College friendship is sending one of your friends who's graduating soon a giant list of monster theory and gothic horror academic reading recs so they can download as many PDFs as possible before they lose their university database access
Got a request for some of the recs here, so here's a short-ish list of some of the reading recs -- I've made an effort to link open source and/or at least slightly more accessible databases like JSTOR wherever possible, but some of these are, admittedly behind various paywalls that I wish everyone luck with circumventing in whatever manner you deem fit
Monster Theory - Really great anthology to start with, especially the first reading, Jeffrey Jerome Cohen's famous "Monster Culture (Seven Theses)" which is a personal favorite
The Journal of the Fantastic in the Arts - A general SF/F journal, but there are definitely a lot of great monster theory and gothic horror readings sprinkled throughout. Consider taking a look at Veronica Hollinger's "The Vampire and/as Alien," the special issue on Dracula, and Faye J. Ringel's "Genetic Experimentation: Mad Scientists and the Beast," among others
Werewolf Histories edited by Willem Blécourt - Phenomenal anthology on werewolf scholarship, especially if you're interested in the connections between werewolves and witchcraft and/or witch trials in Early Modern Europe
Skin Shows: Gothic Horror and the Technology of Monsters by Jack Halberstam - Of interest to those who are interested in the connection between the gothic and gender (among other topics). Halberstam has written extensively on both
The Journal of Dracula Studies - Exactly what it sounds like.
Preternature: Critical and Historical Studies on the Preternatural - Another journal, which focuses on the connections between witchcraft and occultism, monsters, demonology, and the like.
Susan Stryker's "My Words to Victor Frankenstein Above the Village of Chamounix" - An absolutely landmark piece of writing on Frankenstein and the transgender (and in particular the transfeminine) experience; one of my favorite pieces of academic writing of all time.
Speaking of Monsters: A Teratological Anthology - Another solid monster theory anthology
Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene - A really, really good anthology about the ecological gothic that I cannot recommend enough. As a known werewolf guy I especially like the piece "Wolf, or Homo homini lupus" by Carla Freccero
The Vampire Lectures by Lawrence Rickels - So many vampires
Monster Culture in the 21st Century: A Reader - Another anthology, I in particular recommend Rosalind Sibielski's "Gendering the Monster Within: Biological Essentialism, Sexual Difference, and Changing Symbolic Functions of the Monster in Popular Werewolf Texts" in this one.
"The Trans Legacy of Frankenstein" by Jolene Zigarovich - Definitely a good read if you enjoyed the Stryker piece earlier; it's a more general survey of the idea but might give you some ideas for further reading
TransGothic in Literature and Culture - A whole anthology of works on transgender identity and the gothic!
Twenty-First Century Gothic: An Edinburgh Companion - Not to be confused with the other similarly named anthology earlier, this one is on various modern perspectives on the gothic.
"Christians and Jews in the Twelfth Century Werewolf Renaissance" by David A. Shyovitz - Stand-alone article but really really interesting
Wonders and the Order of Nature: 1150-1750 by Lorraine Daston & Katherine Park - Incredible volume that gets into several different subjects surrounding the fantastical in the medieval and early modern eras, monsters among them. The same authors have written some other fantastic work, such as "Unnatural Conceptions: The Study of Monsters in Sixteenth- and Seventeenth-Century France and England" and I honestly would recommend any of their work.
Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds Through Monsters - A more anthropology focused volume, I particularly like Rozanna Lilley's "Drawing in the Margins: My Son's Arsenal of Monsters—(Autistic) Imagination and the Cultural Capital of Childhood"
Marvels, Monsters, and Miracles: Studies in the Medieval and Early Modern Imaginations - Another anthology, this time with a historical perspective
This isn't even everything I've dug into on the subject, but I hope it's enough to get folks started on some reading!
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How much bigger is a wolf than a coyote? Is it just noticeably larger and bulkier or is it a massive size difference?
Also they're normally natural enemies in the wild but sometimes they occasionally hybridize?
depends on the wolf! for this exercise we'll assume a median coyote size of 30 lbs.
while all north american wolves are technically grey wolves (except the mexican red wolf!) there are more than twenty subspecies of the damn things, all of which can differ significantly in size and appearance! (many now displaced with some extinct)
for example, the mexican wolf is only barely bigger than a large coyote, with adults reaching the 50-90 lb range.
whereas the northern rocky mountain wolf has any coyote massively outclassed, ranging between 80-150 lbs!
most other north american wolves range somewhere in between. but this is why we don't say "the size of a wolf" much as a figure of speech, because they come in so many different sizes!
and when wolves and coyotes hybridize, it's generally because there's no other potential partners in the area for either animal, so they start being willing to look a little farther up the family tree, so to speak!
Fiction makes, implicitly or explicitly, some kind of argument. A fictional portrayal of a guy simply going for a walk might make the argument that walking is a nice activity to do. This might not be a particularly earth-shattering message, but messages like this are implicit within the literary tools we use in how we portray characters, behavior, settings, and relationships. This underlying argument – a theme – is present in all of fiction. It’s why you’ll often see people make the statement that “all art is political”. And when it comes to torture – a subject which in and of itself has been the topic of political debate for millenia – how we approach the ideas and arguments made within fictional depictions of torture warrant, in my opinion, a degree of care. Torture isn’t just something that happens in movies. It is something that happens today, to real people, on a global scale. It’s not even particularly rare.
The difficulty with the subject of torture specifically is that for the past two decades, the public perception of torture has shifted on a global scale, seen most clearly in how torture is presented in contemporary media, fiction or otherwise. Everybody believes these myths. And getting indoctrinated into having reactionary takes on a topic is nobody’s fault, considering that almost every source outside of academia feeds you misinformation. But that’s, y’know, kinda why I made this blog: in the hopes that I might be able to get people to consider what ideas they’re presenting in their writing.
I want to start out by briefly reitorating some basics of how torture apologia typically works within political discussions, because this very much is relevant to how you can avoid accidentally sending the wrong message.
The first thing you need to understand is that the real-life debate surrounding torture isn’t framed in terms of whether or not torture is good or bad – everybody, including torturers themselves, will concede that it is bad. The more insidious argument is that torture is useful for achieving certain goals, and that it is therefore justified in extreme emergencies. Not only does this argument try to soften the usually rigid negative framing of torture in moral discussions, but it also seeks to poke holes in the international laws which ban the use of torture outright. It’s a moral, political and legal argument all wrapped up in one reactionary package. For this reason, having the theme of “torture is bad” doesn’t always mean a piece of writing isn’t making use of torture apologia. “Torture is useful” serves that goal just fine.
Torture is also often discussed in terms of civility – not the civility of the torturers, but the civility of the victims. It’s the argument that the people who are being tortured are bad people, and therefore don’t warrant the respect and dignity we usually offer to other human beings; they are so bad, essentially, that it’s fine for us civilized people to war crime them. Whenever I’ve encountered this argument, it has usually been presented in a way that was, shall we say, sussy as fuck – some even give up the pretense and straight up call their victims “savages” or “degenerates”. I hope I don’t need to explain why this line of thinking is insane, but in any case, it’s just my way of getting you to consider that a lot of the myths surrounding torture are rooted in broader sociopolitical issues, often racism and religious discrimination, and historically, most often within the context of colonialism.
With that in mind, let’s get into the myths, starting with the most obvious one.
"Torture for information works."
Every study I’ve read has concluded that torture is counterproductive when it comes to gathering intel from reluctant sources. Under severe pain or distress, victims are more focused on saying whatever they think the torturer wants to hear to make the torture stop, as opposed to providing accurate information. On a neurophysiological level, severe pain or distress actually interferes with the pathways of the brain relating to long- and short-term memory; this means that torture in and of itself is likely to destroy the very evidence it sets out to gather. Furthermore, victims are less likely to cooperate if subjected to physical abuse, including torture, and nothing in the infliction of pain itself works as some kind of truth serum. Lying and defiance are more likely under torture.
To a large minority of people, portraying torture as a reliable tool for gathering accurate information will make the implicit argument that torture, although usually bad, can hold utilitarian value in certain exceptional cases. I’ve written about this more in depth here.
"Under torture, everyone cooperates sooner or later."
French prosecutors used torture in the events leading up to the French revolution, as a way to gain forced confessions from suspects. Their failures and successes were jotted down, leading us with a pretty revealing insight – the highest success rate for gathering forced confessions was in Toulouse, an exceptionally high 14%. In Paris, only 3% of suspects cooperated long enough to sign their name – the rest did not. This is one of the primary reasons that the French criminal justice system eventually dropped using torture for intelligentsia. To quote Darius Rejali, who wrote The Book on torture: “Torture the clumsiest method available to organizations.”
So no, not everybody talks – in fact, rough estimate, 90% of torture victims never do. Defiance is by far the norm with torture.
"When the bad guy does it, it’s torture – when the good guy does it, it’s a tough, but morally justifiable decision."
The road to hell is paved with good intentions. Heroes of stories, especially in the action genre, often engage in the use of torture for information, usually following the framework of the ticking bomb scenario, a thought experiment based on the false notion that torture works as an interrogation method. Here, torture is turned into a heroicact, one that speaks to the toughness of the person who uses it. Ask yourself if you want to frame torturers though this lens – because if you do, you are literally justifying the act torture, and, y’know, you do you, but I am gonna call you stupid and reactionary. Torture done by a “good” person is just as abhorrent as torture done by anybody else.
"Some methods of torture are less severe than others."
This myth stems from governments trying to downplay the use of certain methods of torture, and usually goes hand in hand with euphemistic redefinitions of the concept, such as the CIA’s “enhanced interrogation methods,” also known as “torture lite,” or the Israeli “coercive interrogation.” The methods that have been proposed in this supposed less severe category of torture includes stimulated drowning, also known as waterboarding, as well as caning, beatings, limbs being broken with clubs, sleep deprivation, stress positions (ex. forcing a person to crouch against a wall for extended periods of time,) mock executions, sexual assault, and more. If these things all just sound like torture to you, it’s because they are. There is zero evidence to suggest that any torture methods, including those that leave no physical mark on the body, have less severe outcomes than those that do not – on the contrary, non-physical torture methods, including mock executions, or witnessing the torture of a loved one, have been ranked by victims as causing equal amounts of psychological distress as physical torture.
"Torture only causes harm to the person who is being tortured."
This is incredibly unrealistic. Torture is an act that is destructive in all directions, causing trauma to victims, their family, witnesses, and even torturers themselves. It disintegrates the structure of the organizations that use it, it breeds resentment and hatred in the communities around it, and it radicalizes people into extremism. Pretending that consequences like this don’t exist isn’t torture apologia per se, but if your aim is to show the realistic outcomes of torture, these are some of the things you need to consider.
Torture is portrayed as “scientific”; torturers are “skilled” in the “art” of torture.
The most common methods of torture in use today are: hitting people, sleep deprivation, and starvation. These don’t require a whole lot of brain power to conjure up, in fact the infliction of intense suffering is very straightforward. Human beings are full of nerves. Stick a knife anywhere, and I’d be more impressed if it didn’t cause pain.
Not to mention, portraying torture as “scientific” or something that “requires technical skill” makes the implicit argument that torture works for its intended use, here under the condition that you should at least do it right – which brings us right back to that utilitarian fallacy.
"Torturers are expert interrogators, and possess an extraordinary ability to detect lies in their victims."
Studies have been done on the ability of police officers to detect lies for about four decades now. The average person will have a 57% accuracy rate, meaning they’re barely better at spotting deception than a coin toss. For police officers, the highest estimate is around 65% - but it might also be as low as 45%, meaning they might be less accurate than a coin toss – even though police officers tend to think of themselves as exceptional at spotting deception. The same trend is seen in torturers.
In fact, this myth in particular originated from torturers’ accounts of how they conceptualize themselves, which is not only false, but also cringe. When an interrogator starts making use of torture, their focus tends to shift away from gathering reliable information, and more towards “perfecting” the infliction of pain, which means that over time, those interrogative skills are substantially degraded – they are terrible interrogators. So torturers are no better at spotting lies than your average person; they might actually be worse. They can’t read minds, and they don’t possess some secret mystical knowledge about the psychology of their victims.
"You can train someone to resist torture."
Loads of intelligence agencies and revolutionary groups around the world have published material that supposedly serves as manuals for resisting torture, but the truth is, torture is so extreme, there really is no way to prepare or train someone to “resist” it; this is something that even the CIA has acknowledged. Everybody’s reaction to pain will be different. There is no way to predict how torture will affect anyone, much less give them instructions beforehand that will somehow magically negate those effects.
"Brainwashing through torture works."
Torturers can’t change the emotional framework of a person through the infliction of pain. They cannot change the strongly held beliefs and opinions held by their victims through the infliction of pain. They can’t erase someone’s entire personality or make them a ‘blank slate’ through the infliction of pain. They can’t predict how a victim responds to torture, much less direct that response to their own benefit. This is not how pain works.
This is not only an implicit argument for the usefulness of torture to change someone’s behavior or force religious conversions, but the myth that torturers have some form of control of their victims even after the torture has ended is also used in real life to paint survivors as dangerous or unstable, and thereby bar them from treatment and aid, and even to allow access into countries to escape the circumstances that facilitated their torture in the first place. That last point is why you often see the advocacy of refugee rights in organizations that work to prevent torture; these two branches of activism have a huge overlap.
Torture victims cannot be controlled by their torturers. Brainwashing isn’t real.
"Stockholm syndrome is real."
This is a derivative of the brainwashing myth, which means all the connotations previously mentioned remain, but as a cherry on top, Stockholm syndrome as a trope can also serve as an implicit argument for the utility of domestic abuse. So that’s cool.
If you deliberately inflict suffering on someone, that is guaranteed to make that person dislike you. In real life, torture survivors not only tend to be extremely resentful of their torturers, but they also tend to be resentful of anyone belonging to the same demographic as their torturers, whether that be ethnicity, nationality, or even gender or general appearance. Like I said, torture radicalizes people.
"Torture makes people obedient."
Any physical abuse or neglect, including bad cell conditions, access to medical aid, decent food and clean water, is likely to breed resentment in victims and makes them far more reluctant to cooperate with their aggressors. With torture, defiance is the norm, by far. You saw this on a larger scale in the war on terror, for example – turns out that carpet bombing a country to deter terrorism only radicalizes the civilian population, producing more terrorists. No form of violence exists that will make a person particularly eager to shut up and do what you want them to do. It will just make them hate you.
The notion that torture makes people obedient is also an implicit argument for the use of corporal punishment or as crime deterrence, something that along with capital punishment has repeatedly been proven false by sociological studies. People just do not function like this. If you want to create obedience in your story – violence is the last thing you should use.
"People “break” under torture."
Victims of torture sometimes make the conscious decision to do what their torturer wants them to do, and this often serves as a means to buy enough time to plan an escape, or mount up whatever act of defiance they can manage. Sometimes they simply do it to get the torture to stop – this, too, is a tough, conscious decision. If you want to consider this a form of “breaking”, by all means go ahead, but implying personal weakness or lack of willpower in torture victims rubs me the wrong way. I personally see it as a rational choice made by a person who is in an otherwise impossible situation.
"Torture survivors are “broken”."
Torture certainly can lead to extreme psychological distress, but again, the term “broken” here implicitly makes the argument that torture victims simply lacked the mental fortitude to withstand their trauma. In my opinion, there’s a certain degree of victim blaming involved with framing torture survivors in this way, and certainly, it’s a framing that inherently strips away their agency.
Another thing that rubs me the wrong way is the fact “brokenness” implies a degree of permanence and rigidity to human beings that simply isn’t there, as if we are solid objects that, once shattered, can never regain the function we once had. It’s a nitpick, but I view people as organic things, capable of healing and growth – not as glassware.
Conclusion
I’d wager that while reading this, a good portion of you recognized some of these myths from depictions of torture in fiction; that’s not particularly surprising to me. These myths aren’t just widespread, they’ve been engrained in the global public perception of torture by decades of political debate and government propaganda, and as a result, have seeped into popular culture.
Torture isn’t rare, and neither is torture apologia. According to Amnesty International, 31% of the global population believes that torture is justified “in some cases”; as of 2014, AI had also reported on torture or other ill treatment in 141 different countries, despite the fact that torture is internationally recognized as a war crime.
In an ideal world, the subject of torture in fiction is treated with the same due diligence with which we have learned to portray subjects like homophobia, sexual assault, and racism; because, to be fair, all of these things have the capacity to intersect, and very often do. The first step in that regard is to spread awareness about how torture actually functions, which is what I hope to slowly start doing on this blog. At the very least, I hope I can make people more aware of how they choose to portray torture in their writing.
care and tenderness as violating and coercive acts. being forced into vulnerability for your own good by someone who does not actually see you as a person but as a symbol or a figure too valuable to let die. you have power over so much but not your own body. you have lost the right to risk. everybody cheered
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Reblogging again cause I tried this site last night and if you need background noise to focus this is perfect for that, I was locked the fuck in on a task. And it’s also just gorgeous to listen to
maybe this is not my place to say because I am monolingual, and I'm sure it's part of a larger, more nuanced discussion about visibility and accessibility on the internet, but I think it'd be cool if people posted in their native languages more instead of in english. I see people do it way more on other platforms than on tumblr which is almost exclusively in english
El problema es, como bien has dicho, la accesibilidad y la visibilidad.
Tumblr en concreto es muy anglocentrista y un gran número de los usuarios no habla más que inglés. Si quieres que tus cosas lleguen a gente con gustos u opiniones similares, escribirlo en inglés asegura que la gente por lo menos lo pueda leer. Suma a esto el hecho de que bastantes series y tal son originalmente de habla inglesa (y a veces ni se traducen a tu lengua madre), lo que crea un fandom principalmente angloparlante.
Más allá de eso, también hay que tener en cuenta las diferencias culturales que surgen entre fandoms de distintos idiomas. Por ejemplo, durante mucho tiempo el fandom de Vocaloid angloparlante y el hispanohablante han chocado con respecto a temas como la piratería. En ocasiones es complicado manejar estas expectativas, y si sabes varios idiomas, peor incluso.
A mí me gustaría subir cositas en español y encontrar a gente que comparta mis gustos, pero en Tumblr en concreto es casi imposible. Tumblr ya es de por sí mucho más «nicho» en espacios hispanohablantes que otras RRSS como TikTok o Instagram, y si tus intereses no son muy populares, despídete.
La lingüística de los espacios de fans también está hipercentrada en el inglés. No es una pareja, es un ship; no es un universo alternativo, es un AU; no es destripar, es hacer spoiler, etc. Incluso las siglas: en español es LGTB, pero lo que sueles ver es LGBT. Parece una tontería, pero esta disonancia cognitiva hace que resulte muchísimo más complicado hablar en tu propio idioma en un fandom. Por no hablar de las innumerables referencias a posts o a memes... en inglés todo, por supuesto. Como te atrevas a hacer cualquier referencia cultural no inglesa, no te entiende nadie. Pierde la gracia.
Casi todo esto se puede achacar al imperialismo cultural estadounidense. El inglés es útil para comunicarse con gente de todo el mundo, pero su omnipresencia sirve de barrera para todos los demás idiomas. Quizás habría que reflexionar un poco sobre por qué coño el resto del mundo tiene que tragarse años de clases de inglés para hablar del juego que le gusta en una red social mientras muchos angloparlantes no se dignan ni a meter un texto en un traductor automático y prefieren pasar de largo.
How to survive the phase of shitty writting? I know i can't skip it in order to grow, but realistically, how to not give up? How to keep going knowing everything i create is worthless for now and i don't even feel i'll ever progress? I’m trying to come back after quite long time of not writing, i was writing fir years before but i hate pretty much all my previous works, but the curent ones i’m trying to write in order to come back are qualy bad, i’m worried it can never get better.
Write crap.
No really. Buy yourself a notebook or open a doc and label it "Complete Shit." Spend at least five minutes a day forcing yourself to add to it. If you can't do it every day, try doing it three times a week. If you can't do it three times a week, try to schedule it at least once a week. But you gotta make yourself try at least once a week to write something.
This writing doesn't matter. You don't have to fix typos or fiddle with punctuation. You are just going to sit down, write literally anything for five minutes, and go about your day. Try some writing prompts. Describe your mediocre breakfast. Talk about your cat. Write a songfic. You can and will get through this, but you've got to not give up.
Everyone goes through this, and the only way through it is to weather it out. However, if you don't make yourself sit down and write as often as you can, this funk can sink in and keep you from writing for ages.
And if you're still at this point where you can't write anything without hating it, do something else creative. Read books, watch movies, try your hand at art. Do things that keep your brain thinking, because you will be able to reconnect those threads again, but you've got to remove that pressure from yourself to be good. You simply have to be, and keep going, and you will find joy in your writing again.
re my "read books that make you feel stupid" post: reading books you don't fully understand is probably the safest way to push yourself outside your comfort zone. you don't have to embarrass yourself in front of anyone. you can do it from your cozy bed. you can easily get help from book clubs or literary analysis online. you can go as slowly as you want. there's literally no risk.
I tried listening to both and am so unable to understand what's going on. As it turns out, everyone I've talked to says you need to read/listen to Joyce at least three times to begin to understand it
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Person A owns a flower shop and Person B comes in so many times to buy flowers that Person A thinks they must be quite the Casanova.
Most people come in without having any clue on what they actually want. And some people know exactly what they want.
Flowers are often used for photo shoots and Person A gets hired to arrange the flowers for one, but they can’t help getting nervous around the model, Person B.
The employees had a fun game to pass the time. If someone bought a big bouquet and it wasn’t around Valentine’s Day, they love to come up with ideas on how that person messed up, to warrant an apology like this.
Person A is definitely petty enough to use the language of flowers to mess with rude and ignorant customers by giving them the absolute wrong flowers for the occasion.
Person A’s flower shop has a small café in it and it has become the meeting point for the locals to drink tea and gossip.
Person A is very good at making flower arrangements and they love their small shop. But they’re not a natural business person and so they hire Person B to help them keep their shop open.
Giving flowers to someone who owns a flower shop is not that easy.
At the market, they always have their stalls right next to each other. Person A sells beautiful flowers and Person B sells delicious fruits. And sometimes they sneak a small gift over to the seller next door.
Person A loves to help their customers out, but when Person B drops in more than once a week to ask questions about the plants they have and new ones they want to buy and they don’t seem to know a lot about botany, Person A feels like they soon have to ask Person B where they live, so that they can do a wellness check on their plants.
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hey, blog! 🌸 anon here. I think there are probably other posts about long fic, but I was wondering if you or others have any advice on sticking to a single long story instead of jumping to another? I'm mostly of a short fic writer myself, and I'm so interested in the secrets long fic writers possess. Anyway, thank you for running this blog! An awesome project :)
I'll give you my secrets as a fellow short fic writer who sometimes dips into medium-fic and the occasional long fic.
Be obsessed with your story. This can go a LONG way to helping you maintain your motivation. Daydream about it. Make playlists about it. Talk to friends about it.
Try to make each chapter feel like a oneshot. Give it an opening, a middle, and a closing. Have some character development or achieve a plot point or drop a clue that will be used later in the story. The more you can give yourself the satisfaction you get from a oneshot, the better.
Do jump to oneshots on the side to keep you going through the long fic. Sometimes you really do need to get the feeling of "done" to be able to continue something that's still in progress. Don't deny yourself that feeling just because you think you should. Life needs dessert and short fic writers need completed works.
Embrace a B plot (and a C plot and a D plot). These side plots can last for a single chapter or can be threaded through the whole story or they can bridge from chapter 12 to chapter 18. Whatever their final form, these smaller stories-within-the-story also help to satisfy the need for a short, punchy hit of dopamine when the story is starting to feel huge.
I'll leave it there for now and open it up. How do the rest of you go about writing longer stories? Especially if you typically prefer to write shorter.
Cosigned, for sure. Especially talking to friends. NOTHING keeps me motivated more than someone else who's excited to talk about the story.
But also honestly I had to learn to think differently about writing, structurally. Most of the time when I lose interest in a long fic, it's because there's something I'm doing wrong with the structure. Maybe I'm trying to write a boring connective scene that could be skipped. Maybe the characters' motivations aren't juicy enough. Maybe there's a gaping plot hole that I've been pretending isn't there. With one shots, that mostly doesn't happen to me - I'm writing about a limited moment in time where by definition something interesting is happening. With longfic, I have to make a lot more judgement calls about what is and isn't interesting enough to be included.
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