tell_room:Caliban leaves west.
say:Caliban enters.
say:Caliban says: march 19
tell_room:Caliban leaves west.
say:Caliban enters.
tell_room:Caliban leaves west.
say:Noname enters.
say:Carljohn enters.
tell_room:Carljohn leaves west.
say:Bekas enters.
say:Lance enters.
say:Auld enters.
say:Millican enters.
tell_room:Millican leaves west.
say:Auld says: hello?
say:Steele enters.
say:Auld says: how about that "magical realism"
say:Freeman enters.
say:Carljohn enters.
say:Freeman says: will someone please let me know if I am in the East?
say:Foreman enters.
say:-> Carljohn buys noname
tell_room:Carljohn leaves west.
say:Auld says: yes
say:Bekas says: in many ways our need to classify is a necessary step in
breaking from our ontology and moving to the ontology of the text.
Isn't this similar to Buendia's need to divide up Macondo before
"living" in this town. His act of reclassifying the town is an attempt
to refix the point of Macondo's within his own genre, the genre of his
life and his determination. When we begin to read a novel, is not our
attempt at establishing that novel's genre and attempt at establishing
an ontology that helps us to understand the text.
say:Freeman says: Thank you.
say:Noname says: please translate
say:Luber enters.
tell_room:Luber leaves west.
say:Auld says: but when we classify don't we limit, I think Marquez wants to
evade limits
say:Foreman says: hello everyone...catch me up; what's the current topic?
say:Auld says: genre
say:Foreman says: thanks... any decision yet?
say:Freeman says: I agree, Bekas. Determining genre helps to shape our
expectations and thus helps to shape our understanding of the meaning
within a text.
say:Steele says: but i don't think marquez evade classification.
say:Bekas says: Auld: Marquez may want to evade limits but is the evasion of
limits not an impossibility within any text?
say:Auld says: point taken, but i still this as an attempt
say:Auld says: I still see this as an attempt
say:Freeman says: Steele, how would you classify the novel?
say:Ahern enters.
say:Foreman says: I think we have to look at whether we're going to divide genre
into a reality v. fantasy limitation.. Borges says that myth and
fantasy ARE reality, which seems to fit the genre of this novel...
say:Bekas says: Classification and limits allow us to have this illusion of
proceeding from and being separate from. When we classify, we suspend
possibilities as necessary strategy against the distraction of other
possibilities.
say:Steele says: i agree that it is the tradition of magical realism.
say:Bekas says: Auld: Sure, I agree with you that everything is just an
"attempt"
say:Auld says: could Marquez have told this story any other way? poerty?
say:Foreman says: say Is magical realism the same a s myth/legend? The novel
certainly seems to partake of the characteristic re the lack of depth
in characterization.
say:Freeman says: I'm not that familiar with the term magic realism. Can
someone explain what is implied when literature is classified in this
genre?
say:Ahern says: Is it possible that Marguez has invented a form with which to
tell his story?
say:Lance says: "Magical realism" seems to be an appropriate term for the genre
of this novel. I found this novel to have characteristics of realism
yet these characteristics seemed to be somewhat distorted by various
fantastic events.
say:Bekas says: Foreman: That's a good question. It does seem like character
development is secondary to the development of a mythos that pervades
the novel.
say:Lane enters.
say:Ahern says: I find that the straightforwardness of the narrative creates a
SuperRealism. I would define that term as one that enables one to
suspend disbelief.
say:Carljohn enters.
say:Bekas says: Freeman: Magic realism is a form that presents the
extraordinary as common place and sometimes the ordinary as
extraordinary.
say:Steele says: we have to suspend disbelief when we read this type of novel
because of the fantastic events. yet it is easy to want to believe the
stories because they are so detailed. it's like hearing an adult
fairytale
say:Foreman says: isn't the (re)telling of myth in some sense poetic, i.e. in
the tradition of say Beowulf? In fact, there are many similarities in
the "inventories" recounting of illusionary acts and beings, the "goal"
of the hero, etc.
say:Freeman says: Yes, Auld. I believe that Marquez could have chosen another
kind of frame ofor this narrative depending upon how he wanted us to
perceive it.
say:Lance says: Ahern, I agree. I found myself believing, just for a moment,
that one could levitate while under the influence of chocolate.
say:Freeman says: Thanks, Bekas.
say:Bekas says: Isn't the willing suspension of disbelief a prerequisite for any
fiction?
say:Ahern says: According to Bekas, I have been defining (in my own mind) Magic
realism as super realism.
tell_room:Carljohn leaves west.
say:Auld says: can't the outrageous stories exist as both true and false
simotaneously? did the priest levitate in some way
tell_room:Noname leaves west.
say:Bekas says: Freeman: Denada!
say:Bekas says: Ahern: Not according to me but in accord with you.
say:Steele says: i don't think that suspension of disbelief is needed in most
novels because although the events may be fantastic, most are common
day things. in this novel we are to believe in magic, the supernatural
etc. which requires suspension of disbelief to a greater extent. we
would not enjoy the novel nearly as much if we analyzed every component
scientifically.
say:Foreman says: is that super or supra realism....and I wholeheartedly
believed in chocolate as the source of all mysticism, including
levitation and all other divine acts.
say:Freeman says: Yes, Bekas. I believe that the reading of any kind of
narrative requires the suspension of disbelief to some extent. We are
always aware that we are depenedent upon the narrator for a sense of
reliability in the telling of the story.. However, at the same time,
we are always aware that there is the possibility of unreliability in
the narrator. We suspend our disbelief for the sake of
say:Freeman says: Bekas, I hit the return key too quickly. This is the
remainder of that message: . . . trying to gain some meaning from the
text.
say:Ahern says: Bekas, not necessarily (is suspension of disbelief a
prerequisite for fiction). For instance, reading many American short
stories, one senses that they are a "slice of life;" whether that slice
is taken from "real" life and told from a particular point of view or
invented doesn't seem material. In fact, we normally don't question
the authenticity of such narratives.
say:Guest enters.
say:Auld says: can't this be real in the way a dream exists as both real and
fantasy?
say:Foreman says: if we agree that the genre is at least half mythically
informed then do we need to rely on any sense of realism as a necessary
basis for understanding it?
say:Ahern says: Freeman, yes; but chocolate IS magical, the cure for all ills.
say:Guest has gone net-dead.
say:Lane says: We could classify the novel as magical realism, especially in its
mixture of fantasy and reality, in its impossibility of distinction
between the two. We might also desire clasification of the novel as
modernism, in its nostalgia for the past, its involvement with
primitivism. Yet, at the same time I question my own possibilities of
such for many reasons.
say:Lance says: Bekas, I tend to agree with you that a certain degree of
suspension of disbelief is necessary when reading a work of fiction. I
think that we all have to put ourselves in that mindset when we immerse
ourselves into a work of fiction. We realize that we are at the mercy
of the narrator and have to follow the narrator if we are to appreciate
and enjoy the work.
say:Bekas says: Genre requires the setting of limits; it requires the
establishment of a paradigm that fixes and defines an amorphous force -
let's say a novel - and allows others to accept that defining paradigm
as a method for gaining entry into the novel> The problem is we all
question the paradigm and wish to create our own.
say:Foreman says: I don't see the need to find myth and realism as mutually
exclusive.
say:Guest has reconnected.
say:Auld says: I agree foreman
say:Guest says: guest is Mary Fluharty
say:Auld says: Hello, we're talking genre
say:Ahern says: Auld, excellent question. Yes, even in dreams I believe that a
reality is implied. In Marquez, one never knows whether the subject of
the narrative is alive, dead, or in some state beyond. . . . sometimes
I got the feeling that a character can exist in dreams after death as
much as we, culturally, might say that something or someone "exists in
memory."
say:Freeman says: Welcome, Mary.
say:Foreman says: Hi Mary . welcome to our mythical reality.
say:Bekas says: suspension of disbelief is nothing more than a limitation posed
from within that allows a reader to progress into aa text without
questioning every trivial detail. It allows to move into different
worlds without a translator.
say:Foreman says: But Bekas, are you suggesting that only the fantasy requires
the suspension of disbelief?
say:Lane says: My own assumptions question possible classifications because of
Marquez creations of many oppositions, in characters, in themes (war
and peace, madness and insanity), language (sensual yet, declarative.
say:Guest says: I was here earlier and the computer was giving the discussion in
a foreign mixed up language and the only think that was in English was,
for example: Foreman says in a strang tongue and then it proceeded to
write in mixed up letters so I had to change computers
say:Bekas says: Reality is a myth that we all must accept and deny at certain
times depending on our need.
say:Bekas says: Foreman: All discourse requires it.
say:Guest says: Marquez did seem to use that as a theme, Lane, a lot of
opposites within his characters
say:Foreman says: I agree, Bekas, so that the determination of a genre here as
magical reality may in some sense be redundant.
say:Auld says: if we converted the "size" of the first jose into dream language
, he can be that big in the reality of pyschological proportion to the
other characters, and in a dream time has no meaning
say:Bekas says: Foreman: Sure!
say:Steele says: bekas: so there is no reality? it is just a myth?
say:Guest says: the magicial reality leaned a bit toward fantasy perhaps
say:Lane says: Bekas, Yes genre requires a setting of limits, but it seems that
all limits are undercut in this novel. Marquez even uses historical
points of departure (but in all seriousness?) then mocks those
historically defining limits.
say:Freeman says: Don't we creat myth out of a desire to explain or document
reality?
say:Guest says: Marquez used a lot of historical context in this novel which
supported the family history theme
say:Auld says: don't we create myth to connect the seen to the dream
say:Bekas says: Steele: That's a difficult question to answe? Is macondo Real?
It depends on the context of our determination of reality at any
moment? Right now, Macondo is real but if I try to go there via United
I won't make it.
say:Foreman says: I think the 2nd question intertwines here. That is the point
of view of the novel... This particular omniscient narrator determines
to a great extent our view of the reality/fantasy mix, in deciding what
the future/ past/ present revelations will be at any given point.
say:Freeman says: That is a very interesting question, Auld.
say:Ahern says: turning to Question #2: the narrator and his (its?) command of
"knowledge." At one time the narrator would have been called
omniscient (by critics like Wayne Booth) as he details events and
thoughts deep into the past and well into the future (always in
relation to the shifting "present time" of the narrative). Explore the
problematics of this issue.
say:Bekas says: Lane: I agree. That's my point the novel defies and requires
genres in order to be able subvert them.
say:Auld says: aren't there pieces of Macondo floating around Columbia
say:Steele says: it seems as if macodo and the goings are myths within a myth.
say:Guest says: Macondo was real in what it represented, for example, the
isolation to civilization
say:Lane says: Steele, yes, seems you're right about the impossibility of
reality, the only possibility in myth, in this novel.
say:Ahern says: In "exploring the problematics of this issue" (the narrator's
knowledge) can we connect this to the reality under discussion?
say:Auld says: I agree guest
say:Guest says: real also in the theme of corruption by power or a transition
from innocence to corruption
say:Foreman says: there are several issues in the problematical omniscient
narrator, since as omniscient must decide which real and fantastic
issues we are to be privy to... a difficult task, when the aim of magic
is to withhold by subterfuge
say:Auld says: the narrator creates time by the comparison of events, he
insinuates chronology
say:Foreman says: I like that phrase, Auld...insinuate is right in several
respects.
say:Bekas says: The narrator in the story is memory/time remembering events and
people in a narrative that creates meaning through the opposition of
reality/fiction.
say:Ahern says: The narrator's stance is problematic in that the narrator is not
a character that is readily identifiable. How can the narrator make
the story believable when we are not given an identity to evaluate in
terms of trustworthiness/truthfulness. Do you trust the narrator's
knowledge?
say:Ahern says: I didn't mean to suggest that the story is NOT believable; just
posing a question
say:Guest says: memory represents time through the narration of the characters
and events
say:Foreman says: Not to move too far ahead, since we're only discussing the 1st
half, but the nature of that omniscience changes somewhat in
perspective by the end.
say:Bekas says: Ahern: Isn't the withholding of identity an act of
trustworthiness?
say:Freeman says: Perhaps the goal of the story is not to appear believable.
Perhaps this kind of detached narrator is appropriate for this kind of
narrative.
say:Auld says: I thought there were consistent comparisons of people and
animals, I wonder if the people are experiencing time as animals might,
in terms of generations and breeding cycles
say:Guest says: I like that comparison, Auld
say:Foreman says: isn't the omniscient narrator always to be taken as
trustworthy? If all-knowing, how can the veracity be denied?
say:Steele says: i don't necessarily trust the narrator, but i don't have a
desire to. the narrator is an excellent story teller and is
entertaining. i like the narrator for the value of the story even if
it isn't true.
say:Lane says: a few other points about the impossibility of classification...
Can Can there be classification in Marquez's meta-metaphoricity? the
"trickle of blood through town and house, the sterile illusion of
cards...Is there any possibility of lucidity in this novel? Aureliano
claims a "supernatural Lucidity" but at the same time "an absolute and
momentaneous conviction . . . can not be grasped." Is there progress
in this "novel"?
say:Auld says: does the dreamer know what his phantasms think? re foreman
say:Freeman says: I don't think that an omniscient narrator has to necessarily
be considered trustworthy. The narrator may be all-knowing, but they
might be choosing to
say:Guest says: I think the novel is purposefully using the narrator as a story
teller and I think there is much intentional fantasy, satire, and farce
say:Freeman says: present this knowledge deceptively.
say:Auld says: re lane the town was full of their "bloodlines"
say:Foreman says: Isn't this the essence of metaphor...to present two things
which only partake of some essence of the other? If so, doesn't the
omniscient narrator become metaphorical as well?
say:Guest says: that bloodline is a great connection to that description of the
blood following that incredible path
say:Ahern says: Foreman: although the omniscient narrator may be "always
trustworthy" many character-narrators engender our trust or sympathy by
their characterization(s), history, part in the story, etc. Sometimes
a reader may feel that someone is more trustworthy if they can connect
to them on some "personal" level, such as understanding the motivation
behind telling a tale.
say:Lance says: The narrator seems to be related to the characters of the novel
who possess supernatural qualities that allow them to predict the
future (and the past), like Pilar Ternera and Melquiades.
say:Auld says: say is the narrator our melquiades
say:Foreman says: I think we need to consider the idea that the tale itself is
the motivation... to inspire fear, wonder, etc. through the metaphoric
presentation of "truths" about our lives.
say:Bekas says: Booth's term omniscient narrator is an impossible role to
fulfill. IIsn't it impossible to know everything even in a novel. In
fact, it might be more interesting to know what the narrator has not
told us about the Buendias and Macondo.
say:Foreman says: in a sense they all tell both the future and the past, since
they all repeat the past and foretell in their own lives the endless
repetitions of the future.
say:Lance says: Auld, I don't think the narrator is Melquiades since the
narrator speaks of him as if the narrator is observing him from the
outside, like the way the narrator describes the rumors of his death
and his physical appearance (that hat that resembled crows' wings).
say:Bekas says: Good points Foreman!
say:Guest says: the entire novel was built on repetitions, history repeating
itself,
say:Ahern says: Bekas: yes, a truly omniscient narrator might be an
impossibility; hence the open door to the concept of Unreliable
Narrator!
say:Price enters.
say:Foreman says: but does the (un)reliability of the narrator in any way impact
on the myth of the story...in myth all narrators are equally
unreliable.
say:Auld says: but isn't the narrator an insider/outsider who can overpower time
and inform people of truthes dispite the lack of his physical presence,
The narrator is not that character but I see a parallel between the
wizard of the gypsies and the master of this reality
tell_room:Price leaves west.
say:Steele says: i don't think that the narrator need be omniscient because he
sounds like a seasoned story teller. the events he tells could be made
up or from word of mouth
say:Bekas says: Ahern: Yes but they're to different things. Unreliabilty
suggests there is something reliable which is just as misleading as
using the term omniscient. The term unreliable narrator does not
address the problems and possibilities of narration. It avoids them.
say:Lane says: It seems to me tha the narrator is reliable in his exploration of
events and thoughts into the past, pres., and future, but that he is
always undercutting himself (becoming unrelieable). He contradicts
himself (seemingly),; he seems ironic,, mocking events and thoughts of
characters,; he is self-reflexive in his meta-metaphoricity. He seems
to have both a limited vision (Buendia's view of the world as an
"eternal swamp" as well as an expanded vision, through fantasy, ghosts,
dreams along with loss of memory.He seems to stress the importance of
memory, then mock and destabilize it (the "memory machine" Buendia
builds after Melquiades' death).
say:Guest says: the narrator is an insider/outsider who directs the story and
leads the readers through the events and the characters' personalities
say:Foreman says: I see that relationship in Melquiades/narrator, especially in
the way the myth unfolds and our understanding of its nature at the
end.
say:Auld says: quest, I agree I think we are in on the narrator's dream
say:Ahern says: the narrator is omniscient in that he(?) is able to see into the
thoughts of each character. Marquez suggests this very craftily. For
instance, on page 208, we get, "in an attempt to placate. . . " This
is an example of the type of clue we receive as to motivations. There
is no prolonged train of thought narrative from particular perspectives
and sometimes, as in the example above, these insights/judgements are
so slight and deft that they are easily passed over.
say:Foreman says: the shift in what is perceived as present time is all directly
attributable to the omniscient narrator...events unroll as that
narrator calls them to mind.
say:Lane says: As well, the narrator seems to reside in the polyvocality of
characterization in this novel. Any ideas on this comment? Would such
polyvocality reinforce both the narrator's omniscience and his
unreliability?
say:Auld says: I agree the narrator posseses control over what we learn and how
we learn it, but he does not hide that from us as in a slice of life
story
say:Ahern says: Anytime Y'All are ready: Question #3: The complex tropes of
"time" and "memory," both in terms of the narrator(s) and other
characters, clearly play a significant role in _One Hundred Years_.
Discuss these tropes as "strategies" and "themes."
say:Bekas says: one perplexing problem involving the narrator is whether or not
the narrator controls time and memory or is controlled by them. Is the
time pattern established by the narrator or is it a function of the
text beyond the control of the narrator?
say:Foreman says: or as that narrator wants us to see them, performing a sleight
of hand to mask the "real" basis of these people...reinforcing the idea
of layers of myth intertwining with layers of reality...past and
present become one when all are mythical.
say:Freeman says: I would say that narrator is in control of time and memory
since we only have access to them through what he tells us.
say:Lance says: I'd like to mention something that happened to me while I was
reading this book on the beach, although it is totally unrelated.
AFter I read the section pertaining to the yellow butterflies, a yellow
butterfly landed on my book and then landed, and stayed, on the towel
next to me for about 5 minutes. I found the incident to be a bit
strange...
say:Guest says: I think the narrator is carefully controlling the time and
memory to tell the story in its certain way
say:Auld says: unless I am mistaken no actual numbers are used in reference to
time until after the firing squad episode, am I right?
say:Bekas says: I think time is both the protagonist and the antagonist of this
novel and memory as well. All the other characters are merely a
function of the plot in the sense that they are devices for time and
memory to define.
say:Steele says: if the text is functioning beyond the control of the narrator
then who is in control of the novel? i think that the narrator is in
control of the although his memory may be controlling him in that the
narrator recounts events as they come to him/her.
say:Foreman says: the time properties are essential to the understanding of the
magical aspect...time is only one of the natural forces that magic
suspends, but it is one that is naturally the most magical in its
application to our way of ordering our lives/stories.
say:Ahern says: the trope of "time" might more properly be called the trope of
"time as connector." Marquez uses time elastically to provide the
reader with connections that are important to the narrative. Thus,
characters come back from the dead, seemingly. At some point, it
becomes unimportant (at least to this reader) whether we are moving
anachronistically or not; sometimes I feel that the visits to or by the
dead are in "real" time in the novel and at other times I feel that
they are contained in the imaginations of the characters.
say:Freeman says: Guest, you have made a good point. I believe that he does use
the tropes of time and memory in very specific ways in his desire to
frame his narrative in a certain way.
say:Sipiora enters.
say:Auld says: but is he suspending the reality of time or recreating it
accurately in terms of memory
say:Freeman says: good point, Ahern.
say:Foreman says: since the dead live as forcefully in memory as do the living ,
theirplaces in the context of the novel are as vital as are those of
the living.
say:Ahern says: Foreman: exactly!
say:Guest says: also the reappearance of the dead, the ghosts
say:Lance says: I think the narrator is in control of the memories that he is
dictating to his audience. All of the memories are coherent, yet mimic
the dreamlike quality that permeates the novel. We must again suspend
our disbelief when we follow these memories that sometimes seem to defy
the laws of time and space.
say:Bekas says: Ahern: I agree. Time is a consistent presence that defines the
narrative. Does memory then erode time's progress and thus the
narrative?
say:Freeman says: Memory itself never seems to be wholly accurate, so it seems
that is would be impossible for him to represent reality with exact
accuracy if he is relying upon memory as the medium for doing so.
say:Auld says: bekas I think memory at least controls time
say:Steele says: if he is recounting these events as a story then he recreates
them in terms of memory. memories bring about other memories which
leads to the structure of the tale being recounted.
say:Guest says: when you mention time's progress, Bekas, it brings to mind that
time was very much demonstrated in the novel
say:Bekas says: What is memory? How do we define it? Once it is stated in a text
is it still a memory or has it slipped into a present moment?
say:Auld says: I am having Feutes flashbacks
say:Ahern says: Bekas: an interesting notion. I'm not sure that memory erodes
time as much as time may alter memory! However, in a Marquez novel,
I'd be inclined to agree with your estimation!
say:Bekas says: Auld: I agree.
say:Foreman says: Bekas, I think that's one of the keys to the genre question.
Perhaps the genre is one of memory, which includes all of the magic
properties and also the superimposition of times.
say:Freeman says: Interesting idea, Foreman.
say:Bekas says: Foreman: Good Point!
say:Auld says: re foreman I like memory as genre
say:Foreman says: thanks, all I fell I stumbled onto that one.
say:Foreman says: that should of course, been FEEL, BUT FELL made an interesting
slip.
say:Bekas says: It's interesting to try to presence either memory or time as
controller of a narrative and see how are estimation of that text will
change or perhaps not?
say:Freeman says: I am going to go home and fall into a coma.
say:Freeman says: Buenas noches, all!
say:Bekas says: foreman: Stumbling into anything is the only way to live.
say:Auld says: dream something chronological
say:Guest says: Freeman, I like the coma idea, sometimes I wish for a few years
of solitude, not 100 but just a few
say:Foreman says: I hate to bring up the dreaded name, but don't you all find
this novel Derrida-ian?
say:Bekas says: foreman: Not in its style maybe in its content as if that were
possible
say:Foreman says: Freeman left.. was it something we said?
say:Bekas left the game.
say:Freeman left the game.
say:Auld says: P 11 a route that did not interest him...it could lead only to
the past... language culture devolving and being effaced oh yeah
say:Lane says: Does anyone else see a theme of "penetration," (sexual,
certainly, but on other levels also), then dissolution (also
impenetration), then solitude> I don't know where I came up with such
a wild idea. But the theme of memory could be seen as a means of
solitude (both memory and its loss). Maybe, here, the loss is also a
gain, as in solitude. There seems to be a desire to achieve solitude
(or maybe a desire against it?0. Anyway, Buendia finds solitude in the
trope of the "shade of the chestnut tree," Aureliano in the trope of
metallic silverwork, alchemy, Amaranta in the "black bandages." Also
the theme of loss can be seen in the beginning of the novel, in the
"lost galleon," an ancient object, a hardness, a loss of treasure,
foregrounding the loss of dreams, agency, family.
tell_room:Sipiora leaves west.
say:Ahern says: Derridian, without a doubt; check that quote on page top of page
49 that I found so. . . . It has to do with "momentary capture by
words" and reminded me of the whole idea of adding and subtracting
meaning. . . .
say:Guest says: Lane I think there is definitely a connection with with those
things
say:Ahern says: One could have fun underlining all the places in the text where
solitude is mentioned. . . .
say:Auld says: solitude =seperate, yet it is in the disintegration of the
individual that a character is really alone
say:Lance left the game.
say:Auld says: time to bail bye
say:Lane says: What about the trope of time? Why is it that the "pendulum" can
lift anything but itself? Maybe time controls all, but itself. Maybe
time permeates all.
say:Foreman says: say solitude does then become a trope not only for
individuality but also for this aspect of the individual life as memory
or dream of our own or someone else.
say:Steele left the game.
say:Guest says: Ahern I thought about highlighting them after about half the
book
say:Auld left the game.
say:Ahern says: bye! Final comments, anyone?
say:Guest says: I think the lab technician wants us to leave because he closes
the lab p[rompt promptly at 9:00 so goodnight
say:Price enters.
say:Foreman says: I guess this will do for tonight for me, Thanks for the
memories.
say:Guest has gone net-dead.
tell_room:Price leaves west.
say:Foreman left the game.
say:Lane says: What is the significance, do you think, of the "rain of flowers"
after death of J. A. Buendia?
say:Lane says: What about the tropes of the appearances and reappearances of
ghosts of the dead? Is the only hope in future time, that is after
death? More thoughts later. Exit for now.
say:Lane says: Lane says "good-night moon."
say:Lane has gone net-dead.
say:Ahern has gone net-dead.
tell_room:A janitor suddenly appears and sweeps Guest into a nearby vortex.
say:Guest left the game.
tell_room:A janitor suddenly appears and sweeps Lane into a nearby vortex.
say:Lane left the game.
tell_room:A janitor suddenly appears and sweeps Ahern into a nearby vortex.
say:Ahern left the game.