Reinventing the Life of a Poet in the Modern World

Category: Craft (Page 16 of 18)

Sunday’s Moment of Craft: Keep Up the Curiosity

CuriosityPoetry is just as much about exploring as driving across the country is. My husband and I took our two dogs on a cross-country road trip this holiday season from New Mexico to Pennsylvania in order to visit my parents in Lancaster County. On the way we listened to music, discussed history and pop culture and came up with a list of things we planned to look up when we got home.

Now our list of questions isn't earth-shattering but I think the important thing to keep in mind is that you should always have a list of some kind, always be looking to learn about random things, always have silly questions you need answering.

Here was our final list. I don’t know how our it ended up so gay-centric, but it did:

  1. Is Chris Daughtry still married? (Monsieur Big Bang had doubts but he is.)
  2. What did Peter Allen die of? (AIDs-related throat cancer. We love the song "Tenterfield Saddler.")
  3. How did Robert Palmer die? Was it onstage? (I was wrong; he died in his hotel room, not onstage, from a heart attack.)
  4. Are The Gossip Girls (the band) gay? (The kickass lead singer is out but I never found out about the others.)  
  5. How did Robert Reed (of the Brady Bunch) die? (AIDs-related colon cancer.)
  6. What is the kid from Deliverance doing now? (He’s a working actor and quite normal-looking, actually. Special effects were used to make him look so creepy.)
  7. What do people do for a living in El Reno, Oklahoma? (Never figured this one out but the town is unusually big. We got lost there looking for gas.)
  8. Who is singing with Miles Davis in the song “Blue Christmas.” (Turns out this is Bob Dorough, the composer and singer of the Schoolhouse Rock cartoons.)
  9. Whatever happened to producer David E. Kelly? (He married Michelle Pfeiffer and is now the producer of that awful-looking Robin Williams sitcom.)
  10. What hotel did Liberace play in? (The Hilton. We just watched Behind the Candelabra)
  11. Did Eric Clapton play lead on the Beatles song “While My Guitar Gently Weeps” (I thought so but wanted to be sure. He is.)
  12. What was the Mason-Dixon line created for? (It settled a dispute between the colonies and the British in 1767. Later it was used to divide the North and South during the Civil War.)
  13. Why do we yawn? (They still don’t know! But there are many theories.)
  14. Do birds yawn? (Yes.)
  15. Is it me or does Zee Avi sound like Zooey Duchamel? Who sings the song in the movie Elf? (Zooey sings in the movie and there are many others who are confused by by this issue.)

   

Notes on Translations II: Imaginings and Struggles

ImagpoetsAlthough I didn't love this book, it was an interesting project edited by Alan Michael Parker: twenty-two poets were asked to invent a purely fictitious poet and pretend to do a translation of that poet, including an introduction with a life story and why they appealed and a sample poem or two. The editor wanted to explore issues of narrative and translation, to call "into question the axioms of translation and the use of fiction-in-poetry, the work that…allows the contributors to slip between speaker, self and other."

Many of the poets conjured up their ideal (or so it seemed) poet, one of a choice between progressive-woman-before-her-time, political radical, resistance fighter, suppressed refugee, or one of the exploited or insane.

My issue with the result was boredom. If you go to poetry to get inside a living person's idea of themselves or their processing of an experience, or to understand a foreign experience…this might leave you cold, too. It sort of proves how we come to fiction and poetry with different needs.  Also, it proves how hard it is to get away from your own voice: "Readers familiar with the poems of any of these writers will surely find affinities between their self-signed work and the work of their imagined poets; perhaps it is…true that no matter what we do, we cannot run from ourselves."

I'm pretty sure the poets were trying real hard to escape themselves, too.  And then there was the problem of invention: were these poets really all that good at it? A few fictions were hilarious, rarely did they become profound, but mostly they just felt like practicings.

In some cases, pertinent points about translations arose: Laure-Anne Bosselaar talked about how literal to go, preserving the stanza form or rhyme scheme or syllabic count and maintaining the poem's tone. And she showed multiple attempts. Martha Collins talked about the problem of translating emotion, linguistic accidents of meanings over two languages, and how the monosyllabic Vietnamese language "has much less connective tissue than European languages." Judith Hall talked about wimpy translator "mea-culpa" concessions about translation failures but then herself concedes that there is no perfect translation of poetry. Translations metamorphize in keeping, hopefully, with an original spirit. But then she dismisses the "translator's dilemma" to "secondary and debatable scholarship. What the reader wants to remember is not a process but a poem."

Well, that depends upon the reader.

I loved Maxine Kumin's poem "Inge, in Rehab." She talked about voice and the work of enjambments and slang. Overall, I loved the fictions best of Mark Strand and Annie Finch. And I liked Eleanor Wilner's poem "Pandora Novak."

Soon after reading this book, I dug out an old Poetry Magazine issue I had not read, "The Translation Issue" from April 2008.  This was my first reading of Poetry and I loved the format of reading a poem or two and then reading the translator's note on it. You never see the original poems.

David Harsent translates Greek poet Yannis Ritsos and talks about translations being not another version but a re-imagining and how Ritsos poems are "indelibly Greek."

Stephen Edgar translates Russian Anna Akhmatova and talks about the difficulty of forms and rhyme schemes that, when kept, can distort sense. He wonders what should be sacrificed. "A poem is about many things and the literal sense is only one of them." Meaning might only be a hanger for rhetorical or musical features. He feels some poets, like Akhmatova, lose most of their magic in their translations.  He says he first does a literal translations and "them begin[s] the remoulding."

Michael Sells translates Arabic poet Ibn Al-Arabi and talks about playing syntax against line breaks to recreate rhythmic play of syntax against meter. I'm not sure what he means.

Peter Cole translates Hebrew poet Natan Zach and says, "A Zach poem…is both a thing in itself and a demonstration of what makes it that thing…therein lies the challenge of translation–accounting for that aural intelligence as it moves along the lines."

Don Paterson translates Cesar Vellejo and says most "faithful" translated versions are "mere hommage; they really belong to a category of meta-poem."

Finally, this week I finished my new issue of American Poetry Review. I really liked the Cynthia Cruz poems. She teaches at Sarah Lawrence so I find it very ironic that she capitalizes every line of her poems, when everyone in Kate Johnson's class there in 1995 really came down on me hard for being an impossibly outdated conceit. Arielle Greenberg finishes her essay series on the differences between second and third-wave feminist female poets (highly recommended). Tony Hoagland's new poems take on language poetry (is this a lengthy bitch fight between lyricists and language poets?).

In any case, the essay by John Felstiner about translating a near-death Neruda is interesting here in that he talks about how his translated lines "strangely seem like my own creation, speaking not only through me but for me" and he calls this a "foolish kind of occupational hazard." He says, "What's worse, if I turn back to Neruda's Spanish it seems an uncannily good translation of my own poem!"

Translations are so interesting.

 

14 Pop Songs That Read as Crafty Poems

Narratives

  1. The
    Last Time I Saw Richard
    ”—Joni Mitchell
  2. A Boy
    Named Sue
    ”—Johnny Cash
  3. Eleanor
    Rigby
    ”—The Beatles
  4. “Everybody
    Knows”—Leonard Cohen; Rufus Wainwright version

Description

  1. Both Sides Now”—Joni
    Mitchell

Extended Metaphors

  1. Empty Garden”—Elton John
  2.  “The Gambler”—Kenny Rogers
  3. Fortress
    Around Your Heart
    ” – Sting

Language Poems

  1. “Whiter Shade of Pale”—Procol Harem; Annie
    Lennox version
  2. Anything by The Cocteau Twins

Lyrics

  1. "Hallelujah"—Leonard Cohen; Jeff Buckley Version
  2.  “America” – Simon &
    Garfunkel

Lists

  1. Windmills
    of Your Mind
    ” – Dusty Springfield (List of Surreal Similes)
  2. King
    of Pain
    ” – The Police (List of Metaphors)

 

The Art of Description

Doty-artWhen I met with the writers group in Phoenix last month, we decided to read and discuss a craft book and some short stories. For stories, we chose Art of the Story  by Daniel Halpern. None of us loved any of the four stories we chose from the book, or the physicality of the book (which was heavy and contained tiny margins). But the more we discussed the stories, the more we found redeeming about them.

Of those of us who read The Art of Description by Mark Doty, this book didn't fare much better. I think this was mainly an issue of expectation on our part. The book is part of a Graywolf series on craft called The Art of…. I have another installment ready to read, The Art of Subtext.

 I think our group hoping for a book that would break down the how-to craft in creating description in our work (some of us were poets, some were fiction writers, one did non-fiction), instead of a book of explications on poems that utilized description effectively for image making. And even if that was the rubric, I'm not sure such a lofty goal could be achieved in these small pocket books. 

Although I do love Mark Doty in general (his poems, his live readings and the breathtaking book Dog Years) and he is brilliant at mulling over a topic,  we wanted more button-down organization here . I felt like the book was mostly comprised of five essays created for other purposes and a clever glossary of ruminations on description at the end. I did appreciate how Doty pulled in criticisms of lyrical description from certain language poets and his respectful, yet fair minded, response to them, "It's what I do, the nature of my attention…" meaning for some poets, constructing literal descriptions is their way of thinking and that's no more or less valid than someone who  deconstructs as a tendency.

And when doubting the stability of naming things, Doty says, "But we have nothing else, and when words are tuned to their highest ability, deployed with the strengths the most accomplished poets bring to bear on the project of saying what's here before us–well, it's possible to feel at least for a moment, language clicking into place, into a relations with the world that feels seamless and inevitable. It that is a dream, so be it." Which is a solid defence allowing lyric poetry to proceed. 

My friend Christopher and I read and added marginalia to the same copy of the book…mine. We both marked off the line, "The pleasure of recognizing a described world is no small thing." We also both marked this line in a discussion of Elizabeth Bishop, "…her aim is to track the pathways of scrutiny….the poet seems to proceed from a faith that the refinement of observation is an inherently satisfying activity." We also met up at, "Perhaps the dream of lyric poetry is not just to represent states of mind, but to actually provoke them in the reader."

But defenses of lyric poetry may have been beyond the scope of the book and in the process, some dissection of descripting was lost. We also had problems connecting with some of his samples.

There were some hints on effective metaphor-making that my friend and I both agreed on, "The more yoked things do not have in common, the greater the level of tension, the greater the sense of cognitive dissonance for the reader." The book is only 137 pages. We would have liked more of these condensed and practical lessons.

I felt the book gained more traction in this way in the second half, in the glossary of descriptive ideas called "Description's Alphabet" which broke down ideas about beauty, color, contouring, economy, juxtaposition, etc.

 

Post Writing Sequester Wrap-Up

PhotoJust got back from a great four days of workshopping with three of my writing friends. I did a post a few weeks ago about the benefits of a DIY writing gathering. We had two poets, a fiction writer and a non-fiction (primarily) writer. At left, we all wore orange one day to visit a St. Louis-style eatery in Phoenix. We had toasted ravioli, cracker-crust pizza and ooey-gooey butter cake.

A writer friend of mine posted a comment about conferences on Facebook saying the main benefit she found was the networking and deal-making. As for networking, you do meet new writing friends at big conferences sometimes (if you're both having an outgoing moment). Some you actually keep in touch with, although my CherCon friends have been more reliable over the years. As for deal-making at a conference, this never happened at my lowly level. I'm equating that kind of conference activity with one I would do for Web Content Specialists (my day job). The only differences being for those there are only a handful to choose from a year (not the massive amount available to poets), they aren't as expensive and you can often get your office to pay for it. You'd think the sheer number of writing conferences would bring the cost down, by supply and demand. But then there are so many writers, so few web content specialists.

In any case, having our own was informative. Our biggest problem was not having enough time to do all we wanted to do. Being friends, we spent a good deal of time catching up and chatting (in the pool, no less).

On the positive side, you're happier at a DIY with your friends (and a pool). On the negative side, you're too happy.

Also, half of our group didn't finish their readings ahead of time. So a majority of the time was spent reading for them. However, the workshopping was really high quality. Pre-select is good stuff in this case.

We selected some short stories from The Art of the Story  by Daniel Halpern. And although we all agreed we didn't much like the four stories we selected (or the layout of the book), the more we discussed the stories, the more I came to appreciate them and something unique in them relating to our projects. We also read The Art of Description by Mark Doty from the World into Word series on Graywolf Press. I'll talk about that more later (probably after my move). Two of us read the same book and make our own marginalia…it will be interesting to see where our "likes" intersected.

We all agreed we wanted to keep doing these things yearly. Notes for future events:

  1. Build in time for reading
  2. Build in time for chatting
  3. Focus less on writing time (too much chatting and reading to do)
  4. Keep in the workshop sessions

    

Moving, Manifestos & Writing Sequesters

ManifestoIt would seem if you are a poet, you should have written a manifesto. Or at least you should have made an attempt to label your "movement." I take this charge very seriously and have been working on my manifesto and "a description of my movement."

Unfortunately, I will have to wait a month or so to unveil it because my husband and I are in the middle of a move. This will take up the greater part of my time for the next 4-6 weeks but I'll try to post short things in the meantime. Neither my manifesto or "the description of my movement" are short things.

Next weekend I'm also attending a writing retreat of sorts with three of my writer friends (two from Los Angeles, one from Alaska). I'm calling it our writing sequester inspried after the political events of this year.

American Poetry Review and other poetry magazines are filled to the hilt with ads for MFAs and writing conferences. Even writing conferences in my own back yard are asking for over one-grand to attend and this without airfare. There are hard times. You have to wonder where one is expected to come up with one-grand if it's not a down payment on a car or for a trip overseas.

Speaking for myself, I love workshops and college classes. If I were suddenly to find myself the beneficiary of an arts patron or a gold vein in Colorado, I would spend it all taking obscure classes from now into my future dotage. But who can afford the 10% tuition hikes? Higher education has already increased 42% over the last 10 years. Where is all the money going? Certainly not to teachers. They need to supplement their incomes working writing conferences. Certainly not to adjunct teachers. They need to supplement their incomes with day jobs. According to my mother, the highest paid person in the commonwealth of Pennsylvania is the president of Penn State. I think we know where the money is going. Money floats; shit sinks. And the student is on the bottom.

Colleges seem prime to self-destruct one these days working under the corporate greed model. So adding to my degrees doesn't seem like a sound move right now. Neither do writing conferences, although you'd love to support your favorite poety professor who's working one.

My solution is to create the mini-conference I'd love to attend…at a fraction of the cost. Lucky for me I've already grossly overspent to get my MFA and have all my MFA friends. So they'll be joining me this week. We've set up an itinerary of writing time, writing exercises, workshop discussions over supper, craft chats (our assinged book is The Art of Description by Mark Doty) and even some scheduled movies about writers.  We've rented a house and each writer has his own room and we even a private pool and hot tub! Get that at a writer's conference if you can.

For all this I'm paying $275 for four nights, not including the gas it's gonna take to get me to Phoenix from Santa Fe.

I'm getting all this writerly socialising at a cost-savings of almost $725! Pinch me!

 

Movie Forms

ConjFor decades I've loved horror movies. Not slashers, not torture movies, not flimsy excuses for violence against women, but good old fashioned haunted house movies.

In high school, we loved the amusement park-like adrenalin rush. But over the years, and before the meta-horror movies like Scream and Scary Movie, I began to see that horror movies were their own forms. Like westerns particularly, these genres have rules and structure. The filmmakers who break the rules well usually turn out to be those who know and understand the rules.  Just like writing in poetry forms.

For the last two decades I've been discouraged by masochistic, misogynistic horror movies like Saw and misfires like Paranormal Activity and Insidious and the bleak Japanese-inspired films like The Ring. Two years ago I wrote an Open Letter to the Horror Movie industry on I Found Some Blog by Cher Scholar.  I missed the architecture of a good ole ghost story, which is not an easy story to pull off. It takes an understanding of tone and timing. Horror movies are filled with tried and true tricks. It takes an artist to make some old gotchas work.

Which is why I love the new movie The Conjuring. Some above C-list actors, an artful set and costuming, deft direction and some newly formulated scares make this a strong example of its form.

 

Notes on Translation I: 15 Months Living with the French

ChampsI just finished In Search of Lost Time by Marcel Proust. It took Monsieur Big Bang and me 15 months to read all 7 books. Oy! I can't believe I ate the whole thing.

Monsieur Big Bang was a Proust Scholar back when he got his B.A. in French many lifetimes ago. So he had read Proust at least once in French, many of the books twice or three times in French. This was his first time reading them in English. I had been badgering him to read them again with me ever since I've known him. He kept saying he was over it. Then he read the Proust section in a book I left in the bathroom: Writer's Gone Wild by Bill Preschel. He came out of the bathroom and announced he was ready to read Proust with me.  And so we did.

I loved reading Proust, particularly the gayness.  And I'm not talking about the homosexual characters and their foibles. I'm talking about Proust's very gay sense of humor and sense of obsession. Proust, where have you been all my life?

Anyway, reading the books led me to re-evaluate my avoidance of French poets. When I finished my international anthologies, I started to read Modern Poets of France, translated by Louis Simpson, a book sent to me by a friend a few years back. The poets range from Hugo to Robert Desnos, with three to six poems each and extensive biographies in the back of the book. In the bios there were actually references to Proust, how he found the name of Albertine from poet Marceline Debordes-Valmore. Poet Philippe Soupault remembers staying in Cabourg when Proust was there, Proust later to dub it his Balbec.

So I tried to get attached to these French poems afresh with an open mind.  What a miserable failure. Aside from the poet-political associations I made with Apollinaire, (which I'll get into next week), all the poems sounded the same. I had to figure this was due to the flat monosyllabic language of Louis Simpson. This is a good example of how the spirit of a translator can imbue a poem. I knew something was up when I got to the Baudelaire poems. The first book of poems I ever purchased (in my adulthood) from City Books in St. Louis, MO, was Joanna Richardson's translations of Baudelaire (rock singer John Waite referenced "The Albatross" in an interview). I still love this book. Baudelaire's word-set (even in French) is decadent and lush. I believe this is my issue with Simpson's translations: can a translator put more into a translation than the sum or habit of his own vocabulary?

Some comparisons:

First two stanzas from "Correpondances"/"Correspondences"

La Nature est un temple où de vivants piliers
Laissent parfois sortir de confuses paroles;
L'homme y passe à travers des forêts de symboles
Qui l'observent avec des regards familiers.

Comme de longs échos qui de loin se confondent
Dans une ténébreuse et profonde unité,
Vaste comme la nuit et comme la clarté,
Les parfums, les couleurs et les sons se répondent.

— Charles Baudelaire

Nature's a temple where the pilasters
Speak sometimes in their mystic languages;
Man reaches it through symbols dense as trees,
That watch him with a gaze familiar.

As far-off echoes from a distance sound
In unity profound and recondite,
Boundless as night itself and as the light
Sounds, fragrances and colours correspond.

— Joanna Richardson 

Nature is a temple. The columns are
Alive and sometimes vaguely seem to talk;
There are symbols in the forests where we walk
That watch us, and they seem familiar.

As echoes in the distance come together
Mysteriously and merge and sound as one,
Vast as night and shining like the dawn,
Perfumes, colors, sounds speak to each other.

Louis Simpson

I felt sometimes the translations held different meanings. See this stanza from "Hymne à la Beauté"/"Hymn to Beauty":

Tu contiens dans ton oeil le couchant et l'aurore;

Tu répands des parfums comme un soir orageux;


Tes baisers sont un philtre et ta bouche une amphore


Qui font le héros lâche et l'enfant courageux.

— Charles Baudelaire

Your eyes contain the dawn and the crepuscule,
You scatter fragrance like a stormy eve,
Your mouth's an amphora,  your kiss a phial
Which makes the hero shy, the infant brave.

Joanna Richardson

Your glance is sunset and the rising sun,
Your perfumes like a storm fill the night air.
Your kisses are magic. This love potion
Makes heroes tremble and boys bravely dare.

— Louis Simpson

Passive language, his flat, generic nouns. All the poems in the anthology read this way so Mallarmé and Verlaine and Rimbaud all sounded the same. Have I really read them yet? I don't feel I have.

I dug out my college Poulin poetry textbook. Do we all have a Poulin anthology? The Contemporary American Poetry tome that I never crack open. But here I went to read some Louis Simpson.

I feel his poems, like "Hot Night on Water Street," make big gestures with elemental detail. But I think this is kind of his style, unembellished and stripped. Fine. But should he bring that to his translations? I was interested in his conversations with Walt Whitman in "Walt Whitman at Bear Mountain."

Where are you, Walt?
The Open Road goes to the used-car lot.

"Where is the nation you promised?

….

All that grave weight of America
Cancelled! Like Greece and Rome.
The future in ruins!

I'm not sure if Simspon is unhappy with America or free verse or a political conflation of the two. Which is the problem I always have with nostalgic, new formalists (Modern Poets of France was published by Story Line Press). It's the old cycle. Contemporaries, Herman Melville was fretting about the state of his modern world in Moby Dick while Walt Whitman was celebrating it in Leaves of Grass. In the book Why Read Moby Dick, Nathaniel Philbrick describes the historical, cultural setting through the eyes of Melville: "Racial strife, impending [Civil] war, the challenges for a writer 'pulled hither and thither by circumstances,' as Melville wrote to Hawthorne in June of 1851, all played a part in the writing of his novel…Melville condemned as a weakness in the thinking of his contemporaries, the romantic Transcendentalists." This binary is so threadbare. I believe that if Walt Whitman were alive today, he's still be celebrating America and his free verse.

Bottom line: when reading translations, search for alternatives and compare them. Then seek out the poetry of the translators. As Ozzy Osbourne would say, it's like goin off the rails on a crazy train.

Today, searching for my blog pic above (Champs Elysee by Antoine Blanchard) I found some sweet Proust links:

  

50 Contemporary Poets (in 1977), The Creative Process

50Judging by the 2.00 sticker on the spine, I found this book at the Lancaster, Pennsylvania, annual library book sale over 11 years ago. I opted for their "all the books you can stuff into a paper bag for $10" special and came out with many old books such as this, 50 Contemporary Poets, The Creative Process edited by Alberta T. Turner.

Have you ever loved reading a book so much you slowed down the reading of it to make it last longer? I did that with this book from 1977. Turner sent 100 poets a questionnaire to help poets describe their process writing one of their poems. Fifty poets complained that such an endeavor was impossible (imagine a mechanic saying that) or they were too busy (understandable) and fifty others were game.

Says the last poet, David Young:

"I'm aware as I finish this (more fun that I thought it would be) that my discussion in unlikely to change anybody's mind or affect anyone's judgement. To those who dislike the poem, a consideration of its writing at this length can only be ludicrous and vain. But to acknowledge in more words and detail than one has ever used before the intricacy of a process that is painful, joyful, mysterious, and absorbing requires a kind of honesty and patience that may bring a measure of satisfaction both to writer and reader."

I'll say. This book is fantastic on many levels.

  1. I learned more from the introduction than I've learned in whole poetry guides.
  2. All the poets are from 1977 and you get a good review of late-70s thinking.
  3. I haven't heard of most of these poets. Not only a good survey of popular 70s poets, but it reinforces the idea that some poets come and go.
  4. All the poets are widely different in how they work allusions, endings, beginnings, metaphor, use of language and how they assemble poems. There's something for everyone here. If you think one poet is an annoying twit, the next one will give you epiphanies.
  5. One question is about paraphrasing their poems. It's entertaining to see all the ways different poets freak out about this question. It can't be done! It robs poetry of its special magic powers! (You don't think students do this before a test?) Or paraphrasing is Jack the Ripper to their poems. One of my favorite responses was simply, a poem is a paraphrase.  Wow! Like d'uh: all the paraphrases take longer than the actual poems. Anyway, it's fascinating to see how poets squirm or rejoyce in the questions.
  6. Because I have been watching The Mary Tyler Moore Show DVDs all June, I heard every essay in the voice of Rhoda.

I believe this is an out-of-print book but I see many used copies to be found. Enthusiastically recommended!

 

Craft Sunday: Listen to an Artist From Another Genre

George orwellUnfortunately I have been felled temporarily by a flare-up of my carpel tunnel so I can't type much here today.

I did want to mention that a few weekends ago I went with my friend MaryAnne to see an artist give a talk with the New Mexico Glass Alliance. The artist was Paul J. Nelson. To the left is one of his many amazing portraitures in glass…the face of George Orwell.

I found his talk about his concept-making very inspiring and invigorating. He talked about his influences from everything to wall street, the forms and funcions of tools, to authors and other glass-makers. He talked about wanting to lure something out of the viewers imagination with his pieces.

It bears mentioning that sometimes you need to listen to artists working in other art forms to see your art in new and exciting ways, to see how artists working in other mediums are using form, metaphor and symbols.

Unfortunately Paul J. Nelson has a very limited web presence and this George Orwell piece was the only thing I could find. Hopefully, more pieces will pop up on-line someday.

 

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