confidence of a casual university friend.
For in the most private recess of his mind, he had no doubt that was all it was—a little note from Liusya, perhaps, dashed off self-indulgently right after the play they had gone to see and redolent with girlish affectations. Darling Ninusya, he would read as his hands shook and his damned soul fell,
Oh, he was sure, he was sure that was all it would be—and never mind that Sunday afternoon, or Vadim’s evening off, or the theater season, or the unknown Viktor in their address book…
Sukhanov switched on the light and ruthlessly tore at the envelope.
And so it was.
And there were no friends or lovers to whom he could pour out his heart—and no memories that he could uncork and inhale like some miraculously soothing elixir—and no forces of heaven or hell that he could invoke or curse, or to which he could pray—no benevolent divinities, no merciful guardian angels, no dark spirits of the abyss…. There was nothing in the whole world but the two pages crumpled in his hand, and the empty black skies of August over his head, and a trembling hole where his soul used to be. For when it finally happened, he saw he was completely alone—alone to stumble, lost, through the ruins of his past life, collecting the remaining pieces— alone to walk through the future dreariness with that gaping void in his insides—and alone to die when the time arrived.
Anatoly Pavlovich Sukhanov methodically smoothed out the pages, slipped them back into the envelope, placed it on the desk, and looked at it in silence. And after a passage of time, when his heart had stopped gasping for air, he understood the source of his deepest pain. The loss of Nina was not the most shattering loss he had suffered: it was the loss of the image of Nina that he mourned the most—that “purest image of the purest charm” he had fallen in love with and cherished for so many years in the most sacred cache of his memory. For the woman in the letter was not the reserved, quietly dignified beauty with whom he had thought he had spent his life, but rather an indecorously middle-aged femme fatale who trotted about the city, wearing her fashionably short fur coat, armed with her bright little lipstick, engrossed in an abandoned affair she had started in a parked automobile and carried on in smelly doorways, with a man so vulgar he could write of love tingling in his veins and of being free and selfish like gods. How could this unbearably trite image, which reeked of life’s cheapest perfume, be the answer to the mystery of Nina’s dreamy silences? How was it possible to reconcile his decades of accumulated recollections with this pitiful missive smacking of some nineteenth-century epistolary novel, from the painful grandiloquence of its contents to that theatrical “N.S.” on the envelope? How could he continue to live with the knowledge that—that—
The envelope.
My God, the envelope!
Sukhanov stared, stared so intensely that the white rectangle swam before his eyes, its very fabric seemingly dissolving into a shimmering leapfrog of particles—only to reassemble a minute later (as a tear, finally released, ran down his cheek) into a creature from an altogether different dimension. The number—the number in the address line—the number he had barely glanced at before, taking it for granted, just as the postman must have done earlier—was it really, truly possible?… He moved his hand across the paper, brushing away the optical illusion, but it was still there: that little horizontal dash that was bending a tiny bit to the left instead of to the right and, with that one hair’s breadth, granting him life yet again.
Things clicked into place like pieces of a puzzle that only moments before had appeared to suggest some surrealist atrocity—a pale Madonna rolling in a trough with swine—but now revealed a shady flowering garden on a sunny day in late summer, with dark red roses climbing a whitewashed wall. The apartment number was thirteen, not fifteen. The apartment directly below him, then—the apartment of the man who a week earlier had treated his neighbors to a sonorous church chant at four in the morning. The apartment of the songwriter Svechkin, who had had the misfortune of marrying a much younger woman.
But did the name of Svechkin’s wife begin with an N?
Tossed so abruptly from such despair to such hope, he had no strength left to wrestle with the remnants of doubt in his heart. He had to know the answer now—and be rid of the darkness forever. The concierge would be able to tell him, of course, but the notion of submitting himself once again to the old man’s insinuating scrutiny (“Ah, yes, a pretty lady, isn’t she, Anatoly Pavlovich? So, is Nina Petrovna still out of town?”) seemed too unbearably ugly a conclusion to such an unbearably ugly day.
After the briefest hesitation, Sukhanov dropped the letter into his pocket, walked out of his place, descended the stairs, and promptly rang the bell of apartment thirteen.
The door opened almost immediately, releasing onto the landing the thundering chords of Beethoven’s Fifth and a faint smell of medicine. A short, plump man of Sukhanov’s years, in a gabardine jacket, stood on the threshold. He looked at Sukhanov without seeing him, his eyes full of quiet anguish, and just as Sukhanov prepared to launch into a neighborly request for some kitchen utensil (designed to draw out a hollered “Natasha!” or “Nadya!”), said expressionlessly, rubbing his temples as if in pain, “I believe we did it again, didn’t we? So terribly sorry, it’s all these baths she takes…. I’ll go tell her to get out, then.” And leaving the door wide open, with