* * *
Catherine and William have arrived at Peter’s exhibit right on time, which is to say that they have arrived early. The apartment belongs to Deniz, the one who had appeared in the window to let them in. His date, who takes their coats, is a university-age girl with a pageboy haircut. She is as beautiful as Deniz is handsome. Her mouth is lipsticked savagely, and with it she offers Catherine and William a thin smile before retreating to the sofa, where she stares absorbedly into her phone. Soon others arrive and Deniz comes and goes from a small galley kitchen off the sitting room, where his guests pick at the food he’s elegantly laid out on the thinnest of budgets. Not much wine, but carefully selected bottles from his favorite bodegas, a few plates of fresh sliced vegetables on ice bought end-of-day for a bargain at last Sunday’s market, small boxes of expensive chocolates to ornament each table. William can’t keep track of who is who, as there are several Hayals, as well as many Öyküs and Nurs. Their self-assigned names affirm their identity, but in this political climate also serve the double purpose of noms de guerre. Who knows if one Öykü was born an Arslan and one Hayal was born an Egemen. Why so many of them had chosen the same names, he couldn’t say. What seemed most important was that they had chosen.
His mother makes him a small plate and sits him in a chair by the window. While William picks at his dinner, the scented and beautiful crowd swarms around her, saying Cat that and Cat this. To take her son here, without his father’s permission, so that she can be called Cat instead of Catherine, which is what everyone else calls her, endears her to the Men of Gezi. She has made a choice, just as they have. Having lost sight of his mother, William removes the game Simon from his pocket. He sits by the window and he plays.
Soon everyone has arrived and the apartment becomes too warm. Deniz walks to where William sits and heaves open the window. William glances up from his game. His eyes are drawn to Deniz’s muscled arms, his rounded shoulders, how strong he is. A hint of breeze passes through. Deniz cracks a door catty-corner to the window and whispers inside, “Our guests are here.” Nobody replies and he says it again. Then a man’s voice answers, “Yeah, okay,” and Deniz shuts the door and returns to mingle in the crowd, where William has lost his mother.
Whatever this night is about exists just beyond that door, so William stands from his chair by the window. Carefully, he turns the knob. The hinges open smoothly, without a trace of noise. Inside there is light: white walls, white floor and ceiling. The room is transformed into a gleaming cube. The scent of fresh paint hangs heavily around Peter, who stands in the room’s center, his back to the door, surrounded by his portraits. William steps behind him and watches.
Peter has almost hung the exhibit. A pair of photos lean one against each of his legs. They are printed in the same dimensions as the other portraits, twelve by eighteen, and the finishes are a monochromatic black-and-white matte. In front of him a single empty nail protrudes from the wall. He combs his fingers through his longish brown curls, which he often teases into a globe of frizz while concentrating. He cranes his neck forward, as if trying to stoop to a normal person’s height, which bends him into the shape of a question mark. He has pulled his glasses onto the bridge of his nose and his alternating gaze dips into their lenses and then shifts above them. None of this seems to help Peter resolve the decision with which he’s wrestling. William watches him for a while, until Peter feels the boy’s eyes on his back despite the many sets of photographed eyes that encircle him.
Peter turns around. His scrutiny is slow and accurate. “Who are you?” he asks. As an afterthought, he adds, “And shut the door.”
William does as requested but remains silent.
“Wait, are you Cat’s boy?” Peter combs his fingers back through his hair and he puckers his nose toward his eyes as if the remark had left a spoiled, indigestible taste on his lips. “She brought you,” he says, like an accusation, or statement, or even a compliment. William can’t figure out which, so, finally, he says, “Yes.”
“Come here,” says Peter. “I need your help with something.” He has transformed the cramped bedroom into a pristine gallery, and William steps carefully through the space Peter has created. “I can’t decide on the last photo.” Then Peter crouches and tilts out the two frames balanced against his legs. William crouches alongside him. One of the two photographs is similar to all of the others: a man with long, stringy hair wearing makeup looks back, a bruise darkens his cheek, a cut dimples his chin, he wears a hard hat like the one hanging on the other room’s wall by the poster. Though he stares directly at the camera, his eyes are not set on parallel axes—one wanders menacingly out of the frame.
The subject of the other photograph is beautiful.
Peter has shot this young woman in the same dimensions and lighting as the rest of his portraits. A sheet of dark hair falls straight to her shoulders. There is a bruise around her eye. Up from her chin and along her jaw she also has a cut. She wears a bright dress, whose shade in black and white is exactly the same shade as the cut. A tote bag hangs from her shoulder. Her eyes fix on William clearly, in a way that feels familiar to him, the reflection in her pupil serving as a kind of a mirror.
“This one’s a bit different,” Peter says. “She was born a woman.”
Being a boy, William doesn’t understand the exhibit, the nature of Peter’s subjects or why he would mix in a single photograph of this one particular woman. But William knows the effect the second photograph has on him. He tells Peter that he likes it best. “You sure?” asks Peter.
He says that he is.
Peter hoists the last photograph onto the wall. As he takes a step back, he crosses his arms and examines it a final time. Then he crouches next to William. Peter has pushed his glasses all the way up his nose and his hands are planted firmly on his knees. “We’d better go find your mother,” he says.
* * *
Twenty photographs hang inside of the gallery. About the same number of people mingle in the kitchen and sitting room. William recognizes many of the faces he has seen in the portraits. Peter’s eyes shift among them, as if counting the tops of their heads. When it appears that he has found all of the portrait’s subjects, he takes off his glasses and tucks them into the breast pocket of his corduroy sports coat.
A knife clinks against a wineglass. The noise comes from a woman who stands alone in a corner of the apartment. The party faces her. Around her neck on a lanyard dangles a blue badge with an embossed seal—a bald eagle clutching arrows and an olive branch between two furious talons. This places her in the U.S. diplomatic corps. In her photo on the badge she wears the same navy blue suit jacket with a boxy cut and powder blue shirt as on this night, giving the impression that she has only the one outfit, or maybe multiple sets of the same outfit. Her face is lean. Like that of Deniz’s date, her black hair is cut into an easy-to-maintain, yet severe, pageboy. Her complexion is such that she could readily be mistaken for a native of this city. A slim and no-nonsense digital triathlete’s watch cuffs her wrist. The crowd turns its attention to her. She glances down at her chest, as if she can feel the many sets of eyes settling on her badge.