Vegetation does not talk to humans, but humans can listen, read, and interpret what they say. For example, this is by understanding the meaning of a certain plant movement or internal processes invisible to the human eye. They do not know about time or space boundaries, so for humans to tune with them, they need sensory perceptions beyond our common ones. Signals from vegetation are generally imperceptible and intangible. Transduction is an unreliable method used by humans to attune to the sentience of vegetables. Planthropocene is the new geological epoch in which humans have developed a collaborative way of living with plants instead of killing them, as it was the case of the Anthropocene. Thus, it is also the first example of a Planthropocene area in the world. I have chosen Omelas as my case study because it is one of the first cities in the world taken over by plants. I am specialized in the transduction of vegetable signals such as movement, shape, taste, smell, color, but also pollination and photosynthesis. I have learned the technique of transduction in Plant Studies. It is part of my ethnobotanical research on the transduction of sentient signals into human languages. This text reflects my first impressions after visiting Omelas. By leaving, they expressed their disagreement with the unfair conditions of the child. They thought they could not live feeling guilty, angry, and impotent. Staying in Omelas meant to live knowing that a child was sacrificed for their good life. The ones that left the prosperous city could do nothing but refuse their lack of freedom. Omelas’s terms were that if the child leaves the cellar, the joy and fortune of its citizens will end. Those who walked away from Omelas were the few who rejected the unfair living situation of the child. It tells the story of the city of Omelas and how its happiness relied on the inhumane conditions in which a child lived locked in a cellar. Le Guin wrote the short story The Ones Who Walk Away From Omelas, a parable on injustice and responsibility. This contrast is used by the author so that the reader may realize that as the author believes: the evil and pain in this world is directly proportional to the good and the only way for one or more to experience bliss is that there must be another who experiences anguish.In 1973 Ursula K. This is something the author uses from the very beginning saying, “The air of morning was so clear that the snow still crowning the Eighteen Peaks burned with white-gold fire… There was just enough wind to make the banners that marked the racecourse snap and flutter… one could hear the music winding through the city streets, farther and nearer and ever approaching, a cheerful faint sweetness of the air.” the reason the author goes to great lengths to have the reader co-create the city of omelas with her is because the beautiful image that is now before the reader shall be used as a juxtaposition later in the story against the image of the rejected child. In the short story the author uses all aspects of sensory imagery so that the reader creates alongside her the city of omelas. The author structures the story in such a way that it seems more like a personal letter to the reader, this also contributes to inviting the reader to imagine this city of omelas. In the short story, “the ones who walk away from omelas” by Ursula Le Guin, the narrator invites the reader to join them in this fictional world by way of asking questions throughout the story directly aimed at the reader to make the reader more curious. The ultimate goal of any piece of literature is to have the reader completely engrossed in the story. Prompt: How does the narrator invite the reader (“you”) to imagine the utopian city of Omelas? Why does the narrator want the reader to co-create this utopia? What purpose might it serve in the context of what happens later in the text?
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