You come to it from the water, and the first thing is the hill. Not a peak that dares you, but a weathered green shoulder that rises easy from the sea and holds, at its crown, a fire. The fire is always lit. It gutters and leans and throws its small warm light against the sky, and it has been kept so long that the ring of standing stones around it has gone faintly green with the weather it has stood through.
From the crown a thread of water starts down, and you can see it move — ripple after ripple sliding downhill, quicker when the sky has darkened and the rain has fed it. It runs to a still tarn cupped in the low ground, where reeds stand a little taller for every wet season the tarn has drunk. There is a house, and it announces itself with smoke: a pale curl rising from the chimney, leaning off downwind, gone. A window holds a lamp that is dark by day and warm at dusk. A garden keeps the season honestly. Someone lives here.
Stay longer than a visit and the whole isle turns through its year, from the pale green of new leaf to a scattered blaze of gold and russet, the broadleaf dropping to bare branches while the palms hold their green. The storms come harder in that darker season, and they are the ones that green the stones and swell the stream and strip the leaves, all in the same weeks — because it is not three weathers happening near each other. It is one weather. It is one place, keeping one time, and every part of it knows what the others are doing.
That is the whole of it, really. Not that the isle is beautiful, though it is. That it is awake — that it keeps the hour and the season, that it remembers the storms it has stood through, that it breathes and flows and rides its own small swell whether or not anyone has come to see. It was made to be lived in. On the evidence of the smoke, it is.