Once Monica is freed from the pressures of finance and reawakened by an erotic and compassionate love, she begins to create her best work. She embarks on a series of paintings based on the idea that the deposed Christs of Renaissance art were not dead but postorgasmic. These highly controversial paintings immediately make her a hero of the art world — and an enemy of the Christian right. But as Monica's fame and wealth increase enormously, B. is faced with an abrupt turn in his fortunes and loses almost everything. Suddenly, Monica and B. find their roles reversed and must contend with the implications involved in a society where the man is generally considered the provider.