Ch 1: Violet is the Color of Lust
A girl, a blanket, and a night-flight to Paris
Somewhere between NY and Paris.
The girl in window seat 23A is beautiful. Silky black hair. Piercing violet eyes. Full crimson lips. Flawless complexion.
The cabin is dark, except for the flickering loom of the entertainment system. The hum of turbine engines drowns out everything but her softly modulated voice. I gaze into her eyes and speak in a whisper, as if we are huddled alone on some remote mountaintop.
Which, in a way, I suppose we are.
Almost everyone is sleeping, including the old guy in the aisle seat. He could be snoring, or farting, or talking to himself. I can't tell above the turbine drone.
I first noticed her at the boarding gate. Who wouldn't?
Tried to catch her eye, but she's on her phone. I walk toward the empty seats next to her, but two super-sized nuns beat me. Long black dresses, wide habits, veils, white collars. The whole ensemble. For an instant, I imagine the horror of sitting between them for the next seven hours.
Fortunately, Icelandair has better plans.
"Oh, it's you!" she giggles. Her smile comes easily. Seductively easy. "I was hoping we'd sit together. I'm Violet, by the the way."
"I'm Jason," I tell her, lowering myself into the coveted center seat. "It's funny you say that, because I was hoping the same thing."
Violet's broad smile is alluring, unabashedly welcoming, and ripe with sensuality and sexual promise. One look into her dazzling eyes, and my pulse races out of control.
My aunt who, among many other things, was a well-known NYC art collector, had a theory about "objects of desire." In her later years, art works came to predominate her desires. In her younger years, it was men, and occasionally other women.
"When you signal an 'object of desire,' whether consciously or not, and you're ignored or rebuffed, it's harmless," she explained. "But if there's an instant, sympathetic reaction. Beware! Mutual desire is more explosive than dynamite. More dangerous than drugs.
"Infatuation and impulsive behavior always overwhelm common sense and inhibitions," she warned. I could tell Bea was speaking from personal experience. Extensive experience.
Welcome to the danger zone!
Violet wears a slouchy sweater over a thin T-shirt that's embroidered with a Wesleyan insignia, and denim jeans. The outfit looks great on her. I'm in my standard travel wardrobe. Navy blue polo shirt, khakis, and running shoes that have seen better days.
But there is something deeper, almost inexplicable. As if by some subliminal clues, we recognize each other as kindred souls, outwardly driven by sexual attraction, but inwardly connected by an unspoken sense of acceptance.
"Flying alone is so random," she says in a conspiratorial whisper. "l mean, did you see those fat nuns? Can you imagine?"
"It crossed my mind. You prefer me over the Holy Sisters?"
Violet pauses a long beat as her eyes travel slowly up and down my torso. "You have no idea," she says with that killer smile.
She's on her way to Prague to study European history.
I'm on a bicycle tour of the avant-garde European art centers.
She's thinking of law school, or maybe fashion design. My reason for knocking around Europe on two wheels is to keep my Aunt Bea's legacy alive by collecting affordable early works by promising young artists. I'm actually starting a new gallery in Bea's honor, but that's something I keep to myself for the moment.
"That's so cool," she says. "Most of the art majors I know want to work in museums, auction houses or dealers. Why'd you decide to collect art on your own?"
"My great aunt Bea. She was a fashion model. Hung out with Warhol and those guys. Starting collecting Pop Art paintings when she was 19. She's my inspiration."
"My great aunt bakes blueberry pies and sings in the church choir. Her taste in art run towards Amish quilts and needlepoint samplers with sayings like, 'A stitch in time saves nine.' Your aunt sounds amazing."
"She was once really famous. On magazine covers every month and stuff. Nearly every artist in New York wanted to paint her. She knew a lot of them personally. Very personally."
"My kind of girl," Violet laughs. Maybe it's because I see a lot of my bohemian, free-spirited Aunt Bea in this beautiful girl, but I'm suddenly feeling closer to Violet than to anyone I've met for a long time.
"My aunt loved Paris," I add. "Not many people realize that Paris, or more specifically, Montmartre, is the birth place of Modern Art."
"And I thought it was SOHO," Violet giggled.
"There are similarities. SOHO was just 100 years too late, and didn't have Renoir, Monet, or Degas," I joke. "But Montmartre in the 1870s and SOHO in the 1970s both had lots of empty studio space, low rents, a rebellous population, and lots of nightclub dancers and sex-workers willing to sit as artists' models."
"You learn all that from Aunt Bea?" she asks, eyes aglow with mischief. What I really like, though, is that Violet uses Bea's name. Somehow, it makes me feel like Violet is almost family.
"I just made it up," I reply. "But I think Bea would agree."
The conversation drifts to six-degrees-of-separation. Where are you from? Where do you go school? Do you know so-and-so?
It turns out we do. Violet knows Maryanne White, my high-school class valedictorian.
"Maryanne lived in WestCo my freshman year," Violet explains, twisting her hair between her fingers.