They had entered his space. Possibly any space he inhabited was his, the way he moved his shoulders to carve the air (Lethem 112). Pella is able to immediately pick up on Efram's God-like demeanor, which thus provides the backdrop to her strong emotional ambivalence towards him. She feels herself strangely attracted to him; at the same time, she is also very much afraid of him and wishes to steer clear of him. She is unable to do so, however, because he persistently pulls her towards him with a sort of gravitational force that is beyond her control - or perhaps even her comprehension. It is through Efram that Pella feels herself becoming something truly other - transcending her human features and becoming one of Efram/God's vehicles of perception.

Pella comes to discover that Efram, whom she is clearly falling in love with is "the one who [knows] everyone else's secrets" (Lethem 206). If Efram is a God, however, then he is a wrathful, angry, avenging God - one that truly values his own species above that of the native Archbuilders, to the extent that he wishes to have the latter destroyed. In this sense,...

It is his conspicuous presence that spoils the illusion of his Godliness; Efram only shows up in the narrative at random moments, but it always seems to be just the right time when he appears. So while Lethem positions Efram Nugent in a God-like role on the Planet of the Archbuilders, he does so by simultaneously asserting everything that Efram Nugent is not, thus effectively highlighting his human characteristics. These are the shortcomings that ultimately limit him in his God-like role, and eventually lead to his downfall.
Works Cited

Lethem, Jonathan. Girl in Landscape. New York: Doubleday, 1998.