But now Break is saying it again: catabasis. Promisory lips, wine-dark, quirked like Lönnrot’s. You are a woman traversing the skins of an onion. She feels Bekele’s mouth, old and young both at once, shaping his vision of the universe in five concentric spheres—a very simple onion, she supposes. Both notions might be represented in music by Break’s "Eternal Canon," from Bach’s Musical Offering , the work intended to change Frederick’s mind—not to persuade him but to educate him. To make him think like Bach. To change his connectome, as it were. Oh yes. This is where Lönnrot intended her to be, watching pieces of Hunter’s puzzle align like one of Bekele’s fivefold paintings—five parts to a whole, each claiming to embrace all the others.