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As it had been some time since I had broken off communication with my father, I was not up to date either on developments in his life or in Indonesian political life. “I want to know for sure. I think I’ll go to Beaubourg to find out.”

“I doubt if you’ll find much there,” Nara said. “I’d be surprised if the Beaubourg had much stuff on regulations affecting former political prisoners or their families.”

“Oh…” I didn’t know what to say. I could feel my heart pounding.

Nara took my arm and walked me to the door.

“Coming in?” I asked.

“I’m sure your mother wants you to herself tonight. I’ll just go home.”

From the clutch bag I had also borrowed from mother, I removed two name cards and showed them to Nara.

“Hans and Raditya,” I said with a laugh.

This time, Nara laughed along.

“They told me that if I wanted to go to Jakarta on a tourist visa that they’d be willing to help.”

Nara smiled, now with a look of optimism on his face. “Not all the people at the embassy are cut from the same cloth. The younger ones, like those friends of mine, are very different in their thinking than the old-school diplomats.”

I still hesitated to express my opinion on the subject of a “clean environment,” the look on Tante Sur’s face, and the opinions of the various diplomats and guests who were at the party. I was thinking of Professor Dupont’s words about my father, and about history. That night I had been introduced to a part of Indonesia which was very different from the one I knew through Tanah Air Restaurant.

Suddenly, having entered a long and dark tunnel into Indonesian history, I felt the need for a lighted candle. Just as suddenly, blood quickened in my veins. My chest pounded. The word “Indonesia”—I-N-D-O-N-E-S-I-A — suddenly became something of interest for me. I thought of Shakespeare and of Rumi.

How was I to pluck the meaning of Indonesia from the word “Indonesia”? The reaction of Tante Sur, she of the red kebaya , was one I had just come to know at a glance. What is the real Indonesia, I asked myself. Where is it? And where within it are my father, Om Tjai, Om Risjaf, and Om Nug?

I stroked Nara’s chin and then kissed him on the lips. Delightfully surprised, he nestled his body closer to mine.

“What was that kiss for?” he asked.

“Because you are the angel who descended from heaven to save me.”

And then I kissed him again.

There once was what remained of a park the place where we embraced.

(“AFTERWORD,” GOENAWAN MOHAMAD, 1973)

PARIS, MAY 1997

THE SOUND OF RAVEL’S “MIROIRS” was a constant in Lintang’s apartment. Narayana knew very well that Ravel was always able to soothe Lintang’s soul and heal her wounds. Nara took a video cassette and inserted it in the player As the video began to play, he saw the somewhat blurred image of a younger Dimas from ten or more years previously. Facing the lens, Dimas was giving instructions to the person holding the video camera.

“Don’t come too close or you’ll blur my face.”

Dimas now stuck his head towards the lens to give instructions. The lens turned away from him. Only then Nara realized that the person who had been holding the camera was Lintang. Look at her, how young she is: only nine or ten years of age. But she was a beauty even then, this Eurasian girl with starry eyes.

“ Bonjour . This camera is a gift from my ayah . Today is my birthday and I am, I am…”

“Ten years old!” came the sound of Dimas’s voice, announcing his daughter’s age.

Lintang giggled.

“Starting today, I am going to record…”

Lintang’s small hands reached out to take the camera. Garbled images and sounds ensued as the camera moved hands. The next clear image was that of Vivienne sitting on a lawn chair beneath a tree. Her face had a weary look as she leaned against the back of the chair. Noticing the camera, she smiled and waved, but then she looked down, her lips stiff once more. Gloomy.

Narayana’s forehead furrowed as he watched this fledgling documentary.

“It was around that time my parents began to argue a lot.”

Lintang had suddenly appeared behind Narayana with two open bottles of beer in her hands. Nara grabbed one of the bottles and took a swig.

“Ayah bought a used video camera for me. A friend of his had several, and he bought one from him — but not all at once; he had to pay installments for months on end.” Lintang sat down beside Nara on her threadbare sofa. As Nara pushed the pause button on the player, she stared at the image of her mother’s face, frozen on the television screen. “Maman was not pleased with Ayah because their finances were so tight around that time.”

“I’m sure she thought that you were too young,” Nara quickly surmised.

For a moment, Lintang said nothing, then: “Later, of course, after she realized how much I loved film, she stopped complaining. But arguments between my parents always erupted whenever Ayah spent money on things Maman thought to be unnecessary.”

Nara said nothing. And Lintang felt reluctant to talk about how a love as great as the one her parents shared could be riven by seemingly minor domestic issues. She thought of her father. How long had it now been since she had seen him?

As if reading her mind, Nara suggested, “You really should visit your father.”

Perturbed by the thought, Lintang squeezed her eyes shut. “Nara, Nara… Have you forgotten that dinner of ours together — that fucked up meal, the very worst dinner in my entire life?”

Nara laughed. “That was months ago! Besides, Lintang, it’s in a father’s nature to be protective of his daughter when he’s introduced to the man she’s now with.”

Nara had already forgiven Lintang’s father for his behavior the first time they’d met five months previously. It was Lintang who refused to compromise. The night of their first dinner together had been the breaker for her; she had decided then she would never again visit her father unless forced to.

BRUSSELS, OCTOBER 1994

When I first suggested to Nara that he meet my father, he immediately agreed and made arrangements for the three of us to meet over dinner at L’Amour, a favorite place of ours in Brussels where both food and art ruled. The first time we dined there was around the time we first began to date. If I had to list the five most unique restaurants I have ever visited, L’Amour would definitely be on the list. The restaurant resembled a cave, a real cavern, with walls constructed of what appeared to be mammoth stones and whose multi-colored tables and chairs — which had been imported from India and Egypt, we learned — also appeared to be made of stone. The menu was personal, planned and served according to a customer’s wishes. The restaurant’s lighting was minimal with almost no electric lights at all, except for a few small ones in the cave’s recesses. Illumination was provided by candles, hundreds of them affixed to the walls of the cave throughout. Our first time there, I almost grew scared wondering if there was enough oxygen for us to breathe in that windowless place. But once that fear abated, we dissolved in the romantic atmosphere.

That said, and as much as I liked L’Amour, I didn’t think it was the most appropriate place to invite Ayah to dinner or for the two of them to get to know each other — not because the restaurant was incredibly expensive, with a clientele made up primarily of well-heeled people from Brussels and Paris — but because I was sure that Ayah would find the place to be pretentious and a testimony to the class differences that had so marked his life. But Nara had chosen the place because that is where the Lafebvre family liked to celebrate special occasions — wedding anniversaries and birthdays, for instance — and that is where he had first kissed me.