Anna enters the ICE and will be looking for a place. Right sits an old lady who flips nervously in a magazine. She has a wrinkled face, rouged lips and a Perm hair. Whether she goes to visit her son, who moved to the other end of Germany to escape it? Anna sees only the outside of the woman and move on. The train is open only moderately. Over there, on the table for four sits a young man in torn jeans and with a big backpack on the side seat. The stereotype of a young man, then, draws for his ideals even with heavy luggage through the country. Whether he travels with a cheap ticket and is on his way to a resistance camp?
Anna does not know where they should sit down. The claims at least its narrator - which in this respect, violence, power and control over them. It is she who breathes into her life, their lives distorted or just moves - it is her literary voice, and one that sends them this way or that way along. (Why does Anna do not speak, do not do what they want?) Where the front sit two businesswomen with laptops, cell phones, painted nails and faces important - obviously they trust each other just last night on the secrets. The two ladies are women who move on the stage of society - or at least do Sun Whether you have questions unanswered in their hearts?
Anna stops. The train has reached a rapid pace and jerks only gently. She is still undecided. She looks Occasional seated passengers - no one wants something to do with someone else, everyone just sitting passengers is ostensibly his bag on the adjacent seat so no one has the idea to sit down with him - and do not know where is their place. Just like in life. You can sit down anywhere. The faces, whose face was streaked they are withdrawn. In one way or another. The innocent smile to the outside is the nagging question inside.
inside and outside separated by a threshold. Sometimes it is insurmountable. Anna is still standing in the aisle of the carriage 28 and moves into the future. Full steam ahead. The narrator gives up hope that it would accept a place sits down and finally sit back - after that date. Finally, there but for Anna a lot to think, to make decisions. The seats offer all in the same impartial way - they are blue. But it is obvious to them whether they are possessed or not.
As the narrator drew her attention back to Anna, she was engrossed in conversation. With a flutist, was their view - to think, anyway. Anna spoke a language that did not understand the narrator. Clearly trying to attract their attention to her somehow to make them realize that they should change the language, so that they understand something ... but her courage waned when they saw what was entered into conversation with Anna area of the unknown. Because they would never enter it. This threshold was plain impassable.
you turned away. A little offended. pushed back on itself. The narrator sat in the board Bistro and closed his eyes. The smell of pork cutlets could be ignored. But the nagging desire for closeness not. Anna had split off from it. She could not reach on this trip. And that's why she decided to get off at the next station without them.
• Questions to the outside:
Who is Anna and how they look? What do
train?
are traveling together in misfortune?
An onboard bistro - a Mysterienort?
Why are there locked traveling companions?
• Questions to the inside:
What happens when I walk in a moving train in the opposite direction?
Why do I want Anna to be close to what she has to do with me?
I know why I do certain things and not doing certain things?
How is me today anyway?
tell me what the many faces that I see?
• Ask the narrator:
What happens if I ignore Anna in my story?
And how will behave Anna, when she talks to me again?
Who belongs to Anna, who is missing? Why Anna
moves at all by train, where she is on the way?
As Anna came into my life and what they want there?
• Ask Anna:
Why should I answer the questions of the narrator?
How do I keep up my money?
My right foot is cold, why not my left?
Will I arrive on time, I will have enough time?
Did I actually sent the letter?
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