Auda, city of burnt grass and black limousines. City of nudes and spider lilies. How the grass stands up even though it is on fire, whistling a harvest tune. By the railway lines, entropy rules: jagged weeds and mystery melons scramble for space, riddling the rails, disguising the sleepers with their fantastic tendrils. Like a smoker’s signal, brave and futile. Trains slice these ribbons into tendons, timetabling history, scattering seeds, accelerating some abstract chaos. Trampled soccer balls like snakeskins or leather on the shining road. As inspectors, we climb the stainless steel stairs, pass the plastic clinic and the coffee mall, then enter the machine room. Here the rumble of traffic is merely a shiver in your bowels, increasing anxiety but barely shaking the keys. Predicting story arcs is what it’s all about. Prisoners, good deeds and friendships betrayed. The studios will be eating out of our hands. Privately, we model alternate scenarios: the prisoner escapes; the can of boiled beef falls from the adjutant’s hand; a friendship is consummated in a bloody latrine scene. Here, the streets are viewed as if through the screenshots of an amateur photographer: the perspectives slightly skewed, casting one’s eye off balance. Jets scramble overhead, but no one notices. The flags of a thousand federations burst into the blue sky, unfurling like false spring. The sound of trickling water consumes bus drivers and cart pullers alike. Insanity is the key, although mistakes are sometimes made. Usually, these thoughts disappear. Slowly, a city comes to know itself by the bend of a river, the argument of a steel canal. Behind us, mountains; ahead, cartwheels of conversation, opening.