It was a flowery, eighteenth-century garden scene, rococo and sensuous. It might have been painted by Watteau or Boucher, for the French court. In front of it he placed a swing with a wide seat. Deftly, he tied a few ribbons to the ropes of the swing, to match the spirit of the painted scene behind. Then he produced a pair of broad-rimmed straw hats and told the two of them to put them on.

“Mary, sit on the swing,” he commanded. “Gretchen, stand behind.”

It worked rather well. Humorous, yet charming. He told Gretchen to pretend she was in the act of pushing Mary on the swing. It took a minute or two to get the tableau right, but in the end it really did seem as if the swing was on the very point of motion and, telling the girls to hold their positions, he took his picture.

“One more,” said Gretchen.

He didn’t argue, set up the camera, went under the black cloth. And just as he did so, Gretchen reached forward and knocked off Mary’s hat. Mary burst out laughing, shook her head back so that her dark hair fell loose. And with a flash of inspiration, Theodore took the picture.

As he emerged from under the cloth, he gazed at the two women, at his sister mischievously grinning, and at Mary with her loosened hair. And to himself he thought: How did I not see before how beautiful she is?

He offered them lemonade and seed cake. They chatted pleasantly about their families and the coming holiday. He made himself agreeable to Mary, while Gretchen glanced cheerfully round the studio. Suddenly her eyes alighted on the book of verse.

“What’s this, Theodore?” she asked. And her brother smiled.

“It’s a wicked book, Gretchen,” he warned her.

“Leaves of Grass,” she read. “Walt Whitman. Why have I heard of him?”

“He wrote a poem called ‘Beat! Beat! Drums!’ about the war, which got quite a bit of attention a couple of years ago. But this little book came before that, and caused something of a scandal. Interesting verse, though.”

Theodore glanced at Mary, and saw to his surprise that she was blushing. Since Whitman’s homoerotic verses had never, as far as he knew, been discussed much outside literary circles, he was rather curious as to how Mary would know about them. But he decided not to ask. Then the thought suddenly occurred to him that she might suppose that, reading such material, he harbored those tendencies himself.

“Whitman has genius, but I think Baudelaire’s even better,” he said. “Listen to this now.” He smiled at the two young women. “Imagine you’re on an island in the summer sun. Everything’s quiet, just the sound of the little waves on the shore. The poem’s called ‘Invitation au Voyage.’”

“But it’s in French,” Mary, who had recovered herself now, objected.