They picked an overflowing handful each and then returned to the kayak and poured some water from their water bottle over them to wash off the dust. Then, sitting facing one another on the grass behind the blackberry hedge, shaded by an oak tree, they fed each other berries as floaters and kayakers passed by out of sight.

"This flavor means summer to me," Chelsea said, putting a berry between Harper's lips. "What means summer to you?"

"You do," Harper said.

Chelsea leaned forward and kissed her. A moment later they 0.

were lying in the grass, wrapped in one another's arms, kissing in earnest. Within hearing of the people floating by on the river, Harper and Chelsea lay together in a heated tangle, the smell of ripe berries wafting over them.

"I love you," Chelsea said, running a hand over Harper's shoulder, sticking her pinkie into the newly torn hole in her shirtsleeve.

"Why?" Harper asked.

"Why? Seriously?"

Harper nodded.

"Because you're beautiful." Chelsea grinned and then became more serious. "Because you don't struggle against life. You live your life as if it's a gift. You embrace it and flow with it. Because I can see wonder in your eyes and that makes me happy. Because you're joyful." Chelsea kissed her. "And because you're a terrific kisser."

"I love you too," Harper said.

"Why?"

"Oh, I can't put it into words like you do. I just feel it."

"Try."

"Okay. You're sincere and articulate. You're funny. You make me laugh. I just feel good whenever I'm with you. And you're a terrific kisser."

They kissed deeply. Harper closed her eyes, smelling hot grass, listening to the buzz of insects, losing herself in the sensation of Chelsea's mouth on hers. When she opened her eyes, she saw Chelsea looking intently at something to Harper's right.

She turned to see a reddish brown steer standing only fifteen feet away, watching them placidly with watery brown eyes, steadily chewing.

Harper jerked herself to her side, startling the steer, which leapt back a few inches. He then stood calmly watching them again.

Chelsea started snickering. "You're not afraid of him, are you?" she asked.

Harper shook her head. The steer reached his long, thick tongue up over his nose to chase away a fly, then, bored with them, moved off slowly, biting off grass as he went.

They lay in one another's arms, unmoving. After awhile, Harper asked, "Are you happy?"

Chelsea lay her head on Harper's shoulder and said, "Deliriously."

"Me too."

This summer felt to Harper nearly identical to that other summer, the first one with Chelsea. The only difference, really, was the knowledge of how that had ended, of how her happiness and sense of awe had abruptly given way to sorrow and confusion.

The knowledge that something this good could end was forever on her mind. Perhaps, she thought, that made it even more intense. This must be treasured and savored, she thought, every moment of it. It should be absorbed like sunlight through all the pores of the skin. She turned onto her side and drew Chelsea close, kissing her berry-stained mouth, feeling grateful and pushing away her fears.

Chapter 27.

JULY 18.

"Professor Plum in the library with the rope," said Sarah, moving the purple piece across the Clue board to the library.

It was obvious to Harper that this contest, just like the last one, was between Sarah and Chelsea. For some reason, she had never been good at this game. Chelsea, shielding her cards from Harper, showed something to Sarah, whereupon Sarah nodded knowingly and made a clandestine notation on her score sheet. Although Harper was destined to lose, she was enjoying the camaraderie and the music, provided this afternoon by the classical program on the local NPR radio station. At the moment, Professor Plum's antics were being accompanied by a Vivaldi bassoon concerto.

Chelsea, a sly smile on her face, said, "I'll stay where I am and I'm going to say Mr. Green in the kitchen with the rope."

Sarah and Chelsea looked at each other with some secret understanding. They obviously knew something, by which Harper knew that the game was nearing its end.

"Nothing," Harper said, after examining her cards.

"Me neither," Sarah added.

Chelsea narrowed her eyes and looked from one to the other of them. "Your turn, Harper," she said.

The Vivaldi concerto had ended and a mini news segment was on. Harper's attention was suddenly drawn to it when she heard a familiar name.

"Sophie Janssen," the announcer said, "the celebrated sculptor, died last night at her home in Marin County. She was diagnosed in March with pancreatic cancer."

"Your turn, Aunt Harper," Sarah said.

"Just a minute," Harper said, listening more intently to the radio.

"Since that diagnosis," the announcer continued, "Janssen has donated all of her major works to local communities and museums.

She is best known for her oversized metal art, such as the giant steel butterfly now installed on San Francisco's Embarcadero near Pier thirty-nine. Janssen also worked with hammered copper and aluminum. Most of her pieces are characterized by curved rather than angular lines. She was the recipient of the two thousand and two Wolf Prize."

"That's your sculptor," Chelsea said. "The pear in Oak Park."

Harper nodded. "Yes. I didn't even know she was ill. She was such a huge talent. And only in her fifties."

"That's really a shame," Chelsea said.

"Aunt Harper," Sarah asked, "is that one of your documentaries?"

"Yes. I haven't shown you that film, but Sophie Janssen was my fourth. She was only just beginning to get the recognition she deserved."

"I'd like to see the film," Sarah said.

"Me too," Chelsea added.

As she went to get the DVD, Harper recalled her two meetings with Sophie Janssen, once at Oak Park where her sculpture was unveiled and once at her home where Harper had filmed the interviews for the documentary. Long divorced from her husband by then and childless, she lived there alone. The house had been large and impressive, yet another aspect of the sculptor's life that emphasized her small size. Sophie had been what Harper's mother would have described as "scrawny." She stood about five-two and weighed around a hundred pounds. She was sinewy and scrappy and moved with sudden, jerky bursts of energy.

When Harper had asked her if her small stature had anything to do with the massive scale of her sculptures, she had looked thoughtful and said, simply, "Hmmm," as though this had never occurred to her before. Standing next to one of them, the pear, for instance, she looked even more diminutive, since the pear was fifteen feet tall even without its stem.

Harper had been a little intimidated by Sophie's intensity, but she was otherwise easy to talk to. Her life was interesting, a story that told itself without much interference from Harper.

Sophie had been born in Norway. She married an American, then moved to northern California where she got a degree in mathematics. Her particular specialty was geometry, an interest that translated directly to her art. Arcs, spheres and cylinders showed up everywhere in her works.

Harper recalled how uneasy she'd been during her interviews with Sophie because of her personal math phobia. She remembered almost nothing about geometry, except that the shortest distance between two points was a straight line.

Her trouble with geometry, actually, had always been her tendency to see every problem as a metaphor for life. She couldn't approach it as math. She might as well have been in a literature or philosophy class, for her mind would wander into musings like, "Is the shortest distance between two points really a straight line?" The way a human life unfolds nobody really travels in a straight line, and who would want to go from birth to death anyway along the shortest distance? She was surprised she ever managed to pull a "B" out of that class.

As the documentary played, Harper and Chelsea sat on the sofa, their legs threaded together, while Sarah sat in the armchair in the lotus position. The three of them watched silently, listening to Mozart play behind scenes of a half dozen outdoor sculptures and their unimposing creator, occasionally pictured with welding equipment and headgear.

Harper's voice could occasionally be heard on the film. "How has your background in geometry influenced your art?"

"Geometry is all about symmetry," Sophie replied, a subtle accent still detectable in her speech. "This goes all the way back to the beginning, to Euclid. Geometry was invented to describe the symmetry found in nature. Patterns of nature are so often two-sided, mirror images, you know, like the two sides of your face, and the more symmetrical they are, the more perfectly beautiful.

At least, that is the classical ideal of beauty. Early sculpture was modeled on that ideal, going so far as to create geometric symmetry where it didn't actually exist. My approach is the opposite, to destroy that ideal by creating asymmetrical forms by subtle distortion. In nature, asymmetry is often considered inferior, but it adds interest because there's something just not quite right about it, do you see?"

"Well, this object here certainly looks like a circle," Harper's voice said as the camera lingered on one of three bronze oranges hanging from a bronze tree. The tree was a work in progress and was destined to be located in an orange grove between real orange trees, which was just the sort of thing Sophie Janssen liked to do with her art. It reflected her sense of humor and irony.

"It looks like a circle, yes," she said, "but it isn't. If you measure it, you can determine that. Every orange on this piece is off kilter a bit, and every leaf is bisected just slightly off center."

The camera zoomed in to show the veins of a single leaf, offset from one another and off center as Sophie described.

"It's not mathematically coherent," she continued. "But all of these variables are small, small enough to allow your brain to compensate and render the entire piece perfectly in tune with nature. In that respect, my sculptures are all illusions. Or, if you want, impressionistic."

Harper noted that Chelsea was nodding appreciatively. The idea of an impressionistic sculpture that was nearly mathematically identical to the original object was a curiosity that had struck Harper as fascinating at the time, and apparently it was having the same impact on Chelsea.

"If the variation is so slight that we can't see it," she heard herself ask on the video, "then why make it at all?"

"Because on some level, perhaps subconsciously, your brain detects the imperfection. Like everything in nature, your brain also strives toward symmetry. So when it senses a small enough wobble, it can correct it. Nevertheless, it has detected it, and that creates tension. It creates interest, gets the emotions stirred up."

"Like in music," Harper said. "Tension is created by dissonance."

"Exactly," Sophie replied. "It's the same in all art forms.

Writing as well. That uneasy juxtaposition creates tension.

Without tension, a work of art is flat. It doesn't engage you."

Harper remembered that during the interview she had been struck with how thoroughly the two disciplines, math and sculpture, had been fused together in Sophie's work. It reminded her of comments her father had made while talking of quantum mechanics or higher math where comparisons with ballet, for instance, or music would have been entirely appropriate. Listening to Sophie, it was clear that her art was founded on math and that math was founded on nature and that it all tied together in some mysterious relationship that Harper's father would have called the Theory of Everything. The Theory of Everything, Harper knew, was a physicist's pie in the sky.

Another thing Harper had learned from her father was that the laws of physics, as determined by science, were approximations, not the precisions generally assumed by the layperson. The more complex the problem being investigated, the more one had to allow for a wiggle factor. She had always liked the idea that these "laws" and "theories" had problems. They were flawed. Sophie's sculptures were flawed as well, intentionally, representing the idea that although nature strives toward symmetry, it doesn't always succeed.

Sophie's work also highlighted the companion idea that the human psyche, when it detects a flaw, if the flaw is not too obvious, converts it to perfection. That was a scary idea. It meant your brain was capable of "seeing" something that wasn't there or removing something that was there. Visual input, filtered through the mind, was potentially as far removed from reality as something that was simply imagined. This made Harper think of Wilona's blind grandson and his mind images, about how they might be just as valid as her own images based on sight.

Hilda Perry had once reminded Harper that art was artifice, a trick played on the mind. It was a representation of reality, but it wasn't reality. Sophie Janssen couldn't have demonstrated that any clearer. Her intention was to play an eye-mind game with the viewer.

So what is the point of art, Harper asked herself, if it is unable to represent reality?

Truth couldn't be found in art, Harper concluded. Or religion. Or even science. Truth could only be found in nature.

And Harper, who had always trusted her heart more than her mind anyway, felt somewhat justified in that.

She gazed at Chelsea, who was watching the television. I love this woman, she thought. I love her absolutely with the truth of nature, and I don't know what art or science or even language can tell me about that.

"The point of my art," Sophie Janssen was saying on the monitor, "is to reflect reality as in a distorted mirror, in a way that encourages us to look back from the reflection to the real thing with a renewed sense of curiosity and a keener vision."

The video ended. Harper couldn't remember if she had asked Sophie that question, what was the point of art, but thought she probably had. It was a question she had always asked, at least in her mind.

"Wow," Sarah said. "Who knew there was so much to say about a giant pear? Maybe I should be a sculptor."

Chelsea laughed. "Last week you wanted Mary to teach you to paint."

"And before that," Harper said, "you wanted me to teach you to play the piano."

"So what's wrong with being good at everything?" Sarah said smugly. "Oh, that reminds me, I have to go." Sarah leapt out of her chair and headed toward her room. "I'm going to wear that new dress you bought me, Aunt Harper. Mary's taking me to a gallery tonight. We're going to a Joan Miro exhibit. He was one of our preeminent surrealists, you know."

Sarah said this with exaggerated aplomb. Harper assumed she was quoting Mary.

"I wonder what she will end up doing," Chelsea said when Sarah was gone from the room.

"I don't know. Something she feels a real passion for, I hope."

Chelsea took hold of Harper's foot and massaged her toes.

"That film was gorgeous," she said. "As usual, so beautifully constructed."

"Thank you. I think she was happy with the way it turned out."As Harper laid her head back against the arm of the couch, enjoying the foot massage, the phone rang. She was about to reluctantly pull her foot away from Chelsea to answer when Sarah streaked into the room wearing only a towel and snatched it up. After saying hello, she frowned and then handed the phone to Harper, saying, "It's for you."

Harper wondered who Sarah had been expecting as she disappeared into the bathroom.

"Hello?" she said into the receiver, offering up her other foot to Chelsea.

A youthful-sounding man introduced himself as Tom Janssen, the nephew of Sophie Janssen. As soon as Harper heard this, she extricated her foot from Chelsea and sat up.

"I've been contacted by a producer at PBS," Tom said, "about a retrospective of my aunt's life and work. Your documentary is one of the few video interviews that we're aware of. And it's fairly current. I was hoping you might want to collaborate on this project and let them use your footage."

"Oh, uh," Harper said, "I'd be honored to do it."

"That would be great. They're sort of in a hurry, as you can imagine. They're going to want to get this on air within the week.

I can give the guy your name and number. He's in San Francisco.

You can work out the details with him."