Can there be two realities lived alongside each other just because there are two language games happening at the same time? This is what happens to Maria who is not isolated by age as much as by her peculiar way of talking about things. For Maria time takes the form of vehicles in the street, and it allows characters to move to earlier stages of life. In other words, Maria is convinced that busses going by are minutes that eventually crush people to death, and she is just as certain that with time ordinary people get younger while she gets older. Both conceptions involve original reconstructions of the concept of time. However, these reconstructions lead back to the same concequences we ordinarily associate with time: it destroys people and this destruction leaves space for new generations.

As with most experimentations with language, Maria’s linguistic novelty leads her to an unconsciously poetic conception of death: people retrieve their health rather than die, for a young person always appears to take the place of an older one. The narrator assumes a linguistic vantage point over Maria when he describes her "syntactical misbehaviour"; however, he himself gets embroiled in the same language game when he inadvertently picks up her metaphor for busses and concludes that Maria’s suicide only transforms her into a girl. Even if the narrator is being ironic, irony compels him to convey meaning through Maria’s language game. A new insight upon life is achieved when the narrator is entrapped within the same discourse he purports to correct. This sets the reader thinking: perhaps we could adopt Maria’s conviction that old age and death are a mere transition into a younger generation, especially if we see a succession of generations in terms of an undivided perpetuity of life. What Maria initiates as a linguistic anomaly entraps both narrator and reader in a reconstrution of reality: there can be no deaths in the village, only a periodic injury with its concomittant cure. Maria’s own death becomes only an injury to life which, as a timeless force, is healed through the form of a young girl. Correspondingly, the linguistic impairment (or injury) perpetrated by Maria’s peculiar way of speaking resolves itself in a language game that provides feasible associations, a new insight into life, and an original experience of the mundane. Maria’s death and Maria’s peculiar language are both forms of continuance through injury.