Véra assumed her married name almost as a stage name; rarely has matrimony so much represented a profession. It was one of the ironies of the life that – born at a time and place where women could and did lay claim to all kinds of ambitions – she should elevate the role of wife to a high art. […] Traditionally, a man changes his name and braces himself for fame; a woman changes hers and passes into oblivion. This was not to be Véra’s case, although she did gather her married name around her like a cloak, which she occasionally opened to startling effect. She would never be forced to make a woman’s historic choice between love and work. Nor would Verochka, as Vladimir called her, squander any of her professional training, though as it happened her husband would be the direct (and sole) beneficiary of that expertise.
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