Preface |
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xiii | |
Introduction |
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xvii | |
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Provisions and Prospecting Tools |
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1 | (24) |
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2 | (5) |
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7 | (1) |
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7 | (13) |
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8 | (1) |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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11 | (2) |
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Puzzles, Games, and Computers |
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13 | (2) |
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15 | (2) |
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17 | (1) |
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Using a Combination of Tools |
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18 | (2) |
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What From Should You Choose? |
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20 | (5) |
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Consider Writing a Poem from an Exercise if |
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20 | (1) |
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Consider Writing a Story from an Exercise if |
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21 | (1) |
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Consider Writing an Essay from an Exercise if |
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22 | (3) |
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25 | (52) |
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Why I Will Not Get Out of Bed |
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26 | (4) |
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Holding On and Letting Go |
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30 | (4) |
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34 | (3) |
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37 | (4) |
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41 | (4) |
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45 | (3) |
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I Have Been Eating Boredom |
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48 | (3) |
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51 | (3) |
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54 | (3) |
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The Evolution of Mini-Skills |
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57 | (3) |
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The Note Read, ``There Are More Where These Came From'' |
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60 | (3) |
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63 | (4) |
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67 | (4) |
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71 | (3) |
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74 | (3) |
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77 | (48) |
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Getting Lost, Finding the Way |
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78 | (3) |
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Excuses, Excuses, Excuses |
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81 | (3) |
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84 | (2) |
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Neighborly and Unneighborly Neighbors |
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86 | (4) |
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Customs and The Customary |
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90 | (3) |
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93 | (3) |
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``I Would Have Burned My Hair For That Waitress'' |
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96 | (3) |
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99 | (3) |
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102 | (3) |
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105 | (3) |
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108 | (4) |
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Checking Out The Checkout Line |
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112 | (2) |
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114 | (4) |
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118 | (3) |
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Half Accountant, Half Bartender |
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121 | (4) |
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125 | (50) |
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126 | (3) |
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129 | (3) |
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132 | (4) |
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Crossing Relationship Boundaries |
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136 | (2) |
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138 | (3) |
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141 | (2) |
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143 | (3) |
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146 | (3) |
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Comparing Apples and Orangutans |
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149 | (3) |
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152 | (4) |
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156 | (4) |
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160 | (4) |
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``My Mother Was Like an Ornate Castle'' |
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164 | (3) |
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167 | (3) |
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Implausible Causes and Unlikely Effects |
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170 | (5) |
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Assaying: How Do You Know It's Gold? |
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175 | (12) |
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Does It Glitter: Freshness and Originality |
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177 | (6) |
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The Topic or Piece of Writing Keeps Coming Back to You |
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177 | (1) |
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You Find Yourself ``Working'' on the Piece Without Deliberately Trying To |
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178 | (1) |
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The Beginning of the Piece Helped You Discover Something You Didn't Know About Yourself or Someone Else or the Human Condition |
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178 | (1) |
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You Are Intrigued by an Odd or Original Connection You Have Made Between Two Seemingly Very Different Things |
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178 | (1) |
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You Introduced a Character You Like a Great Deal and Are Concerned About What Might Happen to Her or Him |
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179 | (1) |
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You Introduced a Character You Dislike and Are Concerned About the Damage He or She May Do |
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179 | (1) |
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You Love the Sound of the Words You Have Strung Together |
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180 | (1) |
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You Feel Like You Could Write a Lot More About This |
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180 | (1) |
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You're Dying to Send/Show the Piece to Others |
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180 | (1) |
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You Feel That What You Have Written Is Fresh or Original |
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180 | (2) |
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You Believe That What You Have Written Honestly Expresses Some of Your Feelings |
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182 | (1) |
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You Have Created Tension or Conflict |
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182 | (1) |
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How to Sort Real Gold from Fool's Gold |
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183 | (2) |
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Be Sure That What You Have Written Doesn't Descend into Cliche |
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183 | (2) |
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Beware of What Too Easily Amuses or Impresses You |
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185 | (1) |
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185 | (2) |
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From Nuggets to Artifacts: Finishing What You Started |
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187 | (12) |
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When You Get Stuck Writing a Poem |
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189 | (4) |
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189 | (2) |
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Choose Random Words from Another Source |
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191 | (1) |
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Start Saying the Opposite |
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191 | (1) |
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Repeat the Last Word, Phrase, Line, or Stanza |
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192 | (1) |
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Rhyme the Last Line and Move in the Direction of the Rhymed Word |
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192 | (1) |
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Transpose the First Stanza and the Last Stanza |
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192 | (1) |
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Inject a Memory or a Dream |
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192 | (1) |
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When You Get Stuck Writing a Story |
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193 | (2) |
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193 | (1) |
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193 | (1) |
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193 | (1) |
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194 | (1) |
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194 | (1) |
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194 | (1) |
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194 | (1) |
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When You Get Stuck Writing a Creative Essay |
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195 | (1) |
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195 | (1) |
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195 | (1) |
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Look Up Unusual Facts Surrounding Your Subject |
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195 | (1) |
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Employ Fictional Techniques |
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195 | (1) |
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Begin Your Next Paragraph with a Particular Moment |
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195 | (1) |
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Create a Bold, New Organizing Strategy |
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195 | (1) |
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196 | (1) |
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When You Get Stuck in General |
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196 | (3) |
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Don't Insist on Knowing Where You're Going |
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196 | (1) |
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Use Exercises in this Book as Prompts for Scenes, Stanzas, or New Ideas |
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197 | (1) |
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197 | (1) |
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Start in the Middle of the Story, Poem, or Essay |
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197 | (1) |
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Shift Something: Point of View, Time Period, Voice, or Tone |
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197 | (1) |
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Write About What Is Going On in or Around You at the Moment You Get Stuck |
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198 | (1) |
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Stop Writing in the Middle of a Scene, Stanza, or Line |
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198 | (1) |
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Gold Futures: Prospects for Publication |
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199 | (10) |
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Finding a Home for Your Work |
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200 | (2) |
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Contests and Vanity Presses |
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201 | (1) |
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Publishing on the Internet |
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202 | (1) |
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202 | (1) |
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Include a Very Brief Cover Letter |
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203 | (1) |
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Include a Self-Addressed, Stamped Envelope |
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203 | (1) |
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203 | (2) |
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205 | (4) |
Acknowledgments |
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209 | (4) |
Subject Index |
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213 | (4) |
Author/Title Index |
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217 | |