Chapters (53)
- Cover
- Title Page
- An Explanation of What This Book Is About
- Part One: Anna’s Sergei and Anya’s City: St. Petersburg, Saturday, January 8, 1905
- 1. On the Heels of Clementine, the Anarchist
- 2. Claudia and Sergei
- 3. Clementine Defends Herself
- 4. To the Concert
- 5. The Tsar’s Letter
- 6. In the Theater
- 7. What Giorgi, the Karenins’ Coachman, Did
- 8. Intermission at the Concert
- 9. Near the Port
- 10. More Specifics about Sergei
- 11. Kapitonich, Hall Porter at the Karenin Palace
- 12. Claudia and Sergei at Table
- 13. Aleksandra and Volodin Go to the Haven
- 14. Our Moment of Greatness
- 15. With Father Gapon
- 16. Clementine, in Pursuit of the Night
- 17. In the Karenin Palace Kitchen
- 18. We’ll Give Our Lives!
- 19. The Karenins Take Dinner
- Part Two: Bloody Sunday: Sunday, January 9, 1905
- 20. Anya Karenina without Aleksandra
- 21. The Karenins’ Reply to the Tsar
- 22. Piotr
- 23. The Three Women
- 24. Claudia’s Impatience
- 25. Unexpected Guests at the Karenin Palace
- 26. What on Earth Was the Tsar Thinking?
- 27. Back in the Karenin Palace Kitchen
- 28. The Reverend’s Beard
- Part Three: Karenina’s Portrait: Three months later
- 29. Karenina’s Portrait
- 30. About Clementine
- 31. The Critics Examine the Portrait
- 32. Vladimir
- 33. The Reason for the Proposed Purchase
- 34. The Portrait Departs
- 35. Between the Dream and the Battleship Potemkin
- 36. Claudia’s Regrets
- 37. In Claudia’s Hands
- Part Four: The Book of Anna: No date or place
- 38. An Opium-Infused Fairy Tale: The Book of Anna by Anna Karenina
- Part Five: Finale: St. Petersburg, June 1905
- 39. After Reading
- 40. The Plot
- 41. The Boxes
- 42. Anya Karenina
- 43. The Wind
- Funder Acknowledgments
- The Publisher’s Circle of Coffee House Press
At the same time, in Sergei and Claudia’s house, in the room next to Sergei’s, Claudia lies in bed thinking, It’s my fault, mine. I’m the one who convinced Sergei to sell the portrait of his mother. I’m the one who’s giving the painting of Tolstoy’s character to the tsar. Sergei didn’t want to. I, I … Am I reprehensible? Everything appears different now from how it did when we accepted…. Our Russia is a different country….
She tries to calm down by telling herself, What Tolstoy said was just a dream, this wouldn’t matter a fig to him. But it doesn’t calm her; it doesn’t work. According to Lantur (the cook), dreams speak truth…. Enough! She’s the cook, what does she know? … But she’s right, she’s right.
She tries not to think, to go to sleep. In the anxiety of this unfamiliar insomnia, her remorse is eating away at her. Claudia gets out of bed, takes her lamp, and goes downstairs to Sergei’s study.
She enters his study and lights three bright lamps, which illuminate the portrait in all its splendor. The magnificent, lovely Anna Karenina, never more beautiful, is the sun at midnight. Claudia has her back to it because of the way the lamps are positioned. She’s still holding the base of the third lamp when she sees the box covered in blue cloth, which she found next to the portrait in the attic, on a stool next to the chair of Sergei’s desk.
“How could I have forgotten about this,” she says to herself. “I haven’t laid eyes on it since I brought it down from the attic.”
She picks up the box and puts it on the desk. She undoes the ribbon, tied in a bow that keeps it shut. Once white, it has yellowed over the years. When she unties it, its different shades are visible.
“This ribbon has seen better days, it’s been marking time….”
Inside the box is the manuscript that Anna Karenina wrote when she was at her very happiest. Beautifully bound in leather, it submits to Claudia’s touch. She takes it out, places it on the desk, and sets her lamp nearby to read. Then she sees there’s another manuscript at the bottom of the box, thinner and written in a smaller script on loose sheets. On the first page, she reads: