lost. His songs were being enjoyed in another country even though his library of work had been erased from America’s consciousness. No longer listened to in his own country, his work could still be heard abroad. Overwhelmed, he moved to the table, forced to sit down. Anna moved towards him, taking his hands.
– What is it? What did she say?
– My music is still being played.
It was true that he’d felt abandoned by the nation and the party for which he’d sacrificed so much. To hear that this was not the case was a powerful salve to the many hurts inflicted over the years.
Turning back to the young girl, he asked:
– Who sent you?
Elena answered in Russian:
– My instructions are from the highest levels of the Soviet government. If nothing else comes of this meeting than my message of appreciation then that is enough. However, we are keen for us to do more together. We understand that you can no longer speak onstage or in concert halls because those venues will no longer employ you. When that first happened we were told that you reacted by speaking on street corners, refusing to give in, improvising venues, turning a parking lot into an auditorium. Ye t we have reports that you no longer speak in any capacity.
Jesse dropped his head. He’d initially fought against the FBI’s tactics by taking his words to the streets, standing atop a crate, a fruit box, the hood of a car, calling out to anyone who’d listen. That was the past. He hadn’t given a speech like that for at least two years. It wasn’t merely the frequent interruptions by patrol officers or being arrested for disturbing the peace. The passing audience was often indifferent and some were even abusive. He sighed a response in English.
– That is a young man’s game.
Anna squeezed his hands. There was agitation in her voice:
– Did Yates see her when she came in? Ask her, Jesse. He repeated Anna’s question. Elena replied:
– Yates is an American secret-police officer? I saw him. But I was very careful. That was why I approached the apartment from the back.
Jesse translated. Far from appeasing his wife, it made her angry.
– Do you understand what you’ve done by coming here? Do you understand the danger? What more can you ask from him? What more can he give you? Look around! What is there left to take?
Anna rarely lost her temper. Jesse stood up, putting his hands on his wife’s arms. But that only infuriated her further. She pushed him away, refusing to be silenced, pointing to the pile of albums stacked in the corner, addressing the Russian girl as though she represented the Soviet regime:
– You see this? This is the only way he can sell his records now. He prints them privately because no record company will sign him. He sells them by subscription to the fans that still remember him. Once, he sold millions. Now how many do you sell, Jesse? How many subscribers do you have? Tell her!
With Elena’s limited English, she could piece together only a little of the meaning. She understood the conversation about the albums in the corner of the room. According to Mikael, the CPUSA had offered Mr Austin direct subsidies as soon as the FBI had started undermining his career. He had declined, repeating his stance that he’d never taken any money from the Soviet government – he’d never accepted a bribe or a payment or gift of any kind. Mr Austin crouched by the heap of records, his back to both Anna and Elena. He said in Russian:
– Five hundred. That’s all I have left. I have five hundred subscribers. Five hundred fans…
Elena knew that of the private subscribers who bought his self-produced albums, the CPUSA made up four hundred. It had been the only way to support Austin without him finding out. She ventured off her carefully prepared script:
– May I ask you something? I was not told to ask this. It is a question I would like to put to you. It is a personal question.
– Please, ask me anything.
Elena caught Anna’s eye and switched into broken English.
– Why do you support the Soviet Union? Why do you give so much?
The question had a profound impact on both Mr Austin and his wife. They looked at each other and in that instant their conflict seemed to disappear. They did not answer. And for a moment they seemed to forget that Elena was in the room.
Elena checked her watch: she needed to return to the hotel. It was approaching midday.
– Please, Mrs Austin, I do not have much time. I must speak in Russian again.
She switched back to her native language.
– As you know, tonight we’re performing a concert at the United Nations Headquarters. The world’s press will be there. The most important diplomats will be there. We want you to be there too. We tried to arrange for you and your wife to have official tickets but the organizers blocked us. So I am here to ask you to wait outside, on the street, to give one of your speeches, if you feel up to it, to show that you have not been silenced. When the concert is finished, a few of the Soviet students will exit through the main doors. We will surround you, cheering and clapping. This moment will be the photograph that defines the whole trip. Everyone in the United States will be reminded of the injustice done to you. Please, Mr Austin, tell me you’ll be there. This is our way of doing mething for you.
Carried away with the energy of her plea, Elena placed a hand on his arm.
Same Day
Osip Feinstein crouched on the rooftop of the block opposite Jesse Austin’s apartment. If the Russian girl hadn’t turned up, the job of persuading Jesse would have fallen to him and he doubted very much he would’ve succeeded. With his camera he’d followed the events in the apartment, taking photographs of the two of them together: the young girl and the singer, a man who could’ve been living in a penthouse apartment overlooking Central Park instead of this slum. He was doped up on a drug far more toxic and powerful than opium, addicted to righteous ideology. Osip clicked the camera, shooting the scene before him. The last photograph would be the most incriminating – her frail white hand on his big black arm, the rumpled bed sheets in the background.
Manhattan Hotel Grand Metropolitan 44th Street
As Raisa entered the lobby, twenty sets of eyes landed on her: American secret-police agents pretending to be guests, lounging on sofas and chairs, sipping coffee, following her – their eyeline skimming the rim of their cup and the tops of their newspapers. From the UN Headquarters she’d been driven back to the hotel and left unsupervised for no longer than it took her to step from the car to the revolving doors of the Grand Metropolitan. At the elevator she half expected one of the officers to step in with her. Contemplating the security around the hotel, she found it excessive, so many officers to guard over schoolchildren. The elevator doors closed. Raisa said:
– Twentieth floor, please.
Without turning around the man operating the elevator gave a small nod. She was certain he was an agent despite being dressed in hotel livery. She studied his peculiar uniform, red with white trim down the legs. He was an unlikely looking spy, and she wondered if her anxieties were running away with her. She was seeing spies everywhere.
Trying to focus on what was real, rather than dangers imagined, she told herself that preparations for the concert had gone well. The discussions with her American counterparts had been awkward but not unmanageably so. Raisa’s opposite number was an American teacher with neat grey hair and thick oval glasses. Through an interpreter they’d found much to talk about, not out of polite obligation but genuine curiosity. Raisa sensed that he was forced to maintain an air of subdued hostility in order to prove that he was not a Communist sympathizer. During their discussions key Soviet officials were absent, having expressed no desire to watch the upcoming dress rehearsal, excluding themselves from the preparations despite the degree of worldwide exposure it was going to attract.
The elevator doors opened. The operator turned round.
