The Museum of Abandoned Secrets (12 page)

And so the conspiracy theories spread and knotted one over another, growing more incredible the further they spun away from the actual event, and it was no use trying to talk sense into the people who’d never seen, other than on TV, either Vlada or Vadym (whose imposing representative’s figure at first thoroughly discombobulated the police; I remember seeing an inspector in the maelstrom of kin and friends, and a few others, all in uniform caps and with identical shifty looks of small thugs caught red-handed). They wouldn’t hear that A) no signs of any contact with another vehicle were found on the smashed Beetle; B) the investigation was able to reconstruct, rather competently, the path traveled by the car as it swerved off the highway, which C) made the crash a clear and conclusive accident, to the great relief of the police, who nonetheless purported to keep looking for the lost paintings, although you didn’t have to be a genius to guess that they’d never be found, unless, I don’t know, someone tripped over them—and what Ukrainian cop, if he still had his wits, would wear down his soles chasing after some “pitures,” no matter how many times you tell him that they cost more than some stolen Volga?;
and, most importantly, that D) we do not, thank Lord, belong to the EU, regardless of how hard our anointed leaders thump their gelatinous chests to make precisely the opposite point, and one would be hard-pressed to find a decent art-thieving mafia in the deep ass that is our independent-of-any-rationality nation, where a modest bribe to a local official lets you carve out a piece of a brick wall with any Bruno Schulz fresco you fancy, or any fresco for that matter, anything, really, and the pickings have been slim ever since our last Goya and Ribera were sent to Moscow for “conservation” in the 1960s, never to be returned, just as no one intends to give us back the gems of the Tereshchenko collection that Grandpa Lenin himself traded off to Armand Hammer for his relief effort in 1921; so, no, it’s been a good half century since a self-respecting art thief could find regular sustenance on our lands, not to mention the fact that one needs a good network of legitimate art dealers to smuggle things out, and, as our cameraman Antosha puts it, Where the fuck do you find yourself some of those?

Ukrainians, as any preschooler will tell you, focus on much simpler, homely things: arms, drugs, non-ferrous metals, poached Carpathian lumber, girls “for work in Europe”—fail-safe operations, with good cash flow, and who needs academies and shit like that; let things take their course, the country’ll find its way; let all those nutty artists and other trash feel secure as they would in their mommies’ bosoms for the simple reason that no one gives a flying fuck about them; let them live and graze, if they can find themselves a pasture.

Vlada and I talked about all this a million times, laughing at especially burlesque episodes, such as the time she bought her apartment—a transaction that involved a change of clothes in the bathroom stall at the real-estate trade exchange to release a money belt packed with fifty thousand sweaty dollars from its rather erotic captivity under Vlada’s bodysuit; don’t let anyone tell you that money doesn’t smell, but who would have thought twice about the little woman as she marched down the street, wrapped in layers of baggy knee-long sweaters like an onion? Just
like that, Vlada went all over the city, and outside the city, alone with rolled-up canvases in her car because no one on God’s green earth would ever want them! Folks, think about it, I wanted to tell all those scandalmongers who wouldn’t give up on their murder mystery involving a famous artist and unimaginable wealth (three paintings, in fact, which together might have fetched ten thousand dollars on a good day in our kind of market): What would your hit man do with those paintings? How would he go about turning them into cash? So, of course, I laid it all out—my iron-clad logic of A, B, C, and D, and so on—as soon as anyone mentioned the topic (And the idiots just wouldn’t let it rest, would they?); for the longest time their openly disapproving response remained a mystery to me: Why did they always behave like I was taking something away from them? Like I came to steal something precious? At the same time, parallel and yet more outrageous versions seeped out of some dark corners, like water trickling from under the door of a flooded bathroom: one was that the accident was Vlada’s way of killing herself, and what shocked me most was that this version was popular not among the casual, nothing-better-to-do observers, but among her own people—the painters she knew, all of whom suddenly felt compelled to voice their personal, unique eyewitness accounts about the last time they saw or talked to Vlada and how they “would never guess anything like that”; the other hypothesis, even crazier in its own way, was that Vlada was killed because of Vadym, as in, someone wanted to send him a message, a mysterious competitor or, God help us, a political rival—as if the dude were the redeemer of the anti-Kuchma coalition or something. But this one stopped me in my tracks for a second once I remembered his desperate muttering of “I killed her,” which, let’s face it, could have had a different meaning from what I was able to comprehend, with my bovine perceptiveness, at the moment, especially when one recalled that the number of politicians and entrepreneurs killed in car accidents on our country’s roads grew longer by the day—a fact that was even deemed noteworthy by
The New York Times
, which doesn’t bestow such honor on Ukrainian events very
often—and every one of those deaths had been ruled, in official speak, “a misfortunate accident.” Philosophically speaking, the ruling had its own logic: there’s very little fortune in anyone’s sudden death, and as far as accidents go, every single event in our lives is an accident, all of them—or, maybe, none at all—and the very hairs on our heads are all numbered, only we’re not the ones doing the numbering, a conclusion that prompts our nation, which had given the world the great philosopher Skovoroda, to settle back, having made a bit of a fuss, every time, into its very Skovorodian stoicism; but to imagine that one of these “accidents” could have been aimed at Vadym, that he was so important that someone would’ve considered Vlada, his utterly uninvolved-in-his-business girlfriend, collateral damage—this was too much, even for Ukraine. Yet no sooner could one version be dismissed than several new ones appeared and spread in every direction, overtaking, like rising water, every dike reason could put in their path, going under and around in countless trickles, and it took me more than a few months of this to learn not to blush like a ripe tomato and screech mean things, quite without composure, every time someone asked me the question, with its probing emphasis, “Are you sure it was an accident?”—more than a few months to grasp that it was not truth people asked for, whatever it ultimately turned out to be, but a story. Amen. And who am I, who makes a living manufacturing such stories, to judge them?

Against my better nature, I had to admit, nothing is better suited for a story than the sudden tragic death of a brilliant and famous young woman. No young man’s death could ever produce the same effect—it’s as if men were expected to die, were doomed to die by some silent communal pact, if not in war, then somewhere else, as if the poor things were quite unfit for anything else, and that’s why with men, it’s not the fact of the death itself that we judge but how well it was performed: Did the deceased meet his fate chin-up, did he take it bravely on the chest, thus fulfilling a man’s purpose, or did he try to hide, like a coward, and betray said purpose dishonorably? We must reach one of these conclusions—call
it The People’s Death Police, if you will—and that’s why we will not forget the case of journalist Georgiy Gongadze until we are delivered his tangible, bleeding real death instead of anonymous beheaded remains dug up somewhere in the woods. But no one remembers Vadym Boiko, the face of Ukrainian TV in the early 1990s, who shortly before a blast in his apartment was giddily showing his colleagues a thick file—I’ve got them all, those old Commies, right here, at last, you’ll see it all tomorrow!—and when the smoke cleared everyone saw Boiko’s burned body and cracked concrete ceilings. Boiko is quite forgotten because why would anyone bother remembering if everyone knows what happened?

A young woman’s death is another matter altogether: it is always seen as a violation of the very natural order of things, since the first thought is inevitably about her brood—when there isn’t any (and will never be) and when there is (who will watch, oh, who will care, who will wash my orphan’s hair as the folk song mourns, and a million like it, century after century). A story is badly needed here—it alone can help restore the natural order of things; it can focus the frame and present this one death as a horrible aberration, a painful disruption for which someone, somewhere, will have to answer, if not now, then eventually, and if not in a court of law, then to a higher Judgment. If, on top of everything else, the victim was seen as a princess, showered with gifts by fairy godmothers every birthday and Christmas (Which already hinted at a trespass, inserted the required measure of injustice into the equation: Why should she be the special one?), and if she never once in her life acted the victim because she was too proud, or had principles, or for whatever other reason, then it only makes more sense to blame her for everything—let her take it all, if she’s so special—and close the case, turn, spit, curse, nothing like this would ever happen to me. A story like that is a chant, a protective spell that seals the other person’s death, puts it in an airtight glass sarcophagus, fit for a museum display—you can look, you can walk around it, you can even run your fingers on the glass and tap it with a pointer as you teach the lesson of how one ought not
to live, lest one intends to find oneself at the height of one’s powers—and six feet under: Always buckle your seat belt, follow the rules, avoid dubious liaisons, don’t paint unsettling pictures and, for God’s sake, don’t rise so far above the crowd. All my dogged As, Bs, Cs, Ds, and so on were no more than a pathetic, wasted, toothless attack at this thick glass sarcophagus—an assault on people’s fundamental, self-preserving belief that death, our own or someone else’s, must have a sensible reason, that the world is just. And what did I have to counter this—my wimpy, childish, and inconsolable “
It’s not fair
”?

As if all this weren’t enough, Vlada veered off the Boryspil highway at the same spot where the politician Viacheslav Chornovil crashed in 1999, and Vlada’s death stoked a new fire under the old rumors of foul play suspected in his accident; it was after these flared up again that I first had the inkling that her words about “many deaths” did not refer to
Contents of a Purse Found at the Scene of the Accident
and a few other, less funereal, paintings on the theme of death, did not refer to her work at all, but communicated a much more literal—and menacing—insight she had come back to share. The place where she went off the road had long enjoyed a very bad reputation among Kyiv’s motorists; it was an evil, fateful spot: at least once every season, someone got into trouble there, lost traction on perfectly dry asphalt and swerved all the way out into the oncoming traffic, or collided with another car while passing it, or had his gas tank explode for no apparent reason—had it been the custom, along the preeminent Boryspil highway, to festoon its flanks with memorial wreaths and flower bouquets, as folks did along more common roads, the rainbow of colors at this spot would announce it from afar, like a cemetery entrance set in a lush bed of florists’ stands.

It seemed, then, that Vlada, as countryfolk say, found herself in the wrong place at the wrong time, and was caught on the track laid by earlier deaths precisely at a time when her own life juices were sucked almost dry—she did have a very hard year, but what do I really know about that? What does Vadym really know about
that, despite being territorially, at least, the closest person to her? How stunned he was—with a brief flash of a childlike delight, as if at a message relayed from her from a distant land, a sign of a persisting connection—when I told him about Vlada’s midnight terror of dying if she fell asleep. “You must be kidding?” Was it because he would’ve ignored it, would’ve told her to take some pills—so you’re stressed out, no big deal—or because she didn’t share with him anything he might have indulgently interpreted as silliness? After all, Vadym belonged to the class of people who were used to dealing with Problems That Had to Be Solved and not with Misfortunes That Had to Be Endured, and this, as they say in Odessa, is a big difference. It is the demarcation line that divides us into the strong and the weak of the world, and the reason why it is the strong who, at the end of the day, are the least equipped to deal with tragedy and therefore collapse dramatically when one befalls them: Vadym coped by drinking himself into a mute stupor and then climbing into his Land Cruiser and driving off into the night, toward Boryspil, as if he hoped to see Vlada somewhere along the way, so he had to be watched and fought nightly into bed, first by his friends, and later by some provincial relatives summoned to Kyiv for this purpose; but, for reasons that defy understanding, nothing ever happened to him on these nocturnal sojourns, except the money he lost paying the traffic cops, or, rather, whatever US dollar bills he grabbed and blindly thrust at them when they stopped him. What followed usually depended on the cops’ benevolence: one time they towed him to their station and kept him there for the night, pouring him strong tea from their thermoses and calling every single number in his address book until they roused a friend to come take him home—the ticket must have been especially impressive that night, or maybe he just ran into some really kind cops (Why not? Things happen.), some good folks who listened to him pour his soul out and tell them, over and over, how his Vlada perished, until he fell asleep on a cot, or they finally knocked him out, instantly and professionally, and who would blame them if they did?

It had never occurred to me before that, of the two of them, Vlada was the stronger one. The ancient mythical notion (branded into me since infancy by my mother) that the husband—the Man!—unless he was in jail or in hospital, must be “the leader” and “take care of everything” was apparently more persistent than I had suspected, outliving hell, high water, a ruined marriage, and a broken (multiple times) heart, providing the dusty peephole through which I viewed (without really seeing much) Vlada’s marriage as a fulfillment of our poor mothers’ ideal: here—finally!—a strongman shielding you from all worldly mishaps with his mighty shoulders, both physical and financial; all you have to do is bloom, look pretty, and pursue spiritual improvement, without a care in the world, other than scheduling your interviews on national TV. The funniest thing is that women like that still existed in our mothers’ generation: the ladies who stayed home, cooked borsches, studied esoteric literature, patronized persecuted and unrecognized artists, occasionally penned or crafted something, and were held in high regard as impressive activists by their communities; but the fact that some humble hardworking husbands bankrolled all their activism—their artists, their books, and whatever went into their borsches, too—was never mentioned in polite society, just like it wasn’t proper to point out that a person has to piss and shit; the knack these ladies had for arranging their lives so comfortably belongs to the ancient feminine arts that were irretrievably lost by the end of the twentieth century, like weaving on an upright loom or treating hives with herb smoke. By the time we came around, the ladies were in their decline, widowed—their humble hardworking husbands, naturally, having all died first—we found them not grandmotherly even, but as a tribe of mothballed ancient girls who didn’t know how to go out alone or where the phone and electricity bills were; they responded to an innocent “How are you?” with a two-hour-long lecture on their existential condition, and generally seemed slightly batty, an impression that could not be alleviated even by the glow of their former glory and that was made all the stronger by how laughable they were, which, in turn, cast retroactive
doubt on that much-publicized glory, the times that made it possible, and the incredible persistence of the ideals they embodied.