She gives the impression that the characters think they are famous or sometimes "off camera" (187). There is a closely related concept of them living in a movie set by incorporating famous people and luxurious lifestyles into their conversation. For example, when the narrator says "We call this place Marcus Welby Hospital", Marcus Welby was a popular TV show between the 60s and 70s, it is basically a "Hollywood hospital", something that is not limited to simple entertainment (187). The fantasy leans more towards the narrator as an escape from something, possibly from reality. She goes on to assume that they live in "California", a famous state where the entertainment capital is located (192). Hollywood is all about glamour. This brings us back to the idea of ​​denial that the characters talk about, the refusal to accept reality as it is. This other sentence might be true, but it's not clear: "I had a convertible in the parking lot." Once out of the room, I drove… down the coastal road through the crab-smelling air. A trip to Malibu for sangria” (194). The same idea is evoked, that of a possible imaginary world which appears regularly throughout the text. The Fuse in Hempel's Fugitive Language incorporates a well-blended union into his work, making it so readable and sympathetic to