winter, spring, summer, and fall lay in slowly shifting patterns upon the land as if dancing to the unheard music of thoroughly toxicated gods.
Further, to speak of what lay illumined beneath this kaleidoscope of the hours and the seasons as a landscape in any quotidian sense is to play the reality false, for mountains, buildings, lakes, pavilions, streams, flora, statuary, deserts, und so weiter, were all jumbled and tossed together in a manner which destroyed any sense of the natural and the urban, indeed even any sense of scale.
Picture if you will an entire planet manicured, formed, bonsaied, and tended like a formal abstract garden in the nihonjin mode, replete with snowcapped mountains, roaring rivers, desert wastes, green forests, mirror lakes, massifs of naked stone, but with no single detail of the geography forced into the pattern of any overall scale, and no geologic sense imposed on the succession of the terrain. Thus here might be a forest whose canopy overtops a nearby mountain peak, there a river circling an island of desert dunes, in another place a jungle marsh atop a sere butte from which falls a great cataract entirely dwarfed by the tranquil lily pool at its base.
Now superimpose upon this whimsically crafted garden an endless city built in a melange of every conceivable architectural style and in a scale completely indifferent to that of any part of the garden from which its buildings grow like so many bizarre fungal blooms. Thus a mountain peak may serve as the centerpiece of a public square, trees may grow taller than a neighboring pagoda tower, while in another arrondissement a forest seemingly of the same species serves as the hedge of a lakeside promenade. A waterfall in one venue roars and foams behind a street of wooden houses, while somewhere else a cascade that seems no less grand is a mere trickle off the side of a low building.
Neither a planetwide city liberally landscaped nor a worldwide garden dotted with buildings, the surface of Edoku combined elements of both sans any separation of realm or any overall concept of scale, save that the geological elements which should have dwarfed the works of man -- mountains and rivers, deserts and lakes -- tended to rather be dwarfed thereby, and contrawise, such floral features as trees or even single blooms might like as not be huger than towers of silver or glass. To further meld the urban and the bucolic and surrealize the nonexistent interface between, great trees might display the windows of a dwelling, spiral stairways rise circling to a snowcapped peak, or forests grow atop a pavilion's roof.
And all spread out before me not under the light of a single foreign sun but illumined in a crazy quilt of day and night, sunrise and noon, wan winter light and blazing summer, the whole beneath an incongruous sky of star-spangled black dominated by the immensity of the mighty gas giant's slow surface boil.
What is more, or mayhap less, this vertiginous vista, alas, is more of an overview of Edoku than one may achieve from most any other vantage, for, as I was to learn, the debarkation site is crafted to afford a relatively easy psychic access to the auslander, whereas the esthetic of the planet as a whole is designed entirely to please the Edojin themselves, and these are of the firm philosophic opinion that any overview is both false and hopelessly jejune, that "reality" itself is no more than a local artistic style, that perpetual immersion in the ever-changing fine detail of chaos is the only proper mode of civilized existence, and that to apprehend Edoku entire would be to achieve both a boredom terminal and an existentially daunting vision of the entirely unnatural and artificial nature of their vie and their world, which the best minds of the species humaine, to wit their own exalted selves, have spent a thousand years and more of history and craft in an effort to transcend.
Naturellement, such an appreciation of the
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