1In the lobby of the Languages and Literature building she sits down to check her email. She doesn’t remove her overcoat because she’ll be getting up in a minute. Beside her on the desk is her breakfast, which she just purchased from the supermarket across the street: one black coffee with brown sugar, one lemon pastry roll. She eats this exact breakfast regularly. Lately she has started to eat it slowly, in lavish sugary mouthfuls that congeal around her teeth. The more slowly she eats, and the more consideration she gives to the composition of her food, the less hungry she feels. She won’t eat again until eight or nine in the evening.

2She has two new emails, one from Connell and one from Joanna. She dabs her mouse back and forth between them, and then selects Joanna’s.

3no real news from here, as usual. I’ve recently taken to staying home at night and watching my way through a nine part documentary series about the american civil war. I have a lot of new information about various civil war generals to share with you next time we’re on Skype.

4how are you? how is Lukas? did he take those photos yet or is that today? and the big question … can I see them when they’re done?? or is that prurient. I await your word. xx

5Marianne lifts the lemon pastry, takes a large, slow bite, and lets it dissolve in layers on her tongue. She chews, swallows, then lifts the coffee cup. One mouthful of coffee. She replaces the cup and opens Connell’s message.

6I don’t know what you mean by your last sentence there exactly. Do you mean just because we’re far away from each other or because we’ve actually changed as people? I do feel like a pretty different person now than I was then but maybe I don’t seem that different, I don’t know. By the way I looked your friend Lukas up on Facebook, he’s what you would call ‘Scandinavian looking’. Sadly Sweden did not qualify for the World Cup this time so if you end up with a Swedish boyfriend I’ll have to think of another way to bond with him. Not that I’m saying this guy Lukas is going to be your boyfriend or would want to talk to me about football if he was, although it’s something I am putting out as a possibility. I know you like the tall handsome guys as you say, so why not Lukas, who looks tall and is also handsome (Helen has seen his photo and agrees). But whatever, I’m not pushing the boyfriend thing, I just hope you have confirmed he’s not a psychopath.

7You don’t always have a good radar on that.

8Unrelatedly we were getting a taxi through Phoenix Park last night and we saw a lot of deer. Deer are kind of strange looking creatures. In the night they have a ghostly appearance and their eyes can reflect headlights in an olive green or silver colour, like a special effect. They paused to observe our taxi before moving on. To me it’s weird when animals pause because they seem so intelligent, but maybe that’s because I associate pausing with thought. Deer are elegant anyway I have to say. If you were an animal yourself, you could do worse than be a deer. They have those thoughtful faces and nice sleek bodies. But they also kind of startle off in unpredictable ways. They didn’t remind me of you at the time but in retrospect I see a similarity there. I hope you’re not offended by the comparison. I would tell you about the party prior to us getting the taxi through Phoenix Park but it was honestly boring and not as good as the deer. No one was there who you would know that well. Your last email was really good, thank you. I look forward to hearing more as always.

9Marianne checks the time in the top-right corner of the screen: 09:49. She navigates back to Joanna’s message and hits reply.

10He’s taking the photos today, I’m actually heading over there now. Of course I will send them to you when they are finished AND I expect long flattering commentary on each individual photograph. I’m excited to hear what you’ve learned about the US Civil War. All I’ve learned here is how to say ‘no thank you’ (nej tack) and ‘really, no’ (verkligen, nej). Talk soon xxx

11Marianne closes her laptop, eats another two bites of the pastry and folds the rest up in its little greaseproof wrap. She slips her laptop into her satchel and removes her soft felt beret, which she pulls down over her ears. The pastry she disposes of in a nearby bin.

12Outside it’s still snowing. The exterior world looks like an old TV screen badly tuned. Visual noise breaks the landscape into soft fragments. Marianne buries her hands in her pockets. Flakes of snow fall on her face and dissolve there. A cold flake alights on her top lip and she feels for it with her tongue.

13Head down against the cold, she is on her way to Lukas’s studio. Lukas’s hair is so blonde that the individual strands look white. She finds them on her clothing sometimes, finer than thread. He dresses all in black: black shirts, black zip-up hoodies, black boots with thick black rubber soles. He’s an artist.

14The first time they met, Marianne told him she was a writer. It was a lie. Now she avoids talking to him about it.

15Lukas lives near the station. She takes her hand from her pocket, blows on her fingers and presses the buzzer. He answers, in English: Who is it?

16It’s Marianne, she says.

17Ah, you’re early, says Lukas. Come on in.

18Why does he say ‘you’re early’? Marianne thinks as she climbs the stairs.

19The connection was fuzzy but he seemed to say it with a smile. Was he pointing it out to make her appear too eager? But she finds she doesn’t care how eager she appears, because there is no secret eagerness to be discovered in her. She could be here, ascending the staircase to Lukas’s studio, or she could be in the campus library, or in the dorm making herself coffee. For weeks now she has had this feeling, the feeling of moving around inside a protective film, floating like mercury. The outside world touches against her outside skin, but not the other part of herself, inside. So whatever Lukas’s reason for saying ‘you’re early’, she finds it doesn’t matter to her.

20Upstairs he’s setting up. Marianne removes her hat and shakes it. Lukas looks up, then back at the tripod. Are you getting used to the weather? he says.

21She hangs her hat on the back of the door and shrugs. She begins to take off her coat. In Sweden we have a saying, he says. There’s no such thing as bad weather, only bad clothes.

22Marianne hangs her coat beside her hat. What’s wrong with my clothes?

23she says mildly.

24It’s just an expression, says Lukas.

25She honestly can’t tell now if he meant to criticise her clothes or not. She’s wearing a grey lambswool sweater and a thick black skirt with knee-high boots. Lukas has bad manners, which, to Marianne, makes him seem childish.

26He never offers her coffee or tea when she arrives, or even a glass of water. He starts talking right away about whatever he has been reading or doing since her last visit. He doesn’t seem to crave her input, and sometimes her responses confuse or disorientate him, which he claims is an effect of his bad English. In fact his comprehension is very good. Anyway, today is different. She removes her boots and leaves them by the door.

27There’s a mattress in the corner of the studio, where Lukas sleeps. The windows are very tall and run almost to the floor, with blinds and thin trailing curtains. Various unrelated items are dotted around the room: several large potted plants, stacks of atlases, a bicycle wheel. This array impressed Marianne initially, but Lukas later explained he had gathered the items intentionally for a shoot, which made them seem artificial to her. Everything is an effect with you, Marianne told him once. He took this as a compliment about his art. He does have immaculate taste. He’s sensitive to the most minuscule of aesthetic failures, in painting, in cinema, even in novels or television shows. Sometimes when Marianne mentions a film she has recently watched, he waves his hand and says: It fails for me. This quality of discernment, she has realised, does not make Lukas a good person. He has managed to nurture a fine artistic sensitivity without ever developing any real sense of right and wrong. The fact that this is even possible unsettles Marianne, and makes art seem pointless suddenly.

28She and Lukas have had an arrangement for a few weeks now. Lukas calls it ‘the game’. Like any game, there are some rules. Marianne is not allowed to talk or make eye contact while the game is going on. If she breaks the rules, she gets punished later. The game doesn’t end when the sex is finished, the game ends when she gets in the shower. Sometimes after sex Lukas takes a long time before he lets her get in the shower, just talking to her. He tells her bad things about herself. It’s hard to know whether Marianne likes to hear those things; she desires to hear them, but she’s conscious by now of being able to desire in some sense what she does not want. The quality of gratification is thin and hard, arriving too quickly and then leaving her sick and shivery. You’re worthless, Lukas likes to tell her. You’re nothing. And she feels like nothing, an absence to be forcibly filled in. It isn’t that she likes the feeling, but it relieves her somehow. Then she showers and the game is over.

29She experiences a depression so deep it is tranquillising, she eats whatever he tells her to eat, she experiences no more ownership over her own body than if it were a piece of litter.

30Since she arrived here in Sweden, but particularly since the beginning of the game, people have seemed to her like coloured paper shapes, not real at all. At times a person will make eye contact with Marianne, a bus conductor or someone looking for change, and she’ll be shocked briefly into the realisation that this is in fact her life, that she is actually visible to other people. This feeling opens her to certain longings: hunger and thirst, a desire to speak Swedish, a physical desire to swim or dance. But these fade away again quickly. In Lund she’s never really hungry, and though she fills a plastic Evian bottle with water every morning, she empties most of it back into the sink at night.

31She sits on the corner of the mattress now while Lukas switches a lamp on and off and does something with his camera. I still don’t know with the light yet, he says. Maybe we can do, like, first one and then another one. Marianne shrugs. She doesn’t understand the import of what he’s saying. Because all his friends speak Swedish, it has been difficult for her to work out how popular or well regarded Lukas is. People spend time in his studio often and seem to move a lot of artistic equipment up and down his stairs, but are they fans of his work, grateful for his attention? Or are they exploiting him for the convenient location of his working space while making fun of him behind his back?

32Okay, I think we’re ready to go, says Lukas.

33Do you want me to …

34Maybe just the sweater now.

35Marianne pulls her sweater off over her head. She places it in her lap, folds it, and then puts it to one side. She is wearing a black lace bra with little flowers embroidered on it. Lukas starts doing something with his camera.

36*

37She doesn’t hear from the others much anymore: Peggy, Sophie, Teresa, that crowd. Jamie wasn’t happy about the break-up, and he told people he wasn’t happy, and people felt sorry for him. Things started to turn against Marianne, she could sense that before she left. At first it was unsettling, the way eyes turned away from her in a room, or conversation stopped short when she entered; the sense of having lost her footing in the social world, of being no longer admired and envied, how quickly it had all slipped away from her. But then she found it was easy to get used to. There’s always been something inside her that men have wanted to dominate, and their desire for domination can look so much like attraction, even love. In school the boys had tried to break her with cruelty and disregard, and in college men had tried to do it with sex and popularity, all with the same aim of subjugating some force in her personality. It depressed her to think people were so predictable. Whether she was respected or despised, it didn’t make much difference in the end. Would every stage of her life continue to reveal itself as the same thing, again and again, the same remorseless contest for dominance?

38With Peggy it had been hard. I’m your best friend, Peggy kept saying at the time, in an increasingly weird voice. She couldn’t accept Marianne’s laissez- faire attitude to the situation. You realise people are talking about you, Peggy said one night while Marianne was packing. Marianne didn’t know how to respond. After a pause, she replied thoughtfully: I don’t think I always care about the same things you care about. But I do care about you. Peggy threw her hands in the air wildly, walked around the coffee table twice.

39I’m your best friend, she said. What am I supposed to do?

40I don’t really know what that question means.

41I mean, what position does this put me in? Because honestly, I don’t really want to take sides.

42Marianne frowned, zipping a hairbrush into the pocket of her suitcase.

43You mean, you don’t want to take my side, she said.

44Peggy looked at her, breathing hard now from her exertion around the coffee table. Marianne was kneeling down by her suitcase still.

45I don’t know if you really understand how people are feeling, Peggy said.

46People are upset about this.

47About me breaking up with Jamie?

48About the whole drama. People are actually upset.

49Peggy looked at her, awaiting a response, and Marianne replied eventually: Okay. Peggy rubbed a hand over her face and said: I’ll leave you to pack up.

50As she went out the door she added: You should consider seeing a therapist or something. Marianne didn’t understand the suggestion. I should see a therapist because I’m not upset? she thought. But it was hard to dismiss something she had admittedly been hearing all her life from various sources: that she was mentally unwell and needed help.

51Joanna is the only one who has kept in touch. In the evening they talk on Skype about their coursework, films they’ve seen, articles Joanna is working on for the student paper. On-screen her face always appears dimly lit against the same backdrop, her cream-coloured bedroom wall. She never wears make- up anymore, sometimes she doesn’t even brush her hair. She has a girlfriend now called Evelyn, a graduate student in International Peace Studies.

52Marianne asked once if Joanna saw Peggy often, and she made a quick wincing expression, only for a fraction of a second, but long enough for Marianne to see. No, said Joanna. I don’t see any of those people. They know I was on your side anyway.

53I’m sorry, said Marianne. I didn’t want you to fall out with anyone because of me.

54Joanna made a face again, this time a less legible expression, either because of the poor lighting, the pixelation on-screen, or the ambivalent feeling she was trying to express.

55Well, I was never really friends with them anyway, said Joanna. They were more your friends.

56I thought we were all friends.

57You were the only one I got on with. Frankly I don’t think Jamie or Peggy are particularly good people. It’s not my business if you want to be friends with them, that’s just my opinion.

58No, I agree with you, said Marianne. I guess I just got caught up in how much they seemed to like me.

59Yeah. I think in your better judgement you did realise how obnoxious they were. But it was easier for me because they never really liked me that much.

60Marianne was surprised by this matter-of-fact turn in the conversation, and felt a little castigated, though Joanna’s tone remained friendly. It was true, Peggy and Jamie were not very good people; bad people even, who took joy in putting others down. Marianne feels aggrieved that she fell for it, aggrieved that she thought she had anything in common with them, that she’d participated in the commodity market they passed off as friendship. In school she had believed herself to be above such frank exchanges of social capital, but her college life indicated that if anyone in school had actually been willing to speak to her, she would have behaved just as badly as anyone else. There is nothing superior about her at all.

61*

62Can you turn and face to the window? says Lukas.

63Sure.

64Marianne turns on the mattress, legs pulled up to her chest.

65Can you move, like … legs down in some way? says Lukas.

66Marianne crosses her legs in front of her. Lukas scoots the tripod forward and readjusts the angle. Marianne thinks of Connell’s email comparing her to a deer. She liked the line about thoughtful faces and sleek bodies. She has lost even more weight in Sweden, she’s thinner now, very sleek.

67She’s decided not to go home for Christmas this year. She thinks a lot about how to extricate herself from ‘the family situation’. In bed at night she imagines scenarios in which she is completely free of her mother and brother, on neither good nor bad terms with them, simply a neutral non-participant in their lives. She spent much of her childhood and adolescence planning elaborate schemes to remove herself from family conflict: staying completely silent, keeping her face and body expressionless and immobile, wordlessly leaving the room and making her way to her bedroom, closing the door quietly behind her. Locking herself in the toilet. Leaving the house for an indefinite number of hours and sitting in the school car park by herself. None of these strategies had ever proven successful. In fact her tactics only seemed to increase the possibility that she would be punished as the primary instigator.

68Now she can see that her attempt to avoid a family Christmas, always a peak occasion for hostilities, will be entered into the domestic accounting book as yet another example of offensive behaviour on her part.

69When she thinks of Christmastime now she thinks of Carricklea, lights strung up over Main Street, the glowing plastic Santa Claus in the window of Kelleher’s with its animated arm waving a stiff, repetitive greeting. Tinfoil snowflakes hanging in the town pharmacy. The door of the butcher shop swinging open and shut, voices calling out on the corner. Breath rising as mist in the church car park at night. Foxfield in the evening, houses quiet as sleeping cats, windows bright. The Christmas tree in Connell’s front room, tinsel bristling, furniture cramped to make space, and the high, delighted sound of laughter. He said he would be sorry not to see her. Won’t be the same without you, he wrote. She felt stupid then and wanted to cry. Her life is so sterile now and has no beauty in it anymore.

70I think maybe take this off, Lukas says now.

71He’s gesturing to her bra. She reaches behind her back and snaps open the clasp, then slips the straps off her shoulders. She discards it out of view of the camera. Lukas takes a few pictures, lowers the camera’s position on the tripod, moves it forward an inch, and continues. Marianne stares at the window. The sound of the camera shutter stops eventually and she turns around. Lukas is opening a drawer underneath the table. He takes out a coil of thick black ribbon, made of some coarse cotton or linen fibre.

72What’s that? Marianne says.

73You know what it is.

74Don’t start this now.

75Lukas just stands there unwinding the cloth, indifferent. Marianne’s bones begin to feel very heavy, a familiar feeling. They are so heavy she can hardly move. Silently she holds out her arms in front of her, elbows together. Good, he says. He kneels down and wraps the cloth tightly. Her wrists are thin but the ribbon is pulled so tight that a little flesh still swells on either side. This looks ugly to her and instinctively she turns away, towards the window again.

76Very good, he says. He goes back to the camera. The shutter clicks. She closes her eyes but he tells her to open them. She’s tired now. The inside of her body seems to be gravitating further and further downwards, towards the floor, towards the centre of the earth. When she looks up, Lukas is unwrapping another length of ribbon.

77No, she says.

78Don’t make it hard on yourself.

79I don’t want to do this.

80I know, he says.

81He kneels down again. She draws her head back, avoiding his touch, and quickly he puts his hand around her throat. This gesture doesn’t frighten her, it only exhausts her so entirely that she can’t speak or move anymore. Her chin drops forward, slack. She’s tired of making evasive efforts when it’s easier, effortless, to give in. He squeezes her throat slightly and she coughs. Then, not speaking, he lets go of her. He takes up the cloth again and wraps it as a blindfold around her eyes. Even her breathing feels laboured now. Her eyes itch. He touches her cheek gently with the back of his hand and she feels sick.

82You see, I love you, he says. And I know you love me.

83Horrified, she pulls away from him, striking the back of her head on the wall. She scrabbles with her bound wrists to pull the blindfold back from her eyes, managing to lift it far enough so that she can see.

84What’s wrong? he says.

85Untie me.

86Marianne.

87Untie me now or I’ll call the police, she says.

88This doesn’t seem a particularly realistic threat, since her hands are still bound, but maybe sensing that the mood has changed, Lukas starts to unwrap the cloth from her wrists. She’s shivering violently now. As soon as the binding is loose enough that she can draw her arms apart, she does. She pulls the blindfold off and grabs her sweater, tugs it over her head, threads her arms through the sleeves. She’s standing up straight now, feet on the mattress.

89Why are you acting like this? he says.

90Get away from me. Don’t ever talk to me like that again.

91Like what? What did I say?

92She takes her bra from the mattress, crumples it in her hand and walks across the room to thrust it down into her handbag. She starts to pull her boots on, hopping stupidly on one foot.

93Marianne, he says. What have I done?

94Are you being serious or is this some kind of artistic technique?

95All of life is an artistic technique.

96She stares at him. Improbably, he follows this remark up with: I think you are a very gifted writer. She laughs, out of horror.

97You don’t feel the same way for me, he says.

98I want to be very clear, she says. I feel nothing for you. Nothing. Okay?

99He returns to his camera, back turned to her, as if to disguise some expression. Malicious laughter at her distress? she thinks. Rage? He could not, it’s too appalling to consider, actually have hurt feelings? He starts to remove the device from the tripod. She opens the door of the apartment and makes her way down the staircase. Could he really do the gruesome things he does to her and believe at the same time that he’s acting out of love? Is the world such an evil place, that love should be indistinguishable from the basest and most abusive forms of violence? Outside her breath rises in a fine mist and the snow keeps falling, like a ceaseless repetition of the same infinitesimally small mistake.