Chapter 40 — Analysis and a Way Forward

_February 25, 1984, Chicago, Illinois_

{psc} "When is your test?" Jack asked when I arrived home after my final Series 30 class.

"May 8th," I replied. "It usually takes six to eight weeks to know if you passed. Did you clear your Series 7 license exam with Kristy's dad?"

"Yes. I'm going to take the same class you did, starting in September."

"Good! I'm going to change. Are you and Kristy headed out?"

"We're having dinner at her parents' house."

"Then I'll see you later."

I went upstairs to change, then went back downstairs to make dinner. It would only be Deanna and me, as all the others were out or going out. I made a simple meal of spaghetti and meatballs in meat sauce, along with garlic bread, then called Deanna to join me. As usual, she had paint on her smock, her hands, her arms, and her face.

"What are you working on?" I asked.

"I finished 'Rising Sun' and 'Cherry Blossom'."

"Are you going to show those?"

"No. I decided against that because they're personal for you. I showed the 'Market' series, but these are different."

"How are the paintings for your class coming along?"

"I'll need you to pose again, which we could do tonight, and you and Bianca, which we could do tomorrow. You'll both be home, according to the calendar."

"Ellie will come by for a study session. That kind of lapsed when Keiko got sick."

"Understandable. Would you have time tomorrow to sit with Natasha and me to talk about some design ideas?"

"Ellie is supposed to be here from 1:00pm to 3:00pm, so before or after."

"After is better, I think," Deanna said. "I'll call her when we finish eating. There is one thing I should have mentioned — in addition to photos, Natasha will want to show the finished space to her professor."

"I'm cool with that. Is that name Russian?"

"Yes. Her great-grandparents left the USSR in 1905, during the First Russian Revolution. Her given name is actually Natalia; Natasha is a diminutive like Bev calling you 'Jonny'. Just think, you'll have a condo decorated by a famous interior designer with art from a famous artist!"

"She has to go to New York, similar to how CeCi has to go to California, right?"

"She's planning on a Master's in Fine Arts, so she could end up in a number of different places, but in the end, New York is where she'd rather stay."

I chuckled, "That one, I know!"

"Natasha actually looks a bit like a young Eva Gabor and dresses similar to her, though not the way she did on _Green Acres_, but in publicity photos. That aside, New York is where the best schools are, too — The New School, Cornell, and the New York School of Interior Design. That last one would be her top choice. There's also a new school that started six years ago in Savannah, Georgia, but I don't see Natasha moving to Georgia."

"How do interior designers work? Is it like artists? Or for a firm?"

"They can work for an architectural firm, an interior design firm, or be freelancers. It's tough to go freelance without a name and reputation. Think about Dustin's situation — he chose to open his own photography studio, and you've heard about his initial struggles. Now that he has a positive reputation, word of mouth is helping him build his business.

"For Natasha, it's actually probably more like your situation. You need to work for Spurgeon to develop your clientele. Once you do, you have the option of staying or running your own firm. It would be the same for Natasha. Well, unless she finds a patron similar to how yours truly did!"

"How often does something like that happen?"

"Not very, to tell the truth. I was extremely lucky in that regard. That bottle of Jack Daniel's was the best investment I've ever made, even though I had no idea that it would pay off in anything other than orgasms!"

"You can tell me to mind my own business, but have you been seeing anyone?"

"Nobody serious. I haven't been a nun, but mostly the guys who ask are either full of themselves, full of shit, or married."

"On that last one…"

"There's a difference between what I proposed and sneaking around. Keiko would have known about me and approved. Well, she wouldn't, but you know what I mean."

"So, some kind of 'honest' mistress?"

"Yes, actually. Keiko mentioned how it works in Japan, but what I'm talking about is even more open. There's a phrase in Italian — «cortigiana onesta». It means 'honest courtesan' and is a woman who is very well-educated and erudite. She's chosen for her conversational skills, intelligence, common sense, and companionship. Sex is part of it, but only part.

"The «cortigiana onesta» is meant to participate actively in the life of the man by whom she's hired. She should be able to converse on any topic and provide good companionship outside of the bedroom. Many of them were quite well-off and had a career, often in the arts. Historically, she was accepted by her benefactor's wife and organized her life around her benefactor's marital obligations."

"Interesting."

"That's a far cry from the mistress John Margolis had on his arm at the show or from what the married guys who hit on me want. You do realize that the check wasn't just for a preview of my art, right? He was paying me to fuck him when I show him my art."

"That was not the impression I had."

Deanna laughed, "Because you're a guy! Do you pay attention to subtle hints from guys about sex?"

"Not particularly, no!"

"And, as a guy, you probably had no clue about his girlfriend's tone and body language, which, in effect, told me not to, but acknowledged it was probably going to happen."

"I completely missed all of that."

"And I'm sure you missed the two other guys who tried to pick me up but had to be careful because you were standing close most of the time."

"Black suit, green tie, mid-fifties, with a woman his same age? Who gave you his business card?"

"That was one of them. His wife is clueless, but it was clear when he touched my arm and looked into my eyes what he wanted. It wouldn't have been any clearer if he'd simply said, 'I want to fuck you'."

"That was a guess, by the way, because at the time, I had no clue."

"Guys with their wives have to be subtle. Well, most of them. Some are just complete assholes and do it blatantly in front of their wives to show how powerful they are."

"And me?"

"Focused, but not a self-centered jerk. You can be unfeeling at times, but you do a good job of hiding it. May I make an observation?"

"Yes."

"The girls in this house, and I mean to include Keiko, all understood that and could deal with it. So could the girls who just wanted to fuck. The girls with whom you had difficulty couldn't deal with what they saw as unfeeling, uncaring, and stoic. Don't get me wrong — you do care, and you do have concern for people close to you, but your true nature is, well, to be a cold-hearted bastard."

"A not inaccurate assessment."

"Setting aside the girls who just want to fuck, how many girls have you gone out with or whatever who simply couldn't deal with your true nature?"

"Quite a few," I replied.

Rachel, Phoebe, Huifen, Clara, Anna, and, to some extent, Lily, just to name six.

"Don't get me wrong," Deanna said, "I do not think you were faking it with Keiko, but it took effort because it's not your true nature."

I nodded, "That goes right back to the conversation I had with Haley about loving someone versus being 'in love' and how only actions mattered because nobody could discern the depth of your emotions because all they could go on were externals."

"May I delve further?"

"Of course."

"All of us in the house are basically utilitarian — we do what works for us, without concern for what other people think. Bianca believes I'm in love with you, and she's both wrong and right. The same is true for CeCi. It's also true for Bianca, but carrying your baby has changed things.

"All of us need you and want you, and we all gain something from the relationship. If we didn't, we wouldn't be here. That is our primary motive; but for the three of us — CeCi, Bianca, and me — it's deeper, and there is an emotional attachment, but it doesn't drive us the way it does most people. And none of us feel slighted, diminished, or used because we all have that same basic mindset — do what works, what helps you achieve your goals, and makes you feel good."

Which very neatly and succinctly described the problem with Haley.

"I feel there's a point you're leading up to."

Deanna laughed, "Because we all have an agenda! That's another thing about the four of us – we're open and honest about our agendas. Bianca was quite clear with you about what she wanted. So was I with regard to finding a patron. Neither of those bothered you at all, and each of us found a compromise path forward to get what we wanted. No disrespect, but that was true for Keiko as well.

"Keiko loved you, and you loved her, but not in the way that most of the romantic idiots in society see it. Your love was unwavering even in the face of the worst possible circumstances. Nothing could shake it because it wasn't emotional the way most people understand that word. It was, like everything else about you, logical, analytical, and goal-oriented.

"The thing is, it was more real than nearly any relationship I've seen or experienced. And it was more real because it made logical sense. Most people would call it fraud, but it was authentic in ways that traditional conceptions of romantic love can never be. Emotions come and go, but logic is forever."

"And interesting analysis. Are you going to share your agenda?"

"I don't have to! You know what it is."

"Because it hasn't changed because it's logical, practical, and achieves your goals."

"Exactly. There is a way out of the circular trap you feel you're in."

"What's that?"

"You're sure you want to hear this?"

"From you? Yes."

"Your struggle is with the idea of not 'replacing' Keiko. There are two ways out, as I see it. The first is to discard that idea. The second is to embrace it."

"Embrace it?"

"Don't remarry. Keiko will always be your wife, and nobody will take her place with that specific title. I'm not saying don't have a long-term relationship; I'm saying just don't try to fill the specific position of 'wife'."

"I'm not sure that makes sense," I said. "I'm having difficulty wrapping my head around that."

"Deep inside you, you believe Keiko is your wife, and I don't think that belief is ever going to go away. That means any future Mrs. Jonathan Kane will have to compete with Keiko, and she will _always_ lose. And I can prove that."

"OK, this I have to hear!"

"What is going to happen when you eventually die, Jonathan?"

I took a deep breath and let it out, "Violet pointed out the potential conflict, and I told her I'd made the decision to be interred next to Keiko, and it was not going to change."

"«Quod erat demonstrandum»."

"That does put a very different spin on things and explains my dilemma and why I'm tied up in knots about a way forward."

"Yes, it does, and you knew it; you just couldn't articulate it."

"I have to reconcile that with my thinking about marriage and family. I'm sure you have something to say about that, too."

"Obviously."

"Before you say it, how long have you been thinking about this?"

"Since it was obvious Keiko was going to die. And to answer your next question, I didn't discuss this with anyone except a friend who is working on her Master's in psychology at Loyola. I purposefully haven't invited her to anything because I felt I'd receive better advice if she didn't know you."

"Interesting. Go on."

"I believe, and this is speculation because, as you say, we can't know each other's interior thoughts, or even truly understand our own, that your desire is based on your family situation growing up. In your mind, whether it's actually true or not, your mom and dad being married would have solved every problem you encountered. That's what had you fixated on a traditional marriage and a traditional family."

"I can't argue with that, at least at the moment, so I'll accept that for the sake of this discussion."

"I think it all flows from there. And I think you know, or will at least admit the possibility, that things could actually have been _worse_ having your dad around. And I think you know exactly why that is."

"Violet and her sister."

"A traditional family that makes your childhood look like a dream world. I'm positive Violet and her sister would trade families in a heartbeat."

"You're not wrong."

"And it's not just Violet — think of the reports we see of DCFS rescuing children from abusive parents. You have no idea what your dad was like beyond being a traveling salesman happy to seduce a pretty sixteen-year-old girl in 1962."

"True."

"It's also the case that you expressly rejected the idea of a traditional family even before Keiko became sick because you agreed to father a baby with Bianca."

"Also true."

"So, in my view, your way forward is to embrace the idea of not replacing Keiko, which resolves the tension you're having, honors what she asked you, and honors the promise you said you made to her to do what was in your own best interest."

"And yours," I replied with a smile.

"So what?" Deanna asked with a similar smile. "That doesn't offend your delicate sensibilities!"

I chuckled, "I'm the last person to have 'delicate sensibilities'."

"Obviously. May I propose a specific course of action?"

"Always. I'm perfectly capable of declining if I don't think it's a good idea."

"After dinner, you pose in your kimono so I can complete that painting, then we go to my room and have sex. I think that will allow you to move forward in a more natural way without the current struggle. It'll be completely private between you and me because everyone else is out, so you can proceed on your own timing."

"Let me think it through while we clean up after dinner and you paint."

"That was, by the way, the main point of this exercise and the one I thought was the most likely outcome. Obviously, I want you, but not at the expense of your psychological health."

"I assume we need to bring your easel and some drop cloths to the Japanese room?"

"Yes. You'll see I've done some rough work, and now I need to add detail. I could do it from memory, but it's much better if I can see you. Tomorrow morning, we'll do the same thing with you and Bianca. I was thinking, too, that the 'Nuclear Family' series could continue, with one painting a year."

"Uhm, once Sofía is older, that could be a problem."

"If you mean legally, no. The First Amendment protects art so long as it isn't sexual in nature. Think about all those pictures of toddlers in bathtubs or that famous picture of 'napalm girl' taken by Nick Ut. It ran on the front page of _The New York Times_ and won a Pulitzer Prize despite showing a naked nine-year-old girl.

"I also want you to think of the difference between the pose with Bianca and the poses with Alexa. There is a fundamental difference between your hands on Bianca's stomach and your hands on Alexa's breasts. Only the most prudish members of society would see the image of you and Bianca as having _anything_ to do with sex."

"Minus the part where she could only be in that condition if we had sex!" I chuckled.

"Pedantic as always! But is the painting about sex? Or about something else?"

I thought for a moment.

"It's about being human."

"Yes. Do you know the saying from the _Book of Job_? _'Naked I came into the world, naked I go out of the world'_? Well, that's our natural state. Genesis says the same thing — Adam and Eve were naked in the Garden and were not ashamed; they only became ashamed after they broke one of God's rules. And you don't have to believe in God to understand the concepts being taught there.

"You don't have experience with this yet, but little kids often simply shed their clothes because they are uncomfortable, confining, or too warm. They have to be taught that being naked is socially unacceptable. And compare US and European thinking on topless sunbathing. Americans are so fixated on breasts being about sex when that is absolutely not their primary purpose. Europeans don't completely lose their shit when they see topless women the way most Americans do."

"Well, that discussion is several years down the road. Obviously, I don't have a concern about a toddler, but I'll have to think it through, and obviously Bianca has to agree."

"Yes, of course."

We finished our meal, cleaned up the kitchen, then went up to Deanna's room to get the easel, paints, drop cloths, and canvas. While she set up, I went to my room and put on my kimono, then joined her in the Japanese room. I stood in the same position with the same pose, and Deanna began to paint, allowing me time to think about the very deep conversation we'd had.

She clearly had an agenda, and the status quo fulfilled every bit of it except her desire for a long-term sexual relationship. I had, by giving her a raincheck, expressed an intent to resume that, though I knew she wouldn't hold me to it if I felt it wasn't in my best interest. If anything could be said about Deanna, it was that, except in relation to her art, she was as logical, practical, and stoic as I was.

What she'd said had merit and was, almost counterintuitively, a way to break out of the circular trap I'd laid for myself. I had thought that the way to move forward was to stop thinking of Keiko as my wife, something I was loath to do. Deanna's suggestion had turned that idea on its head. It would avoid the entire mindset of 'first wife' versus 'second wife', as Keiko would always be 'my wife'.

Both Violet and Deanna had made the point about my plans to be cremated and interred next to Keiko being a definitive statement about my relationship with her. There was no chance I was going to change that commitment, and I'd even had Nelson write it into what he'd called my 'end of life' documents.

As I thought further about it, nothing about Deanna's plan locked me into any specific course of action. It was simply a way forward that didn't diminish Keiko's memory or her role in my life. In effect, it created a situation where all options were on the table, even including marriage, if that best served my interests.

Where the challenge lay was with Violet. If things progressed along the lines I expected, she would, at some point, probably soon, want to have a relationship. But as I considered that, I remembered what I'd said to her about taking things a step at a time and putting off any decisions about the future until we were at a point where she felt she could commit to a physical relationship.

It seemed clear to me that Deanna's idea had merit and, at least at this point, was the best way forward because it neither ordained nor foreclosed any specific future. It made perfect sense to me and left me with only one question — was I ready to go to bed with Deanna?

Bianca had pointed out that of all the girls I knew, Deanna was the safest, as our relationship was clearly defined, and Deanna had no false notions about it. There was the question of her feelings for me, but she'd done her best to explain the unexplainable. Ultimately, my course of action was clear.

"Yes," I said.

"Oh, sure, say that when I have at least two hours of painting to do!" Deanna groused.

"Sorry," I chuckled.

About two hours later, Deanna called me to look at the painting.

"Fantastic," I said. "The details of the room are awesome!"

"You saw those before! I wondered what you thought of you."

"I like it, and it's great work, but you know this room evokes memories."

"Are you going to be OK with dismantling it?"

"Wherever the «kamidana» — the Spirit Shelf — is, that's where Keiko's «kami» is. But it's also with me in all times and all places."

"I've never heard you express a belief like that before."

"Because the way both Keiko and I understood it was not as a literal spirit, but as memories. They exist, even though they aren't tangible. Does that make sense?"

"It does."

"My turn for advice — you should consider painting in multiple styles and sketching as well. I know you want to have a specific style associated with your name, but didn't some of the greats try their hand at varying styles?"

"Yes. You'll see that at the Van Gogh Museum in Amsterdam. Most people know his paintings, but he also sculpted and created other works. The obvious one is Michelangelo, but even more so was Leonardo da Vinci, probably the greatest polymath to ever live."

"Polymath?"

"An individual whose knowledge spans a substantial number of subjects, known to draw on complex bodies of knowledge to solve specific problems. He did so much in so many fields that I don't think anyone comes close. Unfortunately, so many of his ideas weren't published during his lifetime that nobody could build directly on them."

"What do you think about my idea?"

"I'll think about it," she replied. "A suggestion from my patron carries significant weight."

I helped Deanna move everything back to her studio, having to make two trips. She asked me to wait while she went to the laundry room to remove the paint from her skin and have it run down the laundry sink rather than potentially stain the bathroom sink. She returned about ten minutes later, smelling vaguely of mineral spirits.

Deanna came over to me, put her hands on my hips, and looked into my eyes.

"It's been months, right?"

"Yes."

"Then undress and sit on the futon."

As I undressed, I had a brief concern about the fact that I hadn't had so much as a hint of an erection. That concern vanished instantly as Deanna knelt in front of me, gently grasped me, and took my glans into her mouth. I hardened instantly, and Deanna began sucking gently as she stroked me and swirled her tongue. Less than a minute later, I was intensely aware of why Deanna had asked about how long it had been when I twitched and felt an overwhelming urge. I didn't fight it and groaned deeply as cum pulsed into her mouth.

"You OK?" Deanna asked when she released me after the pulses finally subsided.

"Yeah," I replied. "I'm fine."

She gave me a soft kiss, then climbed into the futon and pulled me to her. We lay together quietly for about ten minutes before Deanna got me hard, mounted me, and gently rode me until she had two releases and I had my own. When my orgasm had passed, she stretched out on top of me and put her head on my shoulder.

"Let's go use the hot tub," she suggested a few minutes later. "I turned it on when I was downstairs cleaning up."

I agreed, and we made our way downstairs and got into the hot tub. Deanna sat close to me, then reached over and turned on the jets.

"You doing OK?" she asked.

"Bianca was right that you were the safest person to do this with."

"When did she suggest that?"

"About six weeks ago. She said we had a well-established relationship, and it was uncomplicated. In her mind, I could be with you, and neither of us would assign a meaning to it beyond our uncomplicated, well-established relationship."

"She's right," Deanna said, "but she's also wrong based on the conversation we had during dinner. Right in that it was safe and uncomplicated, but wrong because our relationship isn't as well-defined as she thought. It was, but things changed on December 27th, even if we didn't know it at the time. In fact, neither of us realized it until we had the conversation at dinner."

"I have a problem, though."

"What's that?"

"Violet."

"Do you think she's in a place to have a deep conversation with you?"

"I'm positive she is because we had one last weekend."

"Then the answer is simple — tell her what we discussed, how you see your future, and what you can offer. Put the ball in her court. Let her decide. What's the worst-case scenario? That you remain close friends because she can't accept the terms. Best case scenario? Three years of pent-up desire rocks your world."

"You missed the potential she has some kind of meltdown."

"Except you no longer believe that's likely, do you?"

"No, I don't. But how did YOU know?"

"The two trips she took with you changed your mind about who she is, and it was obvious to me from the way you speak about her and the way she behaves around you. Permission to just say something that most people would find offensive?"

"Permission granted."

"Remember those signals I mentioned that made it obvious guys wanted to fuck me? Well, girls send off similar signals. It was muted with Violet because of Keiko, but after that first trip with you, it was clear she wanted to fuck. I don't mean make love or screw, I mean fuck. She understands that, and I bet you anything she's tried to tell you that, maybe couched as teasing."

"She did exactly that last weekend. This is in complete confidence…"

"Of course."

"She said Lily had suggested that she 'suck it up, suck it, and have me fuck her brains out' though she didn't actually say 'fuck'; instead she paused for effect. I suggested that there was more to what Lily had said, and Violet stated that Lily had prefaced it with 'If it were me'. That might or might not been the case, but after the conversation I had with you, I'm positive Violet clearly meant it. That's reinforced by the comment she made that when I was ready to kiss someone again, I should ask her, and she'd give me a straight answer. And that was after we discussed potentially taking it step by step until she was comfortable."

"I'd say today was a watershed for you."

"I'd say you're right," I replied. "But I'd still like to keep this on the QT."

"Absolutely. I'm just going to tell you what I want — we find opportunities to do this again when nobody would know, at least until you're ready to let the world know you're available again."

"And then? Just tell me what you want."

"The same thing I've wanted from the first time I met you — a patron and a lover. Obviously, everything I've said today works in my favor, but it's not self-serving, even if it achieves my goal."

"I knew that," I replied. "And I would never, ever condemn someone for looking out for their own best interest and doing everything possible to achieve it, so long as they are honest and keep their word."

"And that's something I love about you," Deanna said. "I can just say what I feel and tell you what I want, and you'll do the same."

"That's completely true," I agreed. "Thank you for everything, especially tonight."

"You're welcome."

_February 26, 1984, Chicago, Illinois_

On Sunday morning, Bianca and I posted nude for Deanna so she could complete the first painting in what would become the 'Nuclear Family' series. Deanna broached the question she'd asked me.

"I don't see a problem when she's a baby or toddler," Bianca said. "After that, I'm not sure."

"That's the same thing Jonathan said," Deanna replied, then rehashed the points she'd made with me.

"I suggested we wait and see," I said. "There's no reason we can't repeat this every year until Sofía is, say, four years old. We can decide then if it's right or not."

"I can sign up for that," Bianca said.

"Do either of you know about nudism?" Deanna asked.

"No," I said. "What is it?"

"It's a lifestyle that involves spending time in nature without clothing. There's an international group that is made up of various clubs. I first heard about it when I read a newspaper article about their meeting in 1982 at Cypress Cove in Kissimmee, Florida. I mention it because the article said entire families participate."

"I'm missing the point," I said.

"Just that the idea I'm putting forward is something that at least some people follow. They understand that being naked doesn't have to be about sex. Like right now."

"Point taken," I said. "Let's worry about it in a few years."

"Deanna, have you ever thought about painting in the nude?" Bianca asked.

"I've done it more than once!" Deanna said. "I sleep naked during the Summer, and I've woken up in the middle of the night inspired to paint and didn't bother to get dressed. The first time that happened was when I was fourteen, and I thought my mom was going to lose her mind when she came into the spare room I used as a studio at home."

"I think my mom would have flipped if I'd done something like that," Bianca said.

"My mom would have laughed and told me to get dressed," I said.

"Did she know about you and Bev?" Deanna asked.

"She and Bev apparently talked about it not long after it happened, though I didn't know it at the time."

"Have you heard anything more?" Bianca asked.

"Mo. I'm not asking, either. Heather is with her grandparents and has a safe, stable life for the first time since Bev left home. Remember, the _real_ reason I went to Overland Park was for Heather, not for Bev. Anna was dead wrong about my thinking. And you know that's why I went to Antler, North Dakota, and signed a document that could cost me my securities licenses."

"What?!" Deanna exclaimed.

"They put a document in front of me that said I was Heather's father, and I signed it."

"You had a legal document saying you were her guardian, right?"

"Yes, but I was warned in my securities classes that lying to the government is cause for a license suspension or revocation. I think the risk is small, but it's there. I took that risk for Heather, not for Bev. I'd do it again in a heartbeat."

Just before lunch, Deanna put down her brush.

"It's done," she said.

Bianca and I moved over to see the painting.

"You really should do more like this," I said. "I'm not saying give up your abstract work, but damn, Deanna. This is awesome."

"Do you know the difference? Abstract flows; realism is work."

"And yet, you suggested doing a series," I countered. "And I suspect that's because you're inspired to do this particular series, just as you are with your abstract art. I'm not suggesting you should do anything other than at least consider other styles when the subject inspires you."

"Are you saying that as Jonathan or as my patron?"

I understood what she was asking, and there was no way I could _order_ her to paint other styles.

"As Jonathan," I replied. "It's advice from your friend."

"Thanks."

Bianca and I dressed, left the loft, and went to the kitchen to make lunch. Ellie arrived at 1:00pm as we'd agreed.

"Where did we leave off?" I asked. "I honestly don't remember."

"It's OK, Jonathan," Ellie replied. "You had your priorities exactly right."

"Thanks. So?"

"We had just covered the basics of currency markets."

"OK."

For the next two hours, we discussed exchange rates, interest rates, central banking, and currency trading.

"Are we able to go back to our every-other-week schedule?" Ellie asked when we wrapped up at 3:00pm.

"I think so, yes. How are you doing?"

"I miss her," Ellie said. "A lot."

"Me, too," I said.

"I should have said this before, but the painting of Keiko is a nice touch, and it's very good. Did Deanna do that?"

"Yes. Her small, stylized 'D' is in the lower left corner."

I walked Ellie to the door, and she stopped and turned.

"OK to hug you?" she asked.

"Yes."

We exchanged a friendly hug, and I watched from the porch until she got into her friend's car to drive back to Loyola. I went back inside and saw Jack, Kristy, CeCi, Bianca, and Juliette in the great room, but Deanna was in her studio, so I went upstairs.

"OK to come in?" I asked, poking my head through the floor while standing on the pull-down stairs.

"Always!"

I came up and sat down on the futon while Deanna painted a vase with flowers which was sitting on a table.

"What is it with vases with flowers and paintings?" I asked.

"Still lifes are the first things that were done with oil-based paints. Jan van Eyck and a few others began using those oil-based paints to create hyperrealistic paintings of inanimate objects, both natural and man-made. For them, it was completely new; for us, it's learning a style. It's interpretive, even if it's realistic, and the hyperrealism highlights the artist's talent and creativity. The ability to make a vase of flowers interesting is a real skill."

"'Still lifes'?" I asked. "Not 'still lives'?"

"Think about it — it's not 'life' that is being made plural, but 'still life'. One still life, two still lifes."

"I suppose that no different from 'one mouse, two mice, one house two…houses' not 'hice' or 'one fish, two fish'."

"English plurals are all over the map because English is Germanic, Old Norse, French, Latin, and Greek tossed into a blender with a sprinkling of other languages for garnish!"

I heard the doorbell ring.

"That's probably Natasha," Deanna said. "Why don't you bring her up here?"

"OK."

I went downstairs and saw that Juliette had answered the door and let in a blonde girl with short cropped hair, wearing a black turtleneck and black jeans, along with a bright red scarf and large-framed glasses, and carrying a portfolio.

"You must be Natasha," I said.

"And you must be Jonathan!"

"Deanna is waiting for us in her studio," I said.

"Lead the way!"

I led Natasha up to Deanna's studio.

"He, Dee!"

"Hey, Tasha! Grab a seat on the futon."

We sat down, and Deanna put down her brush and took off her smock. She came to sit on the other side of Natasha.

"What do you have for us, Tasha?"

Natasha unzipped her portfolio and pulled out a sketchbook and some fabric swatches.

"I took the floor plan that Deanna gave me and drew some rough sketches. I'll need to actually see the space to finalize it, but I think I have a basic concept you'll like. I think Scandinavian Modern is the best choice for an open floor plan. Minimalist, functional, and with clean lines.

"We'll make use of light colors with strong accents; for example, this sketch shows a white couch with bright red throw pillows, and in this one, a light blue couch with purple cushions. In this sketch, you see a dining room table made of teak, with matching wooden chairs with bright yellow cushions. And, in this drawing, a bed with a wooden frame, with black sheets and a black and grey striped comforter or duvet."

"How come those are black?" I asked.

"Darker colors for bed furnishings contrast with the white walls."

"OK."

"For the dining room table, I'd suggest several different colored runners so you could change up the accent color for different events. If you look at this last drawing, you'll see an idea for how to set up your TV area, which Deanna said would have some kind of projection TV."

"All of this looks good; what about the windows?"

"Cloth blinds with a weave that allows in some light. You could go with something darker as a contrast. Privacy isn't a concern on the 91st and 92nd floors, so the weave can be as open as you like, and you could even go with a dual system that has a closed weave and an open weave, depending on what you want. For the bedrooms, you'd want blackout material."

"Deanna," I said, "I'll give you the keys, and you can work out a time with Natasha to see the actual space."

"We can do that this week. She's also helping me with Ateljé D."

"Great! The only question I have for Natasha is her fee."

"I actually can't charge because this will be submitted for credit," Natasha said.

"What about covering the cost of your materials?" I inquired.

"That wouldn't cause a problem."

"I know you need to show your professor, but I'll also agree to allow you to bring clients to see it with sufficient advance notice."

"That's fantastic! Thanks."

"You're welcome!"