There is a vast multiplicity of modes of writing geography, history and portrayal. In Merman one could read these verses reflecting on canal and river societies: “Imagine that a group of people, who might have gathered sometime around the 1990s to restore a canal network and turn it into a holiday destination for romantics, got bored and demanded to take care of a national fleet of spaceships / Well, that might have happened and gone unnoticed.”
Or a list of boat names that illustrate canal style: “‘n Joy, Alrimona, Amamos, Anna Adriana, Atlantis, Axel P, Big Boozer, Big Bopper, Bora Bora, Calimero, Carpe Diem, Challenger, Charris, Cristal, David, Dolfijn, Donky, Elissar, Fulmonte, Genepy, Jamy, Karma, Lean, Lorelei, Marc, Margotje, Mistral, Mivena, Nomad II, Panda, Paulien, Pearl, Pepito, Riverdance, Rupelboys, Scorpio, Siesta, Spes, Stelvio, Sunstar, Three Ladies, Tina, Vega IV, Wase Vosje, Wasela, White Crusader and Yajoma.”
Or Steev’s song “The Pearl”: “I woke up today and I recalled / The broken is hard to fix / Not all deep eyes has it’s own dreams / Not all long ways has it’s own shades / Every blue ocean is full of pearls. As for / Every dark sky is full of stars / So, I opened wider my darkening eyes and I looked at the world / Like an open-air oyster where I found my own pearl as a priceless new day.”
And there is one photograph of the iconic Buda vertical-lift bridge over the Brussels-Scheldt maritime canal printed on a double page in the middle of the publication. On the picture, the very centre of the bridge coincides with the spine of the book.