text:
Rani Manicka's Touching Earth demonstrates a narrative discursive style which is indeed an appropriate ground for the study of multiple voices and worldviews. Manicka's representation of the world through an utmost plurality of consciousnesses, each playing its part on an equal dialogical basis to demonstrate the truth, parallels what Russian theorist Mikhail Bakhtin (1895-1975) describes as a "Polyphonic Novel." The main aim of this study is to discover, in Rani Manicka's Touching Earth, the polyphonic elements that Bakhtin attributed to Dostoevsky's novels. This article further seeks to identify the dialogic relationship between the characters, the active participation of the reader, and the author's position with regard to these. The final goal of this study is to establish the quality of unfinalizability, the capacity to outgrow the determined fixed definitions, and the shared perception of truth in this novel. As there have been limited Bakhtinian studies on Asian texts and, in particular, none on Rani Manicka's novels, this study attempts to fill this gap in the literature and thus contribute to the body of research on the dialogical dimension of the novel.
- dialogue
- dialogism
- polyphony
- unfinalizability
- Manicka
- Bakhtin
The parable of those who take protectors other than Allah is that of a spider who builds for itself a dwelling, and surely the weakest of all dwellings is the dwelling of a spider, if they but knew it.
Holly Qur'an, "Spider," (Surah the Spider, Ch 29, Vol. 41)
Rani Manicka (2004) in her second novel, Touching Earth, established herself as a true storyteller, and her narrative discursive style is in fact appropriate to her and her storyline. Even though in the first part of the novel each of the characters, "players," is introduced in a separate chapter, all are dialogically linked together. The large cast of characters, each coming from a different geographical and cultural background, come together in a house located in London which is called "The Spider Temple." The setting of the novel spans between an Edenic and innocent background, in which different characters experienced their childhood, to a dark and, eventually, destructive and devouring place in London with strong elements of drug abuse, materialism and prostitution. In the second part of the novel, the characters speak/think in shorter sections, mostly in the form of a dialogue which reflects the intense interaction between them. In a curious twist, toward the end of the novel, Manicka herself appears in the story as one of the characters, interacting with some of the others, asking for their stories. Manicka's appearance as "creator" and "creation" adds yet another layer or dimension to her artistic craft. This quality of her novel, with its representation of the world in its utmost plurality of consciousnesses, each playing its part on an equal dialogical basis to demonstrate the truth, parallels what Mikhail Bakhtin (1895-1975) describes as a polyphonic novel. To evaluate the extent to which Rani Manicka's brilliant novel, Touching Earth, demonstrates the qualities of a polyphonic novel, the present research attempts to examine closely the discourse in the novel.
Bakhtin, in his theoretical principles, highlights the dialogical dimensions of the novel which truly draw the reader into a dialogical interaction with it. For Bakhtin, a novel does not consist of words and statements but is, instead, a combination of discourses and particularly responses to those discourses. Novelistic discourse in Bakhtin's view relies on meetings and encounters, on coexistence and interaction, between diverse points of views. In what follows, the researchers articulate the enhancement of what Bakhtin posed as the true quality of the novelistic genre that is in a novel, "being there" necessarily demands "being with." The main thesis of the present study is to find the polyphonic elements that Bakhtin attributed to Dostoevsky's novels in Rani Manicka's Touching Earth. This article further seeks to identify the dialogic relationship between the characters and the active participation of the reader. The author's position with regard to the characters is examined in detail, while the final goal of this study is to establish the quality of unfinalizability in the selected novel. As there have been limited Bakhtinian studies on Asian texts and, in particular, not a single piece of research on Rani Manicka's novels, this study attempts to fill this gap in the existing literature and thus contribute to the body of research on the dialogical dimension of the novel. This research makes use of the most relevant concept in relation to the study of the dialogical dimensions of the novel, that is, "polyphony."1 By close reading of the text and the way the characters are represented, the researchers will reveal the dialogical relationship between the characters, the author, and the active participation of the reader in an unfinalized contribution to the truth.
Dialogical Versus Monological, A Polyphonic Universe
Todorov (1984) describes Mikhail Bakhtin (1929/1984) as "the twentieth century's greatest theoretician of literature" (p. 131). Wayne Booth in his introduction to Bakhtin's Problems of Dostoevsky's poetics, declares that "Bakhtin's ultimate value" lies in his "full acknowledgement of and participation in a Great Dialogue" (p. xxv). Undoubtedly, dialogue is the key concept in Bakhtin's (1981) approach to literature, and specifically to the novel. His own comment on literary work in Dialogic imagination, "Forms of Time and the Chronotope in the Novel," provides the best explanation of his endeavor,
The work and the world represented in it enter the real world and enrich it, and the real world enters the work and its world as part of the process of its creation, as well as part of its subsequent life, in a continual renewing of the work through the creative perception of listeners and readers. (p. 254)
For Bakhtin (1929/1984), polyphonic novels contain a plurality of "independent and unmerged voices and consciousnesses" which are not entirely under the influence of the author's intention. They are instead individual consciousnesses that possess equal rights in expressing their worldviews. In this kind of creative design, the characters are, "not only objects of authorial discourse but also subjects of their own directly signifying discourse" (p. 7). As a matter of fact, the characters' voice are equally significant, as the voice of the author himself, while these voices cannot be seen as simply drawn out from the consciousness of the author, and thus governed by its intentions and ideology.
In Bakhtin's (1929/1984) words, Dostoevsky's novels are "fully polyphonic novels" because, in them, the hero's word own a unique individuality together with the author's word and other characters in the novel. The characters, besides the author of the polyphonic novel, and also the reader, participate as equals in the construction of the truth. In fact, the reader needs also to take part because the dialogic interaction, "provides no support for the viewer who would objectify an entire event according to some ordinary monologic category (thematically, lyrically or cognitively)—and this consequently makes the viewer also a participant" (Bakhtin, 1929/1984, p. 18).
Bakhtin proposes that the underlying fact in maintaining such dialogicality is accomplished through the utilization of specific artistic devices which consequently lead to the "freedom" of speech in literary and everyday discourse. These devices aim to refuse the monologic qualities of the world of objects and, instead, refund the dialogical principles through the introduction of heterogeneous and multiform "materials" into the texture of events. Therefore, elements such as plot and characterization in a polyphonic novel contribute to the creation of a dialogic opposition.
In contrast, monologism from the Bakhtinian perspective designates a situation in which the matrix of ideological values, which represents the practices and novelistic desires that eventually shape the organic reality of language, is dominated by the hegemony and ideology of a single consciousness or worldview. In another register, monologism rejects "the equal rights of consciousness vis-à-vis truth (understood abstractly and systematically)" (1929/1984, p. 285); therefore, it overlooks the individual's autonomy in producing and perceiving meaning. Bakhtin discusses how European rationalism and Enlightenment thought significantly encouraged monologic principles, which can be seen in all ideological spheres other than literature and philosophy, in society. In his appendix to the Problems of Dostoevsky's poetics, Bakhtin specifically discloses the foremost qualities of the concept of monologism:
Monologism, at its extreme, denies the existence outside itself of another consciousness with equal rights and equal responsibilities, another I with equal rights (thou). With a monologic approach (in its extreme or pure form) another person remains wholly and merely an object of consciousness, and not another consciousness. No response is expected from it that could change everything in the world of my consciousness. Monologue is finalized and deaf to the other's response, does not expect it and does not acknowledge in it any decisive force. Monologue manages without the other, and therefore to some degree materializes all reality. Monologue pretends to be the ultimate word. It closes down the represented world, represented person. (Bakhtin, 1929/1984, pp. 292-293, italics in original)
In a monologic work, authorial ideology dominates and illuminates all the worlds presented in the novel, thereby leading to a "single-toned" quality that subordinates the monologic work and consequently renders it a lifeless, "philosophical monologue," a "dialogue des sourds." From a methodological perspective,
Monologism is suspect simply because it fails adequately to capture the exigencies of heterodox discursive practices in the social world as well as the inherently dialogic orientation of all signifying practices. Ethically, of course, Monologism objectifies and quantifies human subjectivity and robs individual creativity of any real significance. (Gardiner, 1992, p. 28)
"Great Dialogue" in Touching Earth
In Manicka's Touching Earth, the characters are treated as "ideologically authoritative" and independent. The characters, with no particular emphasis on gender and race, are perceived as the authors of a fully weighted "ideological conception" of their own and not as the mute inactive object of Manicka's finalizing artistic vision. In this way, in the consciousness of the reader, the direct and fully weighted signifying power of the characters' words destroys the monologic qualities of the novel and, as Bakhtin (1929/1984) affirms, the characters, "call forth an unmediated response—as if they were not an object of authorial discourse, but rather a fully valid, autonomous carrier of their own individual world" (p. 5).
In the polyphonic novel, the plot plays a secondary role, and this is why the world presented in Manicka's Touching Earth may sometimes seem chaotic when, at different moments, diverse characters come to have their say often with no sequence or logical order. It is only in the light of Manicka's fundamental artistic task, the representation of real life, that the cautious reader will understand the profound organic cohesion, consistency, and wholesomeness of Manicka's Touching Earth.
Touching Earth is constructed not as the whole of a single consciousness of the author which absorbs all other consciousnesses as "objects" into itself, but is, on the contrary, constructed as a whole which is formed by the interaction of several consciousnesses, each having space to utter its words and consequently share its worlds. In this way none of these consciousnesses entirely becomes an object for another; each of them is an autonomous individual free to express its ideology and worldview, to live its miserable life, worshipping at the "Spider Temple." They communicate and interact with one another mostly in pairs—the Balinese twin, Ricky and the devil (Spider Goddess), and Elizabeth and Bruce. One needs to notice that in a polyphonic novel, the reader participates in an active dialogical exchange and needs to be responsive to the entire event (Morris, 1994).2 From the very beginning of the novel, the reader's active participation is demanded by each character. As the storyline develops, when any character is revealing his or her life story, many times, they check the presence and accompaniment of the reader. Constantly, they address the reader directly and ask him or her to judge the situation. The reader needs to be alert and conscious at any given moment to interpret meaning. Nutan, addressing the reader, aims to introduce her grandmother to the reader, "now, how do I describe Nenek to you?" (2004, p. 15). While, later Zeenat also addresses the reader as an actual personage in the novel (2004, p. 27). Many other cases of this direct form of address are seen during the course of the novel.3 Yet, the most revealing instance of this interaction is when even the reader at the end of the novel ignores Ricky and leaves him:
Come on. Stay a while. What can it harm? I'll cook some pasta. Penne Arrabiatta, ok with you? It'll be night soon anyway, and we'll light some candles. There may be no electricity. I am a magician. In the candlelight I'll weave my magic, marvellous magic. You will be swept off your feet. I promise you, you've not heard it all before. She's not finished, the Spider Goddess. I've still got a few surprises left up my sleeves. This can't be the end.
Come, you will not sit with inverted glass. We'll get drunk for the forbidden together. wait a while.
Don't go . . .
Hey . . .
Ah well, catch you next time. (2004, pp. 422-423)
The construction of the Touching Earth hinges on the way that it makes dialogic opposition inescapable. The novel begins with each character relating his or her childhood background until all of them gather in London and, as Manicka very artistically expresses it, "the game they played" starts at "Spider Temple." The plurality of equally authoritative ideological positions, mostly in the second part of the novel, and an extreme diversity of materials, are the primary characteristics of this dialogic relation. This quality enriches the novel with the extraordinary "multi-sidedness" and "multi-leveledness." In an endless debate, each character is in the process of becoming, and undergoes an active struggle to come to terms with his or her own situation in life; it is worth noting that within this design each individual character is free to decide his or her own fate as all of them are aware of the consequences of their choices.
In the light of this, Manicka's representation of these "personalities," each from a different background and all coming together in London and at "Spider Temple" to experience life in a new air, and share and express their own selves, accords directly with the essence of a polyphonic novel in which every voice remains independent yet for its ultimate meaning, depends on the perception and understanding of the others. It is precisely in a polyphonic novel that one can detect the "individual wills." In Touching Earth, we can observe the combination of several "individual wills"; as Bakhtin (1929/1984) puts in, "the artistic will of polyphony is a will to combine many wills, a will to the event" (p. 21). In this kind of reading, the hero becomes a "person of the idea," a person who is possessed by an idea. Manicka, in this regard, as the author of the polyphonic novel, does not describe the life of the heroes and heroines but the life of the idea in them, and this is what Bakhtin labels the "ideological novel."4
More specifically, the author of the polyphonic novel looks into the world objectively and, from a social point of view, depicts the subjective individual's soul. The objective contradictions of the social world serve as the basic context for the representation and growth of any single character. Speaking thus, the objective condition of an epoch plays a primary role in the characterization and confrontations of individuals, and this is what qualifies the novel universe with "multi-leveledness" (Bakhtin, 1929/1984, p. 27). The fundamental characteristic of Manicka's Touching Earth is the "coexistence" and "interaction" of the contradictory forces, which are present at the same time in the context of the society of the novel's time. The safe and innocent and the natural beauty of the background that the Balinese twin are grown up stands in quite opposite direction with the corruption they experienced in the company of the people they met in London. The harsh reality of addiction and prostitution is mostly for the outcasts and foreigners who do not fit the space in which they are situated. The vivid picture of entrapment in drugs, as experienced by Nutan and Zeenat, an inevitable outcome of this situation, is depicted in the novel:
Get a spoon. Put the heroin in. Add citric acid, vitamin C powder, lemon juice or vinegar. If you use citric acid or vitamin C you have to mix a little water with it . . . Always watch the bubbles. You don't want them in your arm. Look for a vein. Never inject directly into flesh. It really hurts. Causes a lump. An abscess that burns and stings horribly. You must always find a vein.
It was a disgusting thing to do. But we did it. You might ask why we didn't start by smoking. Not everybody can smoke. My sister couldn't. It made her puke. So much so she ended up vomiting blood. [italics in original]. (2004, pp. 286-287)
Moreover, after Maggie's suicide, what Maggie's grandmother tells Anis deciphers the true relation between being ignored and delinquent behavior, particularly prostitution, "an unconscious desire to revenge neglect" (2004, p. 361). As the individual lives of the main characters of the novel reveal, the conscious reader will find out that nearly all of them are suffering from some sort of neglect. After the death of Ibu (their mother), Nutan and Zeenat found out that it was their grandmother, Nenek, whom their father had truly loved. And while their father planned their trip to London, they felt so neglected and unloved that they decided to accept his offer. This we can see in the life of Elizabeth and Anis alike, when they felt betrayed and ignored by their own parents.
This quality of simultaneity and the urge to see everything as coexisting, and to understand and show everything side by side, as if they existed and happened in space and not in time, leads the author of the polyphonic novel to dramatize, in space, even "internal contradiction" and "internal stages" in the development of each individual in the novel. Of this characteristic, Bakhtin (1929/1984) declares that at times a character might find himself or herself conversing with his or her own "double, with the devil, with his/her alter ego, with his/her own caricature" (p. 28). This feature explains the occurrence of paired characters in Touching Earth, such as the Balinese twin, Nutan and Zeenat, Ricky with the devil (Spider Goddess), Francesca with her own alter ego, and so forth.
Indeed, out of every contradiction within a single character, Manicka tried to create two persons, to dramatize the contradiction and develop it extensively. The characters in this regard, as "essential" beings, remember from their past only what has not ceased to be present for them, that which is still experienced by them as the present: namely, an unexpected sin, a crime, an unforgivable insult.5 This is why there is much more emphasis on these facts, rather than a full biography of the characters. The moments experienced and mentioned by the characters influence their later lives, yet every act a character commits is in the present and is for this very reason not and cannot be predetermined—finalized; it is conceived of and represented by the author as free.
Meanwhile the characters are living their present lives, the history of each soul is presented in the novel; but it must be underlined that these descriptions are not in isolation but exist rather together, along with the descriptions of others. As is clear structurally, the narrative in Touching Earth is constructed in the first person for each individual, each "player," and is in the form of a confession addressed to the other/reader, while there are many flashbacks to their pasts, or in the form of debate, or better to say dialog, with one's self (dialogical self). This is the interaction between inner voices which are heard many times within an individual, speaking and denoting a negative or positive experience within the self. Generally speaking, there are times when one feels an inner temptation or desire that acts or behaves unusually against his or her interests or morals. This is why, in different situations, a person may feel as if different personalities inside him or her are in a dialogue, thinking and behaving differently from what he or she normally perceive himself or herself to be (Hermans & Kempen, 1993, p. 8). Rowan (1990) describes this phenomenon as the interplay of subpersonalities, and defines it as a "semi-permanent" and "semi-autonomous" region of the personality, capable of acting as a person. According to Rowan, subpersonalities have a range of relative dissociation in that they sometimes take us gently, while at other times more forcefully. Among many such situations in the novel, this quality can be confirmed by referring to Nutan's dialogical self when an inner voice is talking to her. She is in desperate need of a shot, after her sister's death. Moneyless and in great agony she thinks of a precious dress that her mother had made for her:
But it is very precious. Your mother made it for you.
-Yeah, but I could get another when I go back to Bali. They are easy enough to find.
-It took her many, many months to make it. Don't you remember she said it is for your wedding?
-I'll get another.
-It is irreplaceable. Your mother is dead.
-It is only a piece of cloth. I have other things that belonged to her.
[At the bottom of my suitcase I found it.]
-Your mother made it especially for you.
-Piss off and leave me alone. It's only a piece of cloth. (2004, p. 389)
What Manicka searches for her "personages," is not an objectified speech which is expressive, graphic, and a finalizing authorial word, rather what she seeks above all are words for the hero. She is very careful about the meaning and outcome of each single utterance and, besides, she aims to be as independent as possible: "words that express not the hero's character (or his/her typicality) and not his position under given real-life circumstances, but rather his/her ultimate semantic (ideological) position in the world" (Patterson, 1985, p. 39). What is of real importance is the hero's perspective on the world, for Manicka as a polyphonic novelist seeks words and plot situations that provoke, tease, exhort, and dialogize. And it is this quality that makes Manicka's work so profoundly original in her creative plan.
Part of Manicka's creative act is the freedom that she enjoys in her novel, the freedom to be other and to see herself through the lens of her characters and the reader. Bakhtin (1990), in his early work titled "Author and Hero in Aesthetic Activity," points out that the crucial task of the author is "to become other to himself, to look upon himself through the eyes of another" (p. 133).6 Manicka, as a creative writer, not only takes part in her own novel but also gives this freedom to the characters to judge her and interpret her behavior; almost at the end of the novel, Elizabeth meets Manicka at Anis's Exhibition:
Then the writer Rani Manicka arrived, and Anis went to greet her. I think she and Anis are together. I saw him brush his thumb along her cheek, and she smiled a slow secret smile.
She was wearing long gloves so I couldn't see for needle tracks, but I'm quite certain she has picked up Anis' habit. There were lines besides her mouth and she looked aged, and without sparkle even while she laughed. I knew instantly what was gone, her moment of innocence. Once her face was open and curious, now it is closed and secretive. Her eyes glittered nervously like a cat in the dark. (2004, pp. 427-428)
In Manicka's novel, the discourse about the character is organized as discourse about someone actually present and alive, a life-like characterization. This dialogicality is precisely contrary to a monological design that expects no answer from the others. In this polyphonic plan, Manicka does not speak about a character, but with him or her. Manicka's actual presence in the novel as a character adds to this quality, especially when she appears at the end of the novel, living and communicating with the characters. The author's involvement in the life of the novel and, at the same time, her intentional distance, guarantees a genuine objectivity in the representation of the characters. No authorial presence is, so to speak, seen in the lives of the characters or their ideological perspectives. More importantly, there is no comment, there are no personal attitudes and no personal sympathies on the part of the author; the characters, as autonomous individuals, live their own lives and decide their own futures. Characters do not serve as a "mouthpiece" for the author's voice (Bakhtin, 1929/1984, p. 7). Manicka portrays people and life without saying what she thinks on the questions that are resolved by the novel's characters in a way appropriate for each.
More traces of an intense dialogism in Touching Earth can be found in the separate elements in the development of the plot when sometimes single chapters contradict one another. This dialogic characteristic, even in the compositional elements, may be proof that the "polyphonic novel is dialogic through and through" (Bakhtin, 1929/1984, p. 40). In this kind of explanation, dialogic relationships exist between all elements of novelistic structures, for instance when chapters or episodes of the novel are juxtaposed with one another. The first chapter of Touching Earth, when it discloses the innocent childhood of the Balinese twin, narrated by the limited first-person point of view of Nutan, could not be understood or evaluated separately, or even published singly, without juxtaposing it, for instance with the second chapter narrated from Zeenat's point of view. Or even without relating it to chapters in London and particularly near the end of the novel when Zeenat is revealing her true self to Rani Manicka, who has appeared as one of the characters and is communicating with them. These are unified wholes relating the stories of the Nutan and Zeenat to other characters in the novel. In the first chapter, Nutan believes Zeenat to be very generous, but later, in the part already mentioned with the interview with Manicka, Zeenat confesses that she was always jealous of her elder sister, mainly because of "that especial light she carried inside her" (2004, p. 382):
Nutan thought me generous because I alone shouldered the responsibility of providing the smack . . . she thought I had sacrificed myself for her, but she didn't know that it was guilt that prompted me. It was the same reason I had given her the longer garland, the bigger kite, and the best bit of the cake. Racked with guilt at my greed I punished myself by offering her the thing I had wanted. . . . She didn't understand, knew not of that ruthlessly competitive streak inside me that needed her to sometimes fail. Younger siblings are like the tail of an animal; having grown up in the shadow of its head they appear subservient, but secretly, they are always seeking to undermine the arrogance of the head. Will I ever forgive myself for ministering that first shot? (2004, p. 381)
This juxtaposing of contradictions is what gives more meaning and depth to different layers of this multisided text. So, diverse elements and events in the novel should be considered as a whole, and the truth is ultimately revealed by study of the dialogic relation between these elements. This is why Bakhtin (1929/1984) points out further that "dialogic relationships are a much broader phenomenon than mere rejoinders in a dialogue, laid out compositionally in the text" (p. 40). Later on, he affirms that dialogic relationships are a "universal phenomenon" which provide space for all human speech and all that has meaning and significance. The result of such intense relationships among the internal and external parts and elements in Touching Earth would be dialogic in character, and therefore, structurally, would be perceived as a whole, as what Bakhtin (1929/1984) calls a "great dialogue":
To be means to communicate dialogically. When dialogue ends, everything ends. Thus dialogue, by its very essence, cannot and must not come to an end . . . everything in Dostoevsky's novels tends toward dialogue, toward a dialogic opposition, as if tending toward its centre. All else is means; dialogue is the end. A single voice ends nothing and resolves nothing. Two voices is the minimum for life, the minimum for existence. (p. 252)
Unfinalizability of the Represented Truth in Touching Earth
Manicka depicted characters that are primarily occupied with the task of "becoming conscious." Her characters are the kinds of individuals whose lives are concentrated on the pure function of gaining consciousness for themselves and the world surrounding them. This self-consciousness in representing the hero's image is by itself enough to collapse the monologic quality of the artistic world. Speaking thus, each individual character is a "pure voice," when his or her discourse is about his or her own self and about his or her surrounding world. In this regard, based on what each individual character experiences in his or her life in the novel, we can see the active struggle of the self in coping and coming to terms with the state in which they are situated. For instance, Francesca's first attempt to ignore the fact that Ricky is not the right husband for her on their honeymoon to Bali, and her dialogical challenge to her own self are of significance in this relation:
I felt numb inside. Everything had changed. Perhaps I knew even then that my husband was not mine to keep. . . . that night I awakened suddenly. The sorcerer had come to touch my cheek. His hand was freezing. He was smiling. He had come to take my husband away. . . . I went back in, sat on the edge of the bed, and watched Ricky. He slept like a baby while I was racked with fear. It was as if the island had tried to tell me something, a little warning. He too will disappear like my lone fisherman.
"The fisherman you may take back, but my husband I will keep forever," I said aloud. Against the crisp white sheets his tanned skin gleamed like polished copper. I knelt on the bed and licked the salt off it, savoring the sleepy warm taste of him, and was suddenly swept away by some nameless need. I bit him so ruthlessly that his golden hair jerked, and swearing brutally his hard body possessed me. He is mine. See, he is mine. Cured inside his strong arms I slept. I forgot the sorcerer waited nearby. (2004, pp. 112-113)
Likewise, the author introduces the life of one character into the field of vision and consciousness of another. This is, in Bakhtinian sense, the confrontation of the truth between individuals, self, and other. Manicka brings her characters into dialogic contact with everything essential that enters the world of her novel. Any time that any character's "truth" is presented in Touching Earth, it is introduced into the dialogic field of vision of all other major characters, without failure. Anis becomes aware and sees Elizabeth's and Ricky's truth as well as that of the twin's. This happens for all the characters and they interact with each other's consciousness in a live and active network. Under the influence of acid tabs, "crazy/brilliant," Ricky was going to give his two little girls some acid tabs as well, but suddenly hears Francesca's voice, that calls him and shouts to the girls, "go upstairs girls" (2004, p. 257). Even though he is still under the influence and his mind is not working properly, as he himself admits, he is astonished by Francesca's firm voice. It is in this moment that Francesca adds to Ricky's astonishment by stating that, "under the olive tree it was you I was crying for" (2004, p. 258). By revealing a truth from the past, Francesca shares a new truth with Ricky, one that Ricky, although not in his right mind, can grasp the moment it is uttered that it is the end for them.
Admittedly, many times within the storyline, Francesca was obsessed with the knowledge that her husband was betraying her without shame, and spoke her thoughts loudly, addressing her own self in dialogical attempt, until finally she could overcome her fears, and acknowledge the fact that Ricky was not hers.
Characters as individual entities come to discover their own personalities, so, as living human beings, they cannot be turned into the voiceless object of some secondhand finalizing cognitive process. Neither any other single character, nor the author is responsible for the speech, action, and outcome of the characters; as long as a person is alive, he or she is not yet finalized. The characters polemicize their own fates and definitions of their own selves and this is what Bakhtin calls "inner unfinalizability," the capacity to outgrow the determined, fixed definitions. From the beginning of the novel, as Nutan and Zeenat are still young and encounter Ricky in Bali, although Nenek knew that he was going to hurt them, she could do nothing to guarantee their happiness. Even later, when the twins' father offers them a trip to London, Nenek could not prevent the inevitable. She definitely had an influence on the lives of two other characters of the novel but, according to the principles of the polyphonic novel, she could not determine or finalize their life events. These are Nutan and Zeenat, and it is only they themselves who can define and decide their own lives. They consciously leave their paradise for the temptation of an unknown land.
As in the polyphonic novels, Manicka introduces a crisis, a turning point; in another register, she depicts characters' lives on the threshold and eventually lets them enter the fields of vision and consciousnesses of one another, and confront diverse truths and ideologies with one another. This explains the dialogic interaction of individuals when they are aware and conscious of each other's truth. The major characters of the novel face a crisis in their lives that influences their later choices, which eventually construct the course of action in the novel. Nutan and Zeenat experience this crisis when they find out that their father really loved Nenek, and not their mother. This happens when their father offered them the 3-month trip to England. By then, they knew that no one actually cared about them, and they interpret the offer as revenge that their father was taking on Nenek. Disappointed and sad at the "drama" that their adults had played on them, they decide to accept the offer, despite Nenek's disagreement and the fact that they themselves had felt the unhappy consequences of the trip. Nutan discloses her feelings about the "ugly reality" of their trip in a revealing paragraph:
And that day I knew why the oppressive whisper, "it's all lies . . . it's all lies . . ." moved restlessly from room to room. He had never loved us. None of them had. Not Ibu, not Nenek and certainly not father. Our existence made theirs possible, polite, acceptable to the outside world. What did my father actually offer? What was this tread if not a bitter brew of thwarted passion simmered down to revenge. And yet I was willing to eat it, for I wanted his gift. (2004, p. 46)
As the self-narration of the Balinese twin indicates, they are tempted to accept the mean offer of their father, so what happens in London is the outcome of this temptation. Ricky experiences a similar crisis when, in his childhood, he visits the ruins of a temple and finds a statue of a goddess. What happens later, when he dreams of encountering this goddess and the conversation that takes place in the dream, is of great importance in his later life. After stealing some money from home and running away, he began work. One night he found all his money has been stolen, he then cried himself to sleep. In his dream he met an enormous spider that sat on the chest of a man, sucking red blood from him. The spider speaks to him in the voice of a woman, "come Ricky build me a temple once more" (2004, p. 86), and Ricky recognizes her as his "broken statue dressed in long flowing robes, the edges embroidered with gold" (2004, p. 87). The spider goddess tempts him to build a temple for her and bring her "poor little souls" (2004, p. 87).
After this dream Ricky gathered all his strength and worked as hard as he could to serve the "Spider Goddess" and her temple, which is actually the apartment in London. In the same way Francesca, by accepting Ricky's gift, the statue, and ignoring the incidents in Bali, her honeymoon with Ricky, causes her own downfall. Elizabeth's witnessing of her brother getting drawn in the sea and her anger at her little sister blaming her for his death shade her life in darkness. And later, when she let her sister die in bed as she was suffering from anorexia, she displays her hatred and anger; she took revenge for the miserable life that her sister had brought to the family. Anis's moment of crisis was also when, as a child, he found his father's secret file and the truth that his father was a "gay pervert." Later, he left his parents and lived a life of anger; thereafter, as an artist, he expressed his anger and took his revenge through his paintings. As the story continues, Anis's artistic gaze falls on Swathi, Zeenat, and Maggie. Maggie's turning point in life was when a man visiting her prostitute mother came to Maggie's bed, she then being only 9 years old. Her frustrated mother shot the man in the back and was sent to prison. Maggie grows up to be a prostitute, though also an artist, until finally she shockingly commits suicide.
The polyphonic novel does not finalize characters and does not introduce death into their lives; as was mentioned earlier, the author situates the characters on the threshold. Regarding the deaths of the three female characters in the novel, Swathi, Maggie, and Zeenat, whose existence seems to be finalized by the authorial decisions of their creator, one needs to note that their role in the novel is of secondary significance, as they serve merely as the "pair characters" whose presence in the novel, or better to say their contribution to the novel, is to develop the perception of their paired ones. The three of them are addressees of the artistic gaze of Anis, who communicates with their souls via the language of art and through their earthy bare bodies. Anis painted their souls and, in a way, immortalized them and their existence in his paintings. So a better reading of the novel illuminates the unfinalizability of these personages in their symbolic everlasting life in art, despite their physical deaths. As Elizabeth writes back to Nutan, in the final scene of the novel visiting Anis's Art Exhibition, "a gallery of broken people:"
But the best of all is a strange painting of Zeenat dancing in a temple. Her nails are long and golden, her clothes are beautiful, and on her head is a golden headdress. Her face is serene, but her eyes are not downcast, or shy. They are lifted up, and blazing with a strange light. I know it described an unreal fantasy, a dead end, yet it is impossible to refuse the consequences of his [Anis'] longing, the illusion that in some mysterious way, she is alive. To pretend that he still meets her in some secret place where she dances for him. Otherwise how could he paint with such detailed accuracy? Not from memory. (2004, p. 427, italics added)
Zeenat, as Nutan's paired character, helps Nutan to come to terms with her own self and to define her own consciousness and the surrounding world, especially after Zeenat's death. Through her suffering in London, that was much more painful after Zeenat's death, Nutan finally expresses her need for the "other" as her essence is incomplete when alone, "alone . . . ugly. Just one. Who was I?" (2004, p. 393). It is worth noting here that the author has not decided to give Nutan more presence and voice in the novel or privilege her with more conversations, but the fact is indeed that in comparing Nutan with her twin sister, she has the attitude and proves herself to be the "head" rather than the "tail"; so, Nutan's presence is more sensed throughout the novel. In this kind of representation, the reader comes to know Zeenat, for instance, mostly from the perspective of more conscious and aware characters that are in close proximity to her, namely, Nutan and Anis.
Rani Manicka, in her novel Touching Earth, showed her special ability to gaze deeply into the souls of other individuals. She had the capacity to visualize directly someone else's psyche. She could depict full and life-like personalities, capable of deciding their own fates. These personalities express their voices from the very beginning of the novel in a great dialogue, while they are neither "self-closed" nor "deaf" to one another. These voices hear each other constantly, call back and forth to each other and, in sheer dialogic form, are reflected in one another. Characters in the novel are depicted as individual entities that come to discover their own personalities in a live dialogical relationship; and as living human beings are not finalized by the authorial decision of the author. Ultimately, nearly all of them, except Ricky, were able to overcome the dark sides of their own selves and decide to free themselves from the "Spider Temple," the weakest of all dwellings.
Thus said, any character in Manicka's artistic design is very diverse in the expression that his or her face must assume. Each character speaks to himself or herself; they speak with their own voice, their own ideology, while the reader is the judge of all these conflicting claims. Rani Manicka, as the true author of a polyphonic novel, in this dialogic activity broadens and rearranges her own consciousness; and this is why we cannot render her in the position of a mere objective novelist who acts within the novel as a pure recording camera. Manicka put her own self in the novelistic life of her characters and experiences the same situation. At the end of the novel, the fact that she is an artist, a novelist, matches her personality with that of Anis when both undergo the same life of drug addiction and self-abuse. She lives freely in her novel and lets both the other characters and the reader judge her; she is in no way superior to other individuals.
Article Notes
Declaration of Conflicting Interest The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: Research project: Bakhtinian, feminist, and post colonial reading of fictional and non-fictional works by Malaysian, British, African and Canadian writers (Code: 06-05-10-11021RU) 2010-2012.
↵1. To this end, the main emphasis of this article is on Bakhtin's (1929/1984) discussion in his Problems of Dostoevsky's poetics; mainly the first two chapters: "Dostoevsky's Polyphonic Novel and Its Treatment in Critical literature" and "The Hero, and the Position of the Author With Regard to the Hero, in Dostoevsky's Art."
↵2. Shevtsova (1992) in a significant commentary on Bakhtin's dialogism adds, "The dialogic novel, by virtue of its inconclusive nature, is an open structure. Not only does it give the reader maximum scope for interference through interpretation but, as it traverses cultures, it sounds and resounds anew" (p. 753).
↵3. For instance, Elizabeth, talking about men, addresses the audience thus, "Men, I will tell you now, are despicable creatures. Ahh, I can see your secret smile. You think your man is better than those I have known. No, no, you poor misguided thing . . . your man is mine" (2004, pp. 148-149)
↵4. "The idea begins to live," Bakhtin (1929/1984) discusses further, "only when it enters into genuine dialogic relationships with other ideas. . . . the idea is a live event, played out at the point of dialogic meeting between two or more consciousnesses" (p. 88).
↵5. For instance, when Elizabeth let her sister suffering from anorexia die in her bed, and also when Anis felt betrayed and insulted by his father for being gay, and so forth.
↵6. As Emerson (1983), also correctly notes, novels "grant freedom for the author to develop, which is to say, freedom for the author to play with his own image on the plane of his own work" (p. 279).
- © The Author(s) 2013
This article is distributed under the terms of the Creative Commons Attribution 3.0 License (http://www.creativecommons.org/licenses/by/3.0/) which permits any use, reproduction and distribution of the work without further permission provided the original work is attributed as specified on the SAGE and Open Access page (http://www.uk.sagepub.com/aboutus/openaccess.htm).
Author Biographies
Forough Barani is currently pursuing her PhD in English Literature at University Putra Malaysia. Her major fields of interest are Bakhtinian studies and the psychological theory of Dialogical Self and its affordances for literary studies. At present, she is doing research on Malaysian novels and literary works, trying to broaden the dialogical perspective of self on Asian literature and culture.
Wan Roselezam Wan Yahya is an Associate Professor of English Literature in the Department of English, Faculty of Modern Languages and Communication, Universiti Putra Malaysia. Her current funded research includes readings on Postcolonial Literatures in English, an Ecocritical study of Malaysian and Victorian Literature, and a Bakhtinian study of World Literature Texts.


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Releases in 'Walt Disney World Resort'
Applications Now Open for the Tenth Annual Disney Dreamers Academy at Walt Disney World Resort with Steve Harvey and ESSENCE
High School applicants for Disney Dreamers Academy class of 2017 to be selected for exclusive, once-in-a-lifetime program LAKE BUENA VISTA, Fla. – May 31, 2016 – High school students nationwide can now apply to be among 100 students selected to participate in the 2017 Disney Dreamers Academy with Steve Harvey and ESSENCE, the innovative, outside-the-classroom, […]
Adventures by Disney Offers New Ways to Explore America in 2016
BURBANK, Calif. (Feb. 16, 2016) – Adventures by Disney, an award-winning leader in guided group travel worldwide, has announced three new United States vacations available beginning this summer. Exhilarating, educational and entertaining, these vacations showcase the diverse destinations of Central Florida, Montana, and Washington, D.C. & Philadelphia, offering families unforgettable ways to bond and explore […]
Adventures by Disney, Beyond the Theme Parks, Walt Disney World Resort
Thirsty River Bar and Trek Snacks Opens at Disney's Animal Kingdom
LAKE BUENA VISTA, Fla. – Guests trekking through Africa at Disney's Animal Kingdom park will enjoy the new Thirsty River Bar and Trek Snacks. This adventurous food and beverage location rests near the foot of Expedition Everest and treats guests to an assortment of exotic drinks and eats. The Trek Snacks menu varies throughout the day, […]
Immersive Experiences Starring YOU at Walt Disney World Resort
LAKE BUENA VISTA, Fla. – Whether hula dancing, singing, learning the wily tricks of Caribbean pirates or Star Wars Jedi, Walt Disney World Resort guests discover a realm of magic and enchantment where they are not only dazzled and entertained, but may also have a chance to be part of the show. Here's a rundown of […]
'Brunch at the Top' to Debut at California Grill
California Grill atop Disney's Contemporary Resort soars to new heights with 'Brunch at the Top,' a new Sunday dining experience beginning Feb. 7, 2016. For the first time, guests can enjoy the beautiful daytime skyline of Magic Kingdom Park, Epcot and Disney resort hotels from the magnificent floor-to-ceiling windows at the California Grill restaurant while […]
Dining, Walt Disney World Resort, Walt Disney World Resort Hotels
Walt Disney World Resort & 'Good Morning America' Create Unforgettable Experiences for Hometown Heroes
To celebrate thankfulness during Thanksgiving Week, Walt Disney World Resort and ABC's "Good Morning America" worked together to create unforgettable experiences for two hometown hero families who went above and beyond to help others serving in the U.S. Navy and the U.S. Air Force overseas. The first surprise reunion took place on "Good Morning America" this Thanksgiving morning and […]
Walt Disney Parks and Resorts Announces New Lands, Entertainment and Experiences at D23 EXPO 2015
Star Wars, Toy Story Land, Pandora – The World of AVATAR, Soarin' and Iron Man among new experiences coming for guests ANAHEIM, Calif. (Aug. 15, 2015) – Today, Disney announced a line-up of new attractions and entertainment coming to its theme parks around the world during the D23 EXPO 2015 in Anaheim, Calif. Walt Disney […]
Disney's Animal Kingdom, Disney's Hollywood Studios, Walt Disney World Resort, What's New, What's Next
Disney's PhotoPass Service Makes Viewing, Sharing and Ordering Walt Disney World Vacation Photos Easier than Ever
New Additions Include Attraction Videos and Animated Magic Shots LAKE BUENA VISTA, Fla. – While Walt Disney World Resort is the second most popular place in the world to take a selfie, (after the Eiffel Tower in Paris, France) it ranks first among the best places to get everyone in the picture, too, thanks to […]
Disney Vacation Account: Savings Program Lets Guests Plan and Save Now for Future Dream Trips With Disney
LAKE BUENA VISTA, Fla. — A magical way for aspiring guests to make their Disney vacation dreams a reality is Disney Vacation Account, a savings program that allows participants to plan and save for their dream Disney vacation. Disney Vacation Account provides easy to use online tools to help participants estimate the cost of their […]
Guests With Disabilities Find Increased Accessibility at Walt Disney World Resort
LAKE BUENA VISTA, Fla. — Guests using wheelchairs can soar high over DinoLand U.S.A. at Disney's Animal Kingdom or sail down some of Earth's great rivers on Jungle Cruise in Magic Kingdom at Walt Disney World Resort. Guests with disabilities can also take advantage of many special services and facilities available to them throughout the […]
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345 Madison Street, Chelsea 48118
See more homes for sale in Chelsea, MI
This property has been Sold!
04/15/2016 at $280,500
The Best Of Chelsea Is Waiting For You In This Charming Updated, Attractive Turn Of The Century Home. Walkable To Schools, Parks, Shops, Restaurants, Library, Live Theatre & On A Friendly Tree-lined Street, You Will Love This Home At First Sight! Tastefully Stylish With A Mix Of Old & New, The Ambiance Is Warm & Inviting. Beautiful Hardwood Floors Throughout & Custom Stained Glass Accents Add Color & Sparkle To The Doors, Windows, Transomes & Cabinets. Serious Cooks Will Appreciate The Quartz Counters, S.s. Appliances, Massive Storage, Gas Range & Kit Island For Additional Prep & Serving Space. A Porch & Deck Adjoins The Kitchen & Continues The Living/entertainment Outside In Warm Weather. Storage Wardrobes Triple The Closet Space In The Bedrooms & Will Stay For The New Owner. The Ample Garage Offers More Storage Space. Professional Landscaping, A New Roof & A Dry Warm Basement Top It Off! Isn't This What You Have Been Waiting For? Highest & Best Due On 02/23 At 3:00pm.
Property Information
- Status
- Sold
- Address
- 345 Madison Street
- City
- Chelsea
- Zip
- 48118
- County
- Washtenaw
- Township
- Chelsea
- Possession
- Tbd
- Siding
- Wood Siding, Wood Shingles
- Listing Date
- 02/18/2016
- Zoning
- Rh
- Total Finished SqFt
- 1,875
- Above Grade SqFt
- 1,875
- Garage Desc.
- Detached, Door Opener, Electric
- Waterfront Desc
- [resiwatf]
- Water
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- Sewer
- Public
- Year Built
- 1890
- Home Style
- 1.5 Story
- Parking Desc.
- Detached, Door Opener, Electric
School Information
- School District
- Chelsea
- Elementary School
- North Creek/South Meadows
- Middle School
- Beach Middle
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- Taxes
- $3,476
- Summer Taxes
- $2,122
- Winter Taxes
- $1,738
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Listing Video for 345 Madison Street, Chelsea MI 48118
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Our Michigan real estate agents can answer all of your questions about 345 Madison Street, Chelsea MI 48118. Real Estate One, Max Broock Realtors, and J&J Realtors are part of the Real Estate One Family of Companies and dominate the Chelsea, Michigan real estate market. To sell or buy a home in Chelsea, Michigan, contact our real estate agents as we know the Chelsea, Michigan real estate market better than anyone with over 100 years of experience in Chelsea, Michigan real estate for sale.
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Provided through Ann Arbor Association Board of Realtors. © 2016 Ann Arbor Associate Board of Realtors Ltd. shareholders.


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(13-Oct-2013 03:21 AM)bradburyn Wrote: Hi,
I am new to custom roms and have the above phone type 5.0" capacitive touch screen resolution: 854 x 480 and have been asked to build a custom rom of this model.
I have no idea where to look re roms that can be customised , especially for this model. If anyone can guide me to where I can look, I would be very grateful.


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DIY Christmas Crafts and Handmade Gift Ideas
Crocheting for children doesn't have to be a chore. These free kids crochet patterns are simple and easy and you will be creating these patterns in no time at all.
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The House of the Dead 3 gameplay video loading, please wait...
Digital download price compare
We haven't found any digital download available at this moment.
We also found boxed games available for sale: show box sales.
Fun killing zombies game
It's a fun action game where the goal that you have is to kill zombies as they come from every corner and try to bob you down and kill you. The gameplay is simple, kill, kill and kill but the game has variety in terms of the action, the moves, the guns that you have and the paths that you can choose in the game. Starting off with the guns, the guns will range from low impact to high impact and being an FPS game you will really get a good feel of the action. The more you progress and kil and more zombies, the more you will unlock the guns to do some serious killing. The level designs in the game are quite diverse and you can choose a variety of paths to pursue zombies. Apart from the tough zombies, the bosses in the game are also very tough and they give you a very harsh time. Once you kill them, you will get power up and increase your chances to complete the game. Different paths will make you go for different fighting scenarios and this adds a lot of replay value to the game. The game is like its original version The House of Dead which has almost the same action.
Blast your way!
There are some of arcade genre games that don't have the same fun factory at home as the ones in the arcade. But luckily, there are some that are as fun at home. The prime example is the House of the Dead series, most notably The House of the Dead III, because I have played both the arcade version and the home port on the PC. Both versions are equally fun, in my opinion, and inviting over a friend to play along side you increases the fun. The gameplay is like in the previous installments, shooting zombies, reloading and repeat. There are some forks on the road, where you need to choose a path, which increases the replay value so you can complete the game by going on different paths. The boss fight are nice and challenging. The graphics and sound are superb. Nice job Sega! Overall, if you'd prefer to stay at home and play an arcade game, The House of the Dead III is the perfect game for you, but if you wish to go to the arcade and if the place has the game, go play it!
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The House of the Dead
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"Fantastic product"
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13 May 2013
The wrapmaster dispenser is a fantastic product- I have always used Lakeland cling film as I find it better compared to other brands, but the dispenser makes using it so much easier and neater. I have also found that I now use less cling film than previously and so in the long run, I will save money. I do think that a 'free' cling film should have been included with the product though.


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The Microbe Discovery Project outlines an ambitious new study by top researchers that has collected patient samples, but needs desperately funds to complete the work.
Discuss the article on the Forums.
Intestinal permeability and evidence of immune activation
Discussion in 'Other Health News and Research' started by guest, Jul 4, 2010.


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"And baby blue was the color of her eyes. Baby blue like the Colorado skies. Like a breath of spring, she came and left, and I still don't know why, so here's to you and whoever holds my baby blue tonight."Jenifer Strait was George and Norma's first child together, and when she died, George didn't allow this unthinkable tragedy to happen in vain.
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Google+ has updated its design with a giant cover photo space that can take images as large as 2120 pixels by 1192 pixels -- a tweak not everyone's happy with. "The change already has a few users finding work arounds to revert to smaller images," notes Lauren Granger.
Full Story:Memeburn


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Sneak peek: 'Christmas of Many Colors'
Dolly Parton's "Christmas of Many Colors: Circle of Love" airs tonight on KSN.
Dolly Parton's "Christmas of Many Colors: Circle of Love" airs tonight on KSN.
Body camera footage shows angry dog attacking Florida sheriff's deputy, and the resulting gunshot that cost her a finger.
The district attorney's office said it has begun the process of obtaining a governor's extradition warrant for Yesenia Sesmas.
A Kansas tax preparer has been sentenced to four years in prison for stealing his clients' identities and more than $2.4 million in refunds.
A possible tornado swept through an area in northeast Alabama, killing three in a mobile home and injuring others
President-elect Donald Trump says he is leaving his "great business" to focus on being president.
Air conditioning company Carrier Corp. said it had reached a deal with President-elect Donald Trump to keep nearly 1,000 jobs in Indiana.
Whitney is wanted by the Sedgwick County Sheriff's Office for PROBATION VIOLATION ON AGGRAVATED BATTERY AND THEFT CHARGES.
The Wichita State Shockers stay unbeaten at home with a 30-point win over Southern Nazarene.
The Kansas Jayhawks take care of business at home against Long Beach State.
The crash occurred in the 14700 block of East Maple Grove Rd. That's east of Worthington Rd. and south-southeast of Mt. Hope.
Family and friends of a Wichita murder victim prepared to say their final goodbyes on Tuesday.
Fire crews are working to contain a blaze that erupted when a gas pipeline ruptured north of Kansas City, Missouri.
In the past nine months, the office handled 22,658 videos that were pertinent to court cases.
Derby has a new emergency medical facility, and it's part of the Wesley Medical Center family.


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CD2005 - Convector Heater 2000W/230V 3 Heat Settings Thermostat
Supplier: Jack Sealey Ltd | Brand: SEALEY | Product: CD2005
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Details of CD2005
o Three heat settings of 750/1250/2000W for gradual control of heating elements.
o Rotary controlled room thermostat maintains ambient temperature at pre-set level.
o Can be used freestanding or wall mounted.
o Slimline sturdy construction and high quality finish make this unit suitable for home, light industrial and office environments.
o Supplied with 13Amp non-rewirable ASTA approved plug and wall mounting kit.
Barcode: 5024209787802
Warranty: 1 Year
3.65 Kg
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Outlot 1 Long Lake, Stone Lake WI 54876 $119,000
Features of Outlot 1 Long Lake Stone Lake WI 54876
- Lots for Sale
- Status: Active
- Estimated Age: Not Available
- Est. Acreage: 2
- Est. Acreage: >= 1, >= 1/2
- Est. Lot Size: 354 x 100 x
- School District: Birchwood
- Body of Water: Long
- County: Washburn
- Property Taxes: $0
- Property Tax Year: 2015
- Listing Company: Edina Realty, Inc. - Hayward
- Listing Agent: Martha Delong
Property Description for Outlot 1 Long Lake Stone Lake WI 54876
Outlot 1 Long Lake Stone Lake WI 54876 - Unique Opportunity To Own 100 Feet Of Frontage On 3478 Acre Long Lake With A Backlot To Build Your Home/Cabin/Shed. Over Two Acres Of Privacy. Backlot Fronts Washburn County Forest Lands. Westerly Exposure. Nice Flat Area Lake Side For Easy Access. Close To All Season Recreational Trails. Adjoining Lake Lot Available.
Interior Features
- Water Waste: Other
Building and Construction
- Construction Type: E
Land Features
- Topography: Level, Sloping, Wooded
- Zoning: Residential
- Waterfront/Access: N
- Lot Size: 354 x 100 x
|MLS Number
|New Status
|Previous Status
|Activity Date
|New List Price
|Previous List Price
|Sold Price
|Sep 12 2016 3:29PM
Estimated Monthly Payment
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Receive more detailed information on this propertyAsk a Question
Community Homes Near Outlot 1 Long Lake
Buyer understands that the information which is contained on Data pages is obtained from a number of different sources and which has not been independently verified or confirmed by the various real estate brokers and agents who have been and are involved in this transaction. If any particular measurement or data element is important or material to buyer, Buyer assumes all responsibility and liability to research, verify and confirm said data element and measurement. REALTOR *MLS* Equal Housing Opportunity


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All Share - Apps File TransferFree
All Share - App&File transfer is a mobile file sharing application for Android that allows you to transfer&share files with your friends. AllShare transfer&share files with no USB, no data usage,no internet needed! You can invite friends to install AllShare at a magic speed if your friends do not want to cost mobile data to download AllShare. AllShare Key Highlights * Share all kinds of files whenever and wherever: mp4, mp3, apks, pdf, doc, ppt, xls, CAD etc. * Powerful file management * Easy-to-use and swift transfer * Transfer&share files speed goes faster than bluetooth speed. * Transfer&share any other files with unlimited file size. * Search a document and share to your Dropbox or Google Drive. * Transfer and Share photos & videos on Facebook , WeChat , Twitter , Tumblr and other social networks. ★Send Apps Sharing great apps in your mobile to friends, just in few seconds the transfer success. ★Send Games Want to play most popular games with friends? Grab AllShar
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Panerai Mare Nostrum Titanio 52mm (PAM 00603)
Don't hide your light under a bushel Each year when Officine Panerai releases its special edition models, there is intense interest among its loyal fan base. Angus Davies reviews the Panerai Mare Nostrum Titanio 52mm (PAM 00603), a new special edition watch for 2015, limited to only 150 timepieces. It is difficult being…Read More >
Panerai Luminor 1950 Regatta 3 Days Chrono Flyback Titanio (PAM00526)
No yacht required Angus Davies provides a "hands-on" review of the Panerai Luminor 1950 Regatta 3 Days Chrono Flyback Titanio (PAM00526), a watch featuring an interesting flyback chronograph perfectly suited to regatta racing. I am often attracted to watches which confer functions I am seldom likely to use. For example, I adore…Read More >
Panerai Radiomir 8 Days GMT Oro Rosso 45 mm Special Edition (PAM 395)
Panerai Radiomir 8 Days GMT Oro Rosso 45 mm Special Edition (PAM 395) is not bold, not brash, but quite beautiful, a vision to savour. It is luxurious in its red gold case but references the maritime watches of a bygone era. Dr. Edwina Davies reviews this stylish high-end watch. The name presents all the…Read More >
Panerai Radiomir California 3 Days (PAM 424)
Dr Edwina Davies reviews the Panerai Radiomir California 3 Days (PAM 424), a watch that harnesses maritime and historical references. PAM 424 The nostalgia quotient is high. It's the subdued brown of the strap against the gold luminescent numerals and matt black of the face which presents a sober palette. The retro styling and…Read More >
Panerai Luminor Marina 1950 3 Days – 47mm (PAM 422)
Another lesson from Panerai Angus Davies reviews the Luminor Marina 3 Days – 47mm (PAM 422), a modern interpretation of the diving watches worn by the Royal Italian Navy back in the 1950's. Over the years of collecting watches, it is Panerai who has taught me two valuable lessons. Lesson one – "buy…Read More >


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Favorite Summer Activities Slideshow (K-8)
Build a Seminole Summer House
Students build a model Seminole Indian house, like those that were once in present-day Florida.
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Love Child
Your sex-positive ranking is the ### percentile of all takers!
Their Analysis (Vertical line = Average)
They scored 56% on sexpositive, higher than 31% of your peers.
All possible test results
Your friends might consider you prudish - or maybe you only hang out with friends as poorly informed and aware their sexual capacity. Go buy a copy of "Sex for Dummies" by Dr. Ruth and start learnin... Read more
You "sex positiveness" is lower than 60% of all other OK Cupid test takers. You might want to think about reading VoracityBeat.com or grabing Galenorn's "Sexual Ecstasy & the Divine." Really. There is... Read more
Love Child
You are a product of the sexual revolution of the 1960's but it is possible to have even better sex and enjoy your body more than you are now - like the 40% of test takers who scored higher than you. ... Read more
Yee hah! You are a fine stud (or studette)! You are in tune with your body and the pleasure of your partner(s). Keep up the great work and spread the word! Maybe you could contribute to a site like Vo... Read more
Sex Master/Goddess
You, my friend, are in the top of sex-positive, sex-aware test takers. You are an inspiration to our species and to the Internet. Share the wealth! You should write your own tests, have a web site tel... Read more
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AirplaneJG35 / m / Straight
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Chicken Gravy
Total Time
Prep 5 mins
Cook 15 mins
Yummmy gravy--good on anything.
Ingredients Nutrition
- 3 tablespoons butter
- 3 tablespoons flour
- 3 cups chicken broth
- 1 teaspoon poultry seasoning or 1 chicken stock cube
- 1⁄2 cup whipping cream
- salt
- pepper
- Bring chicken stock to a boil. Add seasonings. Set aside.
- In a deep pan, add butter until it starts to melt then add flour.
- Whisk in chicken stock and cook until thickened.
- Add whipping cream. don't let it come to a heavy boil, or cream will curd! Serve!
- If you like a clear gravy omit the cream!
Most Helpful
This recipe is perfect for a last minute gravy. BF always like gravy for his chicken and this worked very well. Very easy but very good!
So Easy! My whole family just loved it!
Simple. Perfect. =) used the 'clear' version - yum!


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1845 North Western Avenue, Chicago, IL 60647Request info Add to list
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Wicker Park Bucktown C.
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Building Details:
1845 North Western Avenue is aretail property for lease in Chicago, IL.
1,200sf or combined total of corner commercial retail/office space on Western Ave. Excellent visibility with floor to ceiling windows, permitted outdoor space for seating makes this an excellent location for light cafe. Across from Blue line El station there is heavy foot traffic and vehicular traffic. 2-car garage parking available
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Please describe your commercial real estate requirements. We'll create a list of matching properties that meet your criteria.
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The undercurrents eddying around Formula One held greater interest than the on-track activities in Valencia yesterday.
As investment banker Gerhard Gribkowsky awaits sentence in Germany after confessing to taking a $44m (£28m) bribe, allegedly from Bernie Ecclestone, there has been inevitable speculation whether Ecclestone can escape being dragged further into the sport's latest cause célèbre. It has already led to a delay in the proposed flotation of F1 in Singapore even though the $10bn (£6.4bn) valuation sought by rights holder CVC Capital Partners had been achieved by a recent sale of shareholdings to American investors.
Theoretically if somebody is found guilty of receiving a bribe then the person making the bribe can also be charged but, for Ecclestone, Valencia has been business as usual and he does not appear to have a care in the world. He blamed Gribkowsky for "shaking him down" while testifying at the Bavarian banker's preliminary hearing, and his attorney Sven Thomas issued a statement after Gribkowsky's confession claiming that it would have no impact on the prosecutors' investigation into Ecclestone's dealings.
Gribkowsky will be sentenced next week when final arguments have been heard, and court sources say he can expect a custodial sentence of between seven and nine years.
Meanwhile, dissent continues to foment with regard to capping teams' budgets, and against the proposed new 1.6-litre V6 turbocharged engine formula which is scheduled to replace the 2.4-litre naturally aspirated V8 engines currently used.
Franz Tost, the head of the small Toro Rosso team, said yesterday: "We are all working to reduce costs and recognise the necessity to do this, but the costs from 2014 onwards will increase with the new powertrains. A resource restriction agreement for them will be even more important than one for the chassis, and I am really worried that the costs will dramatically increase. There are huge development and research costs to create these new packages."
As bookies offered odds of 7-2 that there will be an eighth different race winner this season at this eighth race, Spanish GP winner Pastor Maldonado and Bahrain GP winner Sebastian Vettel were fastest in each of yesterday's two practice sessions. But neither was dominant. One second covered the first 13 cars in the morning, and the first 15 in the afternoon, with Michael Schumacher, Romain Grosjean and Kimi Raikkonen, who have yet to win this season, showing strongly.Reuse content


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Having unnecessary fat in different areas of your body can have a considerable effect on your health and self-confidence. While standard weight loss through workout and diet plan is a terrific method to drop weight in general, even the best workouts can't target issue locations like the tummy, inner thighs, arms, and butts. Liposuction is a time tested treatment that is utilized to get rid of excess fat from specific locations of the body, enabling an individual to shape and contour their body to their taste. Is liposuction right for you? Discover now.
Pros of Liposuction
There are many benefits to this cosmetic treatment, including:
• Right away noticeable modifications. Unlike traditional weight-loss, liposuction creates modifications that are immediately visible in the body. Some distinction is visible immediately, and the wanted results are normally attained in just a few days.
• Proven and safe. This cosmetic procedure has actually been performed by experienced specialists all over the world for many years and the method has been improved over and again to be safe and efficient.
• Healing time is usually quick. The downtime needed after having this kind of procedure is normally much less than what is needed for other types of cosmetic treatments, consisting of tummy tucks, breast reduction, and more. People who have had the procedure can often go back to work much more rapidly than they prepared for and can return to living a healthy, active way of life.
• Weight reduction can be long-term. With the ideal upkeep techniques, the fat that was eliminated throughout the liposuction treatment will not return.
• Complete control over your body. With liposuction, an individual can have complete control over how they want to look, beyond exactly what traditional diet and exercise can provide. Providing people this power over their bodies enhances self-confidence and help individuals feel their very best.While there countless benefits to liposuction, there are of course a couple of cautions that must be taken into consideration prior to making the final decision to progress with the procedure.
Cons of Liposuction
Prior to having liposuction done, it is essential to examine the prospective downsides of the procedure and figure out if the benefits exceed the threats in your certain case. Your cosmetic surgeon can assist you find out more about the risks connected with the treatment and can assist you choose if moving on is the best thing for you.
• Complications with basic anesthesia. Because liposuction is performed under general anesthesia, the treatment brings the same dangers as any other type of surgical treatment where basic anesthesia is utilized. Hidden medical conditions may enhance these dangers.
• Negative responses. Bruising, bleeding, and discomfort are all to be expected, nevertheless, in uncommon cases can cause more substantial issues.
• The prospective to get the weight back. After having liposuction done, it is vital to keep a healthy diet and exercise properly as advised by your doctor. Failure to do so could cause gaining back the weight that was lost or perhaps a lot more.
There are dangers associated with liposuction, for many individuals, the benefits far exceed them. Inform yourself about the procedure by having extensive discussions with your cosmetic surgeon and consider how liposuction has the possible to impact you as an unique individual. Only you and your specialist can figure out if liposuction will offer you with the results you are searching for within your expectations.
Laser Liposuction procedure is a new non invasive procedure to loose unwanted bodyfat in Arroyo Grande CA
Laser liposuction is a newer, minimally intrusive procedure that involves heating the fat cells to melting point and eliminating the melted fat through a small cannula. The treatment is normally done right in your physician's office and is an excellent choice for individuals who have less than 500 ml of fat to get rid of from any one location. Laser liposuction can be a safe, complementary treatment to weight loss in order to sculpt the body you have actually always wanted.
Contact a Specialist in your Arroyo Grande CA today.
If you're thinking about liposuction as a weight reduction option, it is very important that you discuss your desires with a certified cosmetic surgeon in your area. Your specialist will carry out a complete test and health history questionnaire to figure out if liposuction can benefit you and help you reach your physical and psychological goals. Call today for a consultation and learn more about how liposuction can assist you accomplish the body of your dreams.


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Not so happy feet: Penguins feel the climate pinch
Previously winners from the effects of a warming climate, the tide is now turning for penguins as retreating Antarctic sea ice takes with it valuable habitat and food.
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text: My professional experience before and during my MBA at IESE includes private equity, investment banking (leveraged finance), distressed investing in mortgages and a corporate financial planning and investor relations position, from most recent to least recent. After having recently concluded my position in Private Equity, I would like to combine all of my earlier experiences and pursue a career in investment management, preferably in a hedge fund or asset management firm. For ten years, I have successfully administered and traded my own and my family's net worth, and could see my passion confirmed in a training program with a proprietary trading firm these past months. Given my background and experience, I believe I could be a worthwhile addition to any investment mangement team.