Free Interpreter of Maladies by Jhumpa Lahiri

read. "'They depict the cycle of creation, preservation, and achievement of realization.' Cool." He turned the page of his book. "'Each wheel is divided into eight thick and thin spokes, dividing the day into eight equal parts. The rims are carved with designs of birds and animals, whereas the medallions in the spokes are carved with women in luxurious poses, largely erotic in nature.'"
    What he referred to were the countless friezes of entwined naked bodies, making love in various positions, women clinging to the necks of men, their knees wrapped eternally around their lovers' thighs. In addition to these were assorted scenes from daily life, of hunting and trading, of deer being killed with bows and arrows and marching warriors holding swords in their hands.
    It was no longer possible to enter the temple, for it had filled with rubble years ago, but they admired the exterior, as did all the tourists Mr. Kapasi brought there, slowly strolling along each of its sides. Mr. Das trailed behind, taking pictures. The children ran ahead, pointing to figures of naked people, intrigued in particular by the Nagamithunas, the half-human, half-serpentine couples who were said, Mr. Kapasi told them, to live in the deepest waters of the sea. Mr. Kapasi was pleased that they liked the temple, pleased especially that it appealed to Mrs. Das. She stopped every three or four paces, staring silently at the carved lovers, and the processions of elephants, and the topless female musicians beating on two-sided drums.
    Though Mr. Kapasi had been to the temple countless times, it occurred to him, as he, too, gazed at the topless women, that he had never seen his own wife fully naked. Even when they had made love she kept the panels of her blouse hooked together, the string of her petticoat knotted around her waist. He had never admired the backs of his wife's legs the way he now admired those of Mrs. Das, walking as if for his benefit alone. He had, of course, seen plenty of bare limbs before, belonging to the American and European ladies who took his tours. But Mrs. Das was different. Unlike the other women, who had an interest only in the temple, and kept their noses buried in a guidebook, or their eyes behind the lens of a camera, Mrs. Das had taken an interest in him.
    Mr. Kapasi was anxious to be alone with her, to continue their private conversation, yet he felt nervous to walk at her side. She was lost behind her sunglasses, ignoring her husband's requests that she pose for another picture, walking past her children as if they were strangers. Worried that he might disturb her, Mr. Kapasi walked ahead, to admire, as he always did, the three life-sized bronze avatars of Surya, the sun god, each emerging from its own niche on the temple facade to greet the sun at dawn, noon, and evening. They wore elaborate headdresses, their languid, elongated eyes closed, their bare chests draped with carved chains and amulets. Hibiscus petals, offerings from previous visitors, were strewn at their gray-green feet. The last statue, on the northern wall of the temple, was Mr. Kapasi's favorite. This Surya had a tired expression, weary after a hard day of work, sitting astride a horse with folded legs. Even his horse's eyes were drowsy. Around his body were smaller sculptures of women in pairs, their hips thrust to one side.
    "Who's that?" Mrs. Das asked. He was startled to see that she was standing beside him.
    "He is the Astachala-Surya," Mr. Kapasi said. "The setting sun."
    "So in a couple of hours the sun will set right here?" She slipped a foot out of one of her square-heeled shoes, rubbed her toes on the back of her other leg.
    "That is correct."
    She raised her sunglasses for a moment, then put them back on again. "Neat."
    Mr. Kapasi was not certain exactly what the word suggested, but he had a feeling it was a favorable response. He hoped that Mrs. Das had understood Surya's beauty, his power. Perhaps they would discuss it further in their letters. He