Dear reader, Ie Kanhatsi Ekki (pronounced ka-hwe ekhhi) is a recovered libretto of unknown origin; time, place, and author are all unidentifiable. When the work was initially discovered by a part-time archiver at the Iretsegi Herat, its meaning was long beside even the most familiarized Ibsai peoples.

It has been through decades of scrutiny that a modernized edition in the original language has seen the light of day, and it is with great joy that I feel I can share with you an acceptable restoration of Ie Kanhatsi Ekki in words familiar to both you and I.

However, to part away with these words only would be an unforgivable betrayal to the work spent analyzing Ie Kanhatsi Ekki, the people behind it, and the context surrounding it: Ibsai culture, comedy, drama and art as a whole. Simply put, this work is incredibly controversial. Most historians and literarians believe it to be a joke. You will understand this perspective as you continue to work through the text. Whether I agree or disagree with it is largely irrelevant, however, as the area of dispute has to do with the value of Ie Kanhatsi Ekki as a work of art. How many years of research was it worth? Has it been overinterpreted? Underinterpreted?

The common interpretation is that it is a silly libretto authored in recent times and filled with false, yet exciting leads to details and insights hidden away by time about topics enthusiasts can get carried away by. Even after spending about eight years looking into this work, I feel unqualified to make such a judgment, and hope that you, too, are not carried away by the practice of squeezing certainty into uncertainty.

But now presenting you with this foreword, I feel compelled to share this tidbit of judgment. Despite anything that has been said or will be said about Ie Kanhatsi Ekki, I have never felt that the several years I have spent on it have been wasted. Ie Kanhatsi Ekki is truly valuable to me, and I most sincerely believe that it is a great contribution to art.

My introduction is short, but not without cause. Sparing this work its space and liberty is vital to truly appreciate it. The work has been annotated by myself and three colleagues. Annotations will be paged by special characters that are referenced later at the femeire (translated literally to "knots binding drama," effectively meaning "ends of scenes").

Those are my words. I am sure that you, too, will have words of your own after experiencing this work for what it is, and I hope that you understand the value that I saw in the time I spent experiencing Ie Kanhatsi Ekki.

Ie Kanhatsi Ekki
"Time Spent Floating Between the Worlds"
or lit. "Interim World Floatation Interval"

Reservoir enclosing evening: Elaborate Wahaseolpia, Island of Misery, and her stipulant Trees of Broken Repose. The Sun, an opened tangerine, overlooks a lost, sacred* being guided toward a whispered† exit. Its light rekindles the Torch as nott fly in available air. We observe [through Wahanseolpia].

Wahanseolpia Behold and withhold; here comes forth a second of severine philosophy.
    As time has stopped!
Chorus of Trees As time has stopped.
Wahanseolpia Extend your remains, Maiseantei.
Extend Maiseantei, provider in word.

Maiseantei If I were to be most careful, Wahanseolpia, the grass would curl with adrenalined anticipation. Extramarital Sunshine Roundabout, dressed his name, colored his life, approaches his sun-soaked destination.
Express Extramarital Sunshine Roundabout with a scandalous scream, then extend.

497 - 512 - 625 / 492 - 567 - 681
Extramarital Sunshine Roundabout I know exactly what you believe I will