Interesting Women
Praise for Interesting Women
“Eloquent, pinpoint prose… Lee’s writing speaks from the intellect but knows intimately the ways of the heart.” —O, The Oprah Magazine
“Accomplished… all [stories] are distinguished by lucid sensual language.” —San Francisco Chronicle
“Refreshing and amusing… these interesting women are both jaded and triumphant, wearily accustomed not only to defeat, but to prevailing as well.” —Newsday
“Andrea Lee spins savvy stories from around the globe.” —More
“Ms. Lee’s prose is as clear-headed as her characters, who make great leaps between oceans and men only to ‘ponder the wonderful seductiveness of action, of clean defiant acts; and the tedium of consequences.’ ” —The Economist
“The stories are full of tension… [they] provide instant and sophisticated gratification.” —Publishers Weekly
“Lee is at her best detailing encounters between brash New World women and sophisticated Old World men, but she is also good at probing complicated relationships between women.… Lee is a polished writer.” —Library Journal
“Each droll, masterfully crafted, electrifyingly perceptive, and wryly cosmopolitan and epicurean story deftly decodes the tricky dynamics of sexual, racial, and cultural trespass.” —Booklist
“A collective voice of very independent, self-defining, and interesting women who may be ‘far from their own culture, but not out of their depths.’ Their voice and their stories make this a book not to be missed.” —The Bloomsbury Review
“Lee easily enthralls with the smallest description or observation, and her knowledge of this lifestyle is intoxicatingly thorough.… Lee’s pinpoint accuracy for the right word and perfect tone bring a universal truth to these stories.” —Kirkus Reviews
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To Alexandra,
who merits her middle name,
and to Ruggero and Charles,
i miei uomini interessanti.
Pinkerton (con franchezza):
Dovunque al mondo lo Yankee vagabondo si gode e traffica
sprezzando i rischi. Affonda l’ancora alla ventura.
—Luigi Illica, Giuseppe Giacosa, Madama Butterfly
The Birthday Present
A cellular phone is ringing, somewhere in Milan. Ariel knows that much. Or does she? The phone could be trilling its electronic morsel of Mozart or Bacharach in a big vulgar villa with guard dogs and closed-circuit cameras on the bosky shores of Lake Como. Or in an overpriced hotel suite in Portofino. Or why not in the Aeolian Islands, or on Ischia, or Sardinia? It’s late September, and all over the Mediterranean the yachts of politicians and arms manufacturers and pan-Slavic gangsters are still snuggled side by side in the indulgent golden light of harbors where the calendars of the toiling masses mean nothing. The truth is that the phone could be ringing anywhere in the world where there are rich men.
But Ariel prefers to envision Milan, which is the city nearest the Brianza countryside, where she lives with her family in a restored farmhouse. And she tries hard to imagine the tiny phone lying on a table in an apartment not unlike the one she shared fifteen years ago in Washington with a couple of other girls who were seniors at Georgetown. The next step up from a dorm, that is—like a set for a sitcom about young professionals whose sex lives, though kinky, have an endearing adolescent gaucheness. It would be too disturbing to think that she is telephoning a bastion of contemporary Milanese luxury, like the apartments of some of her nouveau-riche friends: gleaming marble, bespoke mosaics, boiserie stripped from defunct châteaux, a dispiriting sense of fresh money spread around like butter on toast.
Hmmm—and if it were a place like that? There would be, she supposes, professional modifications. Mirrors: that went without saying, as did a bed the size of a handball court, with a nutria cover and conveniently installed handcuffs. Perhaps a small dungeon off the dressing room? At any rate, a bathroom with Moroccan hammam fixtures and a bidet made from an antique baptismal font. Acres of closets, with garter belts and crotchless panties folded and stacked with fetishistic perfection. And boxes of specialty condoms, divided, perhaps, by design and flavor. Are they ordered by the gross? From a catalog? But now Ariel retrieves her thoughts, because someone picks up the phone.
“Pronto?” The voice is young and friendly and hasty.
“Is this Beba?” Ariel asks in her correct but heavy Italian, from which she has never attempted to erase the American accent.
“Yes,” says the voice, with a merry air of haste.
“I’m a friend of Flavio Costaldo’s and he told me that you and your friend—your colleague—might be interested in spending an evening with my husband. It’s a birthday present.”
* * *
When a marriage lingers at a certain stage—the not uncommon plateau where the two people involved have nothing to say to each other—it is sometimes still possible for them to live well together. To perform generous acts that do not, exactly, signal desperation. Flavio hadn’t meant to inspire action when he suggested that Ariel give her husband, Roberto, “una fanciulla”—a young girl—for his fifty-fifth birthday. He’d meant only to irritate, as usual. Flavio is Roberto’s best friend, a sixty-year-old Calabrian film producer who five or six years ago gave up trying to seduce Ariel, and settled for the alternative intimacy of tormenting her subtly whenever they meet. Ariel is a tall, fresh-faced woman of thirty-seven, an officer’s child who grew up on army bases around the world, and whose classic American beauty has an air of crisp serviceability that—she is well aware—is a major flaw: in airports, she is sometimes accosted by travelers who are convinced that she is there in a professional capacity. She is always patient at parties when the inevitable pedant expounds on how unsuitable it is for a tall, rather slow-moving beauty to bear the name of the most volatile of sprites. Her own opinion—resolutely unvoiced, like so many of her thoughts—is that, besides being ethereal, Shakespeare’s Ariel was mainly competent and faithful. As she herself is by nature: a rarity anywhere in the world, but particularly in Italy. She is the ideal wife—second wife—for Roberto, who is an old-fashioned domestic tyrant. And she is the perfect victim for Flavio. When he made the suggestion, they were sitting in the garden of his fourth wife’s sprawling modern villa in a gated community near Como, and both of their spouses were off at the other end of the terrace, looking at samples of glass brick. But Ariel threw him handily off balance by laughing and taking up the idea. As she did so, she thought of how much affection she’d come to feel for good old Flavio since her early days in Italy, when she’d reserved for him the ritual loathing of a new wife for her husband’s best friend. Nowadays she was a compassionate observer of his dawning old age and its accoutrements, the karmic doom of any superannuated playboy: tinted aviator bifocals and reptilian complexion; a rich, tyrannical wife who imposed a strict diet of fidelity and bland foods; a little brown address book full of famous pals who no longer phoned. That afternoon, Ariel for the first time had the satisfaction of watching his composure crumble when she asked him sweetly to get her the number of the best call girl in Milan.
“You’re not serious,” he sputtered. “Ariel, cara, you’ve known me long enough to know I was joking. You aren’t—”
“Don’t go into that nice-girl, bad-girl Latin thing, Flavio. It
’s a little dated, even for you.”
“I was going to say only that you aren’t an Italian wife, and there are nuances you’ll never understand, even if you live here for a hundred years.”
“Oh, please, spare me the anthropology,” said Ariel. It was pleasant to have rattled Flavio to this extent. The idea of the fanciulla, to which she had agreed on a mischievous impulse unusual for her, suddenly grew more concrete. “Just get me the number.”
Flavio was silent for a few minutes, his fat, sun-speckled hands wreathing his glass of limoncello. “You’re still sleeping together?” he asked suddenly. “Is it all right?”
“Yes. And yes.”
“Allora, che diavolo stai facendo? What the hell are you doing? He’s faithful to you, you know. It’s an incredible thing for such a womanizer; you know about his first marriage. With you there have been a few little lapses, but nothing important.”
Ariel nodded, not even the slightest bit offended. She knew about those lapses, had long before factored them into her expectations about the perpetual foreign life she had chosen. Nothing he said, however, could distract her from her purpose.
Flavio sighed and cast his eyes heavenward. “Va bene; Okay. But you have to be very careful,” he said, shooting a glance down the terrace at his ever-vigilant wife, with her gold sandals and anorexic body. After a minute, he added cryptically, “Well, at least you’re Catholic. That’s something.”
* * *
So, thanks to Flavio’s little brown book, Ariel is now talking to Beba. Beba—a toddler’s nickname. Ex-model in her twenties. Brazilian, but not a transsexual. Tall. Dark. Works in tandem with a Russian blonde. “The two of them are so gorgeous that when you see them it’s as if you have entered another sphere, a paradise where everything is simple and divine,” said Flavio, waxing lyrical during the series of planning phone calls he and Ariel shared, cozy conversations that made his wife suspicious and gave him the renewed pleasure of annoying Ariel. “The real danger is that Roberto might fall in love with one of them,” he remarked airily, during one of their chats. “No, probably not—he’s too stingy.”
In contrast, it is easy talking to Beba. “How many men?” Beba asks, as matter-of-factly as a caterer. There is a secret happiness in her voice that tempts Ariel to investigate, to talk more than she normally would. It is an impulse she struggles to control. She knows from magazine articles that, like everyone else, prostitutes simply want to get their work done without a fuss.
“Just my husband,” Ariel says, feeling a calm boldness settle over her.
“And you?”
Flavio has said that Beba is a favorite among rich Milanese ladies who are fond of extracurricular romps. Like the unlisted addresses where they buy their cashmere and have their abortions, she is top-of-the-line and highly private. Flavio urged Ariel to participate and gave a knowing chuckle when she refused. The chuckle meant that, like everyone else, he thinks Ariel is a prude. She isn’t—though the fact is obscured by her fatal air of efficiency, by her skill at writing out place cards, making homemade tagliatelle better than her Italian mother-in-law, and raising bilingual daughters. But no one realizes that over the years she has also invested that efficiency in a great many amorous games with the experienced and demanding Roberto. On their honeymoon, in Bangkok, they’d spent one night with two polite teenagers selected from a numbered lineup behind a large glass window. But that was twelve years ago, and although Ariel is not clear about her motives for giving this birthday present, she sees with perfect feminine good sense that she is not meant to be onstage with a pair of young whores who look like angels.
The plan is that Ariel will make a date with Roberto for a dinner in town, and that instead of Ariel, Beba and her colleague will meet him. After dinner the three of them will go to the minuscule apartment near Corso Venezia that Flavio keeps as his sole gesture of independence from his wife. Ariel has insisted on dinner, though Flavio was against it, and Beba has told her, with a tinge of amusement, that it will cost a lot more. Most clients, she says, don’t request dinner. Why Ariel should insist that her husband sit around chummily with two hookers, ordering antipasto, first and second courses, and dessert is a mystery, even to Ariel. Yet she feels that it is the proper thing to do. That’s the way she wants it, and she can please herself, can’t she?
As they finish making the arrangements, Ariel is embarrassed to hear herself say, “I do hope you two girls will make things very nice. My husband is a wonderful man.”
And Beba, who is clearly used to talking to wives, assures her, with phenomenal patience, that she understands.
* * *
As Ariel puts down the phone, it rings again, and of course it is her mother, calling from the States. “Well, you’re finally free,” says her mother, who seems to be chewing something, probably a low-calorie bagel, since it is 8:00 A.M. in Bethesda. “Who on earth were you talking to for so long?”
“I was planning Roberto’s birthday party,” Ariel says glibly. “We’re inviting some people to dinner at the golf club.”
“Golf! I’ve never understood how you can live in Italy and be so suburban. Golf in the hills of Giotto!”
“The hills of Giotto are in Umbria, Mom. This is Lombardy, so we’re allowed to play golf.”
Ariel can envision her mother, unlike Beba, with perfect clarity: tiny; wiry, as if the muscles under her porcelain skin were steel guitar strings. Sitting bolt upright in her condominium kitchen, dressed in the chic, funky uniform of black jeans and cashmere T-shirt she wears to run the business she dreamed up: an improbably successful fleet of suburban messengers on Vespas, which she claims was inspired by her favorite film, Roman Holiday. Coffee and soy milk in front of her, quartz-and-silver earrings quivering, one glazed fingernail tapping the counter as her eyes probe the distance over land and ocean toward her only daughter.
What would she say if she knew of the previous call? Almost certainly, Ariel thinks, she would be pleased with an act indicative of the gumption she finds constitutionally lacking in her child, whose lamentable conventionality has been a byword since Ariel was small. She herself is living out a green widowhood with notable style, and dating a much younger lobbyist, whose sexual tastes she would be glad to discuss, girl to girl, with her daughter. But she is loath to shock Ariel.
With her Italian son-in-law, Ariel’s mother flirts shamelessly, the established joke being that she should have got there first. It’s a joke that never fails to pull a grudging smile from Roberto, and it goes over well with his mother, too: another glamorous widow, an intellectual from Padua who regards her daughter-in-law with the condescending solicitude one might reserve for a prize broodmare. For years, Ariel has lived in the dust stirred up by these two dynamos, and it looks as if her daughters, as they grow older—they are eight and ten—are beginning to side with their grandmothers. Not one of these females, it seems, can forgive Ariel for being herself. So Ariel keeps quiet about her new acquaintance with Beba, not from any prudishness but as a powerful amulet. The way, at fourteen, she hugged close the knowledge that she was no longer a virgin.
“Is anything the matter?” asks her mother. “Your voice sounds strange. You and Roberto aren’t fighting, are you?” She sighs. “I have told you a hundred times that these spoiled Italian men are naturally promiscuous, so they need a woman who commands interest. You need to be effervescent, on your toes, a little bit slutty, too, if you’ll pardon me, darling. Otherwise, they just go elsewhere.”
* * *
Inspired by her own lie, Ariel actually gives a dinner at the golf club, two days before Roberto’s birthday. The clubhouse is a refurbished nineteenth-century castle built by an industrialist, and the terrace where the party is held overlooks the pool and an artificial lake. Three dozen of their friends gather in the late September chill to eat a faux-rustic seasonal feast, consisting of polenta and Fassone beefsteaks, and the pungent yellow mushrooms called funghi reali, all covered with layers of shaved Alba truffles. Ariel is proud of the
meal, planned with the club chef in less time than she spent talking to Beba on the phone.
Roberto is a lawyer, chief counsel for a centrist political party that is moderately honest as Italian political parties go, and his friends all have the same gloss of material success and moderate honesty. Though the group is an international one—many of the men have indulged in American wives as they have in German cars—the humor is typically bourgeois Italian. That is: gossipy, casually cruel, and—in honor of Roberto—all about sex and potency. Somebody passes around an article from L’Espresso which celebrates men over fifty with third and fourth wives in their twenties, and everyone glances slyly at Ariel. And Roberto’s two oldest friends, Flavio and Michele, appear, bearing a large gift-wrapped box. It turns out to hold not a midget stripper, as someone guesses, but a smaller box, and a third, and a fourth and fifth, until, to cheers, Roberto unwraps a tiny package of Viagra.
Standing over fifty-five smoking candles in a huge pear-and-chocolate torte, he thanks his friends with truculent grace. Everyone laughs and claps—Roberto Furioso, as his nickname goes, is famous for his ornery disposition. He doesn’t look at Ariel, who is leading the applause in her role as popular second wife and good sport. She doesn’t have to look at him to feel his presence, as always, burned into her consciousness. He is a small, charismatic man with a large Greek head, thick, brush-cut black hair turning a uniform steel gray, thin lips hooking downward in an ingrained frown like those of his grandfather, a Sicilian baron. When Ariel met him, a dozen years ago, at the wedding of a distant cousin of hers outside Florence, she immediately recognized the overriding will she had always dreamed of, a force capable of conferring a shape on her own personality. He, prisoner of his desire as surely as she was, looked at this preposterously tall, absurdly placid American beauty as they danced for the third time. And blurted out—a magical phrase that fixed forever the parameters of Ariel’s private mythology—“Tu sai che ti sposerò. You know I’m going to marry you.”