Connie+74-83

 || // Noun // respect and esteem due a superior or an elder; courteous regard
 * Pg || Word/Term/Phrase || Definition/Explanation ||
 * 67 || Deference

// Bowles characterizes Tunner as a simple character who is attracted to whatever is beyond his “intellectual grasp”. This idea is reinforced when Bowles describes Tunner’s initial friendship with Port and Kit as one where Tunner treats them with the “careful **deference** he felt was due them”, as people who deal “exclusively with ideas, sacred things.” Tunner treats them in a **deferential** manner because he believes people who are intellectual are superior and deserving of worshipful treatment. // ||

Absolute; unqualified; unconditional
 * 67 || categorical || // Adjective //

// Port and Kit’s discouraging of Tunner’s deferential behavior was **categorical** or absolute. Because of this, Tunner had to adopt a new attitude towards them that made him feel “less sure of himself”. This reinforces the idea that Kit and Port force Tunner to exercise his personality. // || A highly talented child or youth
 * 68 || prodigies[[image:sran124l.jpg width="234" height="232"]] || // Noun; plural for prodigy //

// Tunner likens his newly developed attitude towards Port and Kit to that adopted by a father of a pair of impossibly spoiled **prodigies** or child geniuses. It is interesting to note that despite being forced to change his attitude, Tunner still treats Port and Kit in a manner that emphasizes their superior intelligences. // || not readily investigated, interpreted, or understood : mysterious
 * 68 || inscrutably || // Adverb //

// After Tunner learns that he and Kit will be alone together on the train, he smiles **inscrutably** at his own image. By using “inscrutably” to describe Tunner’s actions, Coetzee implies that there is more to Tunner than previously implied. Tunner, though simple, displays his somewhat cunning nature as he contemplates how he will attract Kit during their time alone. // ||  || He has already left
 * 68 || // Se ha marchao //

// When Tunner checks Port’s room the next morning before they leave for Boussif he finds the room open and the luggage open. The maids making the bed inform him “se ha marchao”. // ||
 * 69 ||     scallops

|| // Noun // One of continuous series of circle segments or angular projections forming a border

// The narrator describes the pitch of Mrs. Lyle’s voice as rising and falling in **scallops** of sound. By using the word scallop, we can visualize in our minds the gradual rise and sharp fall of the pitch of Mrs. Lyle’s voice. This reinforces our view towards Mrs. Lyle as someone who loves to complain and is thus irritating. // || || // Noun // The quality or state of exhibiting boldness or effrontery
 * 70 || Insolence

// Paul Bowles characterizes Mrs. Lyle as a woman who believes she is superior to all others. She describes the French as a filthy lot, and even goes on to say that their telling her what she had yesterday for tea is **insolent** behavior. Her describing their trivial behavior as insolent and disrespectful further emphasizes the extent to which she believes she is superior to them. // || || // Noun // One who spies or watches (British term)
 * 71 || touts

// Mrs. Lyle believes that all Arabs make a living by spying on people like her and passing on the information to the **touts**, or spies, at consulates. This attitude underscores Mrs. Lyle’s paranoia and discrimination against Arabs and further evokes dislike for her character. // || a secretary immediately subordinate to a principal secretary
 * 71 || undersecretaries || // Noun //

// Mrs. Lyle also describes the people who receive the information from the Arabs as **undersecretaries** or subordinates of a principle secretary. The term undersecretaries is a derogatory term (the secretary of a secretary) that displays Mrs. Lyle’s intense dislike for the people inside consulates who would like to receive information about her. // ||

