This is an exceptional trilogy demonstrating the transformative power of guilt and the lengths one will go their whole life to seek redemption. It is a story between Cley, the Physiognomist, somebody who can see the fate of a person all in their face, similar to a phrenologist, and Arla, who, in the first book, is a short-lived apprentice to Cley. He falls hard for her; she is both a genius of physiognomy and beautiful (which is demonstrated by her face). Cley, however, dependent on his trade like he is on the drug Beauty (an extremely addictive drug that makes perceptions beautiful), is eventually overtaken by beauty (not the drug) and irremediably scars Arla.
This is the first turn for Cley, towards humanity. The literary element of teacher-apprentice is explored to this turn as beauty and intelligence coupled in the apprentice, in dangerous combination to the teacher, who is really only beautiful in the form of intelligence, quite sharp, but enveloped by Arla's coupled awareness, causes the relationship to flip. The scar Cley inflicts is hidden by a green veil, a veil that repeatedly occurs throughout the whole trilogy. Arla eventually gives, or punishes, Cley the veil, being itself a question: Is Arla giving the veil to Cley as a protective charm, or punishing him with a reminder of his ignorance? Is Cley to remain guilty or not? This question persists throughout the trilogy, expertly sustained by Mr. Ford.
The question persists even until the death and old age of Arla and Cley, when we the readers are finally satisfied after seeing a love spanning great times and distances, that first began with Cley's guilt and Arla's horror. We see the teacher-apprentice relationship still flipped all the way to the end, where Arla seems to be actively teaching Cley through non-human objects and events, especially in the third book, where we're introduced to the Beyond as a thinking conscious wilderness. Cley's final trial is in this wilderness.
This is a masterful trilogy carefully telling us how a form of intelligence, here, Physiognomy, though it may purportedly predict a beautiful life, is not beautiful in itself, and injections of beauty will bring no one closer to Beauty. Cley-as-teacher is short-lived, but Arla-as-teacher is long and silent. We hardly hear of her after the first book. Yet, she is Beauty as Consciousness, taking root in Cley as the trilogy moves.
Intelligence without Beauty is nothing, no, it is ugly, but so long as he listens carefully to what is guiding him, he becomes Beautiful.