Slavoj Zizek Routledge Classics contains the very best of Routledge Enjoy Your Symptom! publishing over the past century or so, books that have, by popular consent, become established as classics in Jacques Lacan in Hollywood and Out their field. Drawing on a fantastic heritage of innovative writing published by Routledge and its associated imprints, this series makes available in attractive, affordable form some of the most important works of modern times. For a complete list of titles visit i wwroutledge.com/classics | with a new preface by the author EX = new York and London Saas’ 2081 WHY DOES A LETTER ALWAYS ARRIVE AT ITS DESTINATION? 1.1 DEATH AND SUBLIMATION: THE FINAL SCENE OF CITY LIGHTS ‘The trauma ofthe volee i may seem peculay, even absurd, to set Chaplin under the sign of death and sublimation”: is not the universe of Chaplin's films, a bursting with nonsublime vitaiy, vulgarity eve, the very amp romantic obsession with death and sublimation? this may be so, but things get complicated at a particular poin point of the intrusion of the wie. tis the voice which conrupts the innocence of the sent buslesque, of thls pre-Oedipal, oml-anal pars dise of unbridled devouring and destroying, ignorant o aulle "Neither death nor crime xin in the polymorphous world of the burlesque where everybody gives and receives blows at will, wher sy and where, a the midst of the general iaughret, bulk ings fll down, In this world of pare gestlcaasity, whichis also the ‘world of cartoons {a substiate for lst pstick, the protagonists are generally lor... violence is universal and without consequence, rath and2 ‘The voioe Invoduces 4 fissure nto ths pre-Oedipal universe of Jmmoral continu Foncione oe» neange body which sears tne ‘anocent surface ofthe piaure, a ghar ke apparition whlchean srer be pinned co a define visual cbjoay and this changes the while econ omy of deste, theianooent vulgar vai of the sllent mee Ise, wo enter the ream of double suse, hidden meaning. eepresed dese the very presence ofthe noice changes the visual surface into some ting deisve into Tue: "Fn was Joyous, mocent aid ry tl become obsetsve,feshtstic and ie-cod." In ether words ln wes (Chapinesqoe, 1 will become Eteheockin, cis therefore no accident hat che advent ofthe wee ofthe talking Ais, sxodvees a certain duslty into Chaplin's waives: an uacanoy split of the Sgure ofthe amp Remember the thee great Chaplin ‘aking fms: Th Gat Dian, Maas elu, cistngulsed by the ame melancholic, pulnfal humor All of them turn em the ise ssrucunl problem: that of an indefinable ine of demateatioa, of certain feature, dificult vo spect atte level of postive properties, the presence or the absence of which changes radially te symbolic satus of che objec: Between the smal euish barber andthe dicats the eifference is 2s neil as that between thei respecive moustaches,Yeit czas intwo situations as infitely remote, afar cpposed as thor of wt and excutioner Likewise, in Monsour Verdun the difference between the two aspects or demeanours ofthe same man the ladyassessin 1nd the lovinghusband of prayed wif, s 0 thin at ll Ns wi’ intuion i regirec forthe premonition hat somehom he “changed the burning quéston of Limelight what is that "nothing tat sian of age, that smal ference of etenss, on account of which the anny clowns number changes inte a tedious spectacle ‘This diferent featare which cannot be pinied so some postive ual i what Lactn calls it ei, the unary feature: pola of symbolic entation to which ings the real of toe subject A lang 25 the subjec is ataced to thls feature, we are ficed witha chai ‘matic isciating figure; as soon as this attachment is broke sl tha remains i dreary remants The crucial polar, howevey, not io be rin of tha vole, sed bow i pi condoned by the ae Ter by te ery ate gr oft eng fo (rr Dans, kl spel we the J aber romans ont 0 there ump: in the icc clwn onthe sage et, wae Shesesgned man Shin the age peak tapas wel nown enon ond sot tobe Sed snp nove coment to sen pane rv a ar hap tan wu Kaowlage (oslo eee) of the p= ts pera en a as treet rg yas Kind of ae nzoding nl sp heaven {Ee Wed te the ans of ae an ate of i a ‘alos impotent igus paiting and eng deere f= int lance Nowhere carpe force of he oe de carer Shan yl nis prdon acento wth ack sound nck wits words est micand fow qe cos of te je is rece hee at dhs he bee with fore ‘The tramps interposition Inthe whole history of cinema, Cy Liss perhaps the purest ase of alm which, eo to speak, stakes ereryhing on its final seene—ae ‘atte Glin serves ulizately only to prepare forthe final, conchusing ‘moment, and when this moment arrives, when (10 use che final phase ‘of Lacan's “Seminar On "The Pasoined Leer”) “the lene arsves at tts devinaion,”* te fm can end a once. The fiz s thus sructare in A solely “teleologia!” manne alts element point toward the inl foment, the long-avaited culation; which i why we onl also tse {tw question the usual procedure ofthe deconseution of tele cology: perhaps It announces 3 kipd of motemeat wonard the final denouement which escapes the wleological economy as depicted (one ‘even tempted toy: reconstructed) in deconstruction readings CGiy ligt a stony about # saps love fora blind gb sellng flowers ona bury szeet who mistakes him fora veh man, Through 2 series of adventures with an eccentric millonaire who, when drunk, tees the tramp extremely Knaly, bat when sober falls erento recog” ize him (sie here that Brecht found the iea for hls Pal eo Ms4 ewjor yous sritprow! Seat Mo, he wap gee aon te mead fran operttion overs ta poor g's igs whereupon es nse fl and sentenced tn prson Afri as done owe be wacen around the iy sone and delat steal, he eum ee tee, 'ses shop where Be ses the The operon wa ucla e ow rant thriving baste, bu il mats the Prine Charing of her dos, whose chivabons gift nated her sight to be meee Fry time «handsome young customer ents he shop, she ld ‘ith hope and time znd gat sappolsted en hearing he vies The up immedately recognise, wheres se docs reaps ‘because ashe knows of im sis vole tte touch of Be and al she nes through the window (eprtng them ik uae) soe "idilous gue of camp, xo ues. Upon sexing Bn oe he tose (1 souvenir of er), she nevértheles fakes pty on im, hs ae * Sona sed spent gees her computes rot ee crass ise nd on ad ec Sher moter inthe sore “Fwe aie a cmmue”) ea 2 pavement ges tim so oe and reece te aed a te prec momen ath binds nese ally eget bstnich Seis mmelsey sober’ mshi Sou ees ede sh, ping tm eyes “Toucan sertew? Tega tower “Ws ea sen" fnsiea sos maaan ae Of the amp his oes Sled wih dread and hope, snicg ale seven wi he gs arn wil beatae asutie ce te Insecure a eg oy ete thera fie a emo element pont eff hi en cae douse mening the al ccnnge “Ten sso as Si esoed pyle wel ee pies ber Bice Charming for at be aly isniese te ‘ond mein seo he ery ba fie Lean pole Conceme thereon been sba infesios ae tke remand the obesexctnem tha eager Neal te fl saps wit tac, a he Pied Ceo ren cals “ieprion,” may theron been Tata hss go Le th she’s sma seneaton, and ie oon ee fling ou he eget be tm symblcens [As Michel Chion pointed out in his brillant inerpreation of Cay ligt the fandmenalfacare ofthe Rig Uf Use an ee oli: he i alway nterpowed between a gaze an its “proper” objec, fisting upon hirelf a gaze destined for anos, ideal point ot ‘objects sin which disturbs “direct” communication between the fguee and it “proper” objec, leading te stalghe guzeaseay changing Tinto a Kind of squint, Caplin’ comic strategy consis in variations of this fundamental moti the camp accidentally cocupies a place Ivhich snot is own, which is noe destined fr hin —e is mistaken fr rich man or Sor a distinguished goes, onthe run frm his pur sues, he finds himself on a stage, all of «sudden the center of the autention of numero gazes... In Chaplin's lms, we even Sind. a kind | fof wild theory of te origie of comedy fom the Binduess af the audience, 'Le, fom such a pit caused by the rlsaken gaze: in Te ‘Cs, for enample, the trp on the rn fom the police, fins hime fon a rope at te tp ofthe creas tan; he starts to gestulate wildy, trying to Beep his balance, walle che audience Inughs and apoauds, raising his desperate straggle for survival fora comedian's virtue liy—the cxigin of comedy is to be sought procsely sn such cruel blades, annwarenese ofthe wagic realty ofa siuaion* lathe very int scene of Cy Ligh, the cramp assumes such a soe of stain inthe pitwe: in font ofa axgeauence, the mayor of the hy unveils «new monument; when be plls off the white cove, the sur~ prised audience decores the tramp, sleeping calmly in the lap ofthe igantic atu awakened by the noise, aware ar hes the unexpected focus of atenson of thousands of es, the warp atempe to descend the sase as quicty as possible, his bumbling efor triggering buss fflaughter, The tap inns an object fa gaze aimed at something fr somebody else: be i misalen for somebody eke and accepted a5 ‘such, or else oon athe andiegce becomes aware of the misake— he cums into a diturbing sain one tiesto get rd of as quickly as possible, His base aspiration (Which serves 2a clue also force final Seene of iy Lighs) is tus finally to be aeceped as "himself" not as ‘nother’s subetite— and, as we sill see, the moment when de amp fexpores hime to the give ofthe other offering himself without any support in deal deatfeation,redcod 1 his bare existence of objecal remainder sf more ambiguous and risky than may appear6 enjoy your sritprom! The accent in Ciy Lips thut iggers the mistaken identification cenurs only afr the beginning Rasning fom de ply the aD ‘rosss the sweet bypassing cough ars that are locking itn sea Jam: when ke steps out ofthe lst car and slams it rear doon the gi sutomsticalyasocates this sound—the lani—with him this and he Fich paymen!—bis lst clns—that the ramp gies to het fora tose, senezate inher the image of benevolent aad ich owner ofa luury ‘a Here a homology wi the no-les-amous intial misundertand {ng in Hitchcock's Noh iy Nurs offers ef automate, ue, the scene where, becuse of a contingent coincidence, Roger O Thor 4s mistakenly Identified as che mysterious American agent Coorge Yaplan (he makes a gescure toward the ore clk exactly ache Ck {enters the saloon and eries eu: “Phone cll for Mz Kapaa"): bere aso, ‘the subject acldenaly finds bizself cemupying a cetan place lathe symbolic nework, However, tbe parallel gots eves fret: ae wel Aznown, the basi paradox ofthe pltin Nh by Nateststhat Thora is no simply mistaken for another person; bef misalen for meady ho dan xi otal, fra fictions agent concocted by the CIA to divert sstention from it wal agent a other word, Torah finds himal? ‘ccupying filing ous,» eran empty place in the structure. And tis vas ao the problem which used so many delays when Chapin was shooting the scene ofthe mistaken identification the shooting tagged on for mont aud months, The resul dnt sats Chopin's demands 2s long a8 Chapin insisted om depleting the rich man for whom the tramp is mistaken as a “teil person” as another subject in the S's liegt reality: the sclutin came about when Chaplin realize, a 3 sen insight, dat che ich man did’ ave to east at lta wat fnoug for him to be the poor gins fantasy fomaton, in, tha in realy, one peron (the tramp) was enough This is as0 one ofthe clementary insights of paychoanalyls In che network of Interac: tie relations, every one of us is idenlfed with planed Gown te & erin fantasy place in tne other's symbole striae Pychenalyes stains here the exact opposite ofthe usual, commonsense epinion according to which fantasy figures are nothing but distorted, com Dine oF otherwise concocted figures oftheir rel” modes, of people Df flesh and blood that we've met in out experience. We ee rate to these “people of Gesh and blood” only ingofras we areable to tdenty them with 2 cermin pce fm our symbolic fnasy space, of to uti more pee way, ly laser a Ue Gill outa place preesblishcd in our dream—w Bil love with a woman Insofr as er Fearures cincde with our Gntasy figure of & Woman, the "rea fae" i a ‘niserable ncvidual oblige to sustain the burden of ce Name ofthe Saher, never ily adequate ole symbolic manda, and so far ‘The function Of the trump is thus iterlly chat ofan ineresso, smiles, purveyor ind of go-betwoen, love messenger nter- nediry Bebwoen Mimeel (Le, hls own ideal gare: che fantasy figure ‘ofthe rch Prince Cicming the gi’ imagination) andthe gle Ox, Insofar as thi rch me sonically embodied in the eccentric milion- sir, the camp mediates berween him and the gil—his fimevon Js uldmately to transfer the money fom the maliomare to te gil (orbich fe why iis nectar, fiom the point of view of he structure, thar te milion and the gil never meet). As Chion showed, this intermediary function of te ramp can be detected through the etx phoric Inzconnecton between two consecutive scenes which bave hothing in coramon on the degetc level. The fist ekes place in the restaurant where the tramp is tested by the millomalze: he ens ‘Saghet in bis ovm sey, and when col of conf ills on bis pla, the mises t for spaghent and swallows it continuoisly, rising wp standing on his toes (the confecihangs ffs the caling ikea kind Of heavesy manna), unt the sulionaie cus it off an elementary ‘Ocdipal scenario ls thus saged—the cone band isa metaphorical unniblcal end linking the tramp to che maternal body, andthe mil- Honate ac a a ubstitate ier, cuting his inks with the motes in ‘he next sane, we we the wamip atthe g's place, where she ass hm to hold the woo! for her tocol into a ball in her Bindnass, she accident grab the ip of his woolen underwear wich prec fom Is jacket aad starts to unfold it by-pllng de thread and oling it op “The connection bevween the to Scenes Is hus clear: what he reeled ‘fom the milion, tie swallowed fod, the ends spagheca band, ‘ne now sense fons his ely and gives tothe ge And—herea corsets on Chess-for chat reasoa, in Ch Ligh he lester twice aries 216 destination, ox, to pat st another way, the ‘postman rings rice: when the ramp succeeds iy nding over to the gir the rich man's money, i, when he succesfully accomplishes8 2s ison asthe go-beeen and second, when eg eoates Inher tgue te henetner sotactonee ne on. The leer defintely anes ait deaanion wing weeny longer abit lepinize ounces onec ne asset mediator, purer a ie sigs of te lg Oe, when we ene to once pes oh ye We i the thers any ep, when seared beewetn te point of ea iaiftnion line eae vege Broth ouside suate repeat, when we tae oe eshldes fie el fortes use in hor wea ee $ confnte withthe render fe ovr ales he hae ae ne symbole suppor. The leer rive at detnason whoa ee oe 20 loger “len” ofthe empry sles in iociees cae me Le when the athe ly “opens eee” a ret te al lace noth ge eae upon any bt our Bay objec nus that rasa synboiaton, Act's me e sepraon hale en he Bale fag i ‘The separation Upotaecodot it finite vamp conned he eo met steutng bene he to Bigs spo eet as Maloun ech nn al poe go) Ina ver thn bt ee pa th net onan acne ct ete pa nna ae ha fre howe tle gun cnr eee ars 4m bis presence, here be eee nln, lng te sas ot Toba wesc nerfs sek a Seedy te te trie cde Sen ale rose teed wp ie ey oneness the fl does at answer the qesten “Will the gid weep hg tered hae vil ase och eat ater sno benien waupowss hens ne art Sheena py ending we weld sea ne Srotaeranp ong wiciopenicceeaeyh ae fh eurng pn ttcgnanee Ss core eg aes eres Sovabern often encanto Silo: iis over atthe moment of absolute uscersinyy and openness wien the gama, togemer wih ber, we the specaoy—is cue {footed decd with the question ofthe “lowe far her neighbor” this ridiculous, Comsy creature whose masive preseooe shes us all fof sudden with an almost bearable proximity realy worthy of her Tove? Wil se beable to accep, o ake upon herself tis vctl outcast that she as got ix answer to her ardent desie? And—as was pointed but by William Reshan!"—he same question bas tobe asked 20 in the opposite direction: not ony “is there a place in her dreams fortis ragged ereasre?” but also “is thee stl 2 place in is dreams for hes ‘who snow normal healthy ll tanning & successful business?”—in other word, did't che wamp fel such 2 compassionate love for bee precisely because she wae Bind, poor, and userlybeplss, needing his Proteesve'care? Wil be sil be prepared to accepcher om wine de bas ery reason to patronize hm? When in his Liga de jay,” {acan emphases Freud s resin towed the Christan "love for one's neighbor,” he asin mind precly such embarrassing dilemmas easy 0 love the esized igure of poor, helpless neighbor, the sart= Ing Aftican or indian, For example; in ether words, es eaey to love ‘one’s nelghbor as long 3s he stays ar enough from vs, as long as here tea proper ditance separating us. The problem ass atthe moment ‘when he comes too net us, when We sarc fel hs suffocating pro- "Ecy—at this moment wie the neighbor exposes himself 0 us 0 ‘much love cia suey ten into bared, (Cy Le ends at che very moment ofthis absohute undectdailty ‘when, conftonted wits the other's proximity as an oblec, we are forced to answer the question "Is he worthy of ou lve” or, to use the ‘aeanian formulation, “Is there so him romething more than himself, ‘bet peta, a biden teasare?” We can ste here ow fr we area this ‘moment when "the leer azives.2 is destination,” from the sual fotion of sleology fr fons realizing x predestined eos, this moment ‘aris the intron of zadica openness x which evry ideal sappox of ow existence is suspended. Tis moment isthe mement of death and sublimation: when the subjecr’s presence is exposed ouside the ‘ymibals suppor, he "dies" asa member ofthe symbolic communi, ‘ls being is no longer determined by a place m the symbalicnetwork, intnaterilzes the pure Nothingness of the hol, the void in the Other10 (the symbolic oder) the vold esignate, iz tacan, by che German word di Dig. sh Thing, de pure subsaiue uf enjoyment resting ‘yimbolaton.The acanian definition ofthe sublime object is presets. “a objec elevated othe dignity ofthe Thing” ‘When tele aves a ts destination, the tain sping the ple ture snot abolished. eflsced: what we ae forced to grasp is on the conta, the fact ha he rea “nese,” the el leer awsiting vs fe sain Isl We should perhaps reead Lacan's “Seminar on “The Porloted Leter"™ ftom thls ape snot dhe leer tue lately such &stain—not a signifier bu rather an abject resisting symbol ‘om, a surplus, material leftover creating among the subjects aed slning its momentary posessor? [Nov io conelade, we can return tothe inrodusory scene of City {ighs where the tamp figures isthe spot disturting the plete as 6° kindof blot onthe white marble aucfice ofthe statue in the Lacsas Perspective the subjectissily cola to tists om the pete: ‘The only proof we have chat the picture we are looking at subjected {snot meznngfl signs ini but rather the presence of some meaning ess stain disturbing its hirmeny, Le us reall what i Hind of cons lexpat to the fst scene of Cy Ligh, the final sceae of Chuptin’s ight, another scene in which Chaplin's body ts covered by 2 wits loth, This sume is unique insofr as it marks che point a which Caplin snd itchooek, two authors woe atic universes appeat wholly compare athe level of both form and eantent,Sinaly eee, ‘Thac i to say, i tems as if Chapin in Lindh ily covered the ‘Hichoodtian uackng shot: the very fie abot of the film te» long tzacking shot progressing fom the exablsing she of am idyll tendon see: to 2 closed aparmes door with leks dexdly gas (sigaling the atempted suicide of the young gis! who lives inthe partment), whereas the lst scene ofthe fl contains + magifcent backward oacking shot from the close-up of te dead dow Calers ‘behind the sage che establishing shot ofthe env stage when the fame young gl. now a succes ballerina and his grea love, sper forming just before this scene, the dying Calveo exprcses toe attending doctor his desi to se his love dancing: the dacor tps ‘ima genty on the shoulders and crafts him: "ou all see hey ‘Thereupon Calvero dies, hls body is covered bya white sheet andthe wat 2085 a cerrew auwave annive ariTs pestinarion? TT cama wis ot enact dancing gi onthe a Sn hee mana wy, buy me em wigound Ws hcp inc te vy la th ate te ne fo bind ae nee eae nous “Cae? ht of Beg hy nthe ey ‘Ser whe rn il ues othe myo tml us sarge ptr one get ay oe sree, WE mt hee tuae fh gacsn fr parr doco res le, ply ob ee Teale alte carer pmo ceo nae or thereon ope of te vad aclng aang ices y oy ot « pe ly aor no rus ae tlre bcp), even sens nd re Sede ice tue woe oe The fe ne cheng vIn ay) eli Sig rit” 1.2 IMAGINARY, SYMBOLIC, REAL. Se wiy dbs te eer alays arrive a is dein? Wy cold econ eae ores 2" Fa rom atesng ut tese sent, Dees raston oe Bont {losing samen of Lacs “Senior on "The Paine eter ‘a abi wt we cool lla primordial response of common Sree wo for doe at reach is Gin? aay pesnble fora leer to go ato, howere the Lacan teary $f corel ta te ns anys eine cesta Stee aan hl eg, mh ro of tnesage to at ls preorsned pa Lea's esonon of he way & Teter aes as devon Bg hee ay ein ge fn ober word every epowe ht er a ao tmtos” ate wn dean kml he aaa as, sheng in gi cris owen 0 ‘Mtr is precy el In queon sad sobre by lac A leer Tas aie es dusinion-especaly when we Pave the Hit Gace tetas, of wht ced Geo ate, {esgein bce trown hes om an aesershipwreck26 ‘otha final point which is thing more than somthing sey der tesla a ering down, tating spar» leeration of ell he no longer, no longer anyhing at al. And fe at that moment that he says the phrase | evoked lst meant fade man inthe hour saan beet be “The unpald symbole debe i therefore tn 3 way consitutie of out ‘existence: our very symbolic exisence is 2 "compromise formation, the delaying of an encounter. In Max Ophuls’s msldrama teter fam 2 Uninora Woman, this ink connecng the symbole ckeut with the ceneountr ofthe Rel is perfec exemplified At the vey begining of ‘he il “a eter arsives at its destination,” conttomting the hero mith tbe dismowed eth: what was, for him a series of unconnected epherneral lore affairs that he only vaguely remembered destroyed 2 ‘woman's fe He assumes esponsibility for thie by meias of sui gesture: by deciding noe to escape and io atend the duel hei eran ‘lowe, However as is indie in Lacan's shove-quoted reading of the deem of Irma's injecron, the Rel snot omly death but also fe: not ‘only the pale, frozen, fess immooblty bat also ‘he Reh ror which lererthing exudes,” dhe fe substance in is macous pulpitaion. fr ther words, the resian dealt of life and ceath dates mt syn bolic oppostion but a tensin, and antagonism, inherent 10 the presymbolic Real, As Taam points ext again snd again the very notion life isaliento the symbolcordes And the name ofthis life subeance "Gat proves a trauma shock for the symbolic universe i of course ‘ojyma The ulate vracion on the theme ofa eter that avs rive at ts destination wads therefore: “you ean never get rid of the san of enjoyment"—the very gesture of renouncing enjoyment ‘produces inertably 2 surphs enjoyment tht Lacan writes down s the "object small.” Eeampies offer therstives in abundance, from the ascetic wh can never be sure he doesnot repudiate all worldly goods ‘because ofthe ostentatious and vain stisfiction procured by ths very sc of sacrifice, to the "sense of flfliznet” thas overwhelm us when, ‘we submit to che totalitarian appeal: "Enough of decadent enjoyment 1's time for sacrifice and remmeiton!” This dialect of enjoyment and surplss enjoymenr—ie, the fet that there 48 no “substantial” HY D085 A LEPTER ALWAYS ARRIVE AT ITS DESTINATION? cnjoyroent preceding the exces of surplus enoyment, bat enjoyment sel ee hund of srylusprodced by renumcion 8 pehups what fdresa due to so-called “peal masochism." Such & reading, however, leds beyond Lacan's "Seminar on The Paniued Leen’ " which ways witaln the confines ofthe “trac ss" problematic of sensels, “mechania!” symbolic arr regult- ing the subject's innermost sel-experience. From the perspective of| she ast years of Lacan's teaching, the ater which creates among che subject in Poe's story, determining their position inthe Inersabjec- ‘uve network, x no longer the materialized agency of the sili but rather an objet inthe stir sense of materialized enjayment—the stn, the uncanay exces thatthe subjecs snatch away from each other, Fengetal of how is very posession will mark ther witha pase, “femunine” stance that bas witaess to the conftonation wich the cbjece-cause of desire, What ultimately imerups the continuous low ‘of words wha hndars the smooth running ofthe symbole cei the tauratc presence ofthe Real: when the words sudden sty ou, sve have 30 look not for Smaginary resistances but fr the object cat carne toa coe, NoTES 1 Pcl toa, Champ emp ar: Cie du Crain, tosh omas 30 2 bit 5} Checoceze,Lnapenvmet (at: Ellon de Min 99), = 4 Blue tan “Serr on Te Pda" a Mae ar See cada, ea he Pred onroe andooe opis Unerty Ps 8) st + rong reece eae cated an cy of he ral ‘crore Sod mu et Wr bears cys ewe “Siysaakid othsdiprote fs pabeconcerdovte he ie treed sori pest et ona whe ed eb ansngon tt bce? Thecus doe ts pce a cop sere ed he red nwa ies in slek movers ont 3 non vaya soe fet ncbogane sea nase oe ves 728 enjoy voursyupron! way 0085 4 LerTepa¥uars anmIVE At ts DESTINATION? 29 ‘his pint would un oe whol afi moe preci: Wallon Raman, "The ending of ly Ut The of te Came : imersn Tis sar dore ma sss Chsieasconos a ‘Ene Cong sy Pe 5 lepamicei sie oveintesaofiondientreviieeiacyota ‘St pues Lc me Cie dee porate a Sees di ct net pi een ate Elio ses. ateliepeehnatenau tenes 1» Gt tormion ean fon wes no ay as 7 les an he our neal Cap of Poko en eves tipsy sad fans ne Bakr adr stricto, 57) chaps ed ANE (end: Extse wate farmove smu inn Fords Fa oe whee & Mel Greta ee Pee Noda, epee cro mat siren oven Bes enya '9 Weshould be neted that Cty Cightsitslf germinated from « silat de. twas ablast of wind. emp bette sofa wien wei ance ecg. ‘ura a Shi De Vr {Meporcerunatomht menage ofhisbinarss sulcus sal ‘Sood ested inept ss iy wh completa 9 aught be pretns tat he clumsy as teh tet es he ese hy iis at tendo iy Ugh he tra es to ne Fs ecogzed in sowing acres mae'r be sayy ee) accor ne Airbus at een of mee be es he es fom eg Sf asm ner ioarue er unseat ota hens ihe ceecg fe Maer tee orien th serdar ‘sultan ond gl edt errs menses Svein abein the tin bbecomer saree oof 12 Ths apt eect el pyre te ok ered ate ea “espe od ry reg oooh wri heed Sau eaciv suppr er vn to eae Pensa Fnte ns tare nase ge te free milton oe rac Seal caeiy a wo fom Red Wepre Lene instore es loher ee (nner n een ee er sts a, That 3 tft tages one Soong iat ie tres Folge Theo fr hve cute arash tres nd marten een Sposa ine kaesrelansarr eto esonoftesamer hinko tas crvtarshsnene i anaurar Meson teret 16 Ghjeges Doria "Te nay e ne Po co a Sct fom ests son secs fel ow clged oboe Frukand yes (hengs Unter of hag Pe. cites dtd au en eo usin nee te vy. 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