"They were now entering the centre of the city, an off-white grid of frozen canals and deserted avenues, lined with impressive Neoclassical and Art Nouveau buildings. In the twilight, their incongruous stuccoed, statue-haunted silhouettes, rising darker against the darkening horizon, gave the eerie impression that they had been cast down from the sky like palaces from another planet. You could not, by any stretch of the mind, imagine an architecture less adapted to its surroundings. An Ideal City punished and banished to the Far North for its marble hubris, it loomed titanic and mad, its boulevards, arches, and palaces a playground for the caterwauling draughts that sharpened their claws on its flaking façades. And as it did almost every day in late winter, that typical moist fog known to the locals as cake was now seeping everywhere, slowly dimming the scene in a way that gave Brentford the impression that, too tired to will themselves further into existence, the very buildings evaporated, fading like the ghosts of their own unlikely splendour." (p. 81)
Jean-Christophe Valtat (2010). Aurorarama. Nova Iorque: Melville House.