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	<title>Comments on: Marxist Hexameter: Genevieve Taggard in a Heroic Measure&#8211;now with audio!</title>
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	<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/</link>
	<description>A blog from the Poetry Foundation where contemporary poets debate classic and contemporary poetry from America and around the world.</description>
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		<title>By: anonanew</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-18215</link>
		<dc:creator>anonanew</dc:creator>
		<pubDate>Sat, 18 Jul 2009 14:06:14 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-18215</guid>
		<description>&lt;i&gt;&quot;But much of that notion of modernism is really shifting in critical circles these days making it reasonable to discuss modernism and political poetry in the same breath!&quot;&lt;/i&gt;

Sure, if by &quot;these days&quot; you mean the last 20+ years.</description>
		<content:encoded><![CDATA[<p><i>&#8220;But much of that notion of modernism is really shifting in critical circles these days making it reasonable to discuss modernism and political poetry in the same breath!&#8221;</i></p>
<p>Sure, if by &#8220;these days&#8221; you mean the last 20+ years.</p>
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		<title>By: Annie Finch</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-18195</link>
		<dc:creator>Annie Finch</dc:creator>
		<pubDate>Sat, 18 Jul 2009 12:33:26 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-18195</guid>
		<description>The Modernism/New Critical doublewhammy.  You&#039;ve summed it up concisely and it makes a lot of sense. Thank you, Julia. Another question I&#039;d enjoy learning your answer to is why it&#039;s NOW that the definitions (and corollary aesthetic standards) are finally shifting again, after having felt pretty frozen for about 40 years. . .</description>
		<content:encoded><![CDATA[<p>The Modernism/New Critical doublewhammy.  You&#8217;ve summed it up concisely and it makes a lot of sense. Thank you, Julia. Another question I&#8217;d enjoy learning your answer to is why it&#8217;s NOW that the definitions (and corollary aesthetic standards) are finally shifting again, after having felt pretty frozen for about 40 years. . .</p>
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		<title>By: Julia Lisella</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-17819</link>
		<dc:creator>Julia Lisella</dc:creator>
		<pubDate>Fri, 17 Jul 2009 02:57:56 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-17819</guid>
		<description>Why has that aspect of modernism been obscured? I guess the short answer is the legacy of New Criticism coming later and preserving a modernism that fit their bill of the poem as a riddle to be cracked, revealed by the reader&#039;s ingenuity and the poem&#039;s. A certain type of modernist poem was right for such an endeavor. But I also think the rejection of Taggard&#039;s version of modernism had to do with how inflected it was by gender. She wrote a lot about her own domestic life, her child, her role as a mother, and really tried to insert those topics into the political agenda. I think most of her contemporaries didn&#039;t seem to have as much trouble integrating those issues as critics later seemed to in the 1950s.... On top of that, for many of the radical left poets, Modernism was also defined as a socio-cultural rejection of what came before--middle class, Victorian sentimentalism--even though one could argue that much of the wonderful 1930s rousing political poetry was pretty sentimental, too! and that many a poem and novel by a Victorian &quot;lady&quot; or &quot;gentleman&quot; helped create radical change in their own time even Taggard would have to admit-- Still, modernists like Taggard saw modernism as a way to call into question capitalist constructs of middle class life, though in a complicated way, she also praised her domestic life. She has a great poem about her guilt and feeling of being torn between her middle class life and those around her during a strike, &quot;Middle Class Woman at Midnight&quot;... She called T.S. Eliot&#039;s &quot;brand&quot; of modernism &quot;nihilistic&quot; or something along those lines, because she felt it was too removed from people&#039;s struggles. But the comment also suggests that she believed there were several versions or &quot;brands&quot; or ways of being a modernist. Somehow we inherited the notion that modernism equals apolitical linguistic experimentation. But much of that notion of modernism is really shifting in critical circles these days making it reasonable to discuss modernism and political poetry in the same breath! I myself am pretty happy to teach Eliot, Taggard, Rukeyser, Millay, HD and many others as examples of modernisms--well it looks as though this conversation quieted down last week, but I finally got to a computer and thought I&#039;d send this out.</description>
		<content:encoded><![CDATA[<p>Why has that aspect of modernism been obscured? I guess the short answer is the legacy of New Criticism coming later and preserving a modernism that fit their bill of the poem as a riddle to be cracked, revealed by the reader&#8217;s ingenuity and the poem&#8217;s. A certain type of modernist poem was right for such an endeavor. But I also think the rejection of Taggard&#8217;s version of modernism had to do with how inflected it was by gender. She wrote a lot about her own domestic life, her child, her role as a mother, and really tried to insert those topics into the political agenda. I think most of her contemporaries didn&#8217;t seem to have as much trouble integrating those issues as critics later seemed to in the 1950s&#8230;. On top of that, for many of the radical left poets, Modernism was also defined as a socio-cultural rejection of what came before&#8211;middle class, Victorian sentimentalism&#8211;even though one could argue that much of the wonderful 1930s rousing political poetry was pretty sentimental, too! and that many a poem and novel by a Victorian &#8220;lady&#8221; or &#8220;gentleman&#8221; helped create radical change in their own time even Taggard would have to admit&#8211; Still, modernists like Taggard saw modernism as a way to call into question capitalist constructs of middle class life, though in a complicated way, she also praised her domestic life. She has a great poem about her guilt and feeling of being torn between her middle class life and those around her during a strike, &#8220;Middle Class Woman at Midnight&#8221;&#8230; She called T.S. Eliot&#8217;s &#8220;brand&#8221; of modernism &#8220;nihilistic&#8221; or something along those lines, because she felt it was too removed from people&#8217;s struggles. But the comment also suggests that she believed there were several versions or &#8220;brands&#8221; or ways of being a modernist. Somehow we inherited the notion that modernism equals apolitical linguistic experimentation. But much of that notion of modernism is really shifting in critical circles these days making it reasonable to discuss modernism and political poetry in the same breath! I myself am pretty happy to teach Eliot, Taggard, Rukeyser, Millay, HD and many others as examples of modernisms&#8211;well it looks as though this conversation quieted down last week, but I finally got to a computer and thought I&#8217;d send this out.</p>
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		<title>By: Annie Finch</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-16138</link>
		<dc:creator>Annie Finch</dc:creator>
		<pubDate>Thu, 09 Jul 2009 17:12:58 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-16138</guid>
		<description>Julia, this is a really useful contribution to the discussion. Thanks so much!  What you say seems to have been true also of Sandburg, Lindsay, Markham.  Why and how do you think this aspect of Modernism has been obscured?</description>
		<content:encoded><![CDATA[<p>Julia, this is a really useful contribution to the discussion. Thanks so much!  What you say seems to have been true also of Sandburg, Lindsay, Markham.  Why and how do you think this aspect of Modernism has been obscured?</p>
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		<title>By: Christopher Woodman</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-16098</link>
		<dc:creator>Christopher Woodman</dc:creator>
		<pubDate>Thu, 09 Jul 2009 10:15:38 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-16098</guid>
		<description>NOW STOP, dear friend. It&#039;s God&#039;s gift--give Gabriel a chance to deliver.</description>
		<content:encoded><![CDATA[<p>NOW STOP, dear friend. It&#8217;s God&#8217;s gift&#8211;give Gabriel a chance to deliver.</p>
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		<title>By: Desmond Swords</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-16095</link>
		<dc:creator>Desmond Swords</dc:creator>
		<pubDate>Thu, 09 Jul 2009 10:06:22 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-16095</guid>
		<description>It only takes two to start a linguistic love-in Woodie. We are all only after trying to make that genuine connection of logorrheic larghetto which leads to a language of eloquence, essentially euphonious, the tuneful diatonic that quickens and slows into rallentando, between consenting adults in love with shape-making, artists of the virtual air-space where mind-scapes fashion and flit fully melodious, mellow and appassionato, are the notes on our vowel-scale of ogham and go, go, go

the coat of arms for a Swiss canton 
reverse design on Mercury dimes 
the borough flag of Brooklyn
on the Coit Tower San Francisco 
seal of Colorado state - Senate and HoR
National Guard - on pylons flanking 
a staircase leading to Lincoln’s seat

on the front arms of his memorial 
Hupmobile car - emblem of Columbus  
Knights, and above the door to Chicago 
City Hall - carried within the limits 
of a sacred inner city - white-birch 
rods, cylindrically wound in red 
leather ribbon, a blade of bronze 
facing out – frieze on the facade 
of a Supreme Court - the imperial 
symbol - fasces facists smash it 
trash it, lash out her lags who&#039;d have
us not gassin cuz there aint no imbas 
fizzin within their frame.</description>
		<content:encoded><![CDATA[<p>It only takes two to start a linguistic love-in Woodie. We are all only after trying to make that genuine connection of logorrheic larghetto which leads to a language of eloquence, essentially euphonious, the tuneful diatonic that quickens and slows into rallentando, between consenting adults in love with shape-making, artists of the virtual air-space where mind-scapes fashion and flit fully melodious, mellow and appassionato, are the notes on our vowel-scale of ogham and go, go, go</p>
<p>the coat of arms for a Swiss canton<br />
reverse design on Mercury dimes<br />
the borough flag of Brooklyn<br />
on the Coit Tower San Francisco<br />
seal of Colorado state &#8211; Senate and HoR<br />
National Guard &#8211; on pylons flanking<br />
a staircase leading to Lincoln’s seat</p>
<p>on the front arms of his memorial<br />
Hupmobile car &#8211; emblem of Columbus<br />
Knights, and above the door to Chicago<br />
City Hall &#8211; carried within the limits<br />
of a sacred inner city &#8211; white-birch<br />
rods, cylindrically wound in red<br />
leather ribbon, a blade of bronze<br />
facing out – frieze on the facade<br />
of a Supreme Court &#8211; the imperial<br />
symbol &#8211; fasces facists smash it<br />
trash it, lash out her lags who&#8217;d have<br />
us not gassin cuz there aint no imbas<br />
fizzin within their frame.</p>
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		<title>By: Christopher Woodman</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-16093</link>
		<dc:creator>Christopher Woodman</dc:creator>
		<pubDate>Thu, 09 Jul 2009 09:35:36 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-16093</guid>
		<description>Do you hear what he&#039;s saying, everybody? He&#039;s saying my polite and elegant diction has a fascistic element in it, which indeed it has. I&#039;m only 70, but was still brought up so much in the Wasp era and mould that when I went away to my Public School in Hampshire I assumed along with my classmates that all Americans looked just like me. Indeed, I had just left Saint Paul&#039;s in New Hampshire where there had never been a black, were just a handful of Catholics, and the only Jew was a Boston Strauss.

The final step, I pray, dear God, is that Barack Obama has laid that ghost to rest forever. He certainly has for me, because when I see that handsome face looking straight back at me and speaking such sense on the BBC I know I&#039;m face to face at last with humanity.

Desmond Swords is Irish, and he&#039;s got his laptop just clear of that Guinness spill where he sits at his table by the fire in the pub (it&#039;s still damp and chilly in July). And the language of the people is what he&#039;s typing out for us with his fingers on fire too, that&#039;s why it&#039;s so long. You can&#039;t control language if you&#039;re Irish--it&#039;s got you in its grip and you better be quiet! So quiet too had better be we.

And I mean that.

Christopher</description>
		<content:encoded><![CDATA[<p>Do you hear what he&#8217;s saying, everybody? He&#8217;s saying my polite and elegant diction has a fascistic element in it, which indeed it has. I&#8217;m only 70, but was still brought up so much in the Wasp era and mould that when I went away to my Public School in Hampshire I assumed along with my classmates that all Americans looked just like me. Indeed, I had just left Saint Paul&#8217;s in New Hampshire where there had never been a black, were just a handful of Catholics, and the only Jew was a Boston Strauss.</p>
<p>The final step, I pray, dear God, is that Barack Obama has laid that ghost to rest forever. He certainly has for me, because when I see that handsome face looking straight back at me and speaking such sense on the BBC I know I&#8217;m face to face at last with humanity.</p>
<p>Desmond Swords is Irish, and he&#8217;s got his laptop just clear of that Guinness spill where he sits at his table by the fire in the pub (it&#8217;s still damp and chilly in July). And the language of the people is what he&#8217;s typing out for us with his fingers on fire too, that&#8217;s why it&#8217;s so long. You can&#8217;t control language if you&#8217;re Irish&#8211;it&#8217;s got you in its grip and you better be quiet! So quiet too had better be we.</p>
<p>And I mean that.</p>
<p>Christopher</p>
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		<title>By: Desmond Swords</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-16090</link>
		<dc:creator>Desmond Swords</dc:creator>
		<pubDate>Thu, 09 Jul 2009 09:06:25 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-16090</guid>
		<description>Yeah, Ronstar Silly Mohn was saying it is the first time in forty years the print mag is reflecting what&#039;s happening with the flarf issue.

I am not a flarf groupie but am fully behind the flarf issue, because for too long there has bee a closed shop with lyric normals droning in the spot-light and getting all the (subsidised) praise in our miniscule community on life-support. This gaffe too is the first to actually execute the truly fair philosphy we get to hear a lot of online by the self-styled dictators of Democracy like John Boddie and other facists whose tight-ass talk of freedom and whatnot is merely the sheen of plank factory bosses whose idea of free speech extends soley to agreeing with every word they say.

I &#039;ve lost count at the amount of pretend groovers in anti-intellectual cliques run on a basis of fear, founded on the rhetorical principles in which (as Laurie Smith who authored this article on &lt;a href=&quot;http://magmapoetry.com/archive/magma-42/articles/the-new-imagination/&quot; rel=&quot;nofollow&quot;&gt;The New Imagination&lt;/a&gt; in English poetry rag Magma, states) the mods of cod web democracies &lt;em&gt;&quot;use language as control – to control their own feelings by denying or minimising them and to control others by suggesting, through fluency, grammatical precision, irony or accent, that they are inferior.&lt;/em&gt;

Here the editorial policy is actually not run by idiots, which is very surprising for a poetry organiastion. What gets me is the people who moan about others saying their thing, when the best thing to do is, not read and if you get a ranter, as i had at the guardian poem of the week yesterday saying i was utter shite - just ignore it. If you are in any way good, loonies launching frenzied attacks are all part of the fun, and if you just say nothing and move on, once the heat&#039;s gone the jibe&#039;s just hanging there like frozon vomit. Pliny says something about it in his letters, how the moment befits passion, but time is conducive to reasoned opinion.

Unless we are trying to get global drug, sex-trafficking, or conspiracies to topple nations, there really is no good reason to start the Thirties Berlin shtick.

We are too lucky, too rich, to be thinking that Christopher Woodman, a very eloquent 70 year old man or Brady, should be treated as though they&#039;re Robert Mugabe, for actually talking quantum level linguistics, impelled only by a deep love for language.

Once the logophobic oppos in the Big Mac and Fries of Poetry start waving the gun at yer head in a small room and demand crucifiction for the logorrheic - it&#039;s time for the spirit of Borat, Bruno and Michael Moore to take over at the podium.</description>
		<content:encoded><![CDATA[<p>Yeah, Ronstar Silly Mohn was saying it is the first time in forty years the print mag is reflecting what&#8217;s happening with the flarf issue.</p>
<p>I am not a flarf groupie but am fully behind the flarf issue, because for too long there has bee a closed shop with lyric normals droning in the spot-light and getting all the (subsidised) praise in our miniscule community on life-support. This gaffe too is the first to actually execute the truly fair philosphy we get to hear a lot of online by the self-styled dictators of Democracy like John Boddie and other facists whose tight-ass talk of freedom and whatnot is merely the sheen of plank factory bosses whose idea of free speech extends soley to agreeing with every word they say.</p>
<p>I &#8216;ve lost count at the amount of pretend groovers in anti-intellectual cliques run on a basis of fear, founded on the rhetorical principles in which (as Laurie Smith who authored this article on <a href="http://magmapoetry.com/archive/magma-42/articles/the-new-imagination/" rel="nofollow">The New Imagination</a> in English poetry rag Magma, states) the mods of cod web democracies <em>&#8220;use language as control – to control their own feelings by denying or minimising them and to control others by suggesting, through fluency, grammatical precision, irony or accent, that they are inferior.</em></p>
<p>Here the editorial policy is actually not run by idiots, which is very surprising for a poetry organiastion. What gets me is the people who moan about others saying their thing, when the best thing to do is, not read and if you get a ranter, as i had at the guardian poem of the week yesterday saying i was utter shite &#8211; just ignore it. If you are in any way good, loonies launching frenzied attacks are all part of the fun, and if you just say nothing and move on, once the heat&#8217;s gone the jibe&#8217;s just hanging there like frozon vomit. Pliny says something about it in his letters, how the moment befits passion, but time is conducive to reasoned opinion.</p>
<p>Unless we are trying to get global drug, sex-trafficking, or conspiracies to topple nations, there really is no good reason to start the Thirties Berlin shtick.</p>
<p>We are too lucky, too rich, to be thinking that Christopher Woodman, a very eloquent 70 year old man or Brady, should be treated as though they&#8217;re Robert Mugabe, for actually talking quantum level linguistics, impelled only by a deep love for language.</p>
<p>Once the logophobic oppos in the Big Mac and Fries of Poetry start waving the gun at yer head in a small room and demand crucifiction for the logorrheic &#8211; it&#8217;s time for the spirit of Borat, Bruno and Michael Moore to take over at the podium.</p>
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		<title>By: Christopher Woodman</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-16076</link>
		<dc:creator>Christopher Woodman</dc:creator>
		<pubDate>Thu, 09 Jul 2009 06:53:14 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-16076</guid>
		<description>You in Dublin, me in Chiang Mai.

We just had a guest from Washington who said that the change was even bigger than that, that people had learned to talk again without notes! People were listening much better too, an equally important skill which Obama also models.

I am new to Harriet, but it seems to me there&#039;s something of that rubbing off here too. The Poetry Foundation is the first powerful, well-financed poetry organization that is not part of the Old Dispensation, and I hear views regularly expressed here that would have had all sorts of institutional control freaks waving guidelines in your faces before. Is that possibly Obama too, that with the Bush etablishment voted out people are more willing to take chances?

&lt;b&gt;At last the women are moving&lt;/b&gt; indeed---out from under the skirts of the feminists too. Hilary Clinton didn&#039;t quite make it, but those 23 debates got men and women together as never before, and somehow her role as America&#039;s representative abroad is equally important as Obama&#039;s as president. At least that&#039;s the way it looks to me in the Golden Triangle.

Christopher</description>
		<content:encoded><![CDATA[<p>You in Dublin, me in Chiang Mai.</p>
<p>We just had a guest from Washington who said that the change was even bigger than that, that people had learned to talk again without notes! People were listening much better too, an equally important skill which Obama also models.</p>
<p>I am new to Harriet, but it seems to me there&#8217;s something of that rubbing off here too. The Poetry Foundation is the first powerful, well-financed poetry organization that is not part of the Old Dispensation, and I hear views regularly expressed here that would have had all sorts of institutional control freaks waving guidelines in your faces before. Is that possibly Obama too, that with the Bush etablishment voted out people are more willing to take chances?</p>
<p><b>At last the women are moving</b> indeed&#8212;out from under the skirts of the feminists too. Hilary Clinton didn&#8217;t quite make it, but those 23 debates got men and women together as never before, and somehow her role as America&#8217;s representative abroad is equally important as Obama&#8217;s as president. At least that&#8217;s the way it looks to me in the Golden Triangle.</p>
<p>Christopher</p>
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		<title>By: Desmond Swords</title>
		<link>http://www.poetryfoundation.org/harriet/2009/06/marxist-hexameter-genevieve-taggard-in-a-heroic-measure/#comment-16053</link>
		<dc:creator>Desmond Swords</dc:creator>
		<pubDate>Thu, 09 Jul 2009 04:12:07 +0000</pubDate>
		<guid isPermaLink="false">http://www.poetryfoundation.org/harriet/?p=3800#comment-16053</guid>
		<description>I bumped into a bloke over from Chicago, New York, or some American megatropolis, last Friday evening in the Palace Bar on Fleet Street, which is a major lampost on the literary tourist round of Dublin boozers where proprietorial fingers fumble in a greasy till, adding the halfpence to the pence.

He was a lawyer and i asked him what changes had occured since Obama got sworn in. He said, though it was still at the stage were no-one talked of it, there had been a palpable release and dissolving of tension between the various racial communities that was too big to put into words. The historic magnitude of the simple fact of an African-American being president,and the fact that who is clearly the most intelligent person in the room who got the job on merit - had procured an immediate effect which has achieved what no amount of equality legislation could have done.

But no one talks about it, he said, even though it is clear to all.</description>
		<content:encoded><![CDATA[<p>I bumped into a bloke over from Chicago, New York, or some American megatropolis, last Friday evening in the Palace Bar on Fleet Street, which is a major lampost on the literary tourist round of Dublin boozers where proprietorial fingers fumble in a greasy till, adding the halfpence to the pence.</p>
<p>He was a lawyer and i asked him what changes had occured since Obama got sworn in. He said, though it was still at the stage were no-one talked of it, there had been a palpable release and dissolving of tension between the various racial communities that was too big to put into words. The historic magnitude of the simple fact of an African-American being president,and the fact that who is clearly the most intelligent person in the room who got the job on merit &#8211; had procured an immediate effect which has achieved what no amount of equality legislation could have done.</p>
<p>But no one talks about it, he said, even though it is clear to all.</p>
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