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The fictional nautical story was extremely popular in the period stretching from the mid 1820s to about 1850. The best known writer in this field was undoubtedly Frederick Marryat, but the stories of Matthew Henry Barker (17901846), The Old Sailor, rivalled those of his contemporary in popularity. Both authors are in the first rank of writers of nautical fiction, but it is generally acknowledged that Barkers descriptions of the man-of-wars man, the forecastle Jack Tar, are without equal. Although several biographies of Marryat have been published, very little relating to Barkers life and works is readily available. A Nautical Story Writer sets out the life and works of Barker, a journalist, novelist and Whig. Part One provides a detailed biography of his life, sea service, adventures and engagement with friends and politicians. Part Two details his published works, alerting to material erroneously credited to the author. Paul Marshalls book is based, in part, on information collected from institutions in the UK and USA. An additional primary source has been a substantial archive of material related to the Barker family, which consists of correspondence between Barker and his friends and business associates (eg: William Jerdan, Frederic Shoberl, Effingham Wilson, Edward Duncan), along with a variety of family documents. Although Barker is an author from the classic period, his written observations will be of interest to readers of the Horatio Hornblower novels of C S Forester, and the Aubrey-Maturin series of Patrick OBrian. The extensive bibliographic information provided makes this work an essential acquisition for university libraries and antiquarian booksellers.
"He began to feel the danger of paying Elizabeth too much attention." Pride and Prejudice , one of the most famous love stories of all time, has also proven itself as a treasured mainstay of the English literary canon. With the arrival of eligible young men in their neighbourhood, the lives of Mr. and Mrs. Bennet and their five daughters are turned inside out and upside down. Pride encounters prejudice, upward-mobility confronts social disdain, and quick-wittedness challenges sagacity. Misconceptions and hasty judgements bring heartache and scandal, but eventually lead to true understanding, self-knowledge, and love. It's almost impossible to open Pride and Prejudice without feeling the pressure of so many readers having known and loved this novel already. Will you fail the test - or will you love it too? As a story that celebrates more unflinchingly than any of Austen's other novels the happy meeting-of-true-minds, and one that has attracted the most fans over the centuries, Pride and Prejudice sets up an echo chamber of good feelings in which romantic love and the love of reading amplify each other.
With the rise of women's suffrage, challenges to marriage and divorce laws, and expanding opportunities for education and employment for women, the early years of the twentieth century were a time of social revolution. Examining British novels written in 1890-1914, Jane Eldridge Miller demonstrates how these social, legal, and economic changes rendered the traditional narratives of romantic desire and marital closure inadequate, forcing Edwardian novelists to counter the limitations and ideological implications of those narratives with innovative strategies. The original and provocative novels that resulted depict the experiences of modern women with unprecedented variety, specificity, and frankness. Rebel Women is a major re-evaluation of Edwardian fiction and a significant contribution to literary history and criticism. Miller's is the best account we have, not only of Edwardian women novelists, but of early 20th-century women novelists; the measure of her achievement is that the distinction no longer seems workable. --David Trotter, The London Review of Books
The poetry of William Butler Yeats presents unusual problems for the general reader. Yeats drew heavily upon mystical and theosophical systems of a more or less arcane nature. Moreover, he often referred to events in his own life and in the history of modern Ireland which require elucidition for the non-specialist. A Reader's Guide to William Butler Yeats not only provides the background needed for an understanding of the works but also reveals the structure of images and meanings of the various lyrics.
In this collection of fourteen essays, Anne Scott MacLeod locates and describes shifts in the American concept of childhood as those changes are suggested in nearly two centuries of children's stories. A social historian and literary critic of genuine insight, MacLeod has helped to pioneer an approach to American culture through the children's literature that arises from it: "When I read books written for children", MacLeod comments in her preface, "I look for author's views, certainly, but I also try to discover what the culture is saying about itself, about the present and the future, and about the nature and purposes of childhood....Children's books don't mirror their culture, but they do always, no matter how indirectly, convey some of its central truths". Most of the essays concern domestic novels for children - stories set more or less in the time of their publication and meant for adolescent and teen readers. Some essays also draw creatively on childhood memoirs, travel writings that contain foreigners' observations of American children, and other studies of children's literature. MacLeod looks beyond the books to their unwritten subtexts - to the interplay between writers' adherence to conventions, their own memories of youth, and their adult concerns. She probes as well the tension between the literal, superficial images and themes of the stories and the realities of the surrounding culture. Beading across historical periods, MacLeod traces changes in our attitudes toward children and shows how they have paralleled or departed from the characteristic tone of each era. The topics on which she writes range from the recently politicized marketplace for children's books to thereestablishment (and reconfiguration) of the family in the latest children's fiction to the ways that literature challenges or enforces the idealization of children. MacLeod sometimes considers a single author's canon, as when she discusses the feminism of the Nancy Drew mystery series or the Orwellian vision of Robert Cormier. At other times, she looks at a variety of works within a particular period, for example, Jacksonian America, the post-World War II decade, or the 1970s. MacLeod examines anew books that she feels have been too quickly dismissed - the Horatio Alger stories, for example - and finds fresh, intriguing ways to view the work of such well-known writers as Louisa May Alcott, Beverly Cleary, and Paul Zindel. Five of the essays in American Childhood have never before been published; four of the remaining essays have been substantially revised and expanded since they first appeared. All are a testament to the revelatory powers of children's literature and to our deep emotional investment in young people.
Mary Jemison was one of the most famous white captives who, after being captured by Indians, chose to stay and live among her captors. In the midst of the Seven Years War(1758), at about age fifteen, Jemison was taken from her western Pennsylvania home by a Shawnee and French raiding party. Her family was killed, but Mary was traded to two Seneca sisters who adopted her to replace a slain brother. She lived to survive two Indian husbands, the births of eight children, the American Revolution, the War of 1812, and the canal era in upstate New York. In 1833 she died at about age ninety.
Hardy's second published novel, Under the Greenwood Tree (1872), the first of his great series of Wessex novels, was originally published anonymously. As part of the Cambridge Edition of the Novels and Stories of Thomas Hardy, this edition of the novel provides readers with an authoritative and accurate text of the novel; moreover it gives access to every revision that Hardy made, and to notations of all the errors introduced by printers' compositors. The annotated text is surrounded by an introduction that gives a very full account of the genesis, the writing and the publishing history of the novel. A range of appendices and comprehensive explanatory notes explore significant aspects of the composition, production and marketing of the novel, touched on in the introduction, to provide a full understanding of the nature and life of this classic work.
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...porch. She heard him fling the bag down on the seat, and turn away towards the village, without hindering himself for a single pace. Then the butler opened the door, took up the bag, brought it in, and carried it up the staircase to place it on the slab by Miss Aldclyffe's dressing-room door. The whole proceeding had been depicted by sounds. She had a presentiment that her letter was in the bag at last. She thought then in diminishing pulsations of confidence, 'He asks to see me Perhaps he asks to see me: I hope he asks to see me.' A quarter to eight: Miss Aldclyffe's bell--rather earlier than usual. 'She must have heard the post-bag brought, ' said the maiden, as, tired of the chilly prospect outside, she turned to the fire, and drew imaginative pictures of her future therein. A tap came to the door, and the lady's-maid entered. 'Miss Aldclyffe is awake, ' she said; 'and she asked if you were moving yet, miss.' 'I'll run up to her, ' said Cytherea, and flitted off with the utterance of the words. 'Very fortunate this, ' she thought; 'I shall see what is in the bag this morning all the sooner.' She took it up from the side table, went into Miss Aldclyffe's bedroom, pulled up the blinds, and looked round upon the lady in bed, calculating the minutes that must elapse before she looked at her letters. 'Well, darling, how are you? I am glad you have come in to see me, ' said Miss Aldclyffe. 'You can unlock the bag this morning, child if you like, ' she continued, yawning factitiously. 'Strange ' Cytherea thought; 'it seems as if she knew there was likely to be a letter for me.' From her bed Miss Aldclyffe watched the girl's face as she tremblingly opened the post-bag and found there an envelope addressed to her in Edward's handwriting; one he had written...
This collection of essays offers an intimate history of Austen's art and life told through objects associated with her personally and with the era in which she lived. Her teenage notebooks, music albums, pelisse-coat, letters, the homemade booklets in which she composed her novels and the portraits made of her during her life all feature in this lavishly illustrated collection. By interpreting the outrageous literary jokes in her early notebooks we can glimpse the shared reading activities of Jane and her family, together with the love of satire and home entertainment which can be traced in the subtler humour of her mature work. It is well known that Austen played the piano but her music books reveal how music was used to create networks far more intricate than the simple pleasures of home recital. Examination of Austen's pelisse-coat tells us something about her physique and, with the lively letters to her sister Cassandra, gives an insight into her views on fashion. The exploration of yet more objects - the Regency novel, newspaper articles, naval logbooks, and contemporary political cartoons - reveals Austen's filiations with wider social and political worlds. These 'things' map the threads connecting her (from India to Bath and from North America to Chawton) to those on the international stage during the wars with France that raged through much of her short life. Finally, this book charts her reputation over the two hundred years since her death, offering fresh interpretations of Jane Austen's changing place in the world.
Historians of the Enlightenment have studied the period's substantial advances in world cartography, as well as the decline of utopia imagined in geographic terms. Literary critics, meanwhile, have assessed the emerging novel's realism and in particular the genre's awareness of the wider world beyond Europe. Jason Pearl unites these lines of inquiry in "Utopian Geographies and the Early English Novel, " arguing that prose fiction from 1660 to 1740 helped demystify blank spaces on the map and make utopia available anywhere. This literature incorporated, debunked, and reformulated utopian conceptions of geography.
Reports of ideal societies have always prompted skepticism, and it is now common to imagine them in the future, rather than on some undiscovered island or continent. At precisely the time when novels began turning from the fabulous settings of romance to the actual locations described in contemporaneous travel accounts, a number of writers nevertheless tried to preserve and reconfigure utopia by giving it new coordinates and parameters.
Margaret Cavendish, Aphra Behn, Daniel Defoe, Jonathan Swift, and others told of adventurous voyages and extraordinary worlds. They engaged critically and creatively with the idea of utopia. If these writers ultimately concede that utopian geographies were nowhere to be found, they also reimagine the essential ideals as new forms of interiority and sociability that could be brought back to England. Questions about geography and utopia drove many of the formal innovations of the early novel. As this book shows, what resulted were new ways of representing both world geography and utopian possibility.
The Woodlanders (1887) was Thomas Hardy's elventh published novel and the one he claimed to like 'as a story, the best of all'. It is a story of wide appeal, having much to say on themes such as marriage and social class, and with a background revealing its author's profound knowledge and appreciation of many matters, particularly nature and country life. As part of The Cambridge Edition of the Novels and Stories of Thomas Hardy, this edition of the novel provides an authoritative and accurate text which aims to reflect Hardy's original artistic intention and represent the novel as it would have been read by his Victorian readers. The novel is supported by a comprehensive introduction, chronology and accompanying textual apparatus which allows the modern reader to trace the novel's evolution from composition to first publication and through several stages of revision in succeeding editions in the quarter of a century following its first publication.
Now adapted for ITV by Julian Fellowes, Doctor Thorne is the compelling story in which rank, wealth, and personal feeling are pitted against one another. The squire of Greshamsbury has fallen on hard times, and it is incumbent on his son Frank to make a good marriage. But Frank loves the doctor's niece, Mary Thorne, a girl with no money and mysterious parentage. He faces a terrible dilemma: should he save the estate, or marry the girl he loves? Mary, too, has to battle her feelings, knowing that marrying Frank would ruin his family and fly in the face of his mother's opposition. Her pride is matched by that of her uncle, Dr Thorne, who has to decide whether to reveal a secret that would resolve Frank's difficulty, or to uphold the innate merits of his own family heritage. The character of Dr Thorne reflects Trollope's own contradictory feelings about the value of tradition and the need for change. His subtle portrayal, and the comic skill and gentle satire with which the story is developed, are among the many pleasures of this delightful novel.
Winner of the Pulitzer Prize for Biography
"Thoroughly absorbing, lively . . . Fuller, so misunderstood in
life, richly deserves the nuanced, compassionate portrait Marshall
paints." --" Boston Globe"
Pulitzer Prize finalist Megan Marshall recounts the trailblazing life of Margaret Fuller: Thoreau's first editor, Emerson's close friend, daring war correspondent, tragic heroine. After her untimely death in a shipwreck off Fire Island, the sense and passion of her life's work were eclipsed by scandal. Marshall's inspired narrative brings her back to indelible life.
Whether detailing her front-page "New-York Tribune" editorials
against poor conditions in the city's prisons and mental hospitals,
or illuminating her late-in-life hunger for passionate
experience--including a secret affair with a young officer in the
Roman Guard--Marshall's biography gives the most thorough and
compassionate view of an extraordinary woman. No biography of
Fuller has made her ideas so alive or her life so moving.
"Megan Marshall's brilliant "Margaret Fuller" brings us as close as we are ever likely to get to this astonishing creature. She rushes out at us from her nineteenth century, always several steps ahead, inspiring, heartbreaking, magnificent." -- Rebecca Newberger Goldstein, author of "Betraying Spinoza: The Renegade Jew Who Gave Us Modernity"
"Shaping her narrative like a novel, Marshall brings the reader as close as possible to Fuller's inner life and conveys the inspirational power she has achieved for several generations of women." --" New Republic"
The public debate on abortion stretches back much further than Roe v. Wade, to long before the terms "pro-choice" and "pro-life" were ever invented. Yet the ways Americans discussed abortion in the early decades of the twentieth century had little in common with our now-entrenched debates about personal responsibility and individual autonomy. Abortion in the American Imagination returns to the moment when American writers first dared to broach the controversial subject of abortion. What was once a topic avoided by polite society, only discussed in vague euphemisms behind closed doors, suddenly became open to vigorous public debate as it was represented everywhere from sensationalistic melodramas to treatises on social reform. Literary scholar and cultural historian Karen Weingarten shows how these discussions were remarkably fluid and far-ranging, touching upon issues of eugenics, economics, race, and gender roles. Weingarten traces the discourses on abortion across a wide array of media, putting fiction by canonical writers like William Faulkner, Edith Wharton, and Langston Hughes into conversation with the era's films, newspaper articles, and activist rhetoric. By doing so, she exposes not only the ways that public perceptions of abortion changed over the course of the twentieth century, but also the ways in which these abortion debates shaped our very sense of what it means to be an American.
A Sunday Times Book of the Year Winner of the 2019 Elma Dangerfield Prize Shortlisted for The Pol Roger Duff Cooper Prize 'This magnificent, highly readable double biography...brings these two driven, complicated women vividly to life' The Financial Times 'A gripping saga of a double-biography' Daily Mail 'A masterful portrait' The Times 'Vastly enjoyable' Literary Review 'Deeply absorbing and meticulously researched' The Oldie In 1815, the clever, courted and cherished Annabella Milbanke married the notorious and brilliant Lord Byron. Just one year later, she fled, taking with her their baby daughter, the future Ada Lovelace. Byron himself escaped into exile and died as a revolutionary hero in 1824, aged 36. The one thing he had asked his wife to do was to make sure that their daughter never became a poet. Ada didn't. Brought up by a mother who became one of the most progressive reformers of Victorian England, Byron's little girl was introduced to mathematics as a means of calming her wild spirits. Educated by some of the most learned minds in England, she combined that scholarly discipline with a rebellious heart and a visionary imagination. As a child invalid, Ada dreamed of building a steam-driven flying horse. As an exuberant and boldly unconventional young woman, she amplified her explanations of Charles Babbage's unbuilt calculating engine to predict, as nobody would do for another century, the dawn today of our modern computer age. When Ada died - like her father, she was only 36 - great things seemed still to lie ahead for her as a passionate astronomer. Even while mired in debt from gambling and crippled by cancer, she was frenetically employing Faraday's experiments with light refraction to explore the analysis of distant stars. Drawing on fascinating new material, Seymour reveals the ways in which Byron, long after his death, continued to shape the lives and reputations both of his wife and his daughter. During her life, Lady Byron was praised as a paragon of virtue; within ten years of her death, she was vilified as a disgrace to her sex. Well over a hundred years later, Annabella Milbanke is still perceived as a prudish wife and cruelly controlling mother. But her hidden devotion to Byron and her tender ambitions for his mercurial, brilliant daughter reveal a deeply complex but unsuspectedly sympathetic personality. Miranda Seymour has written a masterful portrait of two remarkable women, revealing how two turbulent lives were often governed and always haunted by the dangerously enchanting, quicksilver spirit of that extraordinary father whom Ada never knew.
Decadence, that flowering of a mannered literary style in France during the Second Empire, and in the last two decades of the nineteenth century in Britain, holds an endless fascination. Yet the ambiguity of the term 'decadence' and the challenges of identifying its practitioners make grasping its contours difficult. From the obsession with classical cultures, to the responses to the HIV/AIDS crisis of the 1980s and 1990s, this book offers one of the most comprehensive histories of literary Decadence. The essays here interrogate and expand the formal, geographical, and temporal frameworks for understanding Decadent literature, while offering a renewed focus on the role played by women writers. Featuring essays by leading scholars on sexuality, politics, science, translation, the New Woman, Russian and Spanish American Decadence, the influence of cinema on Decadence, and much more, it is essential reading for all those interested in the literature of the 1890s and Oscar Wilde.
Newspapers, magazines, and other periodicals reached a peak of cultural influence and financial success in Britain in the 1850s and 1860s, out-publishing and out-selling books as much as one hundred to one. But although scholars have long known that writing for the vast periodical marketplace provided many Victorian authors with needed income--and sometimes even with full second careers as editors and journalists--little has been done to trace how the midcentury ascendancy of periodical discourses might have influenced Victorian literary discourse.
In The Dynamics of Genre, Dallas Liddle innovatively combines Mikhail Bakhtin's dialogic approach to genre with methodological tools from periodicals studies, literary criticism, and the history of the book to offer the first rigorous study of the relationship between mid-Victorian journalistic genres and contemporary poetry, the novel, and serious expository prose. Liddle shows that periodical genres competed both ideologically and economically with literary genres, and he studies how this competition influenced the midcentury writings and careers of authors including Elizabeth Barrett Browning, Harriet Martineau, Anthony Trollope, George Eliot, and the sensation novelists of the 1860s. Some Victorian writers directly adopted the successful genre forms and worldview of journalism, but others such as Eliot strongly rejected them, while Trollope launched his successful career partly by using fiction to analyze journalism's growing influence in British society. Liddle argues that successful interpretation of the works of these and many other authors will be fully possible only when scholars learn to understand the journalistic genre forms with which mid-Victorian literary forms interacted and competed.
This novel is a designedly political document. Written at the time of the Hastings impeachment and set in the period of Hastings's Orientalist government, Hartly House, Calcutta (1789) represents a dramatic delineation of the Anglo-Indian encounter. The novel constitutes a significant intervention in the contemporary debate concerning the nature of Hastings's rule of India by demonstrating that it was characterised by an atmosphere of intellectual sympathy and racial tolerance. Within a few decades the Evangelical and Anglicising lobbies frequently condemned Brahmans as devious beneficiaries of a parasitic priestcraft, but Phebe Gibbes's portrayal of Sophia's Brahman and the religion he espouses represent a perception of India dignified by a sympathetic and tolerant attempt to dispel prejudice. -- .
Tracing the history of the Catholic-authored novel in nineteenth-century Ireland, Emer Nolan offers a unique tour of Ireland's literary landscape from its early origins during the Catholic political resurgence of the 1820s to the transformative zenith brought on by James Joyce's Ulysses in 1922. Nolan observes that contemporary Irish literature is steeped in the ambitions and internal conflicts of a previously captive Irish Catholic culture that came into its own with the narrative art form. She offers a major reassessment of such figures as Thomas Moore, George Moore, and Charles Kickham and of sentimental fiction in nineteenth-century Ireland. With keen insight and deft arguments, Nolan presents a highly original exploration of James Joyce and his relationship to his nineteenth-century Irish Catholic predecessors. At once provocative and enlightening, Catholic Emancipations is an invaluable addition to the fields of Irish studies, Joyce studies, and the nineteenth-century novel.
What constitutes reading? This is the question William McKelvy asks in ""The English Cult of Literature"". Is it a theory of interpretation or a physical activity, a process determined by hermeneutic destiny or by paper, ink, hands, and eyes? McKelvy seeks to transform the nineteenth-century field of ""Religion and Literature"" into ""Reading and Religion,"" emphasizing both the material and the institutional contexts for each. In doing so, he hopes to recover the ways in which modern literary authority developed in dialogue with a politically reconfigured religious authority. The received wisdom has been that England is literary tradition was modernity's most promising religion because the established forms of Christianity, wounded in the Enlightenment, inevitably gave up their hold on the imagination and on the political sphere. Through a series of case studies and analysis of a diverse range of writing, this work gives life to a very different story, one that shows literature assuming a religious vocation in concert with an increasingly unencumbered freedom of religious confession and the making of a reading nation. In the process, the author shifts attention away from the idea of the literary critic in favor of considering the historic role of religious professionals in shaping and contesting the authority of print. Indebted to recent findings of book history and newer historiographies at odds with conventional secularization theory, this work makes an interdisciplinary contribution to revising the existing models for understanding change in Britain during the eighteenth and nineteenth centuries.
Oscar Wilde had one of literary history's mostexplosive love affairs with Lord Alfred BosieDouglas. In 1895, Bosie's father, the Marquessof Queensberry, delivered a note to the Albemarle Clubaddressed to Oscar Wilde posing as sodomite. WithBosie's encouragement, Wilde sued the Marquess forlibel. He not only lost but he was tried twice for grossindecency and sent to prison with two years' hard labor.With this publication of the uncensored trial transcripts, readers can for the first time in more than a century hearWilde at his most articulate and brilliant. The Real Trialof Oscar Wilde documents an alarmingly swift fall fromgrace; it is also a supremely moving testament to the rightto live, work, and love as one's heart dictates. --Daily Telegraph (London) on The Wilde Albu
Hailed as 'the indispensable critic' by The New York Review of Books, Harold Bloom has for decades been sharing with readers and students his genius and passion for understanding literature and explaining why it matters. In The Daemon Knows, he turns his attention to the writers of his own national literature in a book that is one of his most incisive and profoundly personal to date. Pairing Walt Whitman with Herman Melville, Ralph Waldo Emerson with Emily Dickinson, Nathaniel Hawthorne with Henry James, Mark Twain with Robert Frost, Wallace Stevens with T. S. Eliot, and William Faulkner with Hart Crane, Bloom places these writers' works in conversation with one another, exploring their relationship to the 'daemon'-the spark of genius or Orphic muse-in their creation, and helping us understand their writing with new immediacy and relevance. It is above all the intensity of their preoccupation with the sublime, Bloom suggests, that distinguishes these American writers from their European predecessors. A product of five years of writing and a lifetime of reading and scholarship, The Daemon Knows may be Bloom's most masterly book yet.
Since the 1970s, romance novels have surpassed all other genres in terms of popularity in the United States, accounting for half of all mass market paperbacks sold and driving the digital publishing revolution. Romance Fiction and American Culture brings together scholars from the humanities, social sciences, and publishing to explore American romance fiction from the late eighteenth to the early twenty-first century. Essays on interracial, inspirational, and LGBTQ romance attend to the diversity of the genre, while new areas of inquiry are suggested in contextual and interdisciplinary examinations of romance authorship, readership, and publishing history, of pleasure and respectability in African American romance fiction, and of the dynamic tension between the genre and second wave feminism. As it situates romance fiction among other instances of American love culture, from Civil War diaries to Bob Dylan's Blood on the Tracks, Romance Fiction and American Culture confirms the complexity and enduring importance of this most contested of genres.
This volume - a sequel to the author's A traveler disguised - further develops the analysis of the fictionality and aesthetic autonomy of the classics of Yiddish fiction. The essays in this work concentrate on the artistic reconstruction of the world.
One of the founders of literary realism and the serial novel, Honore de Balzac (1799-1850) was a prolific writer who produced more than a hundred novels, plays and short stories during his career. With its dramatic plots and memorable characters, Balzac's fiction has enthralled generations of readers. 'La Comedie humaine', the vast collection of works in which he strove to document every aspect of nineteenth-century French society, has influenced writers from Flaubert, Zola and Proust to Dostoevsky and Oscar Wilde. This Companion provides a critical reappraisal of Balzac, combining studies of his major novels with guidance on the key narrative and thematic features of his writing. Twelve chapters by world-leading specialists encompass a wide spectrum of topics such as the representation of history, philosophy and religion, the plight of the struggling artist, gender and sexuality, and Balzac's depiction of the creative process itself.
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