As they descended, she saw confirmations of her thought. The sense of temporary housing was amplified by spartan abruptness in all junctures. No softness, no rounding of any connection.
It was a bumpy landing, the pilot telling them that way: “Here you are and good riddance.”
Odrade went immediately to the room always set aside for her and summoned Sheeana. Temporary quarters: another spartan cubicle with hard cot. Two chairs this time. A window looked westward onto desert. The temporary nature of these rooms grated on her. Anything here could be dismantled in hours and carted away. She washed her face in the adjoining bathroom, getting the most out of movement. She had slept in a cramped position on the ’thopter and her body complained.
Refreshed, she went out to a window, thankful that the erection crew had included this tower: ten floors, and this the ninth. Sheeana occupied the top floor, a vantage for doing what the name of the place described.
While waiting, Odrade made necessary preparations.
First impressions when Sheeana arrived must be seen with naive eyes. Ears must not be prepared for a particular voice. Nose must not expect remembered odors.
Odrade turned at a sound from the doorway. Streggi.
“Sheeana has just returned from the desert and is with her people. She asks Mother Superior to meet her in the upper quarters, which are more comfortable.”
Odrade nodded.
Sheeana’s quarters on the top floor still had that prefab look at the edges. Quick shelter ahead of the desert. A large room, six or seven times the size of the guest cubicle, but then it was both workroom and sleeping chamber. Windows on two sides—west and north. Odrade was struck by the mixture of functional and non-functional.
Sheeana had managed to make her rooms reflect herself. A standard Bene Gesserit cot had been covered with a bright orange and umber spread. A black-on-white line drawing of a sandworm, head-on with all of its crystal teeth displayed, filled an end wall. Sheeana had drawn it, relying on Other Memory and her Dune childhood to guide her hand.
It said something about Sheeana that she had not attempted a more ambitious rendering—full color, perhaps, and in traditional desert setting. Just the worm and a hint of sand beneath it, a tiny robed human in the foreground.
Admirable restraint and a constant reminder of why she was here. A deep impression of nature.
It was a statement too glib to accept.
She had seen atrocious
Admiring Sheeana’s drawing, Odrade decided certain combinations offended particular human senses. Sligs as food were delectable. Ugly combinations touched early experiences. Experiences judged.
How did this drawing reassure Sheeana?
It was reported that Sheeana joked about her assignment. “I am shepherd to worms that may never exist.”
And even if they did appear, it would be years before any achieved the size indicated by her drawing. Was it her voice from the tiny figure in front of the worm?