The Complete Stories (37 page)
Read The Complete Stories Online
Authors: Bernard Malamud
He held on to a sleeve, wrestling her for the coat. Her I know, Mendel thought. “Shylock,” he muttered. Her eyes glittered.
The rabbi groaned and tottered dizzily. His wife cried out as Mendel yanked the coat from her hands.
“Run,” cried the rabbi.
“Run, Isaac.”
They ran out of the house and down the steps.
“Stop, you thief,” called the rabbi’s wife.
The rabbi pressed both hands to his temples and fell to the floor.
“Help!” his wife wept. “Heart attack! Help!”
But Mendel and Isaac ran through the streets with the rabbi’s new fur-lined caftan. After them noiselessly ran Ginzburg.
It was very late when Mendel bought the train ticket in the only booth open.
There was no time to stop for a sandwich so Isaac ate his peanuts and they hurried to the train in the vast deserted station.
“So in the morning,” Mendel gasped as they ran, “there comes a man that he sells sandwiches and coffee. Eat but get change. When reaches California the train, will be waiting for you on the station Uncle Leo. If you don’t recognize him he will recognize you. Tell him I send best regards.”
But when they arrived at the gate to the platform it was shut, the light out.
Mendel, groaning, beat on the gate with his fists.
“Too late,” said the uniformed ticket collector, a bulky, bearded man with hairy nostrils and a fishy smell.
He pointed to the station clock. “Already past twelve.”
“But I see standing there still the train,” Mendel said, hopping in his grief.
“It just left—in one more minute.”
“A minute is enough. Just open the gate.”
“Too late I told you.”
Mendel socked his bony chest with both hands. “With my whole heart I beg you this little favor.”
“Favors you had enough already. For you the train is gone. You shoulda been dead already at midnight. I told you that yesterday. This is the best I can do.”
“Ginzburg!” Mendel shrank from him.
“Who else?” The voice was metallic, eyes glittered, the expression amused.
“For myself,” the old man begged, “I don’t ask a thing. But what will happen to my boy?”
Ginzburg shrugged slightly. “What will happen happens. This isn’t my responsibility. I got enough to think about without worrying about somebody on one cylinder.”
“What then is your responsibility?”
“To create conditions. To make happen what happens. I ain’t in the anthropomorphic business.”
“Whatever business you in, where is your pity?”
“This ain’t my commodity. The law is the law.”
“Which law is this?”
“The cosmic universal law, goddamnit, the one I got to follow myself.”
“What kind of a law is it?” cried Mendel. “For godsake, don’t you understand what I went through in my life with this poor boy? Look at him. For thirty-nine years, since the day he was born, I wait for him to grow up, but he don’t. Do you understand what this means in a father’s heart? Why don’t you let him go to his uncle?” His voice had risen and he was shouting.
Isaac mewled loudly.
“Better calm down or you’ll hurt somebody’s feelings,” Ginzburg said with a wink toward Isaac.
“All my life,” Mendel cried, his body trembling, “what did I have? I was poor. I suffered from my health. When I worked I worked too hard. When I didn’t work was worse. My wife died a young woman. But I didn’t ask from anybody nothing. Now I ask a small favor. Be so kind, Mr. Ginzburg.”
The ticket collector was picking his teeth with a matchstick.
“You ain’t the only one, my friend, some got it worse than you. That’s how it goes in this country.”
“You dog you.” Mendel lunged at Ginzburg’s throat and began to choke. “You bastard, don’t you understand what it means human?”
They struggled nose to nose. Ginzburg, though his astonished eyes bulged, began to laugh. “You pipsqueak nothing. I’ll freeze you to pieces.”
His eyes lit in rage and Mendel felt an unbearable cold like an icy dagger invading his body, all of his parts shriveling.
Now I die without helping Isaac.
A crowd gathered. Isaac yelped in fright.
Clinging to Ginzburg in his last agony, Mendel saw reflected in the ticket collector’s eyes the depth of his terror. But he saw that Ginzburg, staring at himself in Mendel’s eyes, saw mirrored in them the extent of his own awful wrath. He beheld a shimmering, starry, blinding light that produced darkness.
Ginzburg looked astounded. “Who me?”
His grip on the squirming old man slowly loosened, and Mendel, his heart barely beating, slumped to the ground.
“Go,” Ginzburg muttered, “take him to the train.”
“Let pass,” he commanded a guard.
The crowd parted. Isaac helped his father up and they tottered down the steps to the platform where the train waited, lit and ready to go.
Mendel found Isaac a coach seat and hastily embraced him. “Help Uncle Leo, Isaakil. Also remember your father and mother.”
“Be nice to him,” he said to the conductor. “Show him where everything is.”
He waited on the platform until the train began slowly to move. Isaac sat at the edge of his seat, his face strained in the direction of his journey. When the train was gone, Mendel ascended the stairs to see what had become of Ginzburg.
1961
M
onths after vainly seeking a studio on the Via Margutta, del Babuino, della Croce, and elsewhere in that neighborhood, Arthur Fidelman settled for part of a crowded, windowy, attic-like atelier on a cobblestone street in the Trastevere, strung high with sheets and underwear. He had, a week before, in “personal notices” in the American-language newspaper in Rome, read: “Studio to share, cheap, many advantages, etc., A. Oliovino,” and after much serious anguish (the curt advertisement having recalled dreams he had dreamed were dead), many indecisions, enunciations, and renunciations, Fidelman had, one very cold late-December morning, hurried to the address given, a worn four-story building with a yellowish façade stained brown along the edges. On the top floor, in a thickly cluttered artist’s studio smelling aromatically of turpentine and oil paints, the inspiring sight of an easel lit in unwavering light from the three large windows setting the former art student on fire once more to paint, he had dealt not with a pittore, as expected, but with a pittrice, Annamaria Oliovino.
onths after vainly seeking a studio on the Via Margutta, del Babuino, della Croce, and elsewhere in that neighborhood, Arthur Fidelman settled for part of a crowded, windowy, attic-like atelier on a cobblestone street in the Trastevere, strung high with sheets and underwear. He had, a week before, in “personal notices” in the American-language newspaper in Rome, read: “Studio to share, cheap, many advantages, etc., A. Oliovino,” and after much serious anguish (the curt advertisement having recalled dreams he had dreamed were dead), many indecisions, enunciations, and renunciations, Fidelman had, one very cold late-December morning, hurried to the address given, a worn four-story building with a yellowish façade stained brown along the edges. On the top floor, in a thickly cluttered artist’s studio smelling aromatically of turpentine and oil paints, the inspiring sight of an easel lit in unwavering light from the three large windows setting the former art student on fire once more to paint, he had dealt not with a pittore, as expected, but with a pittrice, Annamaria Oliovino.
The pittrice, a thin, almost gaunt, high-voiced, restless type, with short black uncombed hair, violet mouth, distracted eyes and tense neck, a woman with narrow buttocks and piercing breasts, was in her way attractive if not in truth beautiful. She had on a thick black woolen sweater, eroded black velveteen culottes, black socks, and leather sandals spotted with drops of paint. Fidelman and she eyed each other stealthily and he realized at once she was, as a woman,
indifferent to him or his type, who or which made no difference. But after ten minutes, despite the turmoil she exuded even as she dispassionately answered his hesitant questions, the art student, ever a sucker for strange beauty and all sorts of experiences, felt himself involved with and falling for her. Not my deep dish, he warned himself, aware of all the dangers to him and his renewed desire to create art; yet he was already half in love with her. It can’t be, he thought in desperation; but it could. It had happened to him before. In her presence he tightly shut both eyes and wholeheartedly wished against what might be. Really he trembled, and though he labored to extricate his fate from hers, he was already a plucked bird, greased, and ready for frying. Fidelman protested within—cried out severely against the weak self, called himself ferocious names but could do not much, a victim of his familiar response, a too passionate fondness for strangers. So Annamaria, who had advertised a twenty-thousand-lire monthly rental, in the end doubled the sum, and Fidelman paid through both nostrils, cash for first and last months (should he attempt to fly by night) plus a deposit of ten thousand for possible damages. An hour later he moved in with his imitation-leather suitcase. This happened in the dead of winter. Below the cold sunlit windows stood two frozen umbrella pines and beyond, in the near distance, sparkled the icy Tiber.
indifferent to him or his type, who or which made no difference. But after ten minutes, despite the turmoil she exuded even as she dispassionately answered his hesitant questions, the art student, ever a sucker for strange beauty and all sorts of experiences, felt himself involved with and falling for her. Not my deep dish, he warned himself, aware of all the dangers to him and his renewed desire to create art; yet he was already half in love with her. It can’t be, he thought in desperation; but it could. It had happened to him before. In her presence he tightly shut both eyes and wholeheartedly wished against what might be. Really he trembled, and though he labored to extricate his fate from hers, he was already a plucked bird, greased, and ready for frying. Fidelman protested within—cried out severely against the weak self, called himself ferocious names but could do not much, a victim of his familiar response, a too passionate fondness for strangers. So Annamaria, who had advertised a twenty-thousand-lire monthly rental, in the end doubled the sum, and Fidelman paid through both nostrils, cash for first and last months (should he attempt to fly by night) plus a deposit of ten thousand for possible damages. An hour later he moved in with his imitation-leather suitcase. This happened in the dead of winter. Below the cold sunlit windows stood two frozen umbrella pines and beyond, in the near distance, sparkled the icy Tiber.
The studio was well heated, Annamaria had insisted, but the cold leaked in through the wide windows. It was more a blast; the art student shivered but was kept warm by his hidden love for the pittrice. It took him most of a day to clear himself a space to work, about a third of the studio was as much as he could manage. He stacked her canvases five deep against her portion of the walls, curious to examine them, but Annamaria watched his every move (he noticed several self-portraits) although she was at the same time painting a monumental natura morta of a loaf of bread with two garlic bulbs (“Pane ed Aglii”). He moved stacks of
Oggi
, piles of postcards and yellowed letters, and a bundle of calendars going back to many years ago; also a Perugina candy box full of broken pieces of Etruscan pottery, one of small sea shells, and a third of medallions of various saints and of the Virgin, which she warned him to handle with care. He had uncovered a sagging cot by a dripping stone sink in his corner of the studio and there he slept. She furnished an old chafing dish and a broken table, and he bought a few household things he needed. Annamaria rented the art student an easel for a thousand lire a month. Her quarters were private, a room at the other end of the studio whose
door she kept locked, handing him the key when he had to use the toilet. The wall was thin and the instrument noisy. He could hear the whistle and rush of her water, and though he tried to be quiet, because of the plumbing the bowl was always brimful and the pour of his stream embarrassed him. At night, if there was need, although he was tempted to use the sink, he fished out the yellowed, sedimented pot under his bed; once or twice, as he was using it in the thick of night, he had the impression she was awake and listening.
Oggi
, piles of postcards and yellowed letters, and a bundle of calendars going back to many years ago; also a Perugina candy box full of broken pieces of Etruscan pottery, one of small sea shells, and a third of medallions of various saints and of the Virgin, which she warned him to handle with care. He had uncovered a sagging cot by a dripping stone sink in his corner of the studio and there he slept. She furnished an old chafing dish and a broken table, and he bought a few household things he needed. Annamaria rented the art student an easel for a thousand lire a month. Her quarters were private, a room at the other end of the studio whose
door she kept locked, handing him the key when he had to use the toilet. The wall was thin and the instrument noisy. He could hear the whistle and rush of her water, and though he tried to be quiet, because of the plumbing the bowl was always brimful and the pour of his stream embarrassed him. At night, if there was need, although he was tempted to use the sink, he fished out the yellowed, sedimented pot under his bed; once or twice, as he was using it in the thick of night, he had the impression she was awake and listening.
They painted in their overcoats, Annamaria wearing a black babushka, Fidelman a green wool hat pulled down over his frozen ears. She kept a pan of hot coals at her feet and every so often lifted a sandaled foot to toast it. The marble floor of the studio was sheer thick ice; Fidelman wore two pairs of tennis socks his sister, Bessie, had recently sent him from the States. Annamaria, a lefty, painted with a smeared leather glove on her hand, and theoretically his easel had been arranged so that he couldn’t see what she was doing but he often sneaked looks at her work. The pittrice, to his surprise, painted with flicks of her fingers and wrists, peering at her performance with almost shut eyes. He noticed she alternated still lifes with huge lyric abstractions—massive whorls of red and gold exploding in all directions, these built on, entwined with, and ultimately concealing a small black religious cross, her first two brushstrokes on every abstract canvas. Once when Fidelman gathered the nerve to ask her why the cross, she answered it was the symbol that gave the painting its meaning.
He was eager to know more but she was impatient. “Eh,” she shrugged, “who can explain art.”
Though her response to his various attempts to become better acquainted were as a rule curt, and her voluntary attention to him, shorter still—she was able, apparently, to pretend he wasn’t there—Fidelman’s feeling for Annamaria grew, and he was as unhappy in love as he had ever been.
But he was patient, a persistent virtue, served her often in various capacities, for instance carrying down four flights of stairs her two bags of garbage shortly after supper—the portinaia was crippled and the portiere never around—sweeping the studio clean each morning, even running to retrieve a brush or paint tube when she happened to drop one—offering any service any time, you name it. She accepted these small favors without giving them notice.
One morning after reading a many-paged letter she had just got in the mail, Annamaria was sad, sullen, unable to work; she paced
around restlessly, it troubled him. But after feverishly painting a widening purple spiral that continued off the canvas, she regained a measure of repose. This heightened her beauty, lent it somehow a youthful quality it didn’t ordinarily have—he guessed her to be no older than twenty-seven or -eight; so Fidelman, inspired by the change in her, hoping it might foretoken better luck for him, approached Annamaria, removed his hat, and suggested since she went out infrequently why not lunch for a change at the trattoria at the corner, Guido’s, where workmen assembled and the veal and white wine were delicious? She, to his surprise, after darting an uneasy glance out of the window at the tops of the motionless umbrella pines, abruptly assented. They ate well and conversed like human beings, although she mostly limited herself to answering his modest questions. She informed Fidelman she had come from Naples to Rome two years ago, although it seemed much longer, and he told her he was from the United States. Being so physically close to her, able to inhale the odor of her body—like salted flowers—and intimately eating together, excited Fidelman, and he sat very still, not to rock the boat and spill a drop of what was so precious to him. Annamaria ate hungrily, her eyes usually lowered. Once she looked at him with a shade of a smile and he felt beatitude; the art student contemplated many such meals though he could ill afford them, every cent he spent saved and sent by Bessie.
around restlessly, it troubled him. But after feverishly painting a widening purple spiral that continued off the canvas, she regained a measure of repose. This heightened her beauty, lent it somehow a youthful quality it didn’t ordinarily have—he guessed her to be no older than twenty-seven or -eight; so Fidelman, inspired by the change in her, hoping it might foretoken better luck for him, approached Annamaria, removed his hat, and suggested since she went out infrequently why not lunch for a change at the trattoria at the corner, Guido’s, where workmen assembled and the veal and white wine were delicious? She, to his surprise, after darting an uneasy glance out of the window at the tops of the motionless umbrella pines, abruptly assented. They ate well and conversed like human beings, although she mostly limited herself to answering his modest questions. She informed Fidelman she had come from Naples to Rome two years ago, although it seemed much longer, and he told her he was from the United States. Being so physically close to her, able to inhale the odor of her body—like salted flowers—and intimately eating together, excited Fidelman, and he sat very still, not to rock the boat and spill a drop of what was so precious to him. Annamaria ate hungrily, her eyes usually lowered. Once she looked at him with a shade of a smile and he felt beatitude; the art student contemplated many such meals though he could ill afford them, every cent he spent saved and sent by Bessie.
After zuppa inglese and a peeled apple she patted her lips with a napkin and, still in good humor, suggested they take the bus to the Piazza del Popolo and visit some painter friends of hers.
“I’ll introduce you to Alberto Moravia.”
“With pleasure,” Fidelman said, bowing.
But when they stepped into the street and were walking to the bus stop near the river a cold wind blew up and Annamaria turned pale.
“Something wrong?” Fidelman inquired.
“The East Wind,” she answered testily.
“What wind?”
“The Evil Eye,” she said with irritation. “Malocchio.”
He had heard something of the sort. They returned quickly to the studio, their heads lowered against the noisy wind, the pittrice from time to time furtively crossing herself. A black-habited old nun passed them at the trattoria corner, from whom Annamaria turned in torment, muttering, “Jettatura! Porca miseria!” When they were upstairs in the studio she insisted Fidelman touch his testicles three times to undo or dispel who knows what witchcraft, and he modestly obliged. Her request
had inflamed him although he cautioned himself to remember it was, in purpose and essence, theological.
had inflamed him although he cautioned himself to remember it was, in purpose and essence, theological.
Later she received a visitor, a man who came to see her on Monday and Friday afternoons after his work in a government bureau. Her visitors, always men, whispered with her a minute, then left restlessly; most of them, excepting also Giancarlo Balducci, a cross-eyed illustrator—Fidelman never saw again. But the one who came oftenest stayed longest, a solemn gray-haired gent, Augusto Ottogalli, with watery blue eyes and missing side teeth, old enough to be her father for sure. He wore a slanted black fedora, and a shabby gray overcoat too large for him, greeted Fidelman vacantly, and made him inordinately jealous. When Augusto arrived in the afternoon the pittrice usually dropped anything she was doing and they retired to her room, at once locked and bolted. The art student wandered alone in the studio for dreadful hours. When Augusto ultimately emerged, looking disheveled, and if successful, defeated, Fidelman turned his back on him and the old man hastily let himself out of the door. After his visits, and only his, Annamaria did not appear in the studio for the rest of the day. Once when Fidelman knocked on her door to invite her out to supper, she told him to use the pot because she had a headache and was sound asleep. On another occasion when Augusto was locked long in her room with her, after a tormenting two hours Fidelman tiptoed over and put his jealous ear to the door. All he could hear was the buzz and sigh of their whispering. Peeking through the keyhole he saw them both in their overcoats, sitting on her bed, Augusto tightly clasping her hands, whispering passionately, his nose empurpled with emotion, Annamaria’s white face averted. When the art student checked an hour afterwards, they were still at it, the old man imploring, the pittrice weeping. The next time, Augusto came with a priest, a portly, heavybreathing man with a doubtful face. But as soon as they appeared in the studio Annamaria, enraged to fury, despite the impassioned entreatments of Augusto, began to throw at them anything of hers or Fidelman’s she could lay hands on.
“Bloodsuckers!” she shouted, “scorpions! parasites!” until they had hastily retreated. Yet when Augusto, worn and harried, returned alone, without complaint she retired to her room with him.
Fidelman’s work, despite the effort and despair he gave it, was going poorly. Every time he looked at unpainted canvas he saw harlequins,
whores, tragic kings, fragmented musicians, the sick and the dread. Still, tradition was tradition and what if he should want to make more? Since he had always loved art history he considered embarking on a “Mother and Child,” but was afraid her image would come out too much Bessie—after all, fifteen years between them. Or maybe a moving “Pietà,” the dead son’s body held like a broken wave in mama’s frail arms? A curse on art history—he fought the fully prefigured picture though some of his former best paintings had jumped in every detail to the mind. Yet if so, where’s true engagement? Sometimes I’d like to forget every picture I’ve seen, Fidelman thought. Almost in panic he sketched in charcoal a coattailed “Figure of a Jew Fleeing” and quickly hid it away. After that, ideas, prefigured or not, were scarce. “Astonish me,” he muttered to himself, wondering whether to return to surrealism. He also considered a series of “Relations to Place and Space,” constructions in squares and circles, the pleasures of tri-dimensional geometry of linear abstraction, only he had little heart for it. The furthest abstraction, Fidelman thought, is the blank canvas. A moment later he asked himself, if painting shows who you are, why should not painting?
whores, tragic kings, fragmented musicians, the sick and the dread. Still, tradition was tradition and what if he should want to make more? Since he had always loved art history he considered embarking on a “Mother and Child,” but was afraid her image would come out too much Bessie—after all, fifteen years between them. Or maybe a moving “Pietà,” the dead son’s body held like a broken wave in mama’s frail arms? A curse on art history—he fought the fully prefigured picture though some of his former best paintings had jumped in every detail to the mind. Yet if so, where’s true engagement? Sometimes I’d like to forget every picture I’ve seen, Fidelman thought. Almost in panic he sketched in charcoal a coattailed “Figure of a Jew Fleeing” and quickly hid it away. After that, ideas, prefigured or not, were scarce. “Astonish me,” he muttered to himself, wondering whether to return to surrealism. He also considered a series of “Relations to Place and Space,” constructions in squares and circles, the pleasures of tri-dimensional geometry of linear abstraction, only he had little heart for it. The furthest abstraction, Fidelman thought, is the blank canvas. A moment later he asked himself, if painting shows who you are, why should not painting?
After the incident with the priest Annamaria was despondent for a week, stayed in her room sometimes bitterly crying, Fidelman often standing helplessly by her door. However this was a prelude to a burst of creativity by the pittrice. Works by the dozens leaped from her brush and stylus. She continued her lyric abstractions based on the theme of a hidden cross and spent hours with a long black candle, burning holes in heavy white paper (“Buchi Spontanei”). Having mixed coffee grounds, sparkling bits of crushed mirror, and ground-up sea shells, she blew the dust on mucilaged paper (“Velo nella Nebbia”). She composed collages of rags and toilet tissue. After a dozen linear studies (“Linee Discendenti”), she experimented with gold leaf sprayed with umber, the whole while wet combed in long undulations with a fine comb. She framed this in a black frame and hung it on end like a diamond (“Luce di Candela”). Annamaria worked intently, her brow furrowed, violet mouth tightly pursed, eyes lit, nostrils palpitating in creative excitement. And when she had temporarily run out of new ideas she did a mythological bull in red clay (“La Donna Toro”), afterwards returning to nature morte with bunches of bananas; then self-portraits.
The pittrice occasionally took time out to see what Fidelman was up to, although not much, and then editing his efforts. She changed lines and altered figures, or swabbed paint over whole compositions that didn’t appeal to her. There was not much that did, but Fidelman was
grateful for any attention she gave his work, and even kept at it to incite her criticism. He could feel his heart beat in his teeth whenever she stood close to him modifying his work, he deeply breathing her intimate smell of sweating flowers. She used perfume only when Augusto came and it disappointed Fidelman that the old man should evoke the use of bottled fragrance; yet he was cheered that her natural odor, which he, so to say, got for free, was so much more exciting than the stuff she doused herself with for her decrepit Romeo. He had noticed she had a bit of soft belly but he loved the pliant roundness and often daydreamed of it. Thinking it might please her, for he pleased her rarely (he reveried how it would be once she understood the true depth of his love for her), the art student experimented with some of the things Annamaria had done—the spontaneous holes, for instance, several studies of “Lines Ascending,” and two lyrical abstract expressionistic pieces based on, interwoven with, and ultimately concealing a Star of David, although for these attempts he soon discovered he had earned, instead of her good will, an increased measure of scorn.
grateful for any attention she gave his work, and even kept at it to incite her criticism. He could feel his heart beat in his teeth whenever she stood close to him modifying his work, he deeply breathing her intimate smell of sweating flowers. She used perfume only when Augusto came and it disappointed Fidelman that the old man should evoke the use of bottled fragrance; yet he was cheered that her natural odor, which he, so to say, got for free, was so much more exciting than the stuff she doused herself with for her decrepit Romeo. He had noticed she had a bit of soft belly but he loved the pliant roundness and often daydreamed of it. Thinking it might please her, for he pleased her rarely (he reveried how it would be once she understood the true depth of his love for her), the art student experimented with some of the things Annamaria had done—the spontaneous holes, for instance, several studies of “Lines Ascending,” and two lyrical abstract expressionistic pieces based on, interwoven with, and ultimately concealing a Star of David, although for these attempts he soon discovered he had earned, instead of her good will, an increased measure of scorn.
However, Annamaria continued to eat lunch with him at Guido’s, and more often than not, supper, although she said practically nothing during meals and afterwards let her eye roam over the faces of the men at the other tables. But there were times after they had eaten when she would agree to go for a short walk with Fidelman, if there was no serious wind; and once in a while they entered a movie in the Trastevere, for she hated to cross any of the bridges of the Tiber, and then only in a bus, sitting stiffly, staring ahead. As they were once riding, Fidelman seized the opportunity to hold her tense fist in his, but as soon as they were across the river she tore it out of his grasp. He was by now giving her presents—tubes of paints, the best brushes, a few yards of Belgian linen, which she accepted without comment; she also borrowed small sums from him, nothing startling—a hundred lire today, five hundred tomorrow. And she announced one morning that he would thereafter, since he used so much of both, have to pay additional for water and electricity—he already paid extra for the heatless heat. Fidelman, though continually worried about money, assented. He would have given his last lira to lie on her soft belly, but she offered niente, not so much as a caress; until one day, he was permitted to look on as she sketched herself nude in his presence. Since it was bitter cold the pittrice did this in two stages. First she removed her sweater and brassiere and, viewing herself in a long, faded mirror, quickly sketched the upper half of her body before it turned blue. He was dizzily enamored of her form and flesh. Hastily fastening the brassiere and pulling on her
sweater, Annamaria stepped out of her sandals and peeled off her culottes, and white panties torn at the crotch, then drew the rest of herself down to her toes. The art student begged permission to sketch along with her but the pittrice denied it, so he had, as best one can, to commit to memory her lovely treasures—the hard, piercing breasts, narrow shapely buttocks, vine-hidden labia, the font and sweet beginning of time. After she had drawn herself and dressed, and when Augusto appeared and they had retired behind her bolted door, Fidelman sat motionless on his high stool before the glittering blue-skied windows, slowly turning to ice to faint strains of Bach.
sweater, Annamaria stepped out of her sandals and peeled off her culottes, and white panties torn at the crotch, then drew the rest of herself down to her toes. The art student begged permission to sketch along with her but the pittrice denied it, so he had, as best one can, to commit to memory her lovely treasures—the hard, piercing breasts, narrow shapely buttocks, vine-hidden labia, the font and sweet beginning of time. After she had drawn herself and dressed, and when Augusto appeared and they had retired behind her bolted door, Fidelman sat motionless on his high stool before the glittering blue-skied windows, slowly turning to ice to faint strains of Bach.
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