The flash fiction portrays Anna's internal struggle as she navigates her marriage and self-identity. It opens with a metaphor of marriage depicted as two individuals back to back, amidst chaos in a bistro. A postcard from her lover compels her to question her role in their relationship. Anna's striking beauty contrasts with her inner decay, where she perceives herself as a grotesque reflection of divinity. The piece climaxes with her violent imagery, as she envisions wielding an electric carving knife, illustrating her deep-seated turmoil and longing for escape.
Two people sitting with their backs to each other in a bistro - that was marriage. Chairs flung across the room; tables flipped; fingers idling on the switch of an electric carving knife: all these things were marriage, too.
When he'd visited the Taj Mahal, Anna's lover had sent her a postcard, and the postcard had said: I've seen half of God's face here, and the other half is you.
Anna knew that her eyes were her most striking feature, and still it was obvious to her that she would not be the half of God's face that held His eyes, but the half that bore His mouth: a gaping hole.
She pictured herself grabbing that electric carving knife - as she once had at home, holding it up to her throat just decisively enough to leave a small, fast-bleeding wound - and cleaving God's head in two.
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