The Ambassador's Daughter. Pam Jenoff

      “Her father is Friedrich Rosenthal,” Krysia adds with emphasis. Heads nod in recognition.

      “Your father doesn’t write under a nom de plume,” Ignatz observes, still twirling a coin.

      “No, why should he?”

      “I think Ignatz only meant that not every writer has the courage to speak of such things in his own name,” Krysia clarifies. Courage. I recall the news from back home in Berlin, the violence that had erupted as a result of the civil unrest. Politicians has been shot for no more than their views. Could Papa and the other academics be in similar danger?

      Modigliani leans in, his artist eyes soulful. “And what are you, ma petite?”

      “Deo,” Krysia warns in a low voice, protective like an older sister.

      I am uncertain how to answer. “I’m engaged,” I offer. My response is met with blank stares around the table.

      “I believe,” Krysia prompts gently, “that he was asking what you are planning to do now that the war is over?” Krysia’s clarification is of little help. Before the war, my future was clear—marriage to Stefan, the biggest question being whether to live with Papa indefinitely or save for an apartment of our own. That world is gone now. But still the old ties and expectations remain.

      “I don’t know,” I confess finally. The room is warm and wobbly from the beer.

      “How exciting.” I search for sarcasm in her voice and find none. “Starting fresh, reborn out of the ashes. The war was horrible, but it has shaken things up, given each of us a chance to stake a claim for what she wants.”

      “They say that Kolchak’s Whites are making gains at Perm …” Ignatz offers, turning the topic to Russia. I sit back, grateful to no longer be the focus. But I find the topic unsettling. Russia has become a wild land since the czar was taken down, his whole family murdered. The Bolsheviks are in charge, or at least most think so—the country has largely been cut off from the West and so only rumors trickle out.

      “Papa says we need to engage with the Whites as well as the Bolsheviks,” I say, speaking up in spite of my own desire to remain inconspicuous. I fight to keep the uncertainty from my voice. But I sound childish, falling back on my father’s opinions as if I have none of my own. “That is, perhaps we can help them to form some sort of coalition government….” I falter, unaccustomed to the eyes on me. Even the dark-eyed boy behind the bar appears to be listening with interest. I have discussed politics with Papa all my life, but never in a public forum such as this.

      “What else does Papa say?” Ignatz asks from where he stands behind Krysia, a note of chiding to his voice.

      “That the conference will move quickly to act before Russia can subsume too much territory.” I speak quickly now, too far gone to stop. “With a quick vote on recognition of the new Croat-Serb state, for example. The vote is to take place as soon as the conference opens. And it seems that Wilson and Lloyd George are favorably predisposed to a Pan-Slavic nation. But Clemenceau is likely to side with Orlando and the Italians and hold it up….”

      “They can vote all they want. Lenin will not compromise on any sort of coalition,” Krysia remarks. She is talking about the Bolshevik leader not with the same fear I’ve heard at the parties, but with a kind of hushed reverence.

      “You’re communist?” I ask, recalling her description of Papa’s work.

      “I detest labels,” she replies coolly. “I’d say socialist, really, though there’s nothing wrong with communism as an ideal.”

      Thinking of the stories I’ve read about Russia, I shudder. “It’s anarchy. They destroy businesses and overthrow leaders. They murdered the czar’s whole family, even the children.”

      “That’s the problem with Germans,” one of the men scoffs derisively. “No stomach for reform. As Lenin says, revolution will never come to Berlin because the Germans would want to queue up for it.”

      “It’s a shame that social change has to be accomplished by such violent means,” Krysia says before I can respond to the insult. “Though the previous rulers were hardly saints. Really the ideas behind communism of equal contributions and distributions are good. But they’re being corrupted for power just like any other ideology.”

      One of the men snorts. “Bah! The socialists are too weak to act on their principles. We can sit around here talking all night and it will do nothing. We need to do something.”

      “Raoul …” Krysia says, and there is an undercurrent of warning to her voice. “We should go,” she adds abruptly.

      I’ve offended her, I fret. But the gathering has begun to break up, and around us everyone is gathering their coats and reaching for their pockets for a few loose francs. I picture guiltily Papa’s allowance money folded neatly in my purse. Should I offer to pay? Only Modigliani sits motionless. “Am I to accept another drawing from you?” Ignatz asks him chidingly. I notice then that the wall behind the bar is covered with artwork, framed paintings and hastily pinned sketches to pay for food and drink. The artist does not answer, but stares into the distance, his eyes heavy lidded.

      “You’ll see him home?” Krysia asks Ignatz, then turns to me without waiting for a response. “Spirits help the creative soul to a point,” she says in a low voice, as we make our way through the main room of the café. The crowd has ceded to the curfew, leaving beer bottles and overflowing ashtrays in their wake. “And then they destroy it.”

      “Monsieur Modigliani, will he be all right?”

      She nods. “Stein will kick him out at some point. Otherwise a good number of them would stay all night—these days, it’s cheaper than heating their flats.”

      “So many artists. I’d heard of such things, but I had no idea….”

      “They suffered during the war like everyone else with lack of food and money. But now they’re trying to recapture the lost time, the frenzy of life. And art is such a solitary business. Coming together like this gives them a sense of companionship. Though with all of the drinking and such, it’s a marvel they get any work done at all.”

      Outside the night is icy. “What did that man, Raoul, I believe you called him, mean about ‘doing something’?”

      She hesitates. “Nothing. They all like to talk big when they drink. What could a few artists do, anyway? It’s just that the way the peace conference is being conducted, it will still only be justice for some, a gift from the powerful if they choose to be beneficent. But true freedom is innate—given not by man but from God herself.” My jaw drops slightly at Krysia’s reference to God as a female.

      Krysia hails a taxi and holds the door for me. I slide across the seat to make room for her. She does not get in, but starts to hand the driver some bills. “My flat is nearby,” she explains.

      “I have money,” I say.

      “Well, get home safely. And Deo is right. You should figure out what you want to do.”

      “Do?”

      “With your life. Self-determination isn’t just some abstract political notion, intended for the masses. Each of us must decide whom she will be, what we want for ourselves.” I had not thought about it in such a manner. “You’re not bored,” she observes. “You’re restless. Bored suggests a lack of interest in the world around you. But you drink in everything and can’t get enough. The world has come to Paris and you’re at the center of it all,” she adds. “The question now is what you do with it.”

      I see myself then as undefined, a lump of clay. “But I’m just an observer.” In that moment, I grasp my own frustration—I am tired of just watching things play out in front of me like a performance on a stage. I want to take part.

      “Why?” she demanded. “Why not allow yourself even for a minute to step outside the box into which you were born?”

      “My