People of the Book by Geraldine Brooks Read Free Book Online

the crowded café to the attic stairs. The scent of crisp pastry and burned sugar followed us.
    Ozren could just stand up under the swooping eaves of the attic. The ends of his unruly curls brushed the lowest beams. He turned to take my jacket, and as he did so, touched my throat, lightly. He ran his middle finger over the tiny arc of bone at the back of my neck, where my hair lifted and swirled into a twist. He traced the line of bone along my shoulder and then down, over my sweater. When he reached my hips, he slid his hands under the cashmere and eased it up, over my head. The wool caught on my hair clip. The clip rattled as it hit the floor and the twist of hair unfurled over my bare shoulders. I shivered, and he wrapped his arms around me.
    Later, we lay in a tangle of sheet and clothing. He lived like a student, his bed a thin mattress pushed up against the wall, piles of books and newspapers pushed carelessly into corners. He was as spare as a racehorse, all long bone and lean muscle. Not a gram of fat on him. He fingered a strand of my hair. “So straight. Like a Japanese,” he said.
    “Expert, are you?” I teased. He grinned and got up and poured two little glasses of fiery rakija. He hadn’t turned on the light when we’d come in, but now he lit a pair of candles. As the flame steadied, I could see that the far wall of the attic was filled by a large figurative painting, a portrait of a woman and an infant, in a thick, urgent impasto. The baby was partly hidden by the curve of the woman’s body, which seemed to shelter it in a protective arc. The woman was turning away from us and toward the child, but she looked back at the artist—at us—with a steady, appraising gaze, beautiful and grave.
    “It’s a wonderful painting,” I said.
    “Yes, my friend Danilo—the one I told you about—he painted it.”
    “Who is she?”
    He frowned, and sighed. Then he raised his glass in a kind of toast.
    “My wife.”
    IV
    W HEN YOU HAVE WORKED WELL, there should be no sign that you have worked at all.
    Werner Heinrich, my instructor, taught me that. “Never mistake yourself for an artist, Miss Heath. You must be always behind your object.”
    At the end of a week, there probably weren’t ten people in the world who could have told for sure that I’d taken this book apart and put it back together. The next thing I had to do was pay visits on a few old friends who’d be able to tell me what, if anything, the tiny samples I’d extracted from the codex meant. The UN had asked me to contribute an essay that would be included in the catalog when the book went on exhibition. I’m not ambitious in the traditional sense. I don’t want a big house or a big bank account; I don’t give a rat’s about those things. I don’t want to be the boss of anything or manage anyone but myself. But I do take a lot of pleasure in surprising my stuffy old colleagues by publishing something they don’t know. I just love to move the ball forward, even if it’s only a millimeter, in the great human quest to figure it all out.
    I stood away from the table, and stretched. “So, my kustos, I think that I can return the haggadah now to your care.”
    Ozren did not smile, or even look at me, but just rose and went to get the new box he’d had made to my specifications, a properly designed archival container that would hold the book safely while the UN finished the work on a climate-controlled exhibition room at the museum. It was to be a shrine to the survival of Sarajevo’s multiethnic heritage. The haggadah would have pride of place, but all around the walls would be Islamic manuscripts and Orthodox icons that would show how the people and their arts had grown from the same roots, influencing and inspiring one another.
    As Ozren took the book, I laid a hand on his hand. “They’ve invited me back for the opening. I’m supposed to be giving a paper at the Tate the week before. If I flew here from London, would I see you