Walls of burnt caramel with bookcases holding treasured and worn volumes of poetry, Dorothy Parker, textbooks of youth and scholar, biology and war, movies in black and white, and dust covered CD jewel cases. A desk faces the window—a tall and double width window—out of which a pale sheer flutters through as the wind inhales causing it to move about as a woman’s dress tangled about the knees giving hint to life’s source.
The desk has space for one to sit and spans nearly as wide as the room, much longer than a bed might be. Papers and books, and documentations of authenticity are strewn, but neatly, across. All are centered about the chair which faces the window of flirting blue reminiscent of clouds.
Against the only other wall with space not adorned by books—volumes and volumes of books in mixed language and genre—is a red couch. The couch is of modern style and pulls out into a bed in a way which seems unique, though this is really nothing altogether new.
Old jazz music plays—a pianist who played with Miles Davis.
It smells of rosemary and fennel and of roasting aubergines.
Against the back wall, opposite the window, is one framed photograph. Black and white, matted against creamy white, in a thin wooden frame. A table of elegant men and women are frozen in a moment. The woman in the right corner stares out with clearest eyes of glass, just as la Fornarina. She wears a hat. To the other end sits a mother, though not yet realized. She looks out of the photo from the slight turn of her face. In between, men are locked in various states of unaware being, one looking at the camera, the others simply arranged in a Caravaggio construction of the Last Supper. The photo is placed high on the wall—positioned for the tall, dark and handsome Italian man who lives here. Or is he Spanish?
Sometimes, even he’s not certain.