Awkwardly, she lifts the badge from around her neck, having forgotten to remove it when she left her desk at the consulate. She then raises her glass. “Thank you all for being here,” she says. Her eyes land with sincerity on Deniz, who’s telling his date to put away her phone. When he looks up he seems startled, as if confused at receiving thanks for being present in his own home. “And thank you to my old friend Deniz, for lending us his apartment. He was one of the first people I met when I came here nine years ago—”
“The first and last reception you ever threw at the Çırağan Palace,” interrupts Deniz with a good-natured smile.
Kristin gives him a look and he shrugs, settling back into his seat. Her gaze then turns to Peter and she speaks to him directly. “I want to congratulate you on this remarkable exhibit and say how proud the Cultural Affairs Section is to have helped, in our small way, to host tonight’s event.”
Everyone toasts.
“That’s very kind of you, Kristin,” says Peter, but his words stall in the forest of raised glasses, and before he can say anything more, Kristin continues her remarks, speaking over him, saying that she hopes Peter’s photos will bring awareness not only to the events in Gezi Park but also to “this community’s long struggle for equal rights and dignity.” The room listens, politely, but by the time she finishes most of the crowd, including William and his mother, has migrated into the gallery.
Each person falls silent as they find their image on the blistering white walls. On one side are the portraits of the battered “men” of Gezi and on the other side are the women with their meticulously layered makeup and hair arranged as best as they can manage or covered with a wig for an evening out. Viewed from the doorway, a duplicate of Peter’s exhibit begins to form among the guests. Then the finished product appears: a set piece, the exhibit itself as subject, portraits in and out of the frame. William can’t put words to it, but he feels the effect Peter has created.
“What did you help him with?” his mother asks.
Of the twenty portraits, the only one that nobody stands in front of is the girl in the dress chosen by William. He points toward it and his mother says nothing but leaves him and wanders to its spot on the wall. Now every portrait is mirrored by its subject, or, in the case of his mother, a nearly identical subject. William turns back toward the door, where Peter leans with his camera hung around his neck. He snatches it up and takes a picture of his exhibit. Then he departs into the sitting room.
Deniz and his guests circulate among the portraits, theorizing about themselves in Peter’s work, honing in on different details within the photos. William can hear them teasing one another, saying that they look like hell, or some variation on the same. The quiet that had descended so quickly lifts. The party that began in the sitting room and kitchen now resumes in the gallery. William’s mother has drifted away from the photograph of the girl in the dress, even avoiding it, instead finding protection with Deniz and the others, who keep her at the center of their conversation with their Cat that and Cat this. William has no one to stand beside, so he follows Peter.
Kristin has forgone the gallery and stands by the window. With her thumbs she punches out a text message. Peter sidles over to her and she glances up from her phone. “I have to go,” she says.
“You liked the exhibit that much?” Peter says self-deprecatingly. “What’s the matter? Problem at home?”
“No, nothing like that. I’ve got to get back to work.”
“It’s almost midnight.”
“Not in Washington it isn’t, but the exhibit’s beautiful. Congratulations.” Kristin tucks her phone back into her overstuffed handbag, from which she removes a small bottle of Purell. She squeezes a dab into her palms, which she vigorously kneads together. Heading to the door, she nearly bumps into William, who is slowly angling across the room toward Peter. “It’s almost midnight,” Kristin says to the boy in a tender almost motherly tone, as if the fact that he is up at this hour is more remarkable than the fact that he is at Deniz’s apartment in the first place.
“That’s Catherine’s boy,” says Peter.
Kristin glances behind her, offering Peter a slight rebuke. Of course she knows that this is Catherine’s boy. “Don’t let your mother stay out too late,” she says to him, then touches his cheek.
“He won’t,” says Peter, answering before William can. Kristin leaves and Peter and William install themselves at the window, staring toward the streetlamps with their halos.
“Take a look here,” says Peter, lifting the camera from his chest.
William tentatively leans closer.
“The portrait you picked was perfect.” Peter guides the boy next to him by the shoulder. With his head angled toward Peter’s chest, William stares into the viewfinder. The picture Peter took inside of the gallery is a symmetrical panorama, five portraits hung on each of four separate walls, with every person a reflection of their own battered image.
“Your mom filled the last spot.”
William vacantly nods.
“One of the first rules of being a photographer,” says Peter, “is that you have to take hundreds of bad photos to get a single good one.” He points back into the viewfinder. “This is the one shot that I wanted, understand?” He is inviting William to be in on something with him, even though William doesn’t completely understand what it is.
The boy offers a timid smile.
“Photography is about contrasts, black and white, light and dark, different colors. For instance, if you put blue next to black, the blue looks darker. If you put that same blue next to white, it looks lighter.” Peter flips through a few more images on the viewfinder, pointing out pictures that demonstrate this effect. Each time that William nods, it seems to please Peter, so William continues to nod. “But the blue never makes the white look lighter and it never makes the black look darker. Certain absolutes exist. They can’t be altered.”
Catherine wanders over. She takes Peter’s hand in hers, quickly laces together their fingers, and then lets go. “The exhibit is fantastic,” she says.
William reaches for his mother’s hand and grips it tightly.
Peter shrugs.
“You don’t think so?” she asks.
He dips his gaze into the viewfinder, scrolling back through the images.
“I’m sorry more people didn’t show up,” she continues. “I’d hoped a couple of critics might come to write reviews. I know Kristin tried to get the word out through the consulate, but you know most of the papers are afraid to print anything on this subject.”
“Meaning photography?” says Peter.