The woman was looking at a totem pole dominated by a representation of an 
orca, head down and tail up, dorsal fin projecting horizontally out of the pole 
and evidently carved from a separate piece of wood. The orca's blowhole had a 
human face carved around it. The face's mouth and the orca's blowhole were the 
same thing. This promiscuous denial of boundaries was everywhere on the totem 
poles and on the woman's tattoo: The staring eyes of a bear were also the faces 
of some other sort of creature. The woman's navel was also the mouth of a human 
face, much like the orca's blowhole, and sometimes that face became the mouth 
of a larger face whose eyes were her nipples and whose goatee was her pubic 
hair. But as soon as he'd made out one pattern, it would change into something 
else, because unlike the totem poles the tattoo was dynamic and played with 
images in time the same way that the totem poles did in space.