She had married right out of art school: Joe Boyet, a promising young businessman, the only man she had ever loved and only the third she had ever slept with. When Joe had died eight years ago, she had nearly lost her mind. She tried to throw herself into her teaching, hoping that by inspiring the children she might find some reason to go on herself. In the face of the escalating violence in her school, she resigned herself to wearing a bullet-proof vest under her artist smocks and even brought in some paintball guns to try to gain the pupils’ interest, but the latter only backfired into several incidents of drive-by abstract expressionism, and soon she received death threats for not allowing students to fashion crack pipes in ceramics class. Her students—children living in a hyperadult world where play-ground disputes were settled with 9 mms—eventually drove her out of teaching. Estelle lost her last reason to go on. The school psychologist re-ferred her to a psychiatrist, who put her on antidepressants and recommen-ded immediate retirement and relocation.

Estelle moved to Pine Cove, where she began to paint and where she fell under the wing of Dr. Valerie Riordan. No wonder then that Estelle’s painting had taken a dark turn over the last few weeks. She painted the ocean. Every day. Waves and spray, rocks and serpentine strands of kelp on the beach, otters and seals and pelicans and gulls. Her canvases sold in the local gal-leries as fast as she could paint them. But lately the inner light at the heart of her waves, titanium white and aquamarine, had taken on a dark shadow. Every beach scene spoke of desolation and dead fish. She dreamed of le-viathan shadows stalking her under the waves and she woke shivering and afraid. It was getting more difficult to get her paints and easel to the shore each day. The open ocean and the blank canvas were just too fright-ening.