The Genius

Taking this to mean she had gone to Berlin, I swallowed my pride and responded with a second long, pleading e-mail. As soon as I pressed SEND, I regretted it. I had already put myself out there in my first letter, already degraded myself. Now I didn’t know what I was trying to achieve. Reconciliation? I wasn’t sure I wanted it. For the past two weeks I had been entirely Marilyn-free, and while on some level I missed her, I also felt for the first time in years like I could fully relax. That’s the way you’re supposed to feel about your parents, not your lover. Not that I was an authority on either.

Mostly I wanted her to forgive me so I could feel less guilty breaking things off, assuming it came to that—which I assumed it would. Or else I wanted her to be so livid, so beyond reason, that I could walk away without any fanfare. I wanted a starting point: she was either totally okay or not okay at all. I could work with either. What I couldn’t deal with was limbo, and so that’s where she kept me. She knew me well enough to have predicted the effects of her silence. She was drawing out my discomfort on purpose. It made me mad, although looking back, I suppose I deserved it.

THE NEXT AFTERNOON I got a call from Detective Trueg of the major case squad, who asked if I had time to come over to the station. Eager to be out of the gallery, I hopped in a taxi, and upon arrival was escorted to a cubicle, where he sat ensconced in a ring of discarded Burger King wrappers. Andrade, too, had his lunch out: a half-finished Tupperware container of tofu and brown rice.

“You want a Coke?” Trueg asked me.

“No, thanks.”

“That’s good,” he said. “Cause we don’t got none.”

The investigation, the detectives informed me, had taken an odd turn around the time they decided to question Kristjana Hallbjornsdottir.

Trueg said, “We go over to her studio, we’re talking to her. She’s not saying anything too suspicious or not suspicious, one way or the other. I excuse myself and ask if I can use the restroom. Down the hall I go and what do you know, up on the wall are some drawings that look a hell of a lot like yours.”

I sat up straight.

Trueg nodded. “Yup. Right out there for everyone in the world to see. Naturally, this is very interesting to us, but we don’t say anything about it. We finish asking her about her relationship with you, we say thank you very much, and then we go and get a warrant.” He smiled crookedly. “That lady is one live wire when she’s mad.”

“You have no idea.”

“We had to have someone take her outside to calm her down.”

“You’re not the first.”

“What did you do to her, anyway? I never was clear on that.”

“I canceled a show of hers,” I said, trying to contain my impatience. “She has the drawings?”

Andrade reached into his desk and took out a handful of pages sealed in evidence bags: a dozen Crackes, easily identifiable by their wild sense of scale, their surreal imagery, the oddball names and recurrent faces. The backs were numbered in the mid-thirty-nine thousands. As Andrade spread them out in front of me, I felt a rush of relief that Kristjana had not destroyed the pieces out of spite. But then it occurred to me that these might be all that remained from the several thousand she had stolen.

“The box I had was full,” I said. “It had probably two thousand drawings.”

“Well, that’s all she wrote,” said Trueg.

“Please tell me you’re kidding.”

Andrade shook his head.

“Oh, no.” I put my head in my hands. “Oh, shit.”

“Before you get too upset—” said Trueg.

“Did you search her apartment? Shit. I don’t believe this. Shit.” “Hang on,” said Trueg, “that isn’t the half of it. I’m just gettin warmed up here.”

“Shit.”

“I think you want to listen to this,” said Andrade. “Shit …”

Trueg said, “So we take her in and question her, and as soon as we bring up the drawings she gets this very offended look on her face and says—” He looked at his partner. “Go on, you do it. You do it good.”

Andrade said, in a stilted Scandinavian accent, “‘But I made them myselv.’”

Absorbed by the thought of my destroyed art, I barely heard him. When what he said finally did register, I said, “Excuse me?” “Go on,” said Trueg. “Do it again.”

“She claims she made the drawings herself,” said Andrade.

“Aw, come on, Benny, one more time.”

“Wait,” I said. “Wait a second. She made what herself.”

“The drawings,” said Andrade.

“Which drawings.”

“These,” said Trueg, indicating the Crackes. I stared at him. “That’s ridiculous.”

“Well, that’s what she said.” He seemed disconcertingly calm, as did Andrade.

“Well,” I said. “But that’s ridiculous. Why would she do that?” “She says someone hired her to make copies,” said Trueg. “You know, in the style of.” “What?”

“I’m just tellin you what she said.”

“Who hired her?”

“She wouldn’t say,” said Andrade.

“Nope,” said Trueg. “On that she got real stubborn.”

I sat back and crossed my arms. “Well. That’s—I mean—that’s ludicrous.”

“We thought so, too,” said Andrade. “So we asked her to produce one for us. I sat in the room and watched while she did it. See for yourself.”

He opened his desk again and pulled out a second batch of evidence bags containing drawings virtually indistinguishable from the first. I take that back. They were indistinguishable. I kept blinking and staring and blinking, certain that I was hallucinating. Most disorienting of all was that the drawings connected, seamlessly, just as the Crackes did—and not only that, but they connected to the first set of drawings, the ones confiscated from the studio, as though Kristjana had taken a smoking break and then carried on working. I asked if she had been looking at the first drawings at the time and Andrade shook his head and said no, she’d done them from memory. Suddenly I began to sweat, and what I’d once said to Marilyn popped into my head: “She used to be a good painter.” Kristjana was classically trained, after all, and it would be just like her to get a kick out of copying the work of the very artist who had displaced her. It probably tickled her sense of martyrdom, that preachiness that made her worst work intolerable. It fit, all right; but at the same time I could not accept that the work was so easily parodied. I was the expert on Victor Cracke’s iconography; I knew what was and what wasn’t; I had the goddamned droit moral goddammit, and the work I was looking at was as authentic as anything I’d dragged out of that shitty stuffy little apartment. Had to be. Look at it, for crissake. Both sets of drawings on the desk had to have been done by the same person; even the tone of the inks—which in the Cracke drawings varied from one section to another, depending on age—were a perfect match. And then the room began to spin: what if the drawings I had in storage didn’t belong to Victor Cracke. What if the whole thing was part of an elaborate prank orchestrated by Kristjana herself? Victor Cracke was Kristjana. In my agitation, this idea seemed absurd enough to be plausible. She loved that sort of self-referential swill, and I could imagine the masochistic frisson she would get from getting me to cancel a show of her work in order to put up another show of her work. Who was Victor Cracke, anyhow? Nobody. Nobody that I knew, or that anybody else knew. It was all Kristjana. Everything was by Kristjana. The Mona Lisa? That was her. The Venus de Milo? Also her. Everything that Kevin Hollister wanted to hang in his office, from Allegory of Spring to Olympia—all her! I began to wonder how she had gotten Tony Wexler in on the joke, not to mention Superintendent Shaughnessy, the neighbors, the fruit vendor, Joe the checkers champion … double agents, all. But—but—but I had talked to people who’d seen Victor Cracke, passed him in the hallway … and but none of them could give me a complete physical description … but wasn’t that more realistic, wouldn’t people retain differing impressions? … but wouldn’t Kristjana know that, and account for it, couldn’t she script something just so … ?