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Chapters (51)
  1. Cover
  2. Title Page
  3. Dedication
  4. MONDAY, APRIL 15
  5. PROLOGUE
  6. SATURDAY, APRIL 13
  7. CHAPTER 1
  8. CHAPTER 2
  9. CHAPTER 3
  10. CHAPTER 4
  11. CHAPTER 5
  12. CHAPTER 6
  13. SUNDAY, APRIL 14
  14. CHAPTER 7
  15. CHAPTER 8
  16. CHAPTER 9
  17. CHAPTER 10
  18. CHAPTER 11
  19. MONDAY, APRIL 15
  20. CHAPTER 12
  21. CHAPTER 13
  22. CHAPTER 14
  23. CHAPTER 15
  24. CHAPTER 16
  25. CHAPTER 17
  26. TUESDAY, APRIL 16
  27. CHAPTER 18
  28. CHAPTER 19
  29. CHAPTER 20
  30. CHAPTER 21
  31. CHAPTER 22
  32. CHAPTER 23
  33. WEDNESDAY, APRIL 17
  34. CHAPTER 24
  35. CHAPTER 25
  36. CHAPTER 26
  37. CHAPTER 27
  38. CHAPTER 28
  39. THURSDAY, APRIL 18
  40. CHAPTER 29
  41. CHAPTER 30
  42. CHAPTER 31
  43. CHAPTER 32
  44. CHAPTER 33
  45. CHAPTER 34
  46. FRIDAY, APRIL 19
  47. CHAPTER 35
  48. ACKNOWLEDGMENTS
  49. More from the Author
  50. ABOUT THE AUTHOR
  51. ALSO BY KATRINE ENGBERG

The front of the building was a clothing shop, the back below the atelier was the shop’s storeroom. They had just closed for the day; she would have peace and quiet to work for the rest of the afternoon and evening. In here no one commented on the mess, the music, or the turpentine smell. The atelier was her biggest luxury and her only necessary expense. Jenny would rather give up her tiny apartment near Nørrebro Circle than do without this place.

She pulled a sheet of thick watercolor paper off her Canson pad, secured it with clips to a plywood board, and set it on the easel. Placed charcoal sticks and powdered charcoal ready on the floor, got out rags and the spray fixative to set the work once the drawing was finished. She hummed to herself. The preparations that preceded the actual artmaking were so ingrained in her fingers that she became one with them. Once everything was ready she chose a charcoal stick from the jar and brought it to the blank paper without hesitation.

Her students often asked about inspiration, where it came from and how it got converted into art. Jenny never knew what to answer. For her, drawing and painting were as intuitive and natural as breathing. She just did it, let her fingers be the link between soul and paper. The picture took shape on the canvas without her conscious awareness. She was often surprised at the scenes that materialized before her, even though they had been created by her own hands.

She listened to the scratch of the charcoal stick against the paper. When she stood like this in front of the easel, time literally disappeared. Morning turned into evening and night became noon without her registering it.

Jenny took a step back from the easel, forcing herself to snap out of her trance and look at the nascent picture. She saw a familiar form, a body with its face turned away and pale, naked limbs. She recalled the countless exhibits of Rodin’s drawings, Duchamp’s elementary parallelism, and Picasso’s portraits that her gallery-owning parents had dragged her and her sister to throughout their childhood. Those images had forever become embedded in her flesh. They lived in her and comforted her when she felt lost.