The photographer is ready. The silver umbrellas are raised to gather the light. He holds a light meter to the girl’s chest. Hair and Makeup share a cigarette. There are two other models on this trip, and they watch from a distance. The sea mumbles against the dunes. The girl looks especially bare, surrounded by people who are dressed. She is still so new the camera frightens her. Jann has removed it from his tripod and is holding it near her face. “This face,” he says, pausing to glance at the rest of them. “Will you look at this face?”

They look. It is delicate as a birdcage. Jann squints behind his camera. The rhythm of the shutter mingles with the breaking waves. Catching it, the girl begins to move.

“There,” cries Jann, “that’s it!”

They look again. Bernadette looks and sees it, too, feels the others see it. In the way the light falls, there is something; in the girl’s restless hands, her sad mouth. A stillness falls. She is more than a skinny young girl on a beach; she is any young girl, sad and longhaired, watching a frail line of horizon. The camera clicks. Then the moment passes.

As they watch her go, Bernadette reaches under the table and touches him, softly at first, then more boldly. It’s amazing, she thinks, how you can just do this to people. Like stealing. Luckily, the youngest girls don’t know it.

Jann looks at her and swallows. She decides that he is younger than she thought. She sips her beer, which tastes of smoke, and does not move her hand. “What does this remind you of?” she says.

He shakes his head. Color fills his cheeks.

“Let’s go upstairs,” says Bernadette.

Bernadette looks again at the picture. Sunlight fills the girl’s hair. The sand is pale and bright as snow, the sea turquoise. She longs suddenly to be in those white dunes, as if she had never seen anything like them before. She must remind herself that she was standing just outside the shot, that she chose the girl’s bathing suit.

“Have you ever noticed how meaningful these things can look?” she asks.

Jann laughs. “Have I noticed?” he says. “It’s my shot.”

Bernadette flips the picture back among the others. Her voice goes soft. “I meant in a general sense.”

“In a general sense,” says Jann, “that’s how they work.”

“Of all those places you’ve been,” he says, “which was your favorite?”

Bernadette sighs. She is tired of questions. Strangely, she cannot remember anyone having asked her this one before. Is that possible? she wonders. Surely someone asked, surely she had some answer. She tries again to move her hand. Jann holds it still.

“I liked them all,” she says.

“Bullshit.”

She feels a surge of regret at finding herself still here, at getting caught in this discussion. Jann moves her hand from his stomach to his chest. The skin is warmer there, close to the bone. She can feel the beating heart.

“There must be one that stands out,” he says.

Bernadette hesitates.

“New Orleans,” she says. “My honeymoon.”

It is the only place she can think of. She feels suddenly that she might begin to cry.

“It’s strange,” she says. “Going back.”

“To them?” Jann gestures at the group. “Or back?”

“Both,” she says.

Later today they will fly to Nairobi. Tomorrow morning, New York. Two weeks from now she leaves for Argentina.

“Everything fades the minute you’re somewhere else,” Bernadette says. It’s a mistake to say these things. “It fades.”

“More eyes,” he says. “Make them harder.”

The girl lifts her chin, sharpening the thin line of her jaw. Her eyes are bright and narrow. She looks at Jann and Bernadette with the sad, fierce look of someone who sees a thing she knows she cannot have.

Jann is excited. “Kiddo! You’ve got it,” he cries.

She does, Bernadette thinks. In three years she will probably be famous. She will hardly remember Lamu, and if she runs across pictures of herself on this beach, she’ll wonder who took them.

The Belsons are coming to our house for a barbecue, and I’m making a pie with Peggy, our stepmother since last year. Outside the kitchen window Bradley pushes my stepsisters, Sheila and Meg, on the tire swing. Peggy keeps looking out there like she’s nervous. Dad’s beside her, chopping onions for burgers.

“He’s pushing them awfully hard,” Peggy says.

Dad looks out and so do I. Sheila and Meg are six and seven years old, Peggy’s daughters from her first marriage. Dad smiles. “Brad’s good with kids,” he says, kneading the chopped meat.

“That’s not what I said.”

Dad is quiet. I stare at my blob of crust. “What do you want me to do?” he says.

Peggy laughs. “Nothing, I guess.” She dumps her flour and sugar mix over a pile of apple slices. “If I have to tell you, then nothing.”

Then Bradley looks up. Maybe he felt me watching him. He doesn’t say a thing, we just look at each other a long time, neither one of us moving. Fire lights his face and makes his eyes look hollow. The only sound is wood cracking in the fire.

I rise halfway to my feet and jump. I stay calm until the second my shoes leave the branch and I see the bonfire coming at me like a giant orange mouth. People are screaming. I hear the crash I make, and there’s wild, rippling heat in my hair and clothes. Then I’m on the beach, rolled and pounded by a weight that is Bradley, pushing me into the cool sand, smothering flames with his body.

After a second round of drinks, Diana went down to the cabin. The sun hurt her eyes—it had been like that since she’d started researching her dissertation, “Crisis and Catharsis in the Films of Alfred Hitchcock.” She had promised James she would cut down the hours she spent viewing, but lately she found that everything in her life—the telephone calls, the endless, hopeful pounding of their son Daniel’s basketball against the garage door as he struggled to match his father, the bills and invitations—seemed like nothing but distractions from Hitchcock’s tense, dreamlike world, where even the clicking of heels was significant. Diana often felt weirdly nostalgic as she watched, as if her own life had been like that once—dreamy, Technicolor—but had lost these qualities through some misstep of her own.

He nodded, then shyly put his arms around her. As they hugged, Diana teased herself, imagining what it would be like to make love to Sonny. Then he drew back, took her face in his hands, and kissed her.

Diana was as stunned as if he had slapped her. Gently she tried to pull away, but Sonny was running his palms along her back and kissing her neck as if this were all something they had agreed on. She tried to take it as a joke. “I’ve heard of self-contradiction,” she said, “but this is outrageous.” Sonny didn’t pause, and as the moments passed, Diana felt drawn in by his fierce arousal, by the very fact that something so unthinkable was actually happening. The feeling was not quite desire, but something like it. It held her still while Sonny eased her onto the concrete floor, pushing a folded rag behind her head. She was crying by then, and tears ran from her eyes into both ears. She pulled Sonny to her, hooking her fingers over the thick ridges of muscle along his spine. He felt heavy and strange in her arms. His belt buckle struck the concrete—once, then again, over and over again with a thick, blunt sound. She closed her eyes at the end. When Sonny was done he stood up, slapped the dust from his hands, and picked up his paintbrush. Diana touched the floor beneath her, thinking she might have bled, though there was no reason. She ran through the rain back to the house, convinced her life would never be the same.

But nothing happened. No mention of the incident was ever made, and Sonny never again laid a hand on her except in the most benign affection. Only one thing changed: he liked her after that. It was as if she had passed some test or—and she tried not to think about this—as if she were partly his. What troubled her most was that she couldn’t forget it; not Sonny himself so much as the paintbrushes soaking in their jars of cloudy water, the rolls of unstretched canvas, each detail bringing with it an ache of longing that still haunted her sometimes.