On one occasion, Pantalaimon discovers a woman who has become separated from her dæmon after a boat sank with the dæmon on it, the two having been unable to find each other after this even as the girl's continued survival makes it clear that the dæmon is still alive. In Lyra's search for Pantalaimon, after he leaves her following a conflict, Lyra learns that there are groups of poor in distant countries who actually sell their children's dæmons through an organisation selling dæmons. Intercision In the trilogy, a special guillotine made of manganese-titanium alloy is used by the General Oblation Board to separate people from their dæmon without killing them (known as intercision). However, unlike the distant separation practiced by witches and shamans, the guillotine permanently breaks the bond between person and dæmon, and drastically reduces the person's creativity, intelligence, and willpower: The adults who have survived the process seem blank and lifeless, and their dæmons subdued and incurious. The General Oblation Board continually perfects the process through experimentation, but Lyra encounters a young boy who cannot bear the results of his intercision and dies. When Lyra finds dæmons that have been separated from their humans, the creatures are insubstantial and needy: They cluster desperately, held back only by the contact taboo. Lifespan The books do not indicate when or how, or into what form, a dæmon is "born", but a baby's dæmon takes the form of a baby animal. When a person dies, their dæmon fades away like "atoms of smoke." Likewise, when a dæmon is killed, its human dies as well. How a dæmon acquires a name is not explained in the books, but clarified by Philip Pullman as being normally given by the parents' dæmons. As Will Parry came from our world, his dæmon was not given a name in this way and was named Kirjava (meaning mottled in Finnish) by Serafina Pekkala when she first met the dæmon. Analysis Maude Hines in her essay on Philip Pullman's work wrote that the concept of the dæmon, as a clearly fantastic element, epitomizes Bourdieu's "space of the possibles", and that the dæmon is "an animal familiar like Jung's anima/animus, which acts as an externalized conscience or soul". Maude Hines in her essay ''Second Nature: Daemons and Ideology in The Golden Compass'' called dæmons "one of the most remarkable aspects" of Pullman's world, and notes that they "function as