14. What is the significance that the General Cemetery is entered 'via an old building with a facade which is the twin sister of the Central Registry facade'? (180) In what way do other historical, organizational, and administrative details establish a correspondence between the General Cemetery and the Central Registry? In what ways do the two institutions differ?
15. What would you say is, finally, 'the essence of the strange adventure into which chance' has plunged Senhor Jose? (200)
16. In what instances and in what ways do truths become lies and lies become truths, in
17. What is the significance of Senhor Jose's dream in which he finds himself in the cemetery, where sheep continually change numbers, a voice repeatedly calls, 'I'm here,' and the sheep disappear leaving the ground strewn with numbers 'all attached end to end in an uninterrupted spiral of which he himself was the centre'? (208–209) In what ways is Senhor Jose himself the center and the objective of his search? In his search for the unknown woman, how does Senhor Jose come closer and closer to finding his own true self?
18. We are told that Senhor Jose, as he postpones entering the unknown woman's apartment building, 'both wants and doesn't want, he both desires and fears what he desires, that is what his whole life has been like.' (228–229) What patterns of wanting and not wanting, of desiring and fearing have emerged during the several days through which we have followed Senhor Jose in his quest? What other personal contradictions has he exhibited?
19. What does the unknown woman ultimately represent for Senhor Jose, for Saramago, and for us? Why, even when Senhor Jose has her faculty card before him, have we not learned her name?
20. What interpretations might be given of our final view of Senhor Jose, tying the end of Ariadne's thread around his ankle and setting off into the darkness?
