‘Keme, the monster it…’ Evelin’s body shuddered. ‘Wait,’ pleaded the ghost. ‘Keme, you can recognise the monster by…’ ‘Evelin, Evi...t her,’ ordered the worn man, there was panic in his voice. ‘Now!’ And just like that, the ghost was gone. ‘Did the old woman tell you what you needed to know?’ asked Evelin, and picked her blue flower up from the floor. ‘She did,’ said Keme. ‘She says she want to tell you how to recognise the monster,’ said Evelin, sounding like a woman, but sounding like herself.. Vaguely penile and vaginal shapes abound,as do suggestions of disembodied buttocks which sometimes make up partsof the figures and sometimes parts of the landscape or of the buildings.Ambiguity is everywhere present, as shapes that first seem to be phalliclater appear to be buttocks or breasts and vice-versa. Even inanimateobjects, like the earth itself, are strangely and ambiguously sexualized,even more so than the same objects were sexualized (again, ambiguously)in Beardsley's work.As in. More

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