Mozart’s Requiem begins with you walking towards a huge pit.

The pit is on the other side of a precipice, which you cannot see over until you are right at its edge. Your death is awaiting you in that pit. You don’t know what it looks like or sounds like or smells like. You don’t know whether it will be good or bad. You just walk towards it. Your will is a clarinet and your footsteps are attended by all the violins. The closer you get to the pit, the more you begin to have the sense that what awaits you there will be terrifying. Yet you experience this terror as a kind of blessing, a gift. Your long walk would have had no meaning were it not for this pit at the end of it. You peer over the precipice: a burst of ethereal noise crashes over you. In the pit is a great choir, like the one you joined for two months in Wellington in which you were the only black woman.

Howard hurried to the door, but then turned just before he opened it. ‘Oh – Keeks – ’ His face was childish, apologetic, completely inadequate. It made Kiki suddenly despair. It was a face that placed them right alongside every other middle-aged couple on the block – the raging wife, the rueful husband. She thought: How did we get to the same place as everybody else?

Awful pretty with those provocative schoolgirl’s bangs running into light brown waves of sumptuous hair, which curved over her left eye like Veronica Lake’s and continued all the way down to her miniature hips. For the life of him Jack could never figure out why women of a certain age cut off all their hair like that.

[...] He had offered them a Rembrandt who was neither a rule breaker nor an original but rather a conformist; he had asked them to ask themselves what they meant by ‘genius’ and, in the perplexed silence, replaced the familiar rebel master of historical fame with Howard’s own vision of a merely competent artisan who painted whatever his wealthy patrons requested. Howard asked his students to imagine prettiness as the mask that power wears. To recast Aesthetics as a rarefied language of exclusion. He promised them a class that would challenge their own beliefs about the redemptive humanity of what is commonly called ‘Art’. ‘Art is the Western myth,’ announced Howard, for the sixth year in a row, ‘with which we both console ourselves and make ourselves.’ Everybody wrote that down.

‘Well, if you really feel like that, then you need to get your fellow employees together and implement some kind of direct action.’

‘I don’t even know what that is.’

Over their toast and coffee, Levi’s father explained the principles of direct action as it was practised between 1970 and 1980 by Howard and his friends. He spoke at length about someone called Gramsci and some people called the Situationists. Levi nodded quickly and regularly, as he had learned to do when his father made speeches of this kind. He felt his eyelids tugging low and his spoon heavy in his hand.

‘I don’t think that’s how things go down now,’ Levi said at last, gently, not wanting to disappoint his father, but needing to catch the bus. It was a nice enough story, but it was making him late for work.

‘The stupid thing is,’ continued Jerome, fiddling with a ring on his pinkie finger, ‘Kiki still loves him. It’s so obvious. I just don’t get that – how you can love someone who says no to the world like that – I mean, so consistently? It’s only when I’m away from home and I’m talking to non-family people that I can see how psychotic he is. The only music in the house now is, like, Japanese electro. Soon we’ll just have to tap on pieces of wood. This is a guy who wooed his wife by singing half of The Magic Flute outside her apartment. Now he won’t even let her have a painting she likes in the house. Because of some deranged theory in his head, everybody else has to suffer. It’s such a denial of joy – I don’t even know how you can stand living there.’

‘It’s a Wellington thing – it’s a student thing,’ said Victoria rapidly, coming up on her elbows. ‘It’s our shorthand for when we say, like, Professor Simeon’s class is ‘‘The tomato’s nature versus the tomato’s nurture’’, and Jane Colman’s class is ‘‘To properly understand the tomato you must first uncover the tomato’s suppressed Herstory’’ – she’s such a silly bitch that woman – and Professor Gilman’s class is ‘‘The tomato is structured like an aubergine’’, and Professor Kellas’s class is basically ‘‘There is no way of proving the existence of the tomato without making reference to the tomato itself ’’, and Erskine Jegede’s class is ‘‘The post-colonial tomato as eaten by Naipaul’’. And so on. So you say, ‘What class have you got coming up?’ and the person says ‘Tomatoes 1670-1900.’ Or whatever.’

‘I haven’t had my period in three months – did you even know that? I’m acting crazy and emotional all the time. My body’s telling me the show’s over. That’s real. And I’m not going to be getting any thinner or any younger, my ass is gonna hit the ground, if it hasn’t already – and I want to be with somebody who can still see me in here. I’m still in here. And I don’t want to be resented or despised for changing . . . I’d rather be alone. I don’t want someone to have contempt for who I’ve become. I’ve watched you become too. And I feel like I’ve done my best to honour the past, and what you were and what you are now – but you want something more than that, something new. I can’t be new. Baby, we had a good run.’ Weeping, she lifted his palm and kissed it in the centre. ‘Thirty years – almost all of them really happy. That’s a lifetime, it’s incredible. Most people don’t get that. But maybe this is just over, you know? Maybe it’s over . . .’

Howard, crying himself now, got up from where he lay and sat behind his wife. He stretched his arms around her solid nakedness. In a whisper he began begging for – and, as the sun set, received – the concession people always beg for: a little more time.