­¦ý°±·>œ 6œ睝Root Entry ¿FÄf À˺Sq¿1TableÅ7WordDocumentw8SummaryInformation( ÿ› Éœ+ !"#$%&'()*S347œ89JKLMNOPQRZœ[\]^_`apœrsœuvœxyz{|ŝRoot Entry ¿F}?@ABCDEFGHITKLMNOPQRZUVWXYœ[\]^_`apcdœfghijkœmno}œ~éDocumentSummaryInformation8CompObjXObjectPoolÄ½ª§ºSĽª§ºS0Table,3; [4@ҝ4NormalCJOJPJQJmH <A@ڝ°<Default Paragraph Font:0`Ú: List Bullet§x OJPJQJ4T@4 Block TextÑÝÑݧxT2!  è T—p*G]ã°hÜ á °  É@[\rÔU÷šl„SV¿!Áé¿!Áé¿!Áé¿!¿!¿! ¸¿! ¸¿! ¸¿!Áé¿! ¸¿! ¸¿!Áé¿!Áé¿!¿!¿! ¸¿! ¸¿! ¸¿! ¸¿! ¸¿! ¸ ¿! ¸ ¿! ¸¿! ¸¿!Áé*G]ã°hÜ á °  É@[\rÔU÷šl„SVòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄòÄÄ@280 ]UnknownM.H.Lynn Alfred Corn alfred cornRichard CalarcoDenise F. OrtellcmfMalcolm Greenlee Farley neal jahrenKathleerk in the glove department at Neimanís, you are selling things that nobody buys anymore. These gloves arenít like the hard-working ones sold by L.L. Bean; these are so fine that a lady wearing them can still pick up a straight pin. The glove department is adjacent to the couture department and is really there for show. So a lot of Mirabelleís day is spent leaning against the glass case with one leg cocked behind her and her arms splayed outward, resting on her palms against the countertop. On an especially slow day she might lean over the case on her elbowsóalthough this position is definitely not preferred by the managementóand stare through the glass at the leather and silk gloves that lie on display like pristine, just-caught fish. The overhead lights reflect in the glass countertop and mingle with the gray and black of the gloves, resulting in a mother-of-pearl swirl that sometimes sends Mirabelle into a shallow hypnotic dream. Everyone is silent at Neimanís, as though it were a religious site, and Mirabelle always tries to quiet the tap-tap-tapping of her heels when she walks across the percussive marble floors. Wordspace discussion: The first point of focus is you, a low definition role word, connecting to the reader as an external reference. On a basic level, all words have external reference to what they specify. A second low definition role word, with a negative, is nobody. You has two transactions, work and sell. Nobody has the transaction buy. A space field is created her: anymore. The point of focus gloves receives an alternative reality as hard-working one and an alternative special location of L.L. Bean. Next, a point of focus of lady is in the space. She overlays the quality of so fine, limiting the gloves. She has two transactions, wearing (connected to glove) and picking up (connected to a straight pin). The glove department is connected in a building of a space with the couture department and is given a transaction, showing. A time space is created, a lot of a day. Mirabelle is given an act on act of spent leaning, connected to a glass case. She is overlapped with leg, arms and palms, each with a transaction and special connection (cocked behind her, splayed outword, and resting against the countertop). A double negative time space is added, an especially slow day. In this time space, Mirabelleís is overlapped with elbows and given the transaction learn that is connected by over to case. An oberserver, management, is given the positive (definitely) negative (not) transaction (prefer). Mirabelle is given the transaction stare that is connected to glass and gloves, limited by leather and silk. As an activated object the gloves have the act on act transaction of lie on display. They also have an overlap with fish, with a quality (pristine), transaction (caught) and positive/negative (just). A point of focus, lights, connected in space to overhead, has transactions of reflect, mingle and resulting. Reflect is connected to countertop by in. Countertop is limited by glass. Mingle connects with two qualities, colors, gray and black, overlapped from the gloves. Mother-of-pearl swirl is a connection from the active transaction word of resulting. It has a time space of sometimes and a transaction of send with Mirabelle. The shift of focus goes to Mirabelle, who receives the space and the action of dreaming, limited by shallow hypnotic. A larger space is overlapped in, Neimanís. A plural point of focus, everyone, is given a negative quality, silence, and an alternative space, a religious space. Mirabelle is overlapped with heels. There is the triple act on act of tries, quiet and tap-tap-tapping. There is the act of walk, connected to floors (limited by marble) with the positive percussive against the negative silence. shopgirl, by Steve Martin. Hyperion, New York: 2000. n BishopWilliam BeckwithRafique KathwariRafique M. Kathwari Tarrant Smithron price sue richman Sarah Goodwin Rick Pernod Mary Vecchio Ed FriedmanTracyMarcellaMarcella Chloe DurandAnselm Mao ZedongKinko'sEd Casey Nada Gordon Nade Gordon David HarnettnadaISJanis and Peter van Zante Jan van ZantePeter van Zante IT Department Dee Rimbaud Tim Kindberg RD Levitsky Steven Masur Brett Jensen Karen WeiserBONNIE & ADAM BRAUER Bruce Bogan Toxic AvengerkenningPreferred CustomerNEA David LowChristopher Meyer, Ph.D.Nancy L. 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Kathwari Tarrant Smithron price sue richman Sarah Goodwin Rick Pernod Mary Vecchio Ed FriedmanTracyMarcellaMarcella Chloe DurandAnselm Mao ZedongKinko'sEd Casey Nada Gordon Nade Gordon David HarnettnadaISJanis and Peter van Zante Jan van ZantePeter van Zante IT Department Dee Rimbaud Tim Kindberg RD Levitsky Steven Masur Brett Jensen Karen WeiserBONNIE & ADAM BRAUER Bruce Bogan Toxic AvengerkenningEd Casey Nada Gordon Nade Gordon David HarnettnadaISJanis and Peter van Zante Jan van ZantePeter van Zante IT Department Dee Rimbaud Tim Kindberg RD Levitsky Steven Masur Brett Jensen Karen WeiserBONNIE & ADAM BRAUER Bruce Bogan Toxic AvengerkenningPreferred CustomerNEA David LowChristopher Meyer, Ph.D.Nancy L. MeyerChristopher Meyer Marni CorbettRichard Grausman Simon Lipskar Sarah Shannon Greg MastersPhrank Oh-Hair-uhAnselm BerriganDavid BerriganIlana LebowitzJacek Rakowicz Noris GarciaPreferred CustomerNEA David LowChristopher Meyer, Ph.D.Nancy L. MeyerChristopher Meyer Marni CorbettRichard Grausman Simon Lipskar Sarah Shannon Greg MastersPhrank Oh-Hair-uhAnselm BerriganDavid BerriganIlana LebowitzJacek Rakowicz Noris Garciaœ œ œLaura PeranteauChanel RazorfishoAnholt " eliot razorfishljordan Henry Birdjoy katzFrank AntonucciSavitaBaruch CollegeHunter C. Luigi Kasey JuedsElizabeth HornerAdamwvegas Thea KearneyDaniela Gioseffi Sally Kohn Aimee WalkerITSBank of California Rob Wright Myra Kornfeld George MinotStephen MassimillaMelanie Sherman Pavilion UserChristopher Sultan laura rudishsy€ƒ‹ýÈËÔ•¯…¡ÂÓ#_jïûó ° · È I Q x É ¥‡Ûš%.õ£ø[d´Åäã08…¿³²Î167<Za}áÑ Ÿ å´ÆŒØº²ŒÎM.H.8Macintosh HD:Desktop Folder:March2002:ArticlePierog.htmlM.H.<Macintosh HD:Temporary Items:AutoRecovery save of ArticlePieM.H.<Macintosh Laura PeranteauChanel RazorfishoAnholt " eliot razorfishljordan Henry Birdjoy katzFrank AntonucciSavitaBaruch CollegeHunter C. Luigi Kasey JuedsElizabeth HornerAdamwvegas Thea KearneyDaniela Gioseffi Sally Kohn Aimee WalkerITSBank of California Rob Wright Myra Kornfeld George MinotStephen MassimillaMelanie Sherman Pavilion UserChristopher Sultan laura rudishsy€ƒ‹ýÈËÔ•¯…¡ÂÓ#_jïûó ° · È I Q x É ¥‡Ûš%.õ£ø[d´Åäã08…¿J!R!¢#167<Za}áÑ Ÿ å´ÆŒØºœAIsvÀ‹hs#!‹"¢#M.H.8Macintosh HD:Desktop Folder:March2002:ArticlePierog.htmlM.H.<Macintosh HD:Temporary Items:AutoRecovery save of ArticlePieM.H.<Macintosh HD:Temporary Items:AutoRecovery save of ArticlePie❝ ÑhÑòœhOJQJo(…•❝@Äü#ü#\jáü#ü#¹¯ 6ÅOJQJOJQJ½C$EÄOJQJb '+OJQJG CJOJPJQJmH CJOJQJ#G CJOJPJQJmH CJOJQJCJºC$EÄCJOJQJb '/FOJQJG CJOJPJQJmH CJOJQJ5ÅCJOJQJCJ CJOJQJ'OJQJG CJOJPJQJmH OJQJG CJOJPJQJmH OJQJ+FOJQJG CJOJPJQJmH OJQJºC$EÄCJOJQJb 'H016<=>MXYZoÉÑÝ°mpf܏…½“”š^_rs«»ÐðÞþ·’ !$;<=EFGHMNOPXY^_ghìîôöõúÝ°¶ß´¨»ŠÕ‘ÍÎÛÙ239:>Z[abÇÉç鮩؃67=>?^_bcÔ•–—   $%UVXY]^hijkmnôö‚Æÿý·      0 1 G H a b o p ç é ¢ £ ¼ † ¡ ¬ « » ¦ ­ ‹ ³ Œ ¹ È Í ž –      @ A B C I J K Ç É à 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+1¾@1+1†@1+1@1+1@1+1&@1+1:@1à,1<@1ä,1@ McCarthy is a highly respected American published in 1992M.H.M.H.`1@1Œ01j1@1÷00¶1@1ÿ01™1@1Ž01(2@1¶+1f2@1Ð01­2@1Þ01³2@1ý01Ð2@1”013@1Ê01Ë0123@111à3@111ú3@1 11¥3@1 11†3@111ÿ3@111”3@111.4@11104@11111:4@111Ý4@111Æ4@111½4@1 11¬4@1"11•4@1$11N5@1&11l5@1(11ÿ5@1*11Ë5@1,116@1 6@1.116@1011F6@1210N6@1411x6@1611Ü6@1811¥6@1:116@1<11•6@1>117@1@117@1B117@1D117@1F11,7@1H11.7@1J11<7@1^7@1L11z7@1N11Ä7@1P11¥7@1R11¿7@1T11¬7@1V11‘7@1 8@1X118@1Z1188@1\11P8@1^11X8@1`11r8@1b11ú8@1d119@1f119@1h119@1j11 9@1l11J9@1n11\9@1p11à9@1r11ê9@1t11:@1z11|:@1|10û:@1~11’:@1®+1•:@1Ä11Ù:@1Ç11(;@1Ñ11:;@1Ü11v;@1à11Ü;@1ä11º;@1å11ý;@1é11<@1ê11(<@1í11n<@1î11z<@1ñ11|<@1ò11Ü<@1ö11ê<@1ú11ƒ<@1û11Ž<@1Ý11”<@1¢11&=@1§112=@1¶11X=@1®11Z=@111n=@1¨11ò=@1Æ11ö=@1ƒ10=@041½40505050(5180X80x81z80 :1 :10;0ƒ;0¾;0<1ä<1=1=1=0=1h?1§B1ÞB1ÄC0àC0ÚE1HF1êF1îF1öF0úF0’F1&G0äG0>@GêTimes New Roman5êÄSymbol3ê Arial3êTimes9êPalatino"qå­hamA`nqAÄ&'`>$€¿¥¥Ä>0$üYAll the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992M.H.M.H.@1+1ñ@1+1º@1+1@1+1@1 +1\@1"+1h@1å,1p@1é,1Ç@1$+1¥@1&+1ý@1ê,1@1í,1,@1(+1f@1*+1é@1,+1†@1.+1»@10+1³@12+1ý@14+1’@16+1Ê@18+1@1:+1<+1X+1Z+1F@1^+1f@1`+1@1b+1½@1d+1f+1Ÿ@1î,12@1ñ,1<@1h+1h@1j+1j@1l+1t@1n+1~@1p+1ä@1ò,1¢,1Ž,1Ù@1r+1@1t+1@1v+1"@1x+1,@1z+16@1.18@1.1B@101P@1 00R@0|+1 .100û@1Í@1~+1J @1Ä+1÷ @1Ç+1Æ"@0b'@1d'@1Ñ+1û'@0001201’=@ 1400Ð(@0600Þ(@1 )@1Ü+1B)@1à+1J)@121Í)@1 21|*@1ä+1Ï*@1å+1™*@1801¸*@1:01+@1é+10+@1ê+18+@1í+1B+@1î+1L+@1ñ+1N+@1ò+1Z+@1ö+1Ç+@1ú+1Ñ+@1û+1å+@1Ý+1+@1¢+1 +@1§+0Ž+@1<01,@1>01,@1@01,@1D01V,@1F01v,@1H01,@1J01"21Ê,@1 -@1Z01\01Ë,@1,218-@1>21:-@1b01<-@1d01B-@1f01t-@1h01Ñ-@1j01ƒ-@1l01-@1n01”-@1p01Ú-@1r01.@1t01.@1v01&.@1x01:.@1z01X.@1|00t.@1~01Ç.@1Ä01¢.@1Ç01`/@1Ñ00p/@1¥41¶/@1Ü01Ÿ/@1à010@1ä01*0@1å01é01¾01¥0101½01Z1@1³01`1@1Œ01j1@1÷00¶1@1ÿ01™1@1Ž01(2@1¶+1f2@1Ð01­2@1Þ01³2@1ý01Ð2@1”013@1Ê01Ë0123@111à3@111ú3@1 11¥3@1 11†3@111ÿ3@111”3@111.4@11104@11111:4@111Ý4@111Æ4@111½4@1 11¬4@1"11•4@1$11N5@1&11l5@1(11ÿ5@1*11Ë5@1,116@1 6@1.116@1011F6@1210N6@1411x6@1611Ü6@1811¥6@1:116@1<11•6@1>117@1@117@1B117@1D117@1F11,7@1H11.7@1J11<7@1^7@1L11z7@1N11Ä7@1P11¥7@1R11¿7@1T11¬7@1V11‘7@1 8@1X118@1Z1188@1\11P8@1^11X8@1`11r8@1b11ú8@1d119@1f119@1h119@1j11 9@1l11J9@1n11\9@1p11à9@1r11ê9@1t11:@1z11|:@1|10û:@1~11’:@1®+1•:@1Ä11Ù:@1Ç11(;@1Ñ11:;@1Ü11v;@1à11Ü;@1ä11º;@1å11ý;@1é11<@1ê11(<@1í11n<@1î11z<@1ñ11|<@1ò11Ü<@1ö11ê<@1ú11ƒ<@1û11Ž<@1Ý11”<@1¢11&=@1§112=@1¶11X=@1®11Z=@111n=@1¨11ò=@1Æ11ö=@1ƒ10=@040½40505050(50>@GêTimes New Roman5êÄSymbol3ê Arial3êTimes9êPalatino"1å­hamA`iqAÄ%  1$œ ¿FMicrosoft Word DocumentœNB6WWord.Document.8œ ¹Õ¹ú.ìó+,˜ÆD¹Õ¹ú.ìó+,˜ÆÑ@ hp|Ñåî ú§¨¥ º "'th>$b ZAll the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992 Titleò 6> _PID_GUID'AN{93C855E6-280A-1168-945E-23DC70002640}œ ýÖüژOh´ë+'„0®àêÙ, <H d p |àêòÝ'ZAll the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992hll M.H.he .H.Normal M.H.l 8H.Microsoft Word 8.0e@d¸N@\çÁºS@Ðil,‡S'`ates. Driving long distances was a necessity for the psyche. She only felt secure when she looked back and did not see where she came from that morning. [and could no longer see where she had come from that morning.] At least she felt like a native American. To end her life, she felt she needed to be a long way from home. After the crash of the World Trade Center on September 11, 2001, she [had] felt she had fallen. Family values were not what they were now cracked up to be, and she had not felt a personal loss. She had been married to a fireman, but that had not lasted long. A policeman had arrested her once, but that had not lasted long at the Court House. The judge was her hero. She had not expected to visit New York City, going through the tunnel from New Jersey into Manhattan. She had certainly never expected to find herself driving a car under water. She did not have a driver's license, and she had never driven before either. She did not want to attract attention. She had stolen the car from her family, but it had not been much in use since her brother joined the air force. She had heard that the old mayor, Rudy Giuliani, whose picture had appeared as the Person Of The Year on the cover of Time Magazine, had early in his career (but after he had whipped the local Mafia) defeated the attacks of poor people who cleaned the windshield wipers of random frightened drivers, so she felt she was entering a safe city for the automobile, free from that low form of terrorism that she would never experience. The weather was cold. She did not like it. She did not care for New York in any [way] at all. She had never been there. She laid a wreath at Ground Zero. Now she felt free again, and wanted to live again. π¡s tø jbjb¿ ¿ HkkÝ#]ñ40 0 0 0 <  /7$ÙÙÙÙÙÙÙÙ3555555,S8ÙG:Ïa‘ÙÙÙÙÙa0ÙÙ\ ò 000ÙrÙÙ3*6`6Ù30ä0†3P " f0 f +All the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992. It was a bestseller, and a notable book of the American West. The first paragraph follows: The candleflame and the image of the candleflame caught in the pierglass twisted and righted when he entered the hall and again when he shut the door. He took off his hat and came slowly forward. The floorboards creaked under his boots. In his black suit he stood in the dark glass where the lilies leaned so palely from their waisted cutglass vase. Along the cold hallway behind him hung the portraits of forebears only dimly known to him all framed in glass and dimly lit from the narrow wainscoting. He looked down at the guttered candlestub. He pressed his thumbprint in the warm wax pooled on the oak veneer. Lastly he looked at the face so caved and drawn among the folds of funeral cloth, the yellowed moustache, the eyelids paper then. That was not sleeping. That was not sleeping. Wordspace discussion: There is a double focus, the c€¿¥¥Ä0BüYAll the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992M.H.M.H.œ ¿FMicrosoft Word DocumentœNB6WWord.Document.8œ ¹Õ¹ú.ìó+,˜ÆD¹Õ¹ú.ìó+,˜ÆÑ@ hp|Ñåî ú§¨¥ º "'th1 Bb ZAll the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992 Titleò 6> _PID_GUID'AN{93C855E6-280A-1168-945E-23DC70002640}œ ýÖüژOh´ë+'„0®àêÙ, <H d p |àêòÝ'ZAll the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992hll M.H.he .H.Normal M.H.l 7H.Microsoft Word 8.0e@9+@\çÁºS@~ô¼+‡S INTRO MATERIAL Here: wordspace is a system etc. intro intro Text Analyses: Preface---- ' [ Conclusions and transition . . . ] Applied Exercise n4z4|4ö4¾4¥4½4555(5*5ššššš˜˜˜˜˜˜§x ƒ­/ ƒý=!ƒ"ƒ#êÝ$êÝ%ƒÏ€¡s dø jbjb¿ ¿ 8kkȝ]Çd.... :Ê}3$ÚÚÚÚÚÚÚÚðþþþþþþ,°4Ùï6Ï rÚÚÚÚÚ ŽÚÚZò ŽŽŽÚfÚÚð*,V,ÚðŽäŽd‡ðN !”ÊH.XǹAll the Pretty Horses by Cormac McCarthy is a highly respected American published in 1992. It was a bestseller, and a notable book of the American West. The first paragraph follows: The candleflame and the image of the candleflame caught in the pierglass twisted and righted when he entered the hall and again when he shut the door. He took off his hat and came slowly forward. The floorboards creaked under his boots. In his black suit he stood in the dark glass where the lilies leaned so palely from their waisted cutglass vase. Along the cold hallway behind him hung the portraits of forebears only dimly known to him all framed in glass and dimly lit from the narrow wainscoting. He looked down at the guttered candlestub. He pressed his thumbprint in the warm wax pooled on the oak veneer. Lastly he looked at the face so caved and drawn among the folds of funeral cloth, the yellowed moustache, the eyelids paper then. That was not sleeping. That was not sleeping. Wordspace discussion: There is a double focus, the candleflame and the image of it. The first transaction of the book is candleflame caught. It is spatially connected to the pierglass. The double focus has two transactions, twisted and righted. He is the next focus of attention, overlapped in time by when. He has four transactions, entered, shut, took off and forward. The first three are directly connected to hall, door and hat. The fourth has the quality slow and the spatial element of forward. Focus goes to floorboard, which entails the transaction of creak. This is spatially connected to his boots. His entity is further built by black suit in his next transaction, stood. This is spatially connected into dark glass, overlapped with lilies that have the transaction of leaned which have the quality of palely emphasized by the positive of so. There is a connection to a vase. The paragraph as a whole has a path from the door to a face. Focus goes to portraits, connected to him by behind and a hallway by along. A quality of cold is placed there. The portraits oveandleflame and the image of it. The first transaction of the book is candleflame caught. It is spatially connected to the pierglass. The double focus has two transactions, twisted and righted. He is the next focus of attention, overlapped in time by when. He has four transactions, entered, shut, took off and forward. The first three are directly connected to hall, door and hat. The fourth has the quality slow and the spatial element of forward. Focus goes to floorboard, which entails the transaction of creak. This is spatially connected to his boots. His entity is further built by black suit in his next transaction, stood. This is spatially connected into dark glass, overlapped with lilies that have the transaction of leaned which have the quality of palely emphasized by the positive of so. There is a connection to a vase. The paragraph as a whole has a path from the door to a face. Focus goes to portraits, connected to him by behind and a hallway by along. A quality of cold is placed there. The portraits overlap through of to forebears. He has the transaction in double negative of only dimly knowing. The portraits are spatially connected by framing and negatively identified, by dimly, to lighting, connected in space with narrowing wainscoting. His next transaction is looking down, connected by focal shift to guttered candlestub. His next actions are pressed and looked. He is overlapped with thumbprint, connected by in to the warm wax. The wax is activated by the transaction pooled that is connected to the vene›ÇÑÖÜáàâäãåtrlap through of to forebears. He has the transaction in double negative of only dimly knowing. The portraits are spatially connected by framing and negatively identified, by dimly, to lighting, connected in space with narrowing wainscoting. His next transaction is looking down, connected by focal shift to guttered candlestub. His next actions are pressed and looked. He is overlapped with thumbprint, connected by in to the warm wax. The wax is activated by the transaction pooled that is connected to the veneer. Focus shifts here to face, which has the actions caved and drawn. Overlap by parts adds the mustache and eyelids, with the qualities yellowed and thin. These is an external limiting reference to paper. There are two identical stages of a further negative to the act of sleeping. His path has 9 direct transactions in the path of the paragraph. All The Pretty Horses, by Cormac McCarthy. Vintage Books, Random House, New York: 1993. Shopgirl, by Steve Martin. First paragraph (plus one sentence): When you wo ¨+”,. ..00206080¾1@2z4|4ö4¥445(5*5™™™ÛÎۙ”ÐÛۙ÷Ã÷ۙЙ5Å6ÅCJOJQJ 6ÅOJQJ5ÅCJOJQJ CJOJQJ6ÅCJOJQJ CJOJQJOJQJôÃ’Ä \¥­ž¾oÖÓ=†÷*P÷ ~+.2080*4,4b4n4ššššššššššššš˜˜˜˜˜˜—šžžššššš§xôÃ’Ä \¥­ž¾oÖÓ=†÷*P÷ ››››››ƒ­/ ƒý=!ƒ"ƒ#êÝ$êÝ%ƒ(Vintage, Random 1992)moustache, the eyelids paper thi''''''''He has four transactions:'''''''''''''''''''''''''''''''''''''''''''''''''''''''' connected by 'in',',','''','''' '''''''''''''',''e''''SThere is a double focus:when,and''s is spatially connected to '''',,''''''''s the mustache and eyelids, which have ()''Shopgirlnine () by Steve Martin: () '',',''''''lady' as ''''''''''''''''''''''cocked behind her,' 'splayed outwa''''',',''' to case. An ob'''''',',''''',''''''''''''''''''''''''''''''''''''''''ho '''''''''''''''''''''','',''ƒ­/ ƒý=!ƒ"ƒ#êÝ$êÝ%ƒ() Next is 'lady'›êëíìîïñóòôöõeer. Focus shifts here to face, which has the actions caved and drawn. Overlap by parts adds the mustache and eyelids, with the qualities yellowed and thin. These is an external limiting reference to paper. There are two identical stages of a further negative to the act of sleeping. His path has 9 direct transactions in the path of the paragraph. All The Pretty Horses, by Cormac McCarthy. Vintage Books, Random House, New York: 1993. Shopgirl, by Steve Martin. First paragraph (plus one sentence): When you wo ¨+”,. ..00206080¾1@2z4|4ö4¥445(5*5ÄCàCåG™™™ÛÎۙ”ÐÛۙ÷Ã÷ۙЙÛÎÛ5Å6ÅCJOJQJ 6ÅOJQJ5ÅCJOJQJ CJOJQJ6ÅCJOJQJ CJOJQJOJQJôÃ’Ä \¥­ž¾oÖÓ=†÷*P÷ ~+.2080*4,4b4n4ššššššššššššš˜˜˜˜˜˜—šžžššššš§xôÃ’Ä \¥­ž¾oÖÓ=†÷*P÷ ››››››ƒ­/ ƒý=!ƒ"ƒ#êÝ$êÝ%ƒ(Vintage, Random 1992)moustache, the eyelids paper thi''''''''He has four transactions:'''''''''''''''''''''''''''''''''''''''''''''''''''''''' connected by 'in',',','''','''' '''''''''''''',''e''''SThere is a double focus:when,and''s is spatially connected to '''',,''''''''s the mustache and eyelids, which have ()''Shopgirlnine () by Steve Martin: () '',',''''''lady' as ''''''''''''''''''''''cocked behind her,' 'splayed outwa''''',',''' to case. An ob'''''',',''''',''''''''''''''''''''''''''''''''''''''''ho '''''''''''''''''''''','',''ƒ­/ ƒý=!ƒ"ƒ#êÝ$êÝ%ƒ() Next is 'lady'INTRO MATERIAL Here: wordspace is a system etc. intro intro Text Analyses: Preface---- ' [ Conclusions and transition . . . ] Applied Exercise n4z4|4ö4¾4¥4½4555(5*5Z8x8z8 :¾;<ä<h?ÚEHF’F&GåGššššš˜˜˜˜˜˜˜˜˜žžžžžžžžžžÑ­§xƒ­/ ƒý=!ƒ"ƒ#êÝ$êÝ%ƒLacking A Destination For Now by Paul Pierog She sat, uncertain, looking the other way. Too bad. Turning her head in the wrong direction was a tendency from childhood in Utah that did not serve her well on the Eastern Coast of the United St