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Page 27.
 Hannah called Yves the moment she returned to Paris. This time she was even more deeply disturbed than after returning from Dad’s funeral. More than ever, she wanted to leave that hideous history behind her, and hide in her normal little daily life in the City of Lights.
Her wonderful boyfriend was there for her in every way. He seemed to sense her pain, and responded by being loving and philosophical and supportive. He vowed to stay close to her as much as possible. He asked if she wanted him to come over, and she said yes if he didn’t mind that she was so exhausted in body and soul from her emotional journey to Heidelberg and her father’s past.
While waiting for Yves to hurry over, Hannah spoke with Rob over the phone. Rob called to tell her he’d arrived safely. He was just then at the apartment of his beautiful, sensitive, serious-eyed Elise from Luxembourg who was also totally supportive.
Before midnight, Hannah lay in bed, sleeping exhaustedly with Yves spooning behind her like a comforting wall of safety and warmth..
But they were not alone.
The window to Hannah’s small apartment was open just a trifle, and a breeze blew the curtain. In the blue-black, clear air a nearly full moon glowed with brilliant, fulgent light so pure it almost seemed to go past warm yellow into icy white.
The growing moon had something special about it that radiated warmth like the sun, whose light it mirrored; something even more than Parisian poets and composers had felt as they were inspired by that clarity of la Lune.
As the curtains fluttered silently, a feminine form took shape in the room. Seated at the desk near the window was that same angel, a woman with golden-dark hair. The angel’s name was Claire, like in Claude Debussy’s 1890 Claire de Lune, from his Suite des Bergamasques, meaning reveries and dances of clowns, in an age of modernism conflicted with industrial destruction, when artists in Paris began to turn away from realism toward surrealism, absurdism, and other fantastic modes. The title Clear or Bright Moon, or simply Moonlight, was based on a famous 1869 poem by Paul Verlaine that inspired the likes of Rimbaud, Ravel, Fauré, and many other creative souls of that now-lost age. Paul Verlaine’s famous poem in translation could be rendered thus:
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