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  “Well, what did you do?” demands Clay.

  Francesco pauses to scrape a mussel from its shell, and then glances around the table with his shrewd, pale Venetian eyes. He seems pleased with the story and with himself. “I don’t like complications, so I kept my head with extreme difficulty, made her put her shirt on, and sent her away. And lucky for her, not morally but practically, because a week ago I ran into her at the gala the Socialists gave at La Scala—covered with jewels, on the arm of old Petralzo the rug man, who must be seventy-five.”

  “Lucky girl,” says Clay. “So she has minimum work for maximum compensation.”

  “It’s an inspiring story,” Merope says. “Even ideologically. When you think of her, born under Polish socialism, progressing to the Italian brand—”

  A waiter dashes up and shows them an enormous boiled sea bass, lead-colored in the candlelight, and then runs off to bone it. Though they are all laughing, the story about the Polish girl has changed the atmosphere of the group, momentarily causing each one of them to envision the candlelit outdoor restaurant with its stylish diners as a temporary and unstable oasis of safety, an illuminated bubble poised at the murky edges of the chaos going on not far enough away to the East: the Wall toppled and strewn; teenage Germans nonchalantly resuscitating the Third Reich; international mafiosi and ex-apparatchiks making pacts in the shadow of the Kremlin; Croats slicing heads off Montenegrins; Czech whores servicing the flights between Vienna and Prague; dissolution spilling over into the once safe and prosperous fields of Western Europe in the form of refugee hordes from every tattered state on earth. Each of the men at the table thinks of certain investments and says an inward prayer. The three American women experience a brief, simultaneous thrill of empathy with that coldhearted young girl, as foreign as they are.

  Subdued, they finish off two bottles of Piedmontese red wine and eat the fish with thin flat salad greens called barba di frate—“friar’s beard.” Merope chats with the man on her left, who has a posh Milanese accent with a glottal r that sounds as if he’s constantly clearing his throat. His name is Nicolò, and he agreeably surprises her by accepting without comment the fact that she is American of African-Caribbean ancestry—most Italians feel obliged to observe that she doesn’t look American, as if one could—and that she actually works in advertising rather than at one of the jobs that many otherwise intelligent people in Milan consider the only possibility for a pretty young woman with skin the color of cedarwood: runway work, or shaking her behind in television ads for tropical juice.

  She tells him that at work she has set herself the private task of trying to change attitudes and images, a generally futile ambition in a small Italian agency grateful for any accounts it can attract. Italians aren’t natural racists, she explains, not like Americans, but they tend to view foreigners in a series of absurd roles as set as those of the commedia dell’arte. “It’s funny, really. The last campaign we did for an air conditioner, what the kids in the creative department held out for was two black models dressed as cannibals carrying the air conditioner slung on a stick. Cannibals, can you imagine? Bare breasts, strings of teeth around their necks, little grass umbrellas around the hips. The company directors loved it. I screamed and yelled.”

  Nicolò smiles. “They must love you.”

  “Well, I’m somewhat of a crown of thorns for them. But I provide comic relief.”

  She knows this Nicolò by sight; she has seen him at parties, always with a different oversized, underage beauty glued to his flank. He has even gone out with one of her friends, a lanky nineteen-year-old from Santo Domingo who is doing a lot of work for Armani this year. “Nicolò” she thinks of as a young name, impetuous, boyish, ardent, like the medieval revolutionary Cola di Rienzo, but this Nicolò is no boy. He has a head of bushy graying curls and weary, protuberant blue Lombard eyes with—surprising for a viveur—an expression of gentle, lugubrious sentimentality.

  He is well dressed like the others, but his clothes seem slightly too big, giving him a curious orphaned air that must, thinks Merope unkindly, be the secret of his success with women. That and his money. He is the only one of the three who is not newly rich: his family has professors in it, and a famous collection of Futurist art, and people say he keeps up the textile business his great-grandfather started only to satisfy his taste for very young models. (In fact his eyes glistened mournfully at the description of the Polish girl.) It is said that he falls in love constantly, with untidy results.

  He sits and talks about a big house in the Engadin Valley where his seventy-eight-year-old mother passes the winters making nutcake, skiing, hiking, fighting with the family board of directors via phone or fax.

  “She sounds fantastic,” Merope says. She tells him about her father’s mother, Jazelle, a school principal with a taste for Plutarch as well as for a certain type of hot yellow-pepper sauce—a tall, rigid, iron-colored woman who commanded obedience from family and pupils in a whispering deadly Montserratian voice that both awed and embarrassed her Americanized grandchildren. It’s just an impulse: her family is her own private thing that she doesn’t usually talk about with the people Clay trots out.

  “I don’t understand what you’re doing in Milan,” he says.

  “Well, I have to see the world. This is as good a place as any, maybe better.”

  Nicolò taps the base of his wineglass with his fingernail. “St. Augustine was converted in a garden here. I think that that was probably the last time this city has done anyone any good.”

  “I wonder where the garden was,” says Merope.

  Nicolò laughs and says it was a child’s voice that spoke to Augustine in the garden, and that he is thinking at the moment that Merope has the face of a child who knows too much. She reminds him, he says, of Velázquez’s Infanta Margarita. This is a nice compliment, but spoiled by being said in a self-satisfied, overly proficient manner that makes it clear that he habitually comes up with artistic comparisons to impress his very young models. It annoys Merope. She sees that he is quite interested, and this is puzzling, since she is not at all his type.

  They are interrupted from across the table by Claudio, the Roman shoemaker, who has heard them talking about the mountains. In between bouts of flirting outrageously with Clay, he starts reminiscing about a party given at Champfer in the sixties by a spendthrift cousin of Nicolò’s. The cousin had wanted to tent a forest for his guests to dance in like gnomes, but this was against Swiss law, so he filled a tent with tall potted larches specially imported from Austria. At dawn the men, a black phalanx in evening dress, had descended from Corviglia on skis.

  The two other men at the table chime in to exclaim nostalgically over how much time they spent in dinner jackets, their crowd of young blades, in the sixties. They were so stylish they never wore ski clothes even on ordinary days, but skied in three-piece suits, the wasp-waisted, flare-trousered sixties kind, with a high-collared shirt and a wide tie up under your chin. “We were dandies,” sighs Francesco.

  Clay says that they are still dandies, that it is a basic instinct of the Latin male to decorate himself. But are they still up to snuff physically, she asks in a rhetorical tone that makes Robin and Merope giggle. Tossing back her red fringe, she says she doubts it, and she commands without further ado that they show her their legs. Clay has an effect on men like a pistol held to the back of the neck: all three of them at the table—fathers of adult children and heads of companies—rise promptly from their places, considerably surprising the waiters and the other diners in the restaurant, and line up like naughty schoolboys in front of Clay, who, with a Circean smile, has swiveled in her chair to survey them. They pull up their trousers to reveal a variety of knobby, sock-covered ankles and calves. Clay keeps them standing there a second longer than necessary before pronouncing them acceptable and allowing them to file back to their dinners. “But you’ll have to work on that musculature, gentlemen!” she says.

  * * *

  “Of course they behave this wa
y because we’re foreigners,” Clay tells Merope a bit later in the ladies’ room. Clay has a frequently voiced conviction that Italian men view foreign women as escape hatches, vacations from the immemorial stress of life with Italian women, who are all descendants of exigent Mediterranean earth goddesses.

  “Italians are just intensified versions of men from anywhere,” says Merope. “The real mystery, the riddle of the ages, is why we go to buttock class and put ourselves through severe pain for their benefit. Look at them—those bony legs!”

  Merope is redoing her lips with a tint from a little pottery dish her ex-boyfriend brought her from Marrakech. Clay has left the toilet door open to talk to her and sits with her black skirt hiked up and her tights down, her chin propped on her hands and her elbows on her knees.

  When Clay is washing her hands, they start talking about Claudio the shoemaker, who, as Merope accurately observes, has been making passes at Clay like a Roman café waiter with a schoolgirl on a junior year abroad. Clay, always merciful when one least expects it, declares that there is no real harm in poor Claudio, who is upset about having less money than his friends and about having had his business partner hauled off to prison last month as a result of the government bribery scandal.

  “Well, if you’re so sympathetic, you should cure him of that behavior,” says Merope, dropping the Moroccan dish into her bag. “Why don’t you act like his charm has caused you to lose your head, and grab him in front of everybody and kiss him. Stick your tongue in his mouth. That would scare the shit out of him. It might change his life. At the very least it would teach him some manners.”

  Clay says it isn’t at all a bad idea, and when they are back at the table she actually does grab Claudio the shoemaker and give him a whammy of a kiss—a real bodice ripper, as she describes it later. She doesn’t do it right away but waits until they’ve had dessert and small cups of black coffee, which intrude on the languid meal like jolts of pure adrenaline.

  Merope sees Claudio reach out for the twentieth time and trail his fingers down Clay’s cheek while he formulates yet another outrageous compliment, and she watches Clay laugh, turn to him, grab his shoulders, and give him a long, extremely kinetic kiss. They all stare, and Robin from Christie’s claps her thin hands spontaneously like a child at the circus when the elephants come in. Clay lets Claudio go, and his face has blushed dark as a bruise. He is groping for an expression. The rest of them follow Robin and burst into applause, because there is nothing else to do, and people at other tables turn around to look.

  “Brava, Clay! That’s showing him,” calls Francesco.

  Clay herself is pale, but she has lost no equilibrium at all. She takes a sip of mineral water. “That was possible,” she says evenly, without a smile, “only because with Claudio there could never be the possibility of anything more.”

  Shrieks of laughter, invocations of the Texas fiancé, loud protests from the men, especially from Claudio himself, who has enough of the Roman genius for saving face to cover his tracks—to court Clay still more flamboyantly, to laugh artlessly at himself. But the atmosphere, observes Merope, is momentarily murderous; at least, under the voices, through the candlelight diffused beneath the white umbrella, travels a dire reverberation like that which follows the first bite of an ax into a tree trunk. She herself feels half angry at Clay for taking her at her word, half full of unwilling admiration.

  “So what do you think, precocious child?” Nicolò asks her a few minutes later, when Francesco reveals that he has paid the bill, and they all get up to leave.

  “That precocious children come to bad ends,” replies Merope.

  * * *

  The six of them take two cars to Piazza Sant’Ambrogio to visit Angela and Lucia, a pair of forty-year-old twins who design a sportswear line for Francesco. These sisters with first names like chambermaids are in fact members of an aboriginal Milanese noble family whose dark history of mailed fists and bloody political intrigues dominates medieval Lombard chronicles. The twins themselves, leftover scraps of a dynasty, are small, with masses of streaked hair and frail chirping voices like a pair of crickets; at parties they dress alike to annoy their friends. Tonight they are darting around in red and yellow bloomer suits in Lucia’s apartment, which adjoins her sister’s in a damp sixteenth-century palazzo with a view onto the church of Sant’Ambrogio. The two sisters boast that even during their marriages and love affairs they have rarely spent a night apart.

  In the room where the guests are gathered, there are Man Ray photographs leaning against the baseboards, couches and poufs covered in sea green damask, and a carved Malaysian four-poster bed; the windows look down into a leafy wilderness starred with white blossom—the kind of courtyard Merope had at first been surprised to find behind the pitted, smog-blackened facades of Milanese palazzi.

  Merope detaches herself from Nicolò, who has been hovering since they got out of the car, and goes and sits down on a wobbly pouf beside a handsome Indian designer who works with one of the twins. The designer’s name is Nathaniel, and he is talking emotionally about Cole Porter to a large, round Englishman whom Merope remembers chiefly for the fact that in the summer he bounces around the city in the most beautiful white linen suits, like a colonial governor on holiday.

  “My mother,” continues Nathaniel, “used to sit down at the piano at sunrise with a pitcher of cold tea beside her and start in with ‘Night and Day.’ It’s a very peculiar sensation, Cole Porter in Delhi at dawn.” He passes one hand over his forehead as if to dispel an unbearable memory and then props his elbow on Merope’s shoulder. “Hello, chum,” he says. “You look appetizing tonight.”

  Merope pushes his elbow off and smiles. She likes Nathaniel, who is a friend of her boss, Maria Teresa. He asks her about work, and she tells him about the most interesting thing she is doing these days, which is a freelance project writing scripts for a video series on the fantasies of top models.

  “Oho,” interjects the round Englishman.

  “Well, it’s not as hot as it sounds. These are the kind of fantasies most women have at the age of eleven. The sex is all submerged. One of the girls, Russian, really gorgeous, dreams of being Catherine the Great—”

  “I don’t call that submerged,” protests Nathaniel. “Think of her and the horse.”

  Merope tells him that the horse is a myth and that anyway the video limits itself to onion domes and fur-edged décolletage. Then she describes another video, in which the model fantasizes about being a Mafia princess, climbs out of a black Mercedes with an Uzi in her hand while the voice-over observes that she has looks to kill for.

  The two men giggle, and then the Englishman asks Merope about Ivo, her Dutch ex-boyfriend. When she says that she left him almost a year ago, he leans toward her looking simultaneously lascivious and avuncular and says, “I hope you haven’t gone over to the wops. My child,” he goes on, “I have a definite paternal concern for your romantic future. Too many nice girls come over here and get flummoxed by the Eyetalians. Bad situation—very, as Mr. Jingle would say. Because, all indications of myth and popular tradition to the contrary, the Italian—”

  “Is the most difficult male on the planet,” interjects Nathaniel, with the happy air of one climbing onto an old and beloved hobbyhorse.

  “That stands, though I was about to say conservative,” says the Englishman. “Difficult, because with the Asian, the African male—”

  “Don’t forget the Indian,” adds Nathaniel.

  “You know where you are,” says the Englishman. “And one expects behavior along primitive authoritarian lines. But the Italian has a veneer of modernity that makes him infinitely more dangerous. Underneath the flashy design is a veritable root system of archaic beliefs and primitive loyalties. In Milan it’s better hidden—that’s all.”

  Getting excited, he waves across the room at, of all people, Nicolò, possibly because he’s seen him come in with Merope. “Just pick an example! One look at him and the discerning eye sees not just an overdr
essed example of the Riace bronzes but an apartment! Yes, behind every Milanese playboy lurks an immense, dark, rambling bourgeois apartment in the Magenta district, with garlands on the ceiling and the smell of generations of pasta in brodo—oh, that brodo!—borne to the table by generations of maidservants with mustaches.

  “And the tribal life in these apartments—all-powerful mothers, linen closets, respectful tradesmen presenting yearly bills, respectful priests subtly skimming the household wealth, ceremonial annual removals to the mountains and the sea, young men and young wives slowly suffocating, gold clinking in coffers to a rhythm that says, family, family, family.”

  He fixes Merope with a sparkling periwinkle eye. “One grows up in one of these miniature purgatories with a sense of sin ingrained in one’s cells—a sense that human compromise and human corruption are inevitable. It’s the belief at the root of all the wickedness in this city—and this is a very wicked city. Wicked in a silly and not even very interesting way. An exotic American like you can’t comprehend the weight of it.”

  Presumptuous old donkey, thinks Merope, who has been looking around and only half listening. It would be nice to get through an evening out without hearing the word exotic. “I have a family, too,” she says, distinctly.

  “It’s eminently clear that you are a sheltered and highly educated flower of the New World, and that makes you more vulnerable.” He points to Clay. “That’s the kind of girl who gets on in Italy: hit and run.”