of bereavement in New York City after 9/11. Musically, the track displays textured production and a simple melody, with electronic minimalism akin to the Berlin Trilogy and the "catchy synthesiser pop" of "Dead Against It" (1993), foreshadowing the songs on the artist's next studio album Reality (2003). Musically, "Heathen (The Rays)" offers a culmination of the album's styles, evoking "Sunday" and "Slip Away" with a gradually growing arrangement, and boasting the multi-layered backing vocals found throughout the entire album. Regarding the subject, Bowie explained: "'Heathen' is about knowing you're dying. [...] It's a song to life, where I'm talking to life as a friend or lover." Buckley opines that it's "Warszawa"-type ending leaves the listener "seemingly without hope or consultation". Artwork and packaging The album's themes are reflected in the artwork and packaging. The artwork was photographed by Markus Klinko, who took the cover photo for I Am Iman, the autobiography of Bowie's wife Iman. The photo sessions took place in early 2002 and were digitally enhanced by Klinko's partner Indrani. Bowie then hired I Am Iman designer Jonathan Barnbrook to create the cover's upside-down typeface, which evokes the writings of Jacques Derrida, one of Bowie's favourite philosophers. Klinko's photographs included in the booklet reinforce the sense of divine rejection: Bowie sitting at a Spartan school-desk with his pen in the air above a blank page. Various shots depict him cutting through the pages, while his crucifix is censored in another photo. On the cover artwork itself, Bowie appears in semi-profile, Buckley finding that he "looks possessed" and gazing "like a grown-up Midwich Cuckoo". His eyes are blank and silvered out, which Pegg suggests represents "a state of both blindness and transcendence". Bowie explained that they were fish eyes (a reference to the ichthys) and the artwork as a whole was intended "as a pun on Christianity". In another interview, he stated they come from Luis Buñuel and Salvador Dalí's 1929 film Un Chien Andalou. An image included in the packaging contains three books that announce the themes: Albert Einstein's The General Theory of Relativity (1915), Sigmund Freud's The Interpretation of Dreams (1899), and Friedrich Nietzsche's The Gay Science (1882). Non-literary references include various medieval and Renaissance paintings that are marred by paint splatters and knife slashes, including: Guido Reni's Massacre of the Innocents (1611), symbolising Bowie's fear for his daughter's future – and inevitably the 9/11 attacks; Duccio di