep over this whole place here! Now dey think I’m s’posed to tell em like at confession—who, and what, where’d it come from?

“Where did you get this?” Daryna repeats.

“What?”

“This,” Daryna says, rising from her chair, and walking, like a sleepwalker, across the room with one hand outstretched in front of her.

Seeing the change in her face, Adrian springs to his feet, too, as if she really were a sleepwalker stepping along a ledge and could slip to her death at any second; the yokel rises after him, drawn inexorably into the same flow of motion, as though they were all in a wind tunnel. And this is how the procession presents itself to an ample-bodied wife, in a stretch T-shirt and a bra one size too small, who appears at this very instant in the doors between the room and the kitchen: the three of them, spellbound, moving in the same direction, one after another, as if in a slow-motion game of tag—and what are they all after, it’s just a wall?

“This,” says Daryna, coming to a halt against the wall and pressing her fingers to “this” like a blind man who’s just recognized a dear face under his fingers.

Adrian can’t see what it is—Daryna is standing between him and whatever object has arrested her, her hand in place, not moving. Before he got up, he was sitting with his back to that wall, and did not get a good look at what was pasted over it—a deep colorful blob, a poster or something.... As soon as he’d stepped inside the house, he quickly and professionally sized up the decor and the furnishings, and his spirits lifted:
this may not be a gold mine, but there was wool to be shorn off this yokel yet.

One is surrounded in this home by such a noxiously packed and savagely motley mix of bric-a-brac from the last two generations that Adrian would not be surprised to spot an antique gramophone from a Stakhanovite grandfather or some other marvel like that. And while there is no gramophone in evidence, and neither are there any of the oilcloth wallrugs with swans on them that have recently become such a hot item, most of what is here is 1970s junk—the peak of this rural boss’s prosperity no doubt.

Displayed, museum-like, behind glass in a monumentally cumbersome hutch is a gilded Madonna dinnerset; also present are the most impractical Bohemian crystal ashtrays in the world, chaste as virgins and heavy as icebergs, and right next to them (Adrian could barely keep from smiling)—a painstakingly cross-stitched picture of hunters at camp from Perov’s painting. The hunters are draped over a Samsung TV, on top of which—now we’re getting somewhere!—stands an old stone clock, a splendid piece, a German Manteluhr with a carved oak facade, likely by W. Haid (make sure to check the back), Third Reich, 1930s or ’40s, definitely a trophy. The yokel’s ancestors must’ve done well for themselves in that war if that’s what they managed to sneak back home—as Daryna’s mother says, one man’s war is another man’s bonanza.

Experience has taught Adrian that such rural honchos (those who in the Brezhnev era had clawed their way to where they could steal)—kolkhoz administrators, farm managers, warehouse managers, machine- and motor-pool directors—did not hold on to things that were actually old and instead rushed to replace them with whatever was new and “city,” naming their daughters Ilona and Angela rather than Katrya or Mariyka. He figures the yokel had daughters by the heap of
Cosmopolitans
and
Teens
on the bookshelf and the glam advertising posters that are plastered, it seems, over every inch of bare wall, hitting one, like ammonia, with the acrid whiff of the present.

Apparently, the family isn’t doing well enough to replace all their furniture with the newest set from an Otto catalog in one fell swoop, and the most current symbols of material comfort were fit into the Gypsy-caravan density of their home bit by bit, patch over patch: a monstrous multitiered chandelier of several hundred crystals, a faux leopard skin on the floor in front of the couch. It isn’t hard to understand why the yokel decided to part with the old clock and the credenza (How on earth did it fit anywhere in here, you can barely turn as it is?), but there can be only one reason why it took him until now to do so, the one Adrian chose instinctively as he formulates the best strategy for negotiating with the man: he is loath to part with his stuff.

All these things, accumulated in his home over decades, must be, for this man, the “goods” that he would be very sorry to see go, evidence of his former special status in the village. He probably thinks that all his stuff is still worth astronomical amounts of money—the kind that, in his day, neither a dairymaid nor a tractor driver had, and still do not have today. Puckered up tighter than a snare drum, the yokel sits on his pile of junk like a gnome, imagining himself the master of treasures uncounted. A type like that would actually sooner refuse to sell anything than give an inch on the price. So in a certain sense, Yulichka did not lie, or, rather, like all competent liars, she built her lies on half-truths: the yokel really did turn her away at some point, didn’t let her strip him of everything that had any market value—he let her have only the most valuable objects, because at the end of the day, a few tens of thousands of US dollars, a few suitcases full of crisp new Benjamin Franklins present a temptation no gnome can resist (and afterward he probably whined that he let it go too cheap...).

Focused on the business at hand, Adrian missed the colorful picture in the far corner of the room, so packed with ads and posters that it looked like an iconostasis—deciding instead to ignore it and intentionally sat with his back to it. The blob held no antiquarian interest and would only distract him from the conversation, because (now, looking at Daryna’s stiffened back,
he remembers this clearly) there was something about it that did draw one’s eye, much more so than an airbrushed poster. It’s not a poster at all, in fact. What
is
there?

“What about it?” the yokel answers cheerily. The woman’s tone got him a bit scared—she’s gone all nervous, and he’s got no desire to get mixed up in any stories or anything. “You like it?”

She turns to face him, her lip bitten down hard, and the way she looks at him scares the man for real.

“Where did you get this painting?”

“And is dat, ’scuse me, any business of yours?”

“It is, very much so,” Daryna says, hearing her own voice return to her as if from a great distance: it is calm, but quiet, and very, very slow, as if spun at a lower rpm, like on an old turntable—the last time she heard this voice was in her boss’s office.

“The author of this work is a friend of mine. The police are looking for this painting. They’ve been searching for four years.”

“It’s Vlada’s?” Adrian gasps.

Daryna nods. Her lips are trembling. “Her signature’s even on it. Only it’s been cut off...”

The movement continues: now all three of them are huddling in front of the painting, like seals caught in one net, in a narrow gap between the couch and a massive mirror-faced mahogany wardrobe, which, apparently, replaced the old walnut credenza (most likely Art Deco, but possibly even older than that; in any case, that trophy was locally sourced from a landlord’s estate and redistributed by the Bolsheviks). Each tries to push the other away or peek over their shoulder at the painting—and the yokel is the most enthusiastic of them all, as if he’s never seen the painting before and it wasn’t in his own house that it hung. Pinned to the wall the same way rural folk used to pin up their oilcloth rugs with swans on them—unframed and unmounted, a snakeskin, the Frog Princess’s pelt shed and splattered with colorful blood, used here to cover a hole in this improvised iconostasis, between the dazzle of a glossy blue seascape from a 2001 calendar and a silicone blonde, smiling a pearly toothed smile and holding, in her
hand, as triumphantly as if it were the Russian flag, a toothbrush with a dollop of Aquafresh on it. That’s quite a sizeable hole, and a nonstandard one, too—the canvas is cut to size to fit over the whole gap, at once.

Daryna holds her fingers to the sliced-off edges of the canvas like a surgeon to the edges of a wound. It’s a collage, she thinks, feeling sensation drain from the tips of her fingers—they just went ahead and made themselves a collage, the best they could. In the past, rural families used to compose these using family photographs—framed them and hung them up in the main room in between the icons; she’s seen this in the abandoned homes in the Chernobyl zone: grandfather, grandmother, a group shot from a high-school graduation, wedding pictures with the maid of honor and best man in red sashes, a boy in a Soviet Army sergeant’s uniform, a whole iconostasis of the many-sized and many-colored (from black-and-white to Kodachrome) kin; and in the gaps between the pictures—which must grate on a rural eye like patches of untilled land—they would carefully paste in strips of colored paper, sometimes even decorative cutouts. That was the place Vlada’s work took here. What was left of her painting, to be exact. A piece that had once been a collage, composed according to the very same principles of this primitive aesthetic—and now returned to its source. Collage to collage. Ashes to ashes.

“Dis here?” the yokel fumes. “Come on! I can drawr better dan dat myself!”

Any idiot could, he boils genuinely, in his mind, irked that he let himself be intimidated so easily—big deal, splatter up some paint so it gets all wrinkled up on itself. Lioshka-the-tile guy, the one who did the loo, could do a better job of it—he puts his heart to it, never was dat he didn’t line it all up nice and tidy, smooth as a baby’s bottom! Dis stuff here’s all puckered, what’s dere to stare at? What’s dere to be going searching for it? Wanna play chicken? Well, I ain’t one to let anyone piss on my parade; I ain’t born yesterday, thank the good Lord!

“Hang on just a minute, sir,” Aidy interrupts, having some-how—the yokel can’t tell when—edged him away from the subject of the discussion and ceased to address him directly; were he not so consumed at this instant by going from defense to offense, the yokel would very well begin to doubt whether this character is indeed the worthless good-for-nothing the antiques-Yulka had told him he was: the yokel knows how bosses talk and ought to have recognized in Yulka’s “boozer ex’s” calm ease a boss’s professional habit of moving people around without resistance, like pawns on a board, in order to achieve a result important to all, that is demonstrated in the army by ranking officers from platoon commanders on up—but the yokel hasn’t yet caught on to what, exactly, result these two are shooting for, and this man’s question, asked of the woman, fails to sound important to him.