inspo/setting

We had to cross the river naked, holding our clothes over our head to keep them dry, and then build a warming fire on the other side of the river. It was madness and euphoria.

It was so beautiful. The salmon sky, snow clouds between us and the sun, cast a pearly reddish-goldish light on the whole day, as if we were in some new stage of heaven. All day long, there was a light on our faces almost like firelight. The snow was frozen hard in places, so that we could walk across it like concrete for two or three steps, but then we’d hit a soft or weak spot that our feet would punch through, and we’d collapse up to our waists. It was exhausting work. But we were so in love: so in love.

His objective this dripping winter noon is a gray stone town house, neither large nor historic enough to figure in any guidebook, set back just out of sight of Grosvenor Square, somewhat off the official war-routes and corridors about the capital. When the typewriters happen to pause (8:20 and other mythical hours), and there are no flights of American bombers in the sky, and the motor traffic's not too heavy in Oxford Street, you can hear winter birds cheeping outside, busy at the feeders the girls have put up.

THE SUN IS a rich yellow when she wakes up from her nap. Her shoulders and cheeks are heavy, and she lifts herself up on her elbows slowly, as if a sharp gesture might pull her back into full consciousness. The walls are covered in splotchy shadows and diamonds of light. The window feels cold to the touch. She kneels to look out, sees limestone stains on the glass.

There was a warm, musty silence. The diagonal curls of smoke from her cigarette were spangled by a thousand grains of dust highlit by the shaft of autumn sun. The shaft of autumn sun struck through the recently dismembered tree in the front garden, squeezed between the railings, quartered itself against the window-frame, wormed its way into the room.

Jimmy plays at The Restaurant three nights a week, from seven until eleven or until the last guest leaves, whichever comes first. When he sees the last guests cross the threshold of the door out of the dining room into the lobby he’ll stop in the middle of his chill Jobim or his John Williams show tune, right in the middle of an arpeggio, stand up, shut the lid, grab his bag, walk out. The effect is as abrupt as turning off a stereo except that sometimes the last note he played drifts there in the air, along with the smells of butter and salt.