landlord

I MUST HAVE RENTED an apartment from a middle-aged Estonian man. He was maybe a decade older, dark tufts of hair, graying at the temples, tawny complexion. He might have been Spanish or Jewish in a previous life. He worked in some dusty corner of the financial services universe and was always dressed smart casual, with a jacket, shirt open at the collar, khakis.

His wife had recently left him, or they had separated or taken a time out. So they said. She took the rest of the children off to the Canary Islands, where she had become a poolside yoga teacher and worshipper of the Hindu love gods. The eldest daughter stayed behind to finish her studies. She was disarmingly beautiful. He was certain the girl had caught my eye. She had.

At night, her father would kick off his loafers after a long day spent shilling for the bank and watch the news on an enormous screen he had got a great deal on during the pandemic. When he saw me entering my apartment through the big glass windows on the first floor, and most of the house was made of metal and glass, he would shake his head a little and purse his lips and then nurse another sip from a bottle of beer. The apartment itself was a tranquil single room, wide and spacious, all painted white, with high, echoey ceilings, and a small kitchenette.

It had three windows and through them I would watch the eldest daughter arrive and depart on her way to or from her semiotics classes. The bob of a golden brain in the late winter sun. The lyrical cadence of a youthful, ever optimistic voice heard through the glass, concerned for her joyless, dead-hearted father. There was something to her, a kind of music so faint you could only hear it if you strained your very ears. But it was also so removed from my waking conscience that I could barely grasp at it, even if I tried. This sparkle might have found its way into a magazine article I wrote, one with sultry allusions to such inappropriate relationships.

And then one day, my landlord was there before me, clutching a rolled up copy of the magazine’s latest edition in his hand, ready to strike. I could see my face above the column, which was printed neatly in black and white “You,” he said, “are a sick pervert! I have already initiated legal proceedings, a kohtuprotsess!” I stepped back and he whacked me with my own words. I tried to defend myself. “But it was all fictionalized!” I cried. “All of it was fiction!” “Lies,” he shouted and struck. “Of course, some of it was based on reality.” “Jail!” he growled. “Jail!”

In my apartment, I let down the white blinds. Outside I could hear him howling, banging. I grabbed my things, crawled out the back window like a character in a Willie Nelson song. Then I was down the forest path, on my way, almost free at last when his wife appeared like mirage. I tumbled and there were orange leaves everywhere, so many leaves I began to swim. The enlightened landlord’s wife looked down out me, her head wrapped in a bandana. Stars flooded the sky and began circling her like little birds. They arranged themselves into a crown. She reached down and pulled me free from my leafy oceans. At long last, I had been rescued.

The landlord’s wife was a fine looking woman, very smooth features, a kind of gray-brown hair just visible beneath her turban, and she had very clear blue eyes that were skies unto themselves. She did not fear my love of her daughter, for as she saw it, all daughters needed to be loved. “Would you like honey too?” She poured me some tea on the terrace later. I mixed in the honey, watched it dissolve in the peppermint, and drank deep from the warm ceramic cup. I was still kind of shaken up and could see her husband through the windows. He was filming the whole thing. Evidence to be used at trial. He gave me the middle finger. Then he motioned to his throat and made a slashing gesture. He mouthed the words: “Pervert, pervert. Jail, jail.”

‘canto oscuro’ by araukaaria

Araukaaria on stage. Photo by Kerttu Kruusla.

ONE THING that has always impressed me about resident Viljandi Argentine musician José Manuel Prieto Garay, better known as Pepi, is his sincerity. It can be disarming at first, it can even make you a little suspicious, put you on guard. For how could a modern person be so sincere? At what point does such sincerity become an act? But his façade of sincerity is so durable and resilient that no matter what you throw at it, it just won’t stick. There’s no winking at the camera here, no hidden double meanings, no metamodernism. Everything is what it is. 

This is sort of how I approach the new song by his group Araukaaria, too. “Canto Oscuro” is disarmingly sincere. It has a cinematic quality to it — it would make a good backing track to a montage about a religious pilgrimage. Considering the story behind it — the loss of Pepi’s father, a trip to Palestine — that’s not far off the mark. Pepi recounts a roadtrip between Chile and Argentina before his father passed away years ago in telling the story. His father was very ill at that time, and could barely make the trip. This song, “Canto Oscuro” (Dark Chant) is kind of like the soundtrack to that trip composed after the fact. It passes along like a mountain road at night. 

Shadowy, lofty, winding, introspective.

“I think it was clear from the beginning of the song that it was some kind of lament or requiem,” says Pepi of the song. “I wanted to visualise the journey I lived with the music and lyrics.”

Supposedly it takes about 16 hours to drive from Santiago to Buenos Aires. “Canto Oscuro” is only about six minutes long, but it feels like it could be 16 hours long. There’s enough packed in, a flute motif by Rauno Vaher at its opening, atmospheric guitar playing by Viljandi virtuoso Norbert de Varenne, backing vocals by his sister María Julia Prieto Garay and keyboardist Lisanna Kuningas, and solid contributions by Fedor Bezrukov on bass and Johannes Eriste on drums, the rhythm section of an earlier incarnation of Araukaaria. Araukaaria is one of those bands like Nine Inch Nails, that revolve around a principal songwriter and musician, but that have a revolving cast of characters, some of whom return after various scrapes and adventures (Rauno Vaher was the original drummer, and the last time I saw them, he was back on drums). 

“I like to work with different people and in particular here in Estonia most of the musicians are involved in three or four projects which makes it hard to schedule and coordinate,” says Pepi. “As the project is quite a live band project, having different people always brings a new flavor.”

One of these players is Lee Taul, also of Don’t Chase the Lizard, Black Bread Gone Mad, and the Songs and Stories from Ruhnu Island project, who provides epic sweep with her violin. And another is — surprise, surprise — Tomás del Real, another Viljandi Latin American musician, this time from Chile, who helps out on something called the charango, a “small Andean stringed instrument of the lute family,” as Wikipedia informs me. He hadn’t played it in years, he says. But here it is, filling out “Canto Oscuro,” fusing Estonian and Latin elements.

“One day I was working on some other stuff and Pepi rang me up and asked, ‘Do you have time today to help me with something? I need you to record a charango in two hours,” recalls del Real. “I hadn’t played in a while but I went over there and we locked in the studio for a little bit and I made what I could,” he says. “I knew that the song was important to him and that Chile in a way plays a part, this connection between his life here and there, so I guess I was one of the pieces he needed for that track.”

As a person who also lives a life bridging continents, I know that sentiment well. At times, in the air between Europe and the Americas, I have often thought of myself as pulling thread with a needle, trying to sew two lives, one here, one there, together. It’s this sense of disorientation, of displacement that lurks in the obscured background of “Canto Oscuro.”

It is felt, even if not expressed.

“Pepi has an ability to put images in music that the listener can understand without even understanding the lyrics,” says Kuningas. “A lot of his lyrics are very visual, and he is able to put these pictures in your mind.”

Most of the song was recorded in one live take, though a few elements — the backing vocals, the charango, classical guitar — were added later. Martin Mänd of Kopi Luwak recorded “Canto Oscuro.” It was mixed and mastered by Mattias Pärt. Animation to accompany the video was created by Pepi’s sister Camila. Pepi decided to release it on February 12, his father’s birthday. “This song is connected directly to my life, my story,” he says. “It’s a snapshot of that period of my life and has helped me to heal and to let go of a very big emotional burden.”

wormslayer by kula shaker

SOMEHOW KULA SHAKER‘s new record Wormslayer crossed my desk. I was skeptical. I’ve never known what to think of this band. I was a fan in their heyday, the so-called classic period, way back at the end of the 1990s. It was good background music, driving music, with memorable melodies and interesting lyrics. But then they sort of faded away. There were new albums, but they just didn’t find their way into my heart. The original organ player Jay Darlington left the band and it felt like their best days were behind them. But a few years ago he returned and so Kula Shaker has been reborn. Wormslayer is the second album the reassembled outfit has put out and it sure is tasty and entertaining. Badly needed groove music, especially in such unstable days, psychedelia joined with elements of Indian classical music, English folk, Britpop, and even a little Manchester baggy (just listen to “Good Money“).

As I understand it, it was singer and guitarist Crispian Mills’ aim to bring more positive energy into the world with this album. Lost son Darlington helps him to achieve this noble goal, along with bassist Alonza Bevan and drummer Paul Winter-Hart. My favorite track is “Charge of the Light Brigade.” The production is thick, dense, yet shimmering, lively. The sound comes up at you from every angle. The drums are tight, the bass is flawless, and the organ holds everything together in a warm glow. Mills is also an underappreciated guitarist. According to Mills, it’s the best sound the band has ever achieved on record. Here I have to nod along and say, I agree.

An Estonian version of this review appeared in the magazine Edasi in March 2026.

frittata

SIGBRITT was making a frittata. She was in the little yellow kitchen with its dim yellow lighting and she was very excited. Her flame of yellowblonde hair was open and loose and messy. Sigbritt was making frittata in the old school way, sprinkling breadcrumbs on top of the mix, cooking it over a low heat in a cast iron pan. Who had taught her the recipe? Her hair and skin reflected back the light from the kitchen. Soon she would put it in the oven to finish up.

Each time she added an ingredient, she leapt up, and each time she jumped, I caught her breast in my mouth. Sigbritt was not very tall and she was still very clothed, in a silky green-gray blouse. With each leap of happiness, I gave her another lick. “But I have a boyfriend, but I have a boyfriend, but I have a boyfriend,” she said and teased me. As she chanted, her blue eyes sparkled. “His name is Giovanni, his name is Giovanni, his name is Giovanni!” “I don’t care, I don’t care,” I said, suckling Sigbritt. First one, then the other. First the left and then the right. “So what, so what, so what?”

the epstein hotel

THE EPSTEIN HOTEL was on Vermont Avenue in Washington, DC. It was built in the Second Empire style for some diplomat but later after passing hands through successive generations of elite bureaucrats had been repurposed as a hotel and hostel. By the time I arrived one night, with just one suitcase, fresh off an Amtrak train from Newport News, Virginia, all of the single rooms had been booked and I was given a bunk in one of the hostel’s eight-bed dormitories.

This turned out to be a lovely space on the top floor with its own kitchenette, a nice view of some green memorial park, and plenty of guests. All of the other seven beds in the room were taken, and one of my bunkmates happened to be Heath Harrigan, an old high school chum, now a karate teacher and lifestyle influencer who had strong opinions on vaccines, chem trails and the like, and had accrued a following of thousands. Joe Rogan had even interviewed him.

He looked great — the supplements he sold on his channel were working, his hair was still dark and wavy — and he invited me in to what soon became a rather wild bunkbed party, with plenty of pretty university students and Japanese tourists who were also domiciled at the Epstein Hotel. It was good to see Heath again, but I was tired, and I crawled up to my top bunk. It was impossible to sleep. They were all arguing about the measles mumps rubella vaccine.

“Shut up,” I heard Heath tell one of the Japanese. “You don’t know what you’re talking about.”

The plan was to go to Boston to meet up with Bergerac, a former university friend who had taken on a teaching position and had an office in Cambridge, Massachusetts, just over the Charles. In my mind, Boston didn’t seem so far away from Washington, it was just a quick jaunt, like going to the supermarket for some butter or bread. Just a quick journey to Boston and I would be back. Bergerac had become quite knowledgeable since graduation and knew the details on the makings of all albums by The Who. Bergerac was tall, bearded, French, Jewish. I liked him immensely. Just a train to Boston to visit Bergerac and all would be jake.

Besides, there was no sleep going on at the Epstein Hotel. My roommates were too loud with their arguments over vaccinations and pillow fights. In the middle of the night, I got up to get a bottle of water from a vending machine in the common area, and maybe some salted peanuts. I began to wander the halls of the hotel. Everything had been refurbished in that light, beige, putrid colonial tone that many hotels in Washington and Alexandria and other such places are painted in. The air smelled of aged carpet, but it wasn’t a musty smell, just a hotel smell. There in the back hall, I encountered the man himself, Lord Epstein. This was him in his element, the Epstein Hotel. He was seated in a corner with two young blonde women beside him. These were Estonian women, maybe 25 years old. He was talking. They were laughing at his jokes.

“Sorry to intrude,” I told Epstein. He nodded a bit with that big ominous head of his and pretended that he didn’t hear me. He just watched them, swigging from a bottle of Perrier.

Returning to my room was complicated. All of those beige carpeted hallways, turns, dead ends. When I got back, the police had arrived. They were marking off the crime scene and taking photos. The two same young Estonian women I had seen before were sprawled out on the floor. They were both very dead, but otherwise looked quite peaceful, as if they were sleeping. Heath came over to me. He was holding a half-empty bottle of champagne and his shirt was off. His eyes were all bloodshot. Heath Harrigan said to me, in a tired, subdued voice, “Epstein stopped by, man. But the party got out of hand. Things got way out of hand. You should leave now.” That I did. I was on the next train to Boston, to meet with Bergerac, to talk about Tommy.

“Tommy can you hear me? Can you feel me near you?”

I whistled as Washington dissolved into Maryland. Before I knew it, we were in Philadelphia. Home free.

underwater book

THE HOUSE was at the top of a hill on the edge of town, some wooded area, exclusive wherever it was and in any case. Whoever owned it had not been there for some time. Maybe it was a summer place? My car pulled into its gravel driveway and parked beside a wooden gate. I had driven it there, but I don’t remember why I decided to stop in that shady place.

Maybe I just needed a rest.

Outside, I could see two figures talking in the dust, a very elegant woman dressed all in black with sunglasses and her hair done up and a groundskeeper who was being given instructions as to what needed to be trimmed, moved, painted, refurbished, et cetera. He had on khaki and white and looked like he was about to go fishing. There he stood, holding a white bucket while she went on and on. When she was at last finished, the man disappeared behind a red barn.

That left the two of us. She didn’t see me, or I didn’t notice her seeing me. She had on those big sunglasses, the scarf around her neck. What a fashionable lady, and clearly very posh, to live in such a palace, even if it was in disrepair. She went inside the house to dust the old vases.

I began to wander the estate, past the hedges, under the arches. Where was this? England? Estonia? The Hamptons? There was an old swimming pool tucked into a courtyard, its green clear waters moving against a light breeze. In the shallower part of the pool, I could see there was a book. The book was open, about halfway through. If I focused my eyes, stared at the book long enough, I could read the words on the page through the water ripples on the pool’s surface. Blurry words. Then something unusual happened. I dove headfirst into the water.

The water was cool, fresh, almost sweet to the taste. And so clear, like it was fed from an underground stream or a Greek grotto. I came up again with the book in my hands, looked around. The interior of the courtyard was covered in green ivy, climbing up all walls. And from this darkness emerged the lady of the house, clutching imperiously at her shawl. I realized that I knew who she was as she removed her sunglasses. But wasn’t she 10 years older than me?

“I see that you like my underwater book,” she said. I did. I held it on the edge of the pool. I liked the text, it was set in Renner’s classic 1927 Futura. The pages were strange, they just slipped through my fingers, except they didn’t fall apart. They were soft to the touch, it was a kind of softness I had never felt. “Come up here,” she said. “Sit by me.” I sat on the edge of the pool with the book in my lap and the woman came over to me. Then she gently removed the book, set it down beside me, and sat in my lap facing me. Next, I was inducted into her. It went quick.

“There, there,” she said, with a hint of satisfaction and a very happy sigh. “That’s much better.”

‘charge of the light brigade’ by kula shaker

SOMEHOW, SOMEWAY this track crossed my desk and ears. I’ve never really known what to make of Kula Shaker. I think I heard their cover of “Hush” here and there when it came out way back when, and I had a promo copy of 1999’s Peasants, Pigs, and Astronauts that was in heavy rotation in my car when I was about 20 years old. These were the Britpop days, and Kula Shaker is an unmistakeably British band, with their raga influences about as ubiquitous as a curry shop in East London. So in a way, they are eternally linked to Oasis and Blur, even if they sound nothing like them. They arose during a creative, memorable period in British music.

Those were also the grim Radiohead days, the “Karma Police” days. For me, Peasants, Pigs, and Astronauts was a reprieve from all that seriousness and foreboding. It’s linked in my mind with the first Austin Powers film, and I do think some fembots make an appearance in the “Mystical Machine Gun” video. They were a fun band and the lyrics were just a part of the vibe. That’s nice that guitarist and singer Crispian Mills had something spiritual to say, but after could he please play that tasty guitar part again? In a way, they were a nice follow-on to Primal Scream in the “Rocks” era. Badly needed groove music penetrating the merciless Yorkean gloom.

My understanding is that Crispian caught some flak for being what we would call a nepo baby because his mother was in The Parent Trap (and I am old enough to have seen the original without having to look it up). For me, this only helped sell the band more. What better fate for the son of Hayley Mills than to become a psychedelic bard? While his name recalled Henry V’s speech at Agincourt, the rest of the band — Jay Darlington (organ), Alonza Bevan (bass), and Paul Winter-Hart (percussion) sounded like characters from an Evelyn Waugh novel. There was very little not to like about this group, and yet they remained a cultural outlier.

Which brings me to this track, “Charge of the Light Brigade,” the third on their new album Wormslayer, released at the end of January. The production is thick, dense, yet shimmering, lively. The sound comes up at you from every angle. According to the band, the whole album — which sounds like a D&D character, but is a spiritual reference to conquering negative energy — was recorded on two-inch tape. They laid this song down “Street Fighting Man” style, with just acoustic guitar and drums at first, with bleed over between both, the rest added later.

The changes are addictive and insistent and the lyrics are a shade darker. “They were all drinking blood in the shadows / drinking your blood and draining away / don’t turn your back on the shadows” and “they’re breaking the law / these masters of war / they come from behind / they don’t knock at the door.”

“The Charge of the Light Brigade was a famous 19th Century poem referring to a famous British military blunder during the Crimean War,” said Crispian Mills of his inspiration. “However, I morphed the meaning of lyrics to make it about rallying the ‘poets of light’, in a hopeless but valiant charge against the forces of darkness.”

This ain’t, “You’re a wizard in a blizzard of mystical machine gun.” This is serious ’26-level stuff. As noted, the band sounds great. The drums are spare, the bass is buoyant, flawless. The organ holds everything together in a warm glow. Mills is an underappreciated guitar player, too. Naturally, the video is recorded in an old castle or church of some kind, maybe that one on the cover of Temples’ Sun Structures. Maybe all the psychedelic cats hang out there these days?

Some friends are not yet sold on the Kula Shaker renaissance. They are skeptical of the band’s output. But with a song like this, it’s just impossible to argue that it’s not good, because it is. It’s just a good song. The best part is this: there is no self-indulgent solo. This song’s tight. Three minutes and five seconds and they’ve said what they’ve come to say and they’re done.

kiss

SOME THINGS ARE ALMOST SPECTRAL. You don’t see the full embodiment of reality, it’s sort of hazy, silhouettes, even auras, I’d dare say. What I can report back is that we were en route to the north coast via Tartu, the second largest city of Estonia, situated in the southeast center of the country, and a hub of rail and bus links. Within the bus station, which had taken on an almost Turkish bazaar kind of atmosphere with spice markets, et cetera, one of my companions, which might have been my older brother, climbed to the second floor of the building, which opened up on an inner atrium and leapt backwards with his arms outstretched into the blue air. This terrified me, but he landed softly on a couch, laughing to himself, as if nothing was amiss and it would all turn out like that. The people around us might as well have been made out of neon or electricity. There was a brisk trade in turmeric, ginger, and garlic.

Then, whoosh, I woke up.

It was clearly morning now and along the inside of my bedframe, I realized there was a young woman lying opposite me, face to face with me. She had very thick dark hair and white loose pajamas, she had distinct features, that were not too feminine but somehow even more attractive because they didn’t align with the norm. Her gray eyes opened, milky blue green gray in the light. Mornings are already light at eight now, maybe even at seven. I felt a kind of euphoria and agony entwined and realized, she was stroking me down there. “Shh,” she said. “Shh. Shh. Shh.” That was all she said. “I see you,” she said. “I see you, I see you, I see.” After that we kissed. It was loving, long, lingering. But who was she and how did she wind up in my bed?

Later I walked the frozen town trying to determine the identity of the mystery visitor from the morning. The sidewalks and streets were deathhard with ice and snow powdered on top, and more helpings of snow drifted down slowly, February lazily, the same as it always did. The snow toppled its way down from the rooftops, through tree branches, tumbling. Who was she? Then I remembered. It was her! It must have been her. That was her hair, those were her features. Maybe it was just a illusion, an astral projection, maybe a hologram? Projecting, projecting. The mind beams her against the wall and she comes to life, alive, fully in the flesh.

“Shh,” she says. “Shh. Shh. Shh.”

a lift to the city

MIHKEL RAUD gave me a lift to the city. It was in one of those old-fashioned Volkswagen Beetles, beige exterior, red interior, remarkably clean. I couldn’t tell if he was just being friendly or had gone into the taxi or Bolt driver business, and I wasn’t really sure why I had got in the car to begin with, as I had no plans to go to the city. He wore his flat cap and looked the part of a driver, parked the Beetle on one of the lower levels of the Viru Keskus parking garage. Mihkel Raud hopped out and wished me a good day.

There I was, back in the city. A lot had changed since I was away. Tallinn looked sort of like Manhattan, but in the 1950s or 1960s. Brick buildings, iron railings, snow-covered cars, trash cans. Why did I feel like I was in Little Shop of Horrors or Rear Window? Tarja came walking by in a nice pink dress and waved to me. “But what are you doing here?” she said. “What brings you to town?” Her black hair was done up, she eyed me with her usual sparkling curiosity. “Well,” she said. “I need to get some shopping done. My children are hungry.” And she left.

At the end of the street, I noticed Esmeralda. Young Esmeralda Kask. I hadn’t seen her in ages. She looked quite beautiful in her dress, her chestnut hair was pulled back. There was something about those blue pearls of eyes, the slope of her cheeks. There was no one as beautiful as Esmeralda Kask. Not in this world. Something strange was happening though. She was leading a flock of sheep. When had Esmeralda become a shepherd? Or was she a shepherdess? I was too old for her, but I loved her anyway. Such loves are non-negotiable.

Just then my mother emerged from a store, clutching her grandmother’s pearls. “You, young lady,” she called out to Esmeralda. “What do you plan to do with all of those sheep?” Esmeralda blinked a few times. “I am going to sheer them,” said Esmeralda. “It’s been such a cold winter. I am going to make myself a warm coat.” “That sounds like a lovely idea,” my mother said and waved. Their interaction brought a tear to my eye. For Esmeralda Kask was what the Estonians would call a silmarõõm, my one true love. The tear swelled and rolled down my ice cold cheek.

hollow road

HOLLOW ROAD was a shady road. If you followed it from one end to the other, it would carry you from the Village Green to Cedar Street. It was called Hollow Road because it ran the length of a hollow. Atlantic coastal deciduous trees rose up on both sides, tall, towering oaks, cedars, and maples. In all seasons, the hillsides were covered with their colorful rotting leaves. About halfway down on the left, as you traveled the road toward Cedar Street, there was an old cemetery where the original British settler families like the Conklins and Bayles were entombed behind iron gates and beneath Victorian angels. But I never went up in there.

On this day, I walked on ahead, gingerly, freely. It was late spring, early summer, or the onset of fall. The sun shone through the leaves into the darkness of the hollow and as I exited this kind of natural tunnel, I found myself at the foot of Suffolk Avenue. On the right hand side though, I could see that several newer houses had been constructed since I went away, in a style someone might call Scandinavian contemporary. Such buildings would not be out of place on the other side of the ocean. In fact, the more I observed them, the more I began to realize that this part of Hollow Road matched Hariduse Street, which means Education Street. At least the houses looked like the kinds that one found at the start of Hariduse Street, just before the old Airplane Factory. But this was not Estonia. This was Long Island. I was sure of it. The trees were proof. Estonia didn’t have these trees.

The houses were deserted. I didn’t see one trampoline in a yard or car in a driveway. They were made of wood with yellow corrugated metal roofs. All of the trees around them had been cut down, the underbrush removed. The land had been ploughed through and reshaped and covered with fresh green sod from the sod farms out east. It was just too vacant and peculiar. I walked up one of the gravel driveways and found myself at the door of one of these Scandinavian contemporary houses on Hollow Road. The door was ajar and so I went in.

There was almost no furniture in the house. A table, a couch. But someone was living here. On the table, I saw piles of chocolate wrappers from Ghirardelli and other big name manufacturers. On the walls hung the glinting paintings of the Austrian symbolist painter Gustav Klimt. I stood there in that unlit room admiring the Klimt paintings when a woman walked in and startled me. “Who are you? What are you doing here in my house?” she said.

She was younger than me and she had raven black hair. This was pulled up in a messy braid. She wore a white jacket. Her eyes were light and remarkable but not threatening. I told her quickly that I had used to live in the neighborhood, how I can discovered the strange houses, how I had decided to look inside, how my curiosity had got the best of me. She told me that she was a translator, a chocolate translator, and how she was responsible for translating all of Ghirardelli’s packaging and marketing materials into other languages. But how did she come to acquire the Klimt paintings? Weren’t they worth millions? They were beautiful pieces.

“Yes, I also like them very much,” she said. At that moment, I began to feel a familiar, wavy sea-like sensation. It was like the floor was being pulled out from beneath me. She just stood there, staring at me. She had very light, soft skin. It was like milk. She looked too familiar. Who was she? The maritime sensation continued. “Well,” the woman said. Her voice tinkled like faint, far off music. “What now?”