Room 21

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…a yard containing shrubs trimmed in ornamental shapes.

“This,” I began, “is called…”

“We know what the name is,” they interrupted. “Why don’t you just tell us which way to go?”

“I wasn’t referring to the plants,” I said in a huff. I refused to say anything else, leaving them to find their own way to…

 - Images and text copyright 1985 by Christopher Manson
used with permission. [Purchase MAZE from Amazon]


Room Type:  LOOP     Doors:  1  12  24  31  44


● The black snake and white snake next to Door 44 match the four dark shrub balls and four light shrub balls. 4&4=44, the correct door. [Independent Credit: vewatkin / Dave G | White Raven] The white snake looks toward the correct door while the black snake looks toward the door to The Abyss. Further, the lightly colored shrubs are in front of the correct door, while the dark ones are in front of the door to The Abyss. [Independent Credit: Dave G | White Raven] Alternately, the shrub balls could be taken as dots and the tree trunks as dashes, in Morse code four dots and a dash is the number 4, thus “….- ….-” reads as “44″. [Credit: vewatkin]

● At the base of door 44 are three steps leading upward. In the background are tapered trees pointing upward trimmed to have three tiers – suggesting we take the three steps upward in door 44. [Independent Credit: vewatkin | White Raven].

● The snake picture, wrench and bird convey the warning “turn around.” The snakes in the picture are depicted turning around. The wrench is turned around in order to use it. The bird has turned around to look at the reader. The bird could also seen as conveying the related message “turn back” since the bird is prominently showing its back. If the reader enters from a room other than 31 or 44 the message is a warning that they have taken a wrong turn. If the reader enters from either 31 or 44 the reader would be wise to head back the way they came to avoid the door to Room 24 – The Abyss. [Credit: White Raven] [Subsequent Credit: Aria | Factitious].


90 thoughts on “Room 21

  1. I wonder whether there’s something to the fact that there’s a path here, but we’re forced to step off of it.

    We have a literal path here, and figure eights, the shape of the shortest path.

    If you go to 31, it’s a bit of a stretch, but there’s a sort of figure eight in the tree, with the two holes in it, see.

    Ugh, that’s terrible, stopping there.

  2. Expanding on my “identity of the guide” comment – the trees are not an actual bird but are a GIGANTIC topiary of Raven. NOW read the text in 21. Makes perfect sense, no? Now look at the text in 44 and consider that the trees mentioned might be the ones next door in 21 and that the waving parts of the trees may be in the shape of bird wings.

  3. That bird bothers me too…maybe it needs to be “interpreted” as the narrative says. I’m not sure of what I am talking about here yet but it may be there is a serious metaphor going on with the creature: In the narrative we find the word “name” twice, once in orNAMEntal and again as just NAME. The bird is sure showing a lot of feathers/plumes = “NOM de plume” = “metroNOMe” something no pianist should be without. If the birds are clues to the Guide, we might be clued here to an author with a pseudoNYM (homoNYM). NOM/NYM…

    p.s. I really like the ff from huff as forty-four.

  4. I was thinking about WR’s principle that all room solution clues must be in a room. And then about the principle that light=good and dark=bad. Given the number of false simple clues, the only way to know that light = good works is to see that it works over many rooms. Anyway…

    My ideas of Tao in Maze are mostly based on room 36, and while they work fine here, they are an import, much like the white snake = good is partly an import.

    I don’t think this is a room 45 style room where partial answers are needed to add up to one big one.

    I’m thinking that the guide’s “this is called….” is mostly to get us off track. As much as we try to name the bird a “wren” or something, it is a bird. And the snakes while they have things in common with a number of symbols, including the Tao, are just snakes. The guests “know the name” of anything we need to know the name of, like topiary or crescent wrench.

    I think piano connects to door 44 in 3 ways. Given the 3 steps in the trees and the tree pedals on the piano, I’m good with the connection to 3 steps there. Secondly I think the idea of a piano in combination with these black and white balanced snakes is supposed to point us to the dappled sign “44″. Thirdly, I still thing we are somehow supposed to reason that half of 88 is 44, but then half of piano keys are not white, so that’s a slight misfit.

    Other bits might be the “top”iery, the 4 sided wrench parts, and a bit of inter-room stuff, red herring or other-wise.

    I don’t feel that completes the room, but it might get us a big part of the way there.

    • One new simple idea is this – many things in the room are in pairs. Trees. Shrubs. Planters, doors, pillars. snakes. wrench parts. Door 31 and the bird seem to be exceptions. The exit digits are a pair.

    • OK – one more minor shot. I said “in a huff”. I changed the quotes there. “huff” has an “ff” in it. Fourty-four?

    • It seems a little off, but is it crazy to say the 88 bushes have been “divided” into two by the trees?

      I know they’re both still 88s, so it’s not like this is mathematical notation or anything, but I’m just saying, they are divided.

      In fact, if you think of the black and white snakes as corresponding to the darker and lighter bushes, the idea of division seems even stronger–whereas the snakes are tightly intertwined, the bushes have been separated into two groups demarcated by the tree trunk in between them.

      Does this give us reason to think of dividing 88 in two?

    • V W: It’s a good a reason as any. 88(s) split in a into a dark-half and a light-half?

      And if the snakes look like and 8 could you say they are a light half and a dark half of an 8 – or a light four and a dark 4?

      It’s not perfectly neat and tidy but I think that’s the general idea of what he was trying to do here.

  5. Ref the snakes:
    It is what the snakes represent that gives them their species: COPPERhead. Manson’s actual picture of the snakes is so generic we have to decide for ourselves what species they are. I don’t see anything medical/merchant in the room and they are not early caduceus as the Staff of Asclepius,-one snake coiled around a staff.

    The two snakes “coiled” around each other appearing in an “upright” position furthers the visual copper “coiled” “upright” piano wire…also those 3 steps up and into Room #44 representing the 3 step pedals on the piano can’t be ignored. The more I looked at the whole picture the more it looked like an upright piano!

    As for the “crescent wrench” I think it is an ambiguous clue just like the “punch bowl” was in Room #8…but…you can’t solve a room unless you commit to a decision.

    • If they looked like there were intended to be specific copper head snakes that were coiled then there would be tighter fit with other coiled copper things. As it is you are naming them copperhead just to fit the paradigm. That gives me way less confidence with the identification – because there is that much wider a set of thinks they could connect to.

      I didn’t mean there was anything medical/merchant in the room – I should have edited that quote better – the point was it has connections to harmony.

      “you can’t solve a room unless you commit to a decision”

      I’d actually argue the opposite. Yes, while you are in a paradigm you need to try to flesh it out and find all possible connections – but when it does not work or work for everything, change it and start a new one.

      But discussions of method could go on forever. So, I’ll just say – I agree about the piano, for sure. I disagree about the snakes and the trees. I don’t have a problem with the 3 steps, I’m just unsure about them. Not willing to commit on that one until I feel comfortable we know what’s going on here. But it is a way for “piano” to be an exit indicator, so it has that going for it.

    • Missed this bit –

      “they are not early caduceus as the Staff of Asclepius” – no they are not, I agree. The Medical staff is really only supposed to have one snake. The caduceus of Mercury has two – but they should be around a staff. sp recently pointed out we could build one here, but I’m unsure if that is useful. Rather I’m now thinking along the lines of the myth that the two snakes represent the lovers – Cadmus and Harmony – but still looking into that.

    • conan the barbarian also came out around this time, with the classic reference to the “two snake heads, coming togetha!” as arnie put it.

    • Not familiar with the quote. But I doubt a b movie has the same subconscious impact as a number one single that plays so much you never want to hear it again. But really it is a moot point for me. The bushes looking like 88s and the black and white theme here tied to a door indicator is enough for me to think piano is an important puzzle piece. The song is a historical footnote.

    • Oh man, Conan wasn’t a B movie. It was pretty big business, and became increasingly popular over time. It was Arnold Schwarzenegger’s first major step to super stardom, and also featured James Earl Jones, who you may remember as the fictionalized JD Salinger character in Field of Dreams, or Darth Vader.

      Darth Vader! Another light/dark connection!

    • Oh Dave, you tread on sacred turf here my friend, Conan was not only a pinnacle in its class, but based on classic novels of equal proportion! Anyway, I jokingly refer to the standard that James Earl Jones used for his snake cult, which was a single snake with two heads facing each other. Not a clue I know, but contemporary of Maze? Surely!

    • The Neverending Story, that movie had just come out too, and you remember the snakes on the AURYN? The snakes depicted in the illustrations of the novel are even more appropriate here: black and white and intertwined.

      So what the guide was about to say is probably “AURYN.” And the book was written by Michael Ende, and 44 is almost at the “ende” of the book.

  6. It’s almost tempting to take the bird and wrench to be about “crest” only – and as hints at the snake symbol – but no. “This is called…” could be about the snakes, however.

    But here is an idea for the wrench – and amazingly I don’t think it has been said, unless I missed it of course. The inside of the wrench has 4 edges, 4 on each side – 44. The “crest” of the bird may just be to help look at the “crescent” part of the wrench.

  7. This is actually a simple room as I think it represents one thing; “This,” I began, “is called a piano.”

    The double ball topiary does look like number 8’s/88’s. There are 88 keys on a standard piano. We see that half the ball topiary are light and half are dark; half of 88 = Room #44. Narrative starts, “a yard”, a yard = 36 inches and there are 36 black keys on the piano … “just tell us which way to go?”; they can go up the keyboard or down the keyboard. The two snakes are copperheads that are coiled as the piano is a stringed instrument and the strings are coiled copper around the finest steel.

    The bird’s crested top feathers are just that and the wrench is just that = crescent wrench; a piano has to be regularly tuned or it just can’t be played. The standard tuning concert pitch is A-440. The 3 steps going into Door #44 are the 3 piano step pedals. The 2 upright trees clue us to an upright piano.

    The two snakes again confirm the dual persona and the correct Room #44 contains a heavy metal object (croc’s collar/chain) the obvious crescent wrench can be used on.

    • I think piano has a lot going for it there. I doubt he was going to say “this is a piano” and the whole room is probably not about it – or at least not as stated – but 88 and light/dark and maybe 36 are pretty good. Is there something about the snakes that makes them look like copperheads, or are you just naming them that? Half 88 is 44, we’ve noted. 3 steps, maybe. A-440 – interesting – and a door indicator if maybe there is a bit more to it.

      Regarding the dual personality, and the other people – they are not on the list of potential guides, so for that and other reasons I think all that is a wrong turn.

      But I’ll be thinking on the piano idea today, I’m sure.

    • It’s also nice how well piano fits with some themes we have here. The half lit dappled sign is the correct of the 3. I think we have ideas of Tao and balance here already. Wiki says “the caduceus is also a recognized symbol of commerce and negotiation, two realms in which balanced exchange and reciprocity are recognized as ideals” and then we have the potential “harmony” of piano keys.

      Now reading some Greek myths about Cadmus and Hermonia (Goddess of Harmony) – both turned to snakes….she was embraced by the Serpent then turned into one. Hmm….

    • Wiki says – “Ebony and Ivory” ( live together in perfect harmony / Side by side on my piano keyboard) is a 1982 number-one single by Paul McCartney and Stevie Wonder. So that would have been a fresh cultural reference.

    • Of course, McCartney is here represented by the bird, which is hiding its WINGS and standing alone with the wrench, which represents Stevie Wonder; both because he came from Detroit (a city deeply connected with mechanical work) and because, just like Stevie Wonder, wrenches don’t have eyes. Additionally, “Wonder” and “wrench” both begin with Ws.

      Additionally, the song “Ebony and Ivory” first appeared on the album Tug of War, which is an anagram of “Wo! Fug tar!” which is something you might say if you were trying to curse about tar while you had a mouth full of it. Tar is black, just like something in this room is supposed to black, I can’t remember what. Piano keys, those are black.

    • V W : I was not implying that Manson intended us to find the popular song title – simply this that if he was looking to find things to represent balance and harmony which seems to be the idea that’s coming together here – he and his audience would have had that as a shared background.

      Let me put this in a different context – when biblical scholars are working on a text and trying to do exegesis on it (which is what we attempt here, really) it becomes vitally important to know what the author and the intended audience would have been familiar with – not because everything in the world around them is in the text, but because what background is shared is important for the author to know how much he needs to tell people for them to get the point – and thus is important for us to know. A classic example is the woman at the well scene – that setting in those times was a classic set up for a man finding a wife – meeting her at the well. Jacob does this, for example. So when Jesus shows up at the well in the gospel of John the author can play on expectations he knows the audience has and turn them on their head. John 3 might have gotten a few chuckles when it was originally read to people. (For more eyebrow raising look in song of songs for “living water” where the bride and groom are making analogies for body parts and a fountain of living water is found in a garden – and consider what John’s audience may have been thinking when Jesus talks of living water in that scene).

      Returning to MAZE – Manson would have known that black and white piano keys could summon up images of harmony in an audience at that period of time, perhaps even more so than for us because of that song. Or one could argue its influence would have been slight – but it is still quite worth noting in either case.

  8. The wrench might be used to free the crock in Room 44 or reverse to the wrench was used to chain the croc in Room 44.

  9. “But, he would have said top, thus we see the spires behind the landscape.”

    I think this worthwhile remark from Hidden Mystery was lost amidst the madness. The room text pointedly avoids saying “topiary,” suggesting it’s an important word for us to consider, and the group seem to think that’s what he’s about to say. But if he was interrupted before finishing the word, he may have only gotten out TOP, a clue which connects with the stairs in 44 leading upward and the rising trees, etc. Or, rather, if it seemed he was interrupted mid-word, but the top is really what he was indicating.

  10. Episode 21 went up last night and covers this room, Alex will probably post a link once it’s copied to the official channel.

    Not a whole lot of new ground broken but there was one pretty big new idea coming from Vince. Gentile has already pointed out that the two snakes form the right configuration for a caduceus, but of course the winged staff is missing. Last night, Vince noticed that you can actually assemble the staff using other items in the room: one of the tufts of shrubbery for the ball that caps the staff, the bird for the wings (I LOVE that part), and either that suspiciously smooth tree to the left which we never see the top of, or else the wrench, for the actual staff. If it’s not the wrench, then as Vince says, the wrench could be functioning externally as a thematic clue to “put things together” in this room.

    What does all that buy us? Vince didn’t offer anything last night, but I would argue that if we can build a caduceus in this room, that’s a VERY strong pointer to 44, the door associated with the picture of the snakes. Hermes had a lot of attributes, but one of his major traits as messenger-god was to represent roads and paths and to protect mortal travelers. (He also represented hospitality, for what that’s worth.) I can’t think of a Greek god I’d be more happy to receive a sign from while visiting the Maze than him.

    And all of this stuff about pathfinding ties in neatly with the text: “Why don’t you just tell us which way to go?”, probably the most open demand for a direction that the visitors make in the book, if I’m not mistaken.

    So that’s the caduceus solutius.

  11. is there anything in the maze that the wrench could be used on? the apparatus (aka TRAParatus) in 16 perhaps?

  12. I don’t think this has been mentioned yet: the wrench could be a 44 signifier due to the fact that if you put these two 4s base-to-base, they form a wrench-like shape. Note that this is only possible because of the font chosen for the signs in this room, in which each 4 has a relatively open, close to 90-degree shape. That solution would be a lot more strained in a room like 10 or 17, and flat-out impossible in a room like 11 or 14, but here, the shape of the 4s is conducive to making a nice stylized wrench if you join them up at the base.

    I can’t shake the feeling that there’s some kind of wordplay value to the wrench, though. I dunno. This is mostly just my “sorry for being away so long” crappy post.

    • Beelzebibble,

      I like this solution but I’m not sure how to confirm it. I appreciate your investigation into the styles of fours – that lends it credence. Could be correct, could be coincidence.

      The wrench is part of two riddles not including this possibility, when the other riddles are found we should revisit this.

      White Raven

    • I think you’re onto something but I think it’s a little simpler: the wrench has 4 angles on each side. Also, wrenches are usually different sizes on either side but this one seems like both sides are the same, the same way each digit of 44 is the same.

  13. the white snake looks towards the good door. And they look a bit yin-yang like. “Way” is in the text twice and they look like a figure 8 which represents the “path”, and the bushes look like 8s as well. The Tao is also the way or the path.

    • Which is what the Guide refuses to comment on (“which way”).

      Tao can be talked about, but not the eternal tao. Names can be named, but not the eternal name, etc.

    • David Gentile,

      Congratuations about the white snake!

      White Raven

    • nice one dave…

      I would like to add that the two white creatures are associated with decent doors–white snake with 44 and white bird with 31–while the black snake is looking at 24.

      I am still convinced that the wrench represents looking at the sides and not the middle.

  14. The guide is interrupted when saying, not topiary, but wrench.
    Thus, the bird is a wren. But, he would have said top, thus we see the spires behind the landscape.

    • Wren and wrench connection is possible – and I’ve thought that. But what does it do? Wrench – wren is ch and that is nothing. Plus – if does not look anything like a wren.

    • It doesn’t matter how clear it is that that bird isn’t a wren—that thought is going to keep popping up in our heads until the end of time. Good to know I’m not the only one.

      I like the idea that he was starting to say something that was the beginning of the name of something else.

  15. Hmm, thought for sure something like this had been said before, but I don’t immediately see it:

    Room 21: “Why don’t you just tell us which way to go?”

    The conical trees in the background point up; is this the reason for the stairs inside the door to 44? Because we’re being clued to go up?

    The trees not only point upward, but actually do so in an ascending stair-step pattern–damn, look at that! This looks like a real thing!

    • “Why don’t you just tell us which way to go?”
      Of course they’ve just p.o.ed the guide. Has anyone noted that with exit to 24 here he could be telling them to “go to he11″?

    • SP notes that the wrench with its two ends can be a clue to avoid the middle.

    • vewatkin,


      In case you second guess yourself tomorrow, there is another part to this riddle which lends further support.

      White Raven

    • “Those who speak do not know. Those who know do not speak.”

      Check out the first section of the Tao Te Ching. If we do look at this as a yin-yang room, we may be able to make some sense of all the not-talking, not-naming going on in the narrative here.

  16. Room 21: 24 (the numerals, not the entire sign or door) is in the light, 31 is in the shadow; only 44 is in about a fifty-fifty mix of light and shadow. Does it go along with the bushes and snakes?

    The problem is that the DOORWAY to 31 is also a good mix of light and dark

    But maybe that’s because that’s not the whole solution; that’s there to mislead you

    light and dark is part of it

    but so is symmetry

    • In fact:

      In front of 24, the black bush; in front of 31, the white bird; in front of 44, the…somewhat lighter bush? It is a compromise between the bird and bush, in terms of darkness, just like the numerals.

    • Yeah, I don’t see a lot of puzzle points in my future, but I think this ties the room together nicely: the wrench, the snakes, the bush in front of 44, the number 44–all demonstrate a balance of light and dark.

      The snakes and bushes and wrench and 44–all demonstrate symmetry of a sort.

      The bushes–8s, 4 sections. I actually like that this clue could apply to 44 or 24, just as I like the half-light/half-dark cluing working with the doorway to 31–it requires you to combine more elements into the solution than one.



      Biggest problem I have with this is that it makes no use of the text at all, other than perhaps the text’s attention to the shape of the plants.

      And that’s a big problem, IN MY BOOK.

    • 31 is the slow Yin path. Dark snake looks at it. Semi-lit doorway (after dark sign) does not seem that out of place.

  17. Figure 8 snakes nor just yin and yang. Together they are the way the Tao the path. And the path is an 8. They are also part of another multi room puzzle of the leaning signs.

  18. Did we not notice for all this time, in interpreting the 8 bushes, that 4 + 4 is 8?

    Of course, so is 2 x 4, so there’s something more to be done here to prefer addition over multiplication; or, perhaps, the joining of symmetrical terms to asymmetrical ones. (Phrasing it that way makes the wrench and snakes seem like plausible signs to join the join the two sides together and get 8. It’s an unfortunate consequence of the way those snakes are intertwined, however, that it seems they might be multiplying!)

    We have two light bushes, two dark bushes; a light snake; a dark snake…

    Stairs in the doorway to 44; anything indicating we should go up? The snakes that wend their way up, the trees that extend above the frame, the trees in the background that point upward the…bird? That maybe can fly?

    • Er….how about even more blindingly obvious. 4 circle bush parts to left of tree 4 to right = 44.

    • It’s true, 4 parts, 4 parts, in a white-black symmetry sort of deal, sort of reflective of those snakes, who also cross 4 times…

      counting, bah…

    • “It’s too simple”. “It’s too hard”. Somebody find a goldilocks solution please. lol. Say that doll has curls, and there are at least 2 bears in MAZE….just kidding, I think….

    • vewatkin & david gentile,

      Congratulations! Nice teamwork! bushes and snakes are correct! Bumping it up two!

      White Raven

    • The wrench, of course, is symmetrical and half dark, half light.



  19. Room 35 instructs us essentially to “follow the birds”, and doing so leads to clues to the guide. The wall on 40 might tell us something about a “Raven poem riddle” too. The pull toy birds or “Hoopoe” birds are very Poe and Raven connected of course (see rooms 7 and 39), but so are the real birds it turns out.
    It turns out we don’t care what type of bird that is. We just want to put its crest together with the crescent wrench to get “crest”. The topiary is “shorn” of course. “Shorn crest”. This relates to the raven poem. “Though thy crest be shorn and shaven, ghastly, grim and ancient Raven”.
    The text says “We know what the name is” and the guide gets huffy. From the poem – “Tell me what they lordly name is on the night’s Plutonian shore. Quoth the Raven “Nevermore”. This of course repeats many times in the poem and it seems the guests are getting a little tired of hearing the names of birds, or maybe one specifically.
    I believe the snakes represent a caduceus, although they are normally wrapped around a staff carried by Mercury and other heralds. I think this is one direction clue. C+A = 3+1 = 4 and D = 4. And we have 44, and it is next to door 44. Or, maybe simpler, the white snake looks towards the good door. OR, it could be a “double Helix”, and the 44 looks like 2 upside down H’s.
    But I think the most complete solution is to think of it as a double helix and combine it with the 8 from the topiary. Then split the double helix in half and you get 2 identical copies. Two “4”s.
    Odd ends: It bothers me that you can get here from room 1 and that 24 is not strongly warned against here. Dangerous room. Although is it arguably the stupidest choice from room 1 since the leading paper is the most obvious clue making it the most false.

  20. The symmetry theme, indicting 44 (4|4), seems like an OK solutions, but we’re left with questions like, “Why is one snake black, then? What’s up with the bird? Why aren’t the tree trunks more similar?”

    (Maybe don’t sweat the last one so hard.)

    You can see of the figure-eight bushes, at least partially; four of the background cone-trees, at least partially.

  21. This room is full of doubles- the bushes, the wrench, the medical snakes. The bird is the only thing not doubled (and the background trees- they’re tripled- and the bird’s door- 31.)

    Here’s the cleanest solution I see:
    “I wasn’t referring to the plants” is the response to The Visitors demand for direction. The fully visible bushes are divided by the leftmost tree. The fully visible bush to the left of that tree has 2 tufts. The fully visible bushes to the right of that tree have 4 tufts. What is the guide not referring to? 24.

    Either of the other two doors are okay, but 44 is more direct.

    • Alright, let’s try again.
      “I wasn’t referring to the plants…”
      There are four two tuffed bushes visible= 24. There is one three tuffed tree visible= 31. Disregard these.

      The snakes and wrench are symmetrical. Each have four pokey ends. They are not plants.

  22. Since I was nice to Dave Gentile in my post on room #14, I will now counterbalance with a cheap shot by noting that in his analysis, he pegs the exotic bird here as a hoopoe. Because it fits with the Poe theme, you understand. Go ahead, Google Image “hoopoe”, I’ll wait.

    But really, what kind of bird *is* it? There’s no question Manson meant to draw this to our attention, with the host so conspicuously cut off from naming the bird’s species. (We can only assume he was talking about the bird.) I’d like to say it’s some kind of crane, but they don’t tend to come so lavishly feathered. And most other flightless birds don’t have the right overall size, don’t have such long beaks, or are otherwise clearly out of proportion (say, they have much longer necks than this one). I’m assuming this *is* a flightless bird, yes? I can’t see this thing taking wing. Anyone more up on their ornithology have any ideas?

    (P.S. In researching for this post, I learned that there is such a bird as an Invisible Rail, which is pretty cool and sounds like it would make for an enjoyable commute. Also the Rodrigues Solitaire, which is just awesome.)

    • I believe the bird can fly. See page 32. I think the birds on pages 7, 21, 32, 39, and 44 are meant to be the same in some way.

    • I’ve yet to find out the type of bird. I’ve talked to a bird enthusiast. He didn’t know.
      I started thinking it might be a Bird of Paradise, then I moved on to thinking it may be a hoatzin. Notice, the bird on this page has a longer beak than the ones portrayed elsewhere. Is this an error?


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