Moonlight Over Paris(90)
“Now? You have to show me now? What about étienne’s vernissage?”
“We won’t be late. I promise. Come on, now.”
He led her downstairs and outside, but rather than flag down a taxi he directed them to the Métro stop around the corner.
“But this train will take us in the wrong direction,” she protested.
“Humor me, won’t you?”
He paid their fares and led them down another set of stairs, to the westbound platform, and there, right at the bottom of the steps, he stopped.
“Close your eyes. No, don’t ask me why—just do it. I’ve got your hand. It isn’t far, I promise. We’re almost there . . . almost there. Now stop, and open your eyes. What do you see?”
“It’s my poster!”
It was the commission she’d completed last month, a simplified version of Le train bleu. It really had turned out so well, the colors crisp and bright, the design dynamic and wonderfully modern. She’d worked on it for weeks and weeks, and the fee she’d received had amounted to very little, but none of that mattered now. Her work, her art, was hanging where it would be seen by tens of thousands of people.
“I noticed it right away. It was all I could do not to rush up to the other people on the platform and tell them, ‘See that poster? My wife is the artist!’”
Sam picked her up and swung her around in a circle, and before he set her down he kissed her soundly. “Tomorrow we’ll come back, and we’ll bring my camera, and I’ll take your picture in front of it. We’ll send copies to your parents and sisters, and to my parents, too—”
“Yes, yes,” she laughed, “but first we have étienne’s vernissage, and Auntie A is bringing an entire crate of champagne, and—”
“I thought you’d sworn off champagne for good after the, ahem, incident,” he teased.
She slapped at his arm, affecting a look of deep affront. “What happened to your promise to never mention that evening again? And I only plan on having a sip.”
She would go to the party and admire her friend’s paintings and dance with her husband, and she would be as happy, in that moment, as she had ever been. And then, when the evening was done and they were walking home, she would raise her face to the silver glow of the moon. She would bathe in the moonlight falling so beautifully over Paris, and she would think of the girl who had so badly wanted to live, the girl who had simply wanted more, and she would thank her, then, for promises made and promises kept.
Acknowledgments
First and foremost, I would like to thank everyone who has embraced my books so enthusiastically. I am so fortunate to have such devoted readers, and I am deeply grateful to each and every one of you.
In the course of researching this book, I relied upon the collections of a number of libraries and archives. I would specifically like to acknowledge the Archives of American Art (Anna Coleman Ladd papers), the Beineke Rare Book and Manuscript Library (Gerald and Sara Murphy papers), the Bibliothèque Nationale de France, the National Archives in the U.K., the New York Public Library, and the Toronto Public Library.
I would also like to offer my thanks to those who were kind enough to help me with my research, either by answering my questions or by examining sections of my work-in-progress for errors. Susan Logan and John Barkley offered their observations on artistic techniques and the artist’s path; Jennifer Yates cast her professional translator’s eye over my French usage; Lori Barrett advised me on all things musical; and Erika Robuck provided invaluable suggestions regarding my characterization of several figures from the Lost Generation. Any inaccuracies or mistakes that remain are entirely my responsibility.
To my literary agent, Kevan Lyon, and her colleagues at the Marsal Lyon Literary Agency, in particular Patricia Nelson, I once again extend my heartfelt thanks.
Also deserving of my praise and gratitude is my editor, Amanda Bergeron, whose patience and understanding kept me writing even when I was convinced I had lost my way. I am also very grateful to Elle Keck in editorial, as well as my publicists Emily Homonoff, Lauren Jackson, and Miranda Snyder, together with Kim Therriault, for their ongoing support.
I would like to thank everyone who supports me and my books at William Morrow, in particular Tom Pitoniak, Emin Mancheril, Mary Ann Petyak, Serena Wang, Molly Birckhead, Jennifer Hart, Samantha Hagerbaumer, and Carla Parker. The producers at HarperAudio have once again created a beautiful audiobook and I am most grateful for their hard work. I am also indebted to everyone at HarperCollins Canada, among them Leo MacDonald, Sandra Leef, Colleen Simpson, Cory Beatty, Shannon Parsons, and Kaitlyn Vincent. Last but very much not least, I want to thank all of the sales staff in the U.S., Canada and the international division for their efforts on my behalf.
Closer to home, I’d like to thank the circle of friends whose love and support keeps me afloat: Ana, Clara, Denise, Erin, Irene, Jane D, Jane E, Jen, Kate H, Kelly F, Kelly W, Liz, Marissa, Mary, Michela, and Rena.
My heartfelt thanks go out as well to my family in Canada and the U.K., most especially my father, Stuart Robson; my sister, Kate Robson; and my beautiful children, Matthew and Daniela.
Most of all I want to thank my husband for his support, understanding, and love. And just so you know, Claudio—you are the hero of my story.