chin delicately pointed and cleft. For the moment, Nathan resisted taking her photograph.
âI notice you donât seem to need to change lenses. The last photojournalist we had in here had a belt full of lenses. He made quite a lot of cinema twisting those lenses on and off his camera.â
âYouâre very observant,â said Nathan. It was obvious that you could not compliment Dr. Molnár too much; it gave Nathan perverse satisfaction to find oblique ways to do it. âI sometimes do have a second camera body with a macrophotography lens. But these modern zooms have actually surpassed a lot of the old prime lenses in quality. Are you a student of photography?â
Dr. Molnár smiled behind his mask. âI have a half-interest in a little restaurant in a hotel downtown in Pest. You must come. You will be my special guest. The walls are covered with my photographs of nudes. I wouldnât use that thing, though,â he said, pointing an oddly shaped forceps at the Nikon. âIâm strictly an analogue man. Medium-format film for me, and thatâs that. Itâs slow, itâs big and clumsy, and the details you see are exquisite. You can lick them. You can taste them.â The doctorâs mask bulged with the gestures his tongue was making to illustrate his approach to photography. He had already established in his first discussions with Nathan that it was the sensuality of surgery that had initially drawn him to the practice; sensuality was the guiding principle of every aspect of his life. He was making sure that Nathan wouldnât forget it.
And now, in a very smooth segueâwhich Nathan thought of as particularly HungarianâDr. Molnár said, âHave you met our patient, Nathan? Sheâs from Slovenia. Une belle Slave .â Molnár peeked over the cloth barrier and spoke to the disconnected head with disarmingly conversational brio. âDunja? Have you met Nathan? You signed a release form for him, and now heâs here with us in the operating theater. Why donât you say hello?â
At first Nathan thought that the good doctor was teasing him; Molnár had emphasized the element of playfulness in his unique brand of surgery, and chatting with an unconscious patient would certainly qualify as Molnáresque. But to Nathanâs surprise Dunjaâs eyes began to stutter open, she began working her tongue and lips as though she were thirsty, she took a quick little breath that was almost a yawn.
âAh, there she is,â said Molnár. âMy precious one. Hello, darling.â Nathan took a step backward in his slippery paper booties in order not to impede the strange, intimate flow between patient and doctor. Could she and her surgeon be having an affair? Could this really be written off as Hungarian bedside manner? Molnár touched his latex-bound fingertips to his masked mouth, then pressed the filtered kiss to Dunjaâs lips. She giggled, then slipped away dreamily, then came back. âTalk to Nathan,â said Molnár, withdrawing with a bow. He had things to do.
Dunja struggled to focus on Nathan, a process so electromechanical that it seemed photographic. And then she said, âOh, yes, take pictures of me like this. Itâs cruel, but I want you to do that. Zoltán is very naughty. A naughty doctor. He came to interview me, and we spent quite a bit of time together in my hometown, which isââanother druggy giggleââsomewhere in Slovenia. I canât remember it.â
âLjubljana,â Molnár called out from the foot of the table, where he was sorting through instruments with his colleagues.
âThank you, naughty doctor. You know, itâs your fault I canât remember anything. You love to drug me.â
Nathan began to photograph Dunjaâs face. She turned towards the camera like a sunflower. He regretted that he had decided not to use a video camera on his assignments, a fussy