"You're amazingly self-sustained," he says. "I'm just afraid you'll get sick of me.
Of my socks in particular."
"There is that possibility. As long as nobody sees me cooking you dinner every night, I'm fine."
At least this life takes place overseas. She can point out that she's learning another language and that Rome is such an artistic city and that living here is itself an aesthetic education. When she does return to photography, this experience will have had a salutary effect. If she were tending house like this back in D.C.--well, she simply wouldn't. But living overseas changes the rules. As long as no one sees her. She discourages visits from friends and family, and flies home twice a year to avert them. If her mother saw this!
After all those efforts to instill the importance of financial independence and a career. Or if Annika's art-school friends saw her Nikon sitting there, its case gray with dust, as her cookbook collection mounts--the domesticated horror of it! He gets the career, he gets the prestige. She? She gets to clean socks. And if anything goes wrong he has a bank account. And she? How will she explain this gap on her resume? How will she explain her contentment at living like a housewife?
Menzies' colleagues know little about his life with Annika. For a time, she was friendly with Hardy Benjamin and the two met for coffee most afternoons at the espresso bar downstairs from the office. But Hardy got a boyfriend, and her friendship with Annika faded. As for the others at the paper, they tend to forget that Menzies lives with someone--if they were to imagine him outside office hours, they would picture him alone, eating thin sandwiches, reading the ingredients off the bread package. For them, he exists less as a man than as a wrinkle-headed prig in a desk chair.
An office party approaches, and he considers not telling Annika. If she sees him among his colleagues, she'll gather what they think of him. "It'll just be dull news people, I warn you."
"Do you want me there?"
"I don't want
me
there."
"Maybe you need backup. Unless you don't want me to come."
"You're welcome anywhere I go."
"What should I tell them that I do out here?"
"No one'll ask that sort of thing."
"But if they do?"
As they enter the newsroom, he releases her hand, then wishes he still held it. He sees in the glances of his colleagues a thirst to know what connection he could possibly have with this much younger woman: she, in a purple frock and green-and-black striped tights, a smile so spontaneous it seems almost to surprise her; and he, in a blue oxford shirt and brown corduroys, pudgy despite the weekend sit-ups, a horseshoe of chestnut hair around a bald dome that glistens when he is agitated, and glistens often.
Hardy catches sight of them, waves a little too exuberantly, and comes over. She and Annika chat for a few minutes and agree to sign up for yoga classes together, though both know the pledge is hollow. "Well," Hardy says, "I should probably go save my man." Her boyfriend, Rory, was last spotted with a bottle of wine in hand, trying to engage a frowning Herman in a debate on the factual accuracy of the James Bond series.
Hardy trots off to the rescue.
Other staffers approach Menzies, their gazes shifting between their dreary news editor and this curvaceous young woman. "So, Menzies my man, you going to introduce us?"
Once home, he tells her, "You were very"--he pauses--"very popular with everyone."
She smiles. "Popular? What is this, ninth grade?"
"I know, it sounds ridiculous. I'm saying it in a good way, though--I'm impressed."
She kisses his eyelids and gooses his behind.
He wakes early the next morning and lies a few extra minutes in bed, alive to the softness of her back, the scent of her hair. She feels unreal: the tide of her breathing against him in the dark.
He walks to work and hesitates at a boutique window. That turquoise bracelet?
What about those earrings? Are they part of a set? He can't assess jewelry, can't tell if it's pretty, if she'd like it. He needs her opinion, but that defeats the purpose. He checks the opening hours. Perhaps he can sneak back between editions. Does she need earrings? Is
"need" the point? What is the point? To make a point. Which is? He doesn't know, only that there is one. He's always catching her hand, then letting it go. His every effort to make his point flops. He'll buy those earrings. But the shop is closed.
At dinner, she chats about the office party, comments on his colleagues.
"Herman's adorable," she says.
"That is not the word I would have chosen."
"He's sweet," she insists. "And so insecure."
"Herman is? Herman Cohen?"
"And it was interesting talking to Kathleen. She loves you."
"Kathleen loves that I do all her work."
"She clearly has a lot of respect for you."
"Really?"
"All those interns are
so
young. Made me feel ancient. Actually, I already feel ancient."
"If you're ancient, you must think I'm prehistoric."
"Not at all--it's only age in
myself
that seems old."
"Twenty-seven is not old."
"Depends what you've done. My sister says everyone who's gonna make it is already on their way by thirty."
"That's not true; it's just the sort of thing your sister says. Anyway, you've still got three years--then we'll talk about what a failure you are. Okay? And, for the record, I hadn't achieved anything by age thirty."
"What were you doing then?"
"I was in Washington, I think. Working on the copydesk there."
"So you had made it."
"I'd hardly call that making it."
"But you had a career, a professional skill. Not something pointless like taking artsy pictures, which any loser with a digital camera and Photoshop can do nowadays,"
she says. "All the hours I spent in darkrooms, inhaling fixer fumes, fiddling with stop baths and plastic trays and tongs! What a waste."
"Nothing's a waste."
"Some things are. Like, let's face it, I'm not exactly taking advantage of my time here. I'm still not even fluent in Italian. And even though I live with a hard-core newshound, I don't know the first thing about what's going on in the world."
"Yes, you do."
"Maybe I should start reading the paper. Everybody at the party was so authoritative about stuff."
"About what stuff?"
"I don't know--parliamentary voting procedures and arms races in South Asia and U.N. tribunals in Cambodia. Then they turned to me and I'm, like, 'Hi, I used to work as a photographer's assistant, but now I hang out at Craig's place.'"
"Our place," he corrects her. "If anything, your place. And my colleagues are forced to know that stuff--it's their job."
"Well, exactly. I don't
have
to know anything."
"You want to restart the job hunt? I can put out feelers again."
"Do you think I should?"
"Well, you don't
need
to." This seems not to be the correct response. "But there's no harm in looking. Again, I'm happy to help. Just tell me what you'd like. Or did you want to get back into photography?"
"I don't know."
"What were you talking to Hardy about at the party--yoga classes, right? Would that be fun? I'm not saying it's the answer. I just don't want you to get sick of me, stuck in the apartment, washing socks."
Her birthday arrives and he gives her the turquoise bracelet and earrings, along with a subscription to an Italian photography magazine and a set of yoga classes.
She immediately makes friends in the class. They are all locals, artistic types who smoke too much, paint their bedrooms orange, and smell of damp wool. She is particularly sympathetic to a clumsy kid called Paolo. "I've never seen anyone more uncoordinated than this guy," she says. "Poor Paolo--can't even touch his toes. Totally incapable."
"Can
I
touch my toes?" Menzies attempts it. He groans, straining for his shoe tips.
Annika leaps up and hugs him.
"Thank you," he says, laughing. "What's that for?"
Her yoga friends urge her to bring in her portfolio to show around. But when she considers her old photos she is ashamed; they'll think she's an amateur. So she embarks on a new series. Her subject is the graffiti blighting historical buildings around Rome.
They love the pictures and urge her to exhibit them.
With Annika out shooting or with her yoga friends, Menzies often returns to an empty apartment. Oddly, the place seems louder without her: motor scooters buzzing outside, footfalls pounding across the apartment overhead, the wall clock ticking. He prepares a sandwich for dinner and descends to his basement workshop, a room he rents to conduct science projects, his hobby since boyhood. He fiddles with balsa-wood models, browses back issues of science-and-technology magazines, and he daydreams. It is always the same daydream: about earning a patent.
If only he'd studied sciences at college! Then again, he'd not have ended up in D.C. and not have met her. He
could
still invent something, of course. A creation so remarkable it would force MIT to admit him. He'd earn his doctorate in record time. And he'd have Annika with him. If she wanted to come. But would she? Here in Rome, he has something to offer her: a desirable place to live, the romance of Europe. If all he had was student housing in Boston and debts ... ? But these are absurd thoughts. He's not an inventor, he doesn't have the qualifications, and he's far too old to obtain them now. He has a different life, a newsman's life, like it or not.
She's knocking at the door that leads down to his basement workshop. "I'm coming up now," he calls out. He finds her on the landing, leaning against the wall, wincing. She has done something to her back and must skip yoga for a while.
Over the next few weeks, she hangs around the apartment, drinking herbal tea, watching Italian variety shows. She is crotchety with him, then apologizes. Once healed, she resumes her photography project on graffiti but does not return to yoga.
One afternoon at the office, Menzies is reworking an awkward headline. He tries a few different versions, settling finally on the plainest, which is always his preference.
"76 Die in Baghdad Bombings," he writes.
Arthur Gopal appears. He is Menzies' only friend in the newsroom. Occasionally, they take lunch together at Corsi, a bustling trattoria on Via del Gesu. At these meals, Menzies always wants to ask how Arthur is faring without Visantha and Pickle; and Arthur wants to ask about Annika, of whom he knows little. But neither poses personal questions. Instead, the subject is work, with Arthur doing much of the talking. Between mouthfuls of bean soup, he slanders colleagues ("Kathleen misses the point," "Clint Oakley can't even do a basic obit," "Herman is living in another era") and elaborates ambitions ("This old editor friend of my father's says I should work for him in New York"). Once he has finished speaking, Arthur adopts a dissatisfied air and spoons at his soup as if hunting for a lost cuff link.
On this afternoon, however, Arthur approaches Menzies' desk with an uncommon manner. "Have you checked your email?" he asks.
"Not lately. Why? Should I?"
"You got one from someone called jojo98. I strongly advise you to read it."
Menzies prints off a copy. But the email is in Italian, which he understands poorly. The message refers to Annika, and it includes an attachment. He clicks on this and a photo fills his screen. The quality is poor, as if taken with a cellphone camera. It shows Annika--evidently unaware that she is being photographed--on their bed, undressed, looking away. In the foreground is a man's hairy thigh, presumably that of the photographer. Hurriedly, Menzies turns off his monitor. "What the hell is this?"
"I have no idea. But it went to the whole staff."
Menzies stares at his blackened screen. "Jesus."
"I'm sorry to be the one to point it out," Arthur says.
"What do I do? Call her?"
"You should probably go talk in person."
"I can't just leave work."
"You
can."
Menzies takes the stairs down, hurries across Campo de' Fiori, through the Ghetto, and crosses to the narrow sidewalk that follows the Tiber. He half walks, half jogs home, gazing down at the uneven path, then up at the traffic lights on Via Marmorata, then ahead at the tall metal gate of their apartment block.
He is here and wishes he were not.
He cannot go up. Their bedroom could be occupied. He goes down to his basement workshop and takes out the printed email. With an Italian-English dictionary, he pieces together the sentences. It claims that Annika has been having sex with another man while Menzies is at work. It says she plans to leave him, and that she and her lover are buying an apartment together. "When you sleep at night, your sheets are stained with his sperm," the letter says.
Everyone in the office (he closes his eyes at the thought--they
all
got this email) would expect him to barge into the apartment, waving the letter, swearing his throat raw, demanding, "Who is the asshole that sent this, and what the hell is going on?"
But he can't. He stands before his workbench, hands on hips.
When it is late, he goes up. His mobile phone, which gets no signal in the basement, returns to life. Kathleen has phoned numerous times and Annika left three messages, asking when he'll be home, that she's getting hungry, is everything okay?
"Hey," she says, opening the front door. "What happened?"
"Hi, yeah. No, nothing--just some confusion. Sorry," he says. "You have an okay day?"
"Fine. But hang on--don't disappear. I'm still"--she pulls at her T-shirt--"still confused a bit. You got, like, a million calls from the office."
"It's no big deal." Normally, when he walks in he kisses her. He hasn't tonight, and they both notice. "They're too dependent on me." He goes into the bathroom, watches himself blandly in the mirror, returns to the arena.
She can't look at him. "He sent you that letter, right?" she says. "I can't believe that--" She says a man's name.