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Good. No more than a dark pencil line on a blank page. A horizon line, maybe. But also a slot for blackness to pour through...A terrible construction site accident takes Edgar Freemantle's right arm an d scrambles his memory and his mind, leaving him with little but rage as he begins the ordeal of rehabilitation. A marriage that produced two lovely d aughters suddenly ends, and Edgar begins to wish he hadn't survived the inj uries that could have killed him. He wants out. His psychologist, Dr. Kamen, suggests a "geographic cure, " a new life distant from the Twin Cities and the building business Edgar grew from scratch. And Kamen suggests somethin g else. "Edgar, does anything make you happy? " "I used to sketch." "Take it up again. You need hedges...hedges against the night." Edgar leaves Minnesota for a rented house on Duma Key, a stunningly beautif ul, eerily undeveloped splinter of the Florida coast. The sun setting into the Gulf of Mexico and the tidal rattling of shells on the beach call out t o him, and Edgar draws. A visit from Ilse, the daughter he dotes on, starts his movement out of solitude. He meets a kindred spirit in Wireman, a man reluctant to reveal his own wounds, and then Elizabeth Eastlake, a sick old woman whose roots are tangled deep in Duma Key. Now Edgar paints, sometime s feverishly, his exploding talent both a wonder and a weapon. Many of his paintings have a power that cannot be controlled. When Elizabeth's past unf olds and the ghosts of her childhood begin to appear, the damage of which t hey are capable is truly devastating. The tenacity of love, the perils of creativity, the mysteries of memory.
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