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Array("00,78,1,105,1,145,1,175,1","000,10,1,43,1,175,1","01,145,1","039,70,2,93,3,35,2,41,4,47,5,54,7,55,3,57,1,58,1,59,3,61,5,66,6,67,4,63,1,68,3,69,2,71,1,72,3,74,1,75,4,77,2,81,5,82,1,92,7,86,1,89,1,90,7,91,6,95,39,122,2","07,33,1,78,1","10,2,2,12,1,21,1,26,1,33,1,34,1,43,1,105,1,142,1,138,1,141,5,199,1,200,2","100,107,2,17,1,164,2,156,1,175,2,200,1","1000,67,1","100th,107,1","108,175,1","11,12,1,33,1,87,4,104,4,140,5,171,1,175,3,184,1,200,1,211,1,247,1","12,2,2,29,1,33,1,111,5,139,5,163,1,175,1,200,2,209,1","120,175,1","124,172,1","125,175,1","13,2,1,16,1,33,1,106,1,143,5,207,1,200,2,209,1,262,1","134,12,1","135,200,2","137,200,1","14,2,2,6,1,107,1,33,1,42,1,144,5,170,1,200,2,210,1,229,1,238,1","145,76,1,200,1","14610,10,1","15,6,1,33,1,52,1,81,1,138,1,200,5,238,1,244,4,245,4","150,47,1,195,1","151,7,1,93,2,47,5,54,1,67,4,68,3,69,1,76,3,92,3,89,2,91,2,95,1","152,12,1","154,200,1","1542,175,1","15x11,252,1","16,26,1,33,1,76,1,133,1,175,1,217,1","1699,12,1","17,122,1,145,3,175,1,200,1","1711,12,1","1779,2,1,7,1,77,1","17th,12,1","18,88,1","184,88,2","1842,12,1,262,1","1850,12,1","1855,122,1","1860s,137,1","1869,12,2,262,1","1872,262,1","1874,2,1,7,1,76,1","1892,200,1","19,105,1,184,1,200,1","1918,122,1","1923,2,1,7,1,74,1","1925,122,1","1929,128,1","1931,3,1","1932,107,1","1933,223,1","194,107,1","1942,122,1","1944,122,1","1950,4,3","1951,47,1","1952,184,1","1960s,137,1","1964,175,1,200,1,222,1","1965,175,1","1966,222,1","1967,2,1,6,1,38,1","1969,48,1","1971,222,1","1972,200,2","1974,47,1","1975,48,1","1977,200,2","1978,60,1","1979,137,1","1980,200,2","1982,106,1","1984,48,1","1986,73,1","1987,42,1,80,1,88,1,121,1","1988,129,1","1989,56,1,73,1,200,2","199,200,1","1991,80,1,226,1","1992,88,1,121,1,175,1,200,1","1993,67,1,129,1,167,1,199,1","1994,170,1,200,1,253,1","1995,80,1,122,3,163,1","1996,12,1","1997,29,1,21,1,52,2,56,1,80,2,129,1,153,1,200,1,251,1,252,1","1998,52,1,80,1,137,1,200,1,210,1,211,1","1999,21,1,52,1,73,1,129,1,156,1","19th,12,1,157,1","20,175,1,211,1","200,175,1","2000,10,1,12,1,13,1,107,1,29,1,26,1,41,1,78,1,80,1,94,1,129,2,163,1,262,1","2001,13,1,16,1,26,1,44,1,60,1,65,1,78,1,126,1,129,1,157,1,180,1,211,1,184,1,200,1,209,1,262,1","2002,1,2,2,1,6,1,16,1,41,1,48,1,52,1,80,3,87,1,129,3,137,1,153,1,159,1,184,1,200,1,262,2","2003,1,3,2,3,6,1,7,1,107,1,41,3,49,1,56,1,126,1,129,3,137,1,151,1,153,1,154,1,156,3,157,1,180,1,207,1,210,1,262,2","2004,1,2,2,3,4,1,164,2,148,1,151,1,157,1,158,1,161,1,172,1,175,2,207,1,199,1,200,3,201,1,205,1,210,1,217,1,222,5,238,1","2005,1,1,2,1,4,1,10,2,217,1,232,1","204,200,1","20th,12,1,29,1,33,1,184,1,245,1","21,78,1,262,2","22,80,4,106,1","24,4,1,122,1,137,1,156,1,175,1,200,4,220,1,262,1","244,200,1","246,200,1","24x24,48,1","25,200,2","250,6,1,244,1,245,1","258,156,1","26,159,1,222,2","28,200,1","2nd,203,5,204,4","30,12,1,80,4,175,1,251,1","31,262,1","32,142,1","33,142,1,161,1,200,1","35,238,1","38,200,2","3934852,78,1","3ammagazine,33,1","3rd,21,1,62,1,155,1,163,1,195,1","40,84,1,142,1","41,142,1,175,1","42,84,1","43,84,1","435,238,1","44,238,1","441,175,2","45,210,1,262,2","474,145,1","50,4,1,137,1,200,1,205,1","500,10,2,175,1","52,175,1,200,1","55,122,2","556,238,1","56,142,1","57,96,1","574,200,1","59,175,1","5inches,252,1","5x22,251,1","60,200,1","62x51,253,1","63,175,1","639,156,1","6666,238,2","68,262,1","70,22,1","70s,106,1","73,262,1","75,156,1","76,262,1","77,172,2","80,122,2,175,2","80218,10,1","8211,4,1,107,3,88,4,98,1,105,3,106,6,133,8,134,1,137,6,138,6,147,5,154,1,157,1,158,1,160,2,169,1,170,8,180,1,209,2,210,1,217,1,226,2","8212,4,2,10,2,107,25,88,2,96,4,105,7,110,1,114,1,118,4,122,4,133,5,128,1,142,1,149,2,152,1,154,2,157,5,158,7,160,4,163,6,168,4,171,19,173,4,174,1,175,1,178,2,179,4,211,3,183,1,198,2,199,2,200,26,205,10,209,4,215,1,214,3,222,16,242,2,221,1,223,1,224,8,229,3,230,1,231,1,236,2,237,1,262,13","8216,4,3,107,16,87,2,88,5,99,2,102,1,105,12,108,1,119,1,122,2,124,1,133,4,126,1,142,2,134,1,137,2,145,3,148,1,152,1,154,5,158,1,159,1,160,3,162,1,175,4,211,2,200,5,204,1,229,2,230,1,238,1","8217,4,16,10,3,107,46,87,2,88,22,98,1,99,4,101,1,102,3,103,12,105,20,106,5,108,1,114,4,115,2,117,4,119,9,120,2,122,24,124,8,133,27,164,12,126,3,128,4,142,10,134,5,135,1,136,1,137,7,138,16,145,5,147,9,148,2,149,10,150,5,152,10,154,24,155,9,156,2,157,20,158,4,159,2,160,19,161,2,162,2,163,4,166,2,168,5,169,1,171,10,172,13,173,2,174,14,175,54,178,4,179,4,180,4,181,4,182,4,176,1,202,4,211,19,212,2,183,6,184,15,185,6,195,2,196,1,200,117,203,3,204,5,205,8,206,22,208,3,209,2,210,13,215,1,216,4,218,8,222,32,227,3,239,2,240,8,219,1,220,1,221,2,223,2,224,7,226,3,228,1,229,10,230,1,231,3,233,10,234,3,235,2,236,1,238,23,247,3,262,31","8220,4,6,10,2,107,17,87,3,88,10,97,2,99,12,102,5,105,7,108,3,110,1,116,1,117,6,119,4,120,2,122,17,123,4,124,9,133,21,164,3,126,3,142,1,134,4,137,5,138,3,145,1,148,4,149,3,150,6,152,4,153,3,154,27,155,7,156,3,157,16,158,5,159,2,160,33,161,3,162,6,163,7,166,3,168,4,169,5,171,20,172,2,174,2,175,41,180,1,211,5,212,4,184,4,185,3,195,1,200,39,20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244,1","assassinations,226,1","assemblage,226,1","assembly,101,1","asseparate,213,1","assertation,62,1,244,1","asserted,29,1","assertion,49,1,168,1,172,2,200,1","assertions,12,1,200,1","asserts,12,1,134,1,154,1,155,1,160,2","asses,213,1","assessment,4,1,29,1,33,1,102,1,164,1,126,1,137,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1,210,1,245,1","assign,10,1,68,1","assigned,46,1","assignment,10,2,224,1","assimilate,158,1,207,1,209,1","assimilating,209,1","assimilation,158,1,207,2,209,2","assimilations,158,1","assist,122,1,168,1","assistant,99,1,174,1,184,1","associate,163,1","associated,12,1,13,1,47,1,154,1,155,1,160,1,161,1,262,1","associating,210,1,222,1","association,129,1,133,1,148,2","associations,85,1,124,1,133,2,244,1","associative,163,1","assonance,142,1,156,1,160,1,171,1,172,1","assortment,12,1","assuage,179,1","assume,65,1,91,1,100,1,164,1,149,2,150,1,154,2,156,3,157,1,158,1,160,2,161,1,166,1,168,1,213,1","assumed,131,1","assumes,69,1,73,1,81,1,85,1,91,1,94,1,244,1","assuming,222,1","assumption,164,1,149,1,150,1,154,1,156,1,157,1,158,1,160,1,161,1,166,1,168,1","assumptions,12,2,41,1,113,1,148,2,153,3,154,3,158,2,160,2,162,2","assurance,110,1","assure,179,1","assured,22,1,119,1,175,1","astonishingly,122,1","astonishment,107,1,222,1","astor,105,1","astronaut,204,1","astronomer,106,1","astronomy,106,1,193,5","asylum,26,1","asymmetrical,200,1","atelos,164,1","athens,119,1","atlanta,153,1","atmosphere,4,1,49,1","atmospheric,151,1","atognazz,85,1","atoms,213,1,222,1","atop,138,1","attach,173,1,229,1","attached,47,1,133,1,230,1","attachment,10,1","attachments,188,1","attack,201,1,222,2,231,1","attacked,230,1","attacking,47,1,59,1","attain,146,1","attempt,10,2,12,5,47,2,69,1,73,1,88,5,124,1,152,1,157,1,160,1,170,1,175,1,199,2,206,1,262,1","attempted,12,1,20,1,174,1","attempting,12,1,153,1,170,1","attempts,12,1,91,1,121,1,124,1,154,1,158,2,170,1,174,1,180,1,207,1,209,1,238,1","attend,37,1","attendant,160,1,210,1,218,1","attendants,218,1","attended,174,1,231,1","attendees,174,1","attention,10,1,12,1,93,1,29,1,43,1,54,1,85,1,86,1,87,1,94,1,124,1,164,1,145,1,146,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,162,1,166,1,168,1,211,1,186,1,200,1,206,3,210,2,221,1","attentive,189,1","attested,175,1,262,1","attic,130,1,216,1","attitude,51,1,156,1","attract,146,1","attractant,208,1","attracted,154,1","attraction,146,2,211,2","attractive,132,1","attribute,226,1","attributes,146,1,200,1","attuned,105,1","auction,122,1","audible,88,2,138,1","audience,16,1,41,1,45,3,68,1,89,1,110,1,129,1,161,1,183,1,199,1,226,1","audiences,238,1","audio,201,1","auml,78,1","aunt,16,1","aural,41,1","aurally,170,1","aurora,105,1","aussi,157,1","austin,150,1","austria,3,1","austrian,78,1","authentic,200,1","author,10,3,16,1,21,1,37,1,41,1,49,1,60,1,67,1,68,1,104,1,164,1,126,1,129,2,142,1,148,1,149,1,152,1,153,1,159,1,163,1,166,1,167,1,174,2,175,9,180,1,211,1,184,1,195,1,205,2,209,1","authorial,161,1,212,1","authority,60,1,107,1,224,1","authors,10,3,12,1,33,1,47,1,69,1,73,1,81,1,85,1,91,1,94,1,107,3,172,1,175,1,244,2","autobiographical,21,1,91,1,154,1","autobiography,142,1","autocartography,238,1","autograph,220,2","autographeme,105,1","autographemes,105,1","automated,208,1","automatic,95,1,154,1","automatically,154,1","automobile,105,1","autonomous,67,1,134,1,161,1","autotherapeutic,21,1","autre,157,1","autumn,132,2,213,1","ava,1,1,2,1,11,1,87,6,88,1,96,9,164,1,149,1,150,1,154,1,156,1,157,1,160,1,161,2,166,1,168,1","availability,12,1","available,52,1,60,1,107,1,122,2,195,1","avant,4,7,122,1,137,1,195,1","avenue,10,1","average,17,1,133,1,156,1","aviary,111,1,112,1","avid,222,1","avocados,132,1","avoid,28,1,42,1,147,2,163,1,229,1","avoids,199,1","awaiting,31,1,150,2","awaits,226,1","awake,20,1,99,1","awaken,185,1,186,1","awakening,222,1","award,13,2,29,1,48,1,60,1,65,1,75,1,80,1,91,1,94,1,122,1,129,9,151,2,156,1,157,2,163,1,167,2,262,2","awarded,13,1,29,1,113,1","awards,80,1,102,1,129,1,157,2","aware,13,1,105,1,147,1,160,1,165,1,170,1,184,1,200,1,226,1","awareness,132,1,162,1,217,1,262,1","away,93,1,19,1,34,1,38,1,42,1,47,1,59,1,62,1,79,1,92,3,96,1,105,1,110,1,113,1,115,2,117,1,122,2,131,1,134,1,146,1,160,1,170,1,176,1,202,3,184,1,200,2,203,2,206,1,215,1,216,2,222,1,241,1,226,1","awe,210,1","awful,201,1","awfully,133,1","awhile,93,1,113,1,203,1","awild,107,1","awkward,59,1,138,1","awoke,131,1","awp,29,1","awry,182,1","ax,119,1","axiom,226,1","axiomatic,160,1","axioms,160,1","axis,178,1,211,1","aztec,262,1","babble,84,1","babe,146,1,203,1","baby,93,3,75,1,148,1,202,3,204,1,235,7","backboard,144,1","backbone,203,1","backdoor,206,1","backdrop,133,1","backed,29,1","background,62,1,67,1,143,1,185,1,200,1,224,1","backhanded,122,1","backlit,141,1","backs,68,1","backseat,171,1","backsliding,93,1","backspin,75,1","backward,217,1","backwards,42,1,64,1,67,1,142,1,153,1","backyard,93,1,66,1,107,3,130,1,224,1","bacon,150,1","bad,93,1,95,1,126,1,154,1,160,1,163,1,206,1","baffle,146,1","baffled,18,1,32,1","bafflers,146,1","baffling,146,1","bag,84,1,17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2,1,142,1,137,1,138,1,146,1,149,1,151,2,169,1,174,1,175,1,212,1,184,1,185,1,188,1,200,1,244,1","calling,69,1,103,1,143,1,155,1,218,1","calliope,194,5","calls,12,2,111,1,113,1,143,1,164,1,124,1,129,1,134,1,149,2,150,1,154,3,155,3,156,1,157,1,160,4,161,1,166,1,168,1,172,1,206,1,222,1,262,1","callused,42,1","calm,45,1,114,1,123,1,171,1,185,2,206,2,222,2","calmly,116,1","calmness,146,1","calvino,12,1,62,1","calyx,148,1","camaro,93,1,106,1","cambridge,88,1,200,2","came,39,1,38,1,61,1,74,1,76,1,114,2,117,1,118,1,120,1,133,1,147,1,151,1,170,1,176,1,177,1,186,1,203,2,208,1,210,1,233,2","camel,179,1","camera,105,1,122,1,132,1","cameras,107,1","camp,38,1","campfires,107,1","campground,107,1","camping,35,1","campmeeting,202,1","camps,138,1,154,1","camus,47,2","canada,41,1,97,1,151,2","canals,33,1,245,1","cancel,137,1,154,1,157,1,160,1,169,1","cancer,58,1","candidate,91,1,122,1,158,1","candidates,100,1","candle,116,1","candles,132,1","candlestones,247,1","candy,58,1,84,1,132,1","cane,130,1","canines,212,1","canned,132,1","cannibalism,82,1","cannibals,146,1","cannonball,172,1","cannot,10,1,45,1,58,1,63,1,68,1,88,1,95,3,100,1,103,3,107,1,146,1,159,1,160,3,210,1,222,2,229,1,243,1","canny,159,1","canoe,205,1","canon,88,1","canonization,12,1","canopy,138,1","cans,132,1","cantaloupe,46,1","cantos,175,1","canvas,3,1,111,1,208,1,253,1","canvases,185,2","canyon,143,1","canyons,215,1","caoutchouc,146,1","cap,90,1,142,1,138,1,156,1,181,1,208,1","capable,47,1,107,1","capacious,49,1,211,1,200,1","capacities,120,1,157,1","capacity,175,2","cape,179,1,206,1","capital,107,1,213,1,209,1,231,1","capitalists,146,1","capitals,134,1","capitulate,160,1","caponegro,199,1","capped,216,1","caps,132,1","captains,138,2","captiva,48,1","captive,138,1,238,1","capture,208,1","captured,105,1,156,1","captures,106,1","car,93,1,30,3,33,1,38,2,40,1,45,1,72,1,82,2,84,1,95,1,96,1,116,1,117,1,143,1,132,1,142,1,138,2,144,1,158,1,175,1,199,1,205,1,206,1","carbo,16,1","carbon,178,1","carcasses,66,1,100,1","cardboard,107,2,122,1,235,5,262,1","cardigan,46,1","cardinal,132,1","cards,195,1,218,1","care,17,1,21,3,42,1,49,1,62,1,107,1,120,1,124,1,156,2,174,1,175,1,199,2","cared,97,1","careful,151,1,165,1,184,1,185,1,200,1,208,1","carefully,43,1,116,1,164,1,151,1,199,1,205,1,220,1","cares,93,1","caress,84,1","caressed,222,3","caring,39,1","carla,88,1","carlos,175,3","carlson,169,1","carmen,42,1","carnage,88,1,133,6","carnegie,49,2","carnivalesque,200,1","carol,22,1","carolina,26,1,49,1","carp,170,1","carpenter,138,1","carpool,202,1","carr,2,1,6,2,11,1,33,2,34,1,69,1,73,2,81,1,91,1,94,1,129,1,244,1","carriage,95,1","carriages,134,1,154,1,155,1,160,1","carried,34,2,76,1,114,2,118,1,160,1,175,2,202,1","carries,70,1,47,1,55,1","carrion,171,1","carrots,129,1","carry,70,1,85,1,146,2,156,1,161,1,163,1,175,1,177,1,200,1,222,1,224,1","carrying,12,1,106,1,132,1,156,1,177,1","cars,30,1,37,1,42,1,96,1,106,1,229,1","cart,146,4","carte,226,1","cartons,45,1","cartoon,99,2,171,1","carve,170,1","carved,115,2,117,1","caryatid,202,1","casa,222,1","casares,169,1","case,67,1,73,1,122,1,142,1,133,2,154,1,160,1,211,1,200,5,226,1,236,1,247,1","cases,200,1,210,1,262,1","caskets,132,1","cast,137,1,204,1","casting,262,1","castor,103,1","casts,222,1","casual,175,1","casually,67,1,222,1","cat,49,1,83,1,115,1,141,1","catalog,133,1","catalogues,152,1","catalyst,210,1","cataracting,203,1","cataracts,74,1","catch,77,1,95,1,107,1,138,1,146,1,185,1,241,1","catches,93,1,41,1","catching,96,2","categories,12,6,124,1,142,1,262,1","categorization,47,1,124,1,174,1","categorized,84,2","categorizing,160,1","category,156,1,195,1","catered,96,1","cathedral,105,1,130,1","cathexion,226,1","cats,132,2,182,1","cattle,100,2","caught,39,1,93,1,42,1,72,1,79,2,107,1,111,1,114,1,116,1,131,1,156,1,171,1","causality,147,1,211,1","cause,2,1,12,1,93,1,63,1,135,5,151,1,153,1,184,1,210,1,231,1","caused,185,1,208,1","causing,144,1","caution,200,1","cautions,177,1","cautious,37,1","cautiously,138,1","cave,43,1,58,1","cavell,210,1","caves,43,1","ccedil,210,1","cd,82,1","ceased,231,1","ceaselessly,222,1","ceases,32,1,172,1","cecilia,1,1,2,1,11,1,153,10","cedars,103,1","ceiling,39,1,20,1,32,1,116,1,132,1,138,3,171,1","celebrate,4,1,52,1","celebrated,222,1,262,1","celebrates,62,1,105,1,200,1","celebration,12,1","celery,205,1","celestial,157,1,213,1,200,1,226,1","cell,77,1","cellar,30,1","censers,88,1","censored,88,1","censure,150,1","cent,66,1","centennial,222,1","center,13,1,37,1,62,1,104,1,110,2,148,3,175,1,178,1,202,1,211,1,206,1","centered,105,1,161,1,162,1","centers,88,1,175,1,178,1","centipede,178,1","centipedes,132,1,178,1","central,36,1,85,1,148,1,151,1,200,4,238,1","centripetal,105,1","centuries,107,7,130,1,137,1,138,1,146,1","century,12,3,29,1,33,1,36,1,47,2,105,1,107,1,137,1,157,1,175,9,184,1,200,2,227,1,245,1","ceramic,90,1","cereal,26,1,206,1","ceremoniously,79,1","cerrito,138,1","certain,10,1,12,2,40,2,41,1,43,2,58,1,69,1,73,1,81,1,85,2,91,1,94,1,95,1,107,2,124,1,133,1,141,1,149,1,154,3,160,1,161,1,162,1,169,1,212,1,185,1,195,1,200,1,209,1,217,1,221,3,244,1,262,1","certainly,4,3,10,1,12,4,47,3,50,1,62,1,68,1,88,1,107,2,164,1,133,1,146,1,152,1,160,1,211,3,200,1","certainties,161,1","certainty,88,1","certitude,95,1","cervantes,12,1","cestro,167,1","cetacean,92,1","cezanne,227,2","chagrin,28,1","chain,93,1,171,1,211,1","chains,22,1","chair,93,1,59,1,75,1,77,1,84,1,95,1,116,1,135,1,159,1,216,1,220,1","chalkblanket,64,1","challenge,12,2,52,1,60,1,63,1,88,4,105,1,212,1,244,1","challenged,41,1,137,1","challenges,47,2,129,1,154,1,157,1,160,1","challenging,3,1,105,1,160,1,238,1","chamber,262,1","chambers,92,1,119,1,203,1","chambre,12,1","champagne,156,1","champing,202,1","chance,44,1,54,1,62,1,163,1,244,1","chaney,76,1","change,43,1,62,1,75,2,102,1,107,1,116,1,154,1,157,1,160,1,163,1,175,2,195,1,262,1","changed,75,1,115,1,175,1,189,1","changes,10,3,36,1,62,1,113,2,138,1,148,2,153,2,154,2,157,1,158,2,160,2,162,2,175,1","changing,12,1,115,1,208,1,218,1,231,1","channel,33,1,141,1,144,1,175,1","channels,208,1","chanted,178,1","chanteuse,204,1","chaos,12,1,29,1,33,1,47,2,151,3,185,1,226,1,245,1","chaotic,47,1,62,1","chapbook,26,1,37,1,134,1,156,2,211,1,209,1,210,1,247,1","chapbooks,16,1,73,1","chapter,46,1","chapters,163,1","char,134,1,184,1","character,22,1,26,1,62,1,73,2,85,1,102,1,126,1,137,2,146,3,161,1,211,1,199,3,200,1","characteristic,85,1,164,1,149,1,150,2,154,2,156,1,157,1,160,1,161,1,166,1,168,1","characteristics,12,1,85,2,124,1,151,1,154,1,200,1,262,1","characterization,62,1","characterized,137,1,175,1","characterizes,184,1","characters,35,1,41,2,62,3,67,2,107,1,146,1,199,2,205,1,206,1,244,1","charge,30,1,101,1,236,1","charged,142,1,133,1","charging,262,1","charitably,160,1","charles,12,1,41,1,72,1,88,2,133,2,247,1","charlotte,163,1","charred,110,1,230,1","chart,88,1,96,3,205,1","charter,226,1","chase,48,1,197,1","chased,79,1,82,1,118,1","chasers,100,2","chasing,96,1,107,1,138,2,175,1","chasm,210,1","chatter,66,1,211,1","chattering,96,1","chatters,57,1,58,1","cheap,151,1,222,1","cheaper,235,1","check,211,1","checkbook,132,2","checked,96,1,138,1","checks,61,1","cheek,34,1,51,1,182,1","cheekpiece,223,1","cheeks,22,1,214,1","cheery,90,1","cheese,218,1,227,1,220,1","chelsea,69,1","chemical,22,1,48,1,96,1,208,1","chemicals,146,1","chemistry,93,1","cherokee,175,1","cherry,38,1,61,1,106,1","chest,39,1,46,1,59,1,84,1,107,1,115,1,178,1","chester,137,1","chestnut,105,1","chests,107,2","chew,42,1","chewed,59,1,95,1","chewing,83,1,85,1,175,1","chicago,62,1,169,1,218,1","chicken,132,1","chicklet,95,1","child,32,1,43,1,60,1,121,1,131,1,132,1,139,1,146,1,160,1,170,1,175,2,206,3,242,2","childhood,42,1,43,1,51,1,58,2,82,3,92,1,142,1,133,2,186,1,206,1,210,4,262,1","childhurt,179,1","children,2,1,7,1,39,1,42,1,49,1,58,1,79,2,99,1,101,2,113,2,133,1,138,2,173,1,175,1,181,1,197,1,218,1,240,1","childs,175,1","chile,222,3","chili,218,3","chill,138,1,223,1","chimera,102,1","chin,1,1,2,1,11,1,87,6,88,1,96,10,164,2,149,2,150,2,154,2,156,2,157,2,160,2,161,3,166,2,168,2","china,31,1","chinese,50,1,216,1","ching,56,1","chip,175,1","chips,93,1,203,1","chiron,26,1","chiseled,215,1","chisman,2,1,6,1,11,1,47,1,48,4","chlorophyll,208,1","chock,211,1","chocolate,58,1,218,1,224,1","choice,37,1,40,1,43,1,72,1,154,2,160,1,172,3,227,1","choices,21,1,88,1,105,1,107,1,147,1,205,1","choke,236,1","choked,142,1","choking,138,1","cholen,43,1","chomp,172,1","choose,35,1,94,1,134,1,217,1","chooses,158,1,222,1","choosing,147,1","chop,34,1","chopped,107,1","chords,84,1","chores,50,2","chorus,138,1","chose,164,1,174,1","chosen,96,1,132,1,172,1,199,1,205,1","chris,2,1,11,1,154,9,195,2,221,2,237,1","christ,93,2,95,1,171,1,197,1,201,1","christians,182,1","christie,165,1","christine,2,2,7,1,11,1,71,1,156,10","christmas,16,1,22,1,43,1","christo,84,1","christopher,2,1,6,2,11,2,12,1,27,1,20,1,21,2,23,1,24,1,25,1,154,1,171,10,244,1","christopherkennedy,2,1","chrome,72,1,185,1","chronicle,91,1,122,1,205,1,209,1","chronicles,205,1","chronologically,106,1","chronology,147,3","chrysalis,35,1","chrysanthemums,115,1","chubby,106,1","chuckles,46,1","chumash,175,5","chunk,63,1,174,1","chunks,18,1,154,2","church,96,3,116,1,125,1,146,1,217,1,230,1,262,2","churning,83,1,201,1","ciardi,157,1","ciel,184,1","cigarette,45,2,51,1,183,1","cigarettes,83,1,84,1,175,1","cincinnati,99,1,218,1","cinder,110,1,196,1","cinema,38,1,137,1","cinematic,107,1","circle,53,1,73,1,117,2,132,1,142,1,167,1","circled,82,1,193,1","circles,22,1,33,1,77,1,114,1,117,3,204,1,206,1,245,1","circletude,95,1","circling,141,1,200,1","circuit,196,1","circuito,80,1","circular,85,1,124,1,148,1","circulated,199,1","circulation,184,1","circumference,147,1,208,1","circumscribed,222,1","circumstances,107,1","circumvent,200,1","circus,40,1,182,5","circuses,182,1","citation,10,1","cited,12,1","cities,116,1,133,1,146,1","citizen,146,1","citizens,146,1","citron,175,1","city,13,1,34,2,42,1,63,2,64,1,69,1,80,2,85,1,96,1,124,1,142,1,138,1,157,1,167,1,175,3,213,1,188,1,222,1","civilized,93,1","claim,4,1,212,1,200,1","claiming,18,1,51,1,107,1,199,1","claims,4,1,73,1,133,1,222,1","clam,33,2","clammy,82,1","clanking,66,1","clapping,198,1","clarify,73,1","clarifying,217,1","clarity,32,1,47,1,105,1,156,1,222,1,226,1","clark,52,1,222,2","class,12,1,22,2,88,2,91,1,95,1,122,2,132,1,204,1","classes,157,1,237,1","classic,129,1,200,1","classification,102,2,160,1,200,1,221,1","classifications,12,1,102,1,154,1","classified,84,1,175,1,226,1","classify,65,1,126,1,154,3,160,1,163,1,195,1,221,1,237,1","classifying,149,1,154,1,195,1,221,2,237,1","classroom,211,1,201,1","clatter,133,1","clause,211,1","claustrophobic,21,1","clay,262,1","clayton,88,1","clean,20,1,38,1,59,1,175,1","cleaned,74,1","cleaning,205,1","cleanthe,4,1","clear,4,2,30,1,49,1,67,1,73,1,107,1,132,1,136,1,146,1,157,1,161,1,165,1,170,1,174,1,176,1,199,1,206,1,208,1","cleared,34,1","clearer,43,1,207,1","clearing,153,1,175,2","clearly,69,1,73,1,81,1,85,1,91,1,94,1,95,1,149,1,157,2,165,2,174,1,175,2,182,1,208,1,244,1","clears,175,1","cleavaged,114,1","cleave,230,1","cleft,206,1","clement,195,1","clementou,252,4","clements,2,1,11,1,152,10","cleveland,37,1","clever,133,1,200,1,206,1","cleverly,23,1,222,1","clich,12,1","cliche,84,1","cliches,157,1","clicking,88,1,108,1,156,1","cliff,38,1,53,1,115,2","climb,131,1,221,1","climbed,114,1","climbers,200,1","climbing,93,2,64,1,177,1,188,1","clip,22,1,224,1","clipper,222,1","clipping,128,1,211,1","clips,106,2,132,1","cloaked,63,1","clock,42,1,84,1,108,1,132,1","clogs,203,1","clone,203,1","close,34,1,47,1,51,1,58,1,94,1,116,1,117,1,123,1,148,1,155,1,165,1,171,1,175,1,194,1,204,2,206,2,208,1,210,1,222,2,226,1","closed,43,1,53,1,85,1,130,1,186,1,194,2,203,1,220,1","closely,12,1,19,1,24,1,36,1,114,1,115,1,122,1,142,1,170,1,181,1,183,1,200,1,226,1","closer,41,1,47,1,98,1,161,1,171,1,181,1,184,1,200,1","closes,46,1,222,2","closest,58,1","closet,125,2,236,1,243,1","closing,46,1,224,1","closure,59,1,211,1","cloth,28,1","clothed,187,1","clothes,45,1,50,1,90,1,146,1,187,1,206,1","cloud,38,1,115,1,141,1,145,1,216,1","clouds,24,1,92,1,90,1,132,1","cloudy,125,1,151,1","clovers,34,1","clown,45,1,181,4,182,1,183,6","clowns,181,7,183,1","clownshow,95,1","cloy,133,1","clue,181,1","clumsy,22,1","cluster,211,1,262,1","clustered,204,1","clusters,200,1","clutch,51,1,72,1,146,1,178,1,206,1","clutched,17,1","clutches,154,1","clutching,176,1","cluttered,95,1","cnn,196,1","co,4,1,10,1,12,1,39,1,52,1,69,1,80,2,122,1,123,1,200,1,209,1","coal,175,1,208,1","coalescing,226,1","coals,179,1","coarse,227,1","coast,113,1,171,1,211,1,206,1,210,1,222,2","coaster,116,1","coastlines,206,1","coat,59,1,117,1,182,1,183,1,201,1","coating,27,1","coats,96,1,111,1,181,1","cob,132,1","cobain,106,1","cobblestones,128,1","cockroaches,83,2","coconut,75,1","code,203,1,204,1","coderilla,204,1","codex,227,1","codrescu,107,2","coercion,47,1","coffee,27,1,31,1,58,1,83,1,85,1,164,1,157,3,163,1,175,2,199,1,210,1","coffeehouse,199,1","coffehouse,199,1","coffers,224,1","coffin,97,1,241,2,235,4","cogent,122,1,200,1","cognizant,3,1","cohere,205,1","coherence,262,1","coherent,20,1,47,1,152,1,170,2,171,1,200,1","coheres,133,1","coiled,203,1","coimbra,167,1","coin,157,1","coincide,88,1","coincidence,205,1,210,1","coincidences,238,1","coincidental,73,1","coined,53,1,92,1","coins,170,1","coke,83,1,195,1","cokes,132,1","cola,39,1","cold,15,1,17,1,43,1,72,1,82,1,92,2,106,2,107,1,111,1,114,1,115,2,117,2,128,1,138,1,146,1,179,1,204,1,215,1,241,1","coldness,92,1","cole,1,1,2,1,6,2,11,1,13,2,14,1,15,1,19,1,47,1,62,1,65,1,69,1,73,1,81,1,91,2,94,1,244,3","collaborate,238,1","collaborated,238,1","collaboration,133,1,169,1,238,3","collaborative,47,1","collage,52,1,60,1,63,1,80,2,158,1,175,1,222,2,226,1,244,1,262,1","collages,253,1","collapse,34,1,49,1,130,1","collapsed,76,2,159,1","collapses,222,1,236,1","collapsing,49,1","collar,132,1,138,1","colleagues,200,1","collected,47,1,211,1,262,1","collection,21,1,26,1,41,1,48,3,49,1,56,1,62,1,65,1,85,1,105,1,106,1,107,3,122,4,129,1,132,1,142,1,133,2,154,1,161,1,163,2,170,1,184,1,199,1,200,2,205,1,217,1,222,1,232,1,262,3","collections,48,1,49,1,56,1,102,1,104,2,126,1,148,1,180,1,211,1,222,1","collective,47,1,175,1,212,1","collectivity,211,1","collector,222,1","collects,62,1","college,41,1,56,1,73,1,80,1,91,1,99,1,106,1,122,1,157,1,163,1,207,1,211,1,184,2,200,1,205,1,227,1","collide,105,1","collins,129,1","colloquialisms,12,1","cologne,3,1","colon,158,1","colony,48,1,138,1","color,3,1,35,1,36,1,73,1,76,1,96,5,115,3,125,6,138,1,178,1,185,1,198,1,208,5,210,1,216,1","colorado,48,3,80,1,102,2,108,1,119,1,129,1,134,1,151,1,154,1,157,1,158,1,159,1,161,1,165,1,211,2,195,1","colored,205,1,210,1","colorful,175,1","colors,36,2,46,1,85,1,115,1,185,1,208,3,244,1","coltrane,142,1,262,1","columbia,221,1","columbus,129,1","com,1,1,3,5,4,4,6,1,7,1,10,6,11,4,26,1,33,1,47,1,69,1,113,1,121,1,157,4,161,1,167,4,170,4,171,4,172,4,173,4,174,4,175,4,176,4,177,4,178,4,179,4,180,4,181,4,182,4,202,4,207,4,211,4,212,4,213,4,183,4,184,4,185,4,186,4,187,4,188,4,189,4,190,4,191,4,192,4,193,4,194,4,195,4,196,4,197,4,198,4,199,4,200,6,201,4,203,4,204,4,205,4,206,4,208,4,209,4,210,4,215,4,216,4,217,4,218,4,214,4,239,4,240,4,241,4,242,4,219,4,220,4,221,4,222,4,223,4,224,4,225,4,226,4,227,4,228,4,229,4,230,4,231,4,232,4,233,4,234,4,235,4,236,4,237,4,238,4,243,4,247,4","combed,202,1","combination,88,1,105,1,158,1,161,1,207,1,209,1,262,1","combinationof,107,1","combinations,156,1","combined,88,1,222,1","combines,107,1","combing,130,1","combining,3,1,151,1","combo,224,1","combs,132,1,175,1","combustible,229,1","combustion,72,1","come,17,1,34,1,38,1,42,1,43,3,65,1,69,1,84,2,87,1,102,1,107,2,111,1,117,1,122,1,164,1,126,2,133,2,137,1,146,1,151,1,155,1,160,2,165,1,175,1,179,1,181,1,183,1,184,1,199,1,204,1,206,2,241,1,219,2,222,3,224,1,226,1,229,1,238,1,262,1","comedy,26,1,191,5","comes,4,1,12,1,93,1,21,1,22,1,30,1,35,1,65,1,68,1,107,1,122,1,124,1,133,6,147,1,154,4,174,1,177,1,211,1,184,1,206,2,209,2,210,2,227,1","comfort,3,1,58,1,77,1,102,1,131,1,217,1","comfortable,27,1,26,1,151,1,163,2,231,1","comfortably,179,1","comic,4,1,22,1,132,1,175,1,200,1,262,1","coming,39,1,14,2,30,1,45,1,47,2,82,1,83,1,95,1,116,1,135,1,179,1,203,1","comma,145,1","command,158,1","commandrine,201,1","commemorates,205,1","comment,13,1,62,2,102,1","commentaries,134,1","commentary,91,1,122,1,165,1,210,1,222,1","commented,208,1","commenting,196,1","comments,169,1","commercial,22,1,138,1,210,1","commission,129,1,151,1,163,1","commissioned,83,1","commit,238,1","commiting,62,1","commitment,133,1","committed,22,1","committee,47,1","commodification,195,2","common,88,1,146,1,152,1,175,2,200,1,226,1","commonly,262,1","commonness,74,1","communal,205,1","communed,175,1","communicate,106,1,193,1,199,1","communication,77,1,211,1","communicator,171,1","communion,88,1","communism,4,1","community,4,1,73,1,99,1,163,1,205,2,222,1","compact,33,1,156,1,175,1,205,1,217,1,262,1","compacted,262,1","companion,98,2","companions,92,1","company,100,3,104,1,175,1,228,1","comparable,175,1,262,1","compare,158,1,170,1","compared,12,1,47,1,150,1,222,1","compares,200,1","comparison,2,1,7,1,93,3,171,2,200,1","compassion,43,1,171,1","compatible,170,1","compel,146,1","compelled,156,1","compelling,12,2,142,1,148,1","compels,95,1","compendium,216,1","compensate,52,1,60,1,63,1,244,1","compete,43,1","competence,50,2","competing,4,1","complain,61,1,218,1","complains,95,1","complaint,107,2","complaints,4,1","complement,200,1","complementary,160,1","complements,36,1","complete,10,1,93,1,72,1,107,2,122,4,178,1,200,1,201,1,234,1","completed,59,1,113,1,164,1,145,1,175,1","completely,4,1,33,1,43,1,65,1,107,1,123,1,147,1,148,1,149,1,154,2,186,1","completing,174,1,229,1","complex,3,1,12,1,60,1,122,1,146,1,151,1,197,1,200,1","complexion,146,1","complexity,107,4,210,1","complexly,170,1","complianceto,107,1","complicated,95,1,199,1","complicates,12,1","compliment,122,1","components,138,1,222,1","compose,37,1,157,1,238,1,244,1","composed,160,1,161,1,262,1","composes,87,1,99,1,108,1,119,1,134,1","composing,27,1","composites,3,1","composition,67,1,73,3,153,2,175,1,262,1","compositional,73,1","compound,170,1","comprehended,222,1","comprehensiveness,146,1","compress,124,1,147,1,207,1","compressed,73,1,102,1,107,1,126,1,133,1,137,1,156,1,262,2","compression,47,1,107,2,164,3,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1","compromising,33,1","compulsion,121,1","compulsions,95,1","compulsive,138,1","computer,21,1,66,1,122,1,130,1,137,1,208,2","computerized,45,1","comstock,26,1","con,2,1,6,1,19,1","concealed,175,1","concealing,50,1","conceded,110,1","conceit,200,8","conceits,200,5","conceived,231,1","concentrate,87,1,96,1,111,1,193,1","concentrated,52,1","concentration,164,1","concentrically,208,1","concepci,175,1","concept,33,1,122,1,137,1,151,1,195,1,238,2,245,1","conception,200,1","conceptions,12,1","concepts,33,1,107,1","conceptual,107,5,162,1,210,1","concern,4,1,20,1,105,1,107,1,137,1,151,1,155,1,168,1,175,1,238,1,262,1","concerned,4,1,12,1,29,1,21,4,33,1,73,1,124,1,149,1,155,1,163,1,205,1,245,1","concerning,47,1,65,1,106,1","concerns,129,1,154,2,157,1,160,1,175,1,221,1","concert,43,1,84,1","concise,170,1,201,1","concisely,88,1","concision,164,1","conclude,29,1,211,1","concluded,157,1","conclusion,211,1","conclusively,211,1","concocted,43,1","concrete,98,1,122,1,161,1,165,1,199,1,200,2","concretely,88,1","concretion,147,1","concretize,175,1","concur,180,1","concurrently,12,1","concussion,84,1","condemned,218,1","condensare,52,1","condensation,95,1","condensed,35,1,107,2","condition,93,1,126,1,154,1,160,1,163,1,195,1","conditioner,93,1","conditions,29,1,147,1","condoms,66,1,132,1","condor,175,1","conduct,199,1","conducting,122,1","conduit,147,1","confectioner,224,1","confections,137,1","conference,29,1,138,1","conferred,157,1","confess,133,1","confession,28,1,84,1","confessional,4,1,150,1,170,1,262,1","confetti,42,1","confidence,148,1","confident,105,2,107,1","configuration,200,1","configurations,47,1","confined,77,1,156,1","confinement,29,1,77,1","confirm,10,1","confirmation,75,1","confirmed,122,1","confiscated,132,1","conflation,213,1","conflict,3,1","conflicting,4,1,12,1","conflicts,10,1,47,1,88,1","conform,91,1,206,1","confound,221,1","confounds,12,1","confront,105,1","confronted,142,1,138,1","confuse,82,1","confused,47,1,137,1,178,1,205,1","confuses,26,1","confusing,83,1,84,1,109,1","confusion,131,1,211,2","congratulations,151,1,240,1","congress,122,7","congruousness,93,1","conjectures,208,1","conjoined,222,1","conjugate,179,1","conjugations,48,1","conjunction,162,1","conjunctions,164,1,238,1","conjure,133,1","conjured,262,1","conjures,210,1","connect,85,1,106,1,206,1","connected,12,1,88,1,95,1,148,2,170,1,213,1","connecticut,67,1,138,1,184,1","connection,12,1,88,1,133,1,145,1,173,1","connectionbetween,88,1","connections,85,2,156,1,162,1,189,1,205,1,238,1","connectors,108,1,154,1,155,1,160,1","connects,238,1","conners,1,1,4,1,6,1,10,1,12,2,47,1,88,1,106,1,122,2,244,1,245,1","connotation,162,1,229,1","connotations,157,1","conquistador,130,1","conscious,37,1,49,1,60,1,67,1,91,1,107,1,113,1,123,1","consciously,65,1,105,1,154,1,160,1,169,1,171,1","consciousness,47,1,50,1,142,2,146,1,147,1,148,1,175,1,262,1","consensus,25,1","consent,222,1","consequence,171,1,231,1","consequences,47,1","consequent,133,1","consequently,65,1","conservative,160,1","conservativism,4,1","consider,4,1,10,4,43,1,72,1,88,1,106,1,107,1,133,1,149,2,151,1,154,1,170,2,172,1,174,1,175,1,200,1,238,2,247,1","considerable,122,1","considerably,73,1","consideration,10,1","considered,10,1,43,1,82,1,134,1,199,1,200,1,222,1","considering,10,1,164,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1,172,1,174,1,222,2,247,1","considers,10,1,222,2","considerthe,88,1","consistency,200,1","consistent,12,1,133,1,170,1","consoled,120,1","consonant,95,1","conspicuous,59,1,170,1,200,1","constance,21,1","constant,3,1,63,1,95,1,105,1,110,1,114,1,200,1","constantly,107,1,116,1,137,2,154,3,157,1,160,2,169,2,229,1","constellations,43,1,211,1","constipation,146,2","constituent,175,1","constitute,4,1,137,1,154,2,157,1,160,2,169,2","constitutes,4,1","constituting,110,1","constitutive,159,1,209,1","constraining,88,1","constraint,95,1,107,1","constraints,10,1,12,1,13,2,62,1,65,1,88,1,107,1,244,1","constriction,107,1","construct,12,1,21,1,33,1,73,1,88,2,175,1,245,1","constructed,67,1,171,1,175,3,199,1,204,1,206,1,226,1","constructing,146,1,171,1","construction,47,1,73,1,107,2,152,1,230,1","constructions,105,1,142,1","construed,200,1","consubstantial,228,1","consult,77,1","consultant,221,1","consulted,164,1","consume,160,1","consumer,195,1","consumerism,171,1,195,1","consuming,55,1,210,1","consummated,41,1","consumption,195,2","contact,6,1,7,1,12,1,70,1,93,1,47,1,48,1,53,1,54,1,55,1,56,1,57,1,58,1,59,1,60,1,61,1,62,1,65,1,66,1,63,1,64,1,67,1,68,1,69,1,71,1,72,1,73,1,74,1,75,1,76,1,77,1,78,1,79,1,80,1,81,1,82,1,83,1,92,1,84,1,85,1,86,1,89,1,90,1,91,1,94,1,95,1,200,1,222,3,244,1,245,1","contacted,69,1,122,1","contacts,222,1","contagion,229,1","contain,58,1,88,1,115,1,122,1,148,1,205,1,215,1,226,1,244,1","contained,105,1,107,2,162,1,205,1,217,1","container,91,1,107,1,122,1,156,1,171,1,226,1","containers,171,1","containment,211,1","contains,26,1,73,1,89,1,102,1,105,1,122,1,126,1,137,1,157,1,160,1,206,1,244,1","contaminated,133,1","contamination,201,1","contemplations,214,1","contempoary,41,1","contemporaries,122,1,170,1","contemporarily,211,1","contemporary,5,8,9,8,26,1,48,1,60,1,67,1,80,1,88,2,99,1,102,1,107,1,122,1,155,1,160,1,170,2,171,1,175,1,211,1,184,2,238,1","contemptuous,47,1","content,142,1,138,1,145,1,146,1,147,2,171,1,211,1,200,3,262,1","contented,95,1","contents,46,1,122,1,149,1,172,1,174,1,200,1,247,1","contest,63,2,148,1,156,1","contested,4,1","contests,12,1,22,1","context,12,2,67,1,164,1,138,1,155,1,170,1,200,2,238,1,262,2","contexts,12,2","contextual,107,2","contextualize,152,1","contiguity,107,2","contiguous,262,1","continental,42,1","contingency,107,2","continually,152,1,222,1","continuation,133,1","continue,4,1,7,1,12,1,88,1,89,2,91,1,124,1,139,1,159,1,222,3,238,1","continued,12,1,242,1","continues,3,1,47,2,88,1,143,1,140,1,175,1,213,1,183,1,199,2,217,1","continuing,4,1","continuity,7,1,151,1","continuous,222,1","continuously,88,1,222,1","continuum,160,1","contour,29,1","contracts,262,1","contradicting,200,1","contradiction,172,1","contradictory,12,1,51,1,107,1,175,1","contrary,55,1","contrast,12,1,29,1,33,1,164,1,131,1,137,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1,175,1,222,1,245,1","contrasts,171,1,208,1","contribute,4,1,113,1,124,1,129,1,138,1,226,1","contributed,87,1,247,1","contribution,151,1,232,1","contributions,200,1,222,1","contributor,6,3,7,2,147,1,244,1,245,1","contributors,1,1,6,1,7,2,11,9,47,1","control,4,1,12,1,29,1,33,1,37,1,41,1,73,2,102,1,126,1,137,1,211,1,212,1,222,3,238,3,245,1","controlled,37,1,106,1","controlling,158,1,247,1","controls,95,2","controversy,88,1","conundrum,88,1","convenience,60,1","convention,12,1,33,1,137,1","conventional,12,2,85,2,122,1,150,1,153,1,156,1,200,1","conventions,12,1,33,1,41,1,69,1,73,1,81,2,85,1,91,1,94,1,160,1,244,1,245,1","convergence,12,1,26,1","convergent,262,1","converging,200,1","conversation,4,1,12,2,59,2,152,2,157,1,174,2,205,1,227,1,231,6","conversational,171,1","conversely,96,1,222,1","convert,158,1","converts,95,1","convey,222,2,262,3","conveyance,105,2","conveying,124,1","conveys,200,1","convicted,77,1","conviction,146,1","convictions,107,1","convince,21,1","convincing,142,1,161,1","convincingly,200,1","convoy,128,1","cooing,96,1","cook,121,1","cooked,138,1,236,1","cooking,107,1,121,1","cooks,222,1,236,1","cool,96,1,111,1,116,1,117,1","cooler,138,2","coolidge,52,1","coolness,96,1","cooly,204,1","cooperman,2,1,4,1,11,1,172,4,211,11,212,5,213,5,232,4","cooperman1,212,4","cooperman2,213,4","coordinate,125,1","coordinates,29,1","coordinator,163,1,184,1","coos,22,1","coover,167,1","cop,18,1,97,1,204,1","copies,10,1","coppertone,107,1","cops,93,1,42,1","copulated,92,1","copulating,262,1","copy,1,1,26,1,106,1,144,1,226,1","cord,200,1,208,1,262,1","cords,190,1","corduroy,106,1","core,146,2,171,1","corey,133,1","corn,132,1,146,1","corneas,59,1","cornelio,184,1,185,1,186,1,187,1,188,1,189,1,190,1,191,1,192,1,193,1,194,1","cornelius,41,1","cornell,88,1,211,1","corner,29,1,22,1,46,1,59,1,109,1,117,1,118,1,142,1,139,1,140,1,152,1","cornered,171,1,211,1","corners,95,1","cornflower,96,1","corporeal,20,1","corpses,24,1,205,1","corrals,30,1","correct,47,1,88,1,102,1,126,1,137,1,158,1,161,1,168,1","corrections,88,1","corrective,133,1","correctly,93,1","correlation,222,1","correlations,33,1","correspond,262,1","correspondence,12,1","corresponds,195,1","corridor,45,1,59,1,158,1","corridors,96,1,130,1","cortazar,12,1,262,1","cortez,175,1","cortland,166,1","cosmic,200,1","cosmopolitan,133,1","cosmos,203,5,204,4,262,1","cost,231,1","costly,133,1","costume,234,2","cote,213,1","cotton,76,1,107,2,202,1,242,1","cottonwood,49,1","couch,27,2,84,1,197,1","couched,52,1","cough,231,1","coughing,87,1","could,93,2,15,1,20,1,21,2,23,1,24,1,33,2,34,5,37,1,43,2,46,1,50,2,53,2,58,1,61,2,76,1,92,1,87,1,88,1,95,3,102,1,113,1,115,1,116,1,117,1,118,2,122,2,164,1,128,1,130,1,134,1,138,3,146,4,147,1,151,1,152,1,154,1,157,1,160,1,161,1,171,2,174,1,175,1,176,2,179,3,182,1,211,2,185,1,200,5,201,1,204,1,205,1,208,4,209,1,216,1,218,3,226,2,238,6,247,1,262,1","couldn,17,1,50,2,51,2,107,1,114,1,115,1,118,2,160,1,241,1,223,1,229,1","couleur,121,1,253,1","council,29,1,48,1,73,1,80,1,137,1,157,1,168,1","count,39,1,51,1,84,1,156,1,178,1,179,1,213,1,210,1,222,3","counted,117,1,178,2","counter,147,1,211,1,206,1,224,1","counterpoint,198,1","counters,241,1","counting,93,1,107,1,138,1,178,1,179,1,213,1","countless,71,1,146,1,195,1","country,4,3,26,1,102,1,105,1,148,1,175,1,205,1,206,1,224,1","countryside,133,1","counts,66,1,133,1,156,1","county,2,1,7,1,77,2,137,1,138,1","couple,17,2,47,1,96,1,224,1","coupled,205,1","couples,96,1","couplet,145,1","courageous,106,1","courbet,227,2","courier,145,1","course,4,3,12,1,70,1,21,1,33,1,47,1,50,1,86,1,88,1,99,1,106,1,107,1,122,1,133,1,151,3,153,1,160,2,172,1,182,1,222,1,226,1,238,2,262,1","coursing,59,1","courthouse,213,1","courting,150,1","cousin,103,1,203,1","cousins,16,2","cover,2,1,93,1,59,1,122,3,138,1,149,1,172,1,174,1,200,2,222,1,247,1","covered,86,1,96,1,101,1,117,3,222,1,238,1","covering,35,1,216,1","covers,36,1,45,1,105,1,171,1,215,1,214,1,262,1","cowgirl,204,1","crack,6,1,76,1,180,1","cracked,222,1","cracker,101,1","crackerjacks,223,1","crackers,220,1","cracking,196,1","cracks,107,1,117,1","cradles,84,1","craft,4,1,200,1,210,1","crafting,60,1,63,1,244,1","crafts,200,1","craggy,133,1","crags,177,1","cram,156,1","cramped,172,1","craning,116,1","crash,86,1,95,1,206,1","crashes,82,1,105,1","crashing,84,1,206,2,222,1","crated,122,1","crawl,242,1","crawled,22,1,234,1","crawling,181,1,185,1","crayon,262,2","crayons,230,2","crazy,93,3,83,1,87,1,106,2","creaking,174,1","cream,231,1","creamy,96,1","creased,115,1","creases,181,1","create,7,1,21,1,35,1,52,1,68,1,85,1,88,1,158,1,170,1,175,1,207,1,209,1,210,1,222,2","created,7,1,12,1,76,1,91,1,105,1,106,1,122,1,154,1,157,1,158,1,175,3,207,1,209,1,238,1","creates,4,1,105,1,158,1,160,1,175,1,199,1,205,1,210,1","creating,4,1,12,1,124,1,138,1,156,1,200,1,205,1","creation,47,1,175,1,195,1,200,1","creative,3,1,21,1,22,1,47,1,62,1,63,1,69,1,73,1,104,1,106,1,122,2,164,1,137,1,151,2,156,1,158,1,175,1,200,1,262,2","creatively,226,1","creativity,162,1","creators,200,1","creature,59,1,92,1,115,1","creatures,92,1,175,1","credibility,205,1","credible,133,1","credits,17,1","credo,133,1,175,1","creeley,47,3","creep,176,1","creeps,69,1","creepy,22,1","crept,82,1,84,1","crest,208,1","crested,114,1","crib,216,1","cribbing,133,1","crickets,130,1","cried,34,1,79,1","cries,133,1","crimes,238,1","criminals,195,1","crimson,216,1","cringed,50,1","crippled,156,1","crises,211,1","crisis,148,1","crispness,107,1","crisscrossed,142,1","criteria,12,1,102,1,126,1,137,1","critic,12,1,21,1,26,1,33,1,68,1,126,1,245,1","critical,3,1,12,3,93,1,41,1,60,1,91,1,122,1,133,1,184,2,200,1,262,1","criticism,12,1,122,1,142,1,174,1","critics,4,1,18,1,122,1,133,1,167,1,200,1","critique,105,2,169,1,171,1,211,1","critiqued,160,1","critiques,199,1,200,1","crooked,173,1","cross,12,1,39,1,36,1,127,2,178,1,223,1","crossed,39,1,115,2,132,3,222,1","crosses,46,1","crosshairstighten,133,1","crossing,42,1,113,1,148,1,153,1,154,1,158,1,160,1,162,1","crossover,12,1","crouched,115,1,138,1","crow,4,1,143,1,178,1","crowd,22,1,176,1","crowded,40,1,172,1","crowding,95,1","crown,77,1,130,1,194,1","crucial,47,1,88,2,107,1,160,1,218,1","crudeness,227,1","cruel,114,1,146,1,171,1","cruising,231,1","crumbled,59,1","crumbling,177,1,208,1","crumbs,27,1,70,1","crush,22,1,198,1","crushed,71,1,105,3,203,1","crushing,171,1,175,1","crux,159,1,200,3,262,1","cruz,104,1","cry,73,1,117,1,123,1,144,1,175,1,181,1,210,1","crying,93,1,151,1,200,1,262,5","cryogenic,175,1","crystals,208,1","cs,13,4,14,4,15,4,19,4","ct,163,2","cu,48,1","cuban,141,1","cubism,262,1","cubist,200,1,262,1","cubists,262,1","cue,4,1,47,1,59,1,69,1,149,1","cuejournal,69,1","cuffs,59,1,146,1","culled,200,1","culminates,199,1","culminating,210,1","culmination,200,1","cultivate,52,1,60,1,63,1,244,1","cultivated,93,1","cultivating,228,1","cultural,12,3,29,1,21,1,26,1,33,1,68,1,105,3,142,1,147,1,175,1,195,3,199,1,200,1,245,1","culture,91,1,129,1,157,1,171,1,200,1,224,1,226,1","cumulus,18,1","cunning,46,1,222,1","cup,63,1,85,1,95,1,125,1,138,1,157,1,212,1","cups,92,1,95,1,218,1","curb,2,1,6,1,36,4","cure,24,1","curiosity,200,1","curious,90,1,156,1,191,1,200,2,205,1","curl,92,1,173,1","curled,17,1,59,1,203,1","curlers,93,1","curling,111,1","curls,22,1,38,1,74,1","curly,22,2","current,10,1,47,2,56,1,74,1,114,1,150,1,169,1,175,2,229,1","currently,35,1,44,1,48,1,62,1,80,2,87,1,91,1,108,1,122,1,164,1,150,1,169,1,171,1,172,1,174,1,211,1,200,1,209,1,238,2,262,1","currents,92,1","curriculum,74,1","curtailment,64,1","curtain,93,1,45,1,135,1,202,1","curtains,45,1,111,1,125,2,130,1,132,1,177,1","curvature,29,1,244,1","curve,40,1,59,1,105,1,143,1,141,1,144,1,154,1,194,1","curved,114,1","curves,186,1","curving,139,1,194,1","cush,93,1","cushion,213,1","custody,81,1","customs,175,1","cut,93,10,20,1,50,1,82,1,107,1,156,1,174,1,205,1,224,1,236,1,238,1,262,1","cutbank,69,1","cutlery,229,1","cuts,52,1,60,1,63,1,238,1,244,1","cutting,52,1,59,1,96,1","cyber,133,1","cycles—can,146,1","cymbals,132,1","cymbelina,222,2","cynic,133,1","cynical,47,1","cynthia,133,1,238,1","cyril,105,1","czech,85,1","da,184,1","dab,43,1,46,1","dabs,185,2","dad,39,2,83,1,236,1","dada,4,1","daddy,2,1,7,1,60,1,61,2,71,1,153,1","daemon,33,1,245,1","daffodils,117,1","daggers,79,1","dago,93,1","dahlias,228,1","daily,105,1,210,2","dainty,220,1","dairy,35,1","dais,241,1","daisies,200,1,262,5","daisy,18,1","dale,2,1,6,1,11,1,47,1,48,3","dam,67,1,76,2","damage,100,1","damages,175,1","dame,69,1","damn,28,1,42,1,95,1,169,1,201,1","damp,98,1,107,1","dan,2,1,11,1,172,6,173,9","dana,99,1","dance,61,2,92,1,97,1,138,1,147,1,170,1,188,1,193,1,200,1,229,1","danced,142,1","dancefloor,229,1","dancer,204,1","dancers,226,1","dances,82,1,181,1","dancing,107,1,180,1,188,6","dandelions,66,1","danger,107,1,146,2,210,1,230,1","dangerous,208,1,210,1","dangers,4,1","dangles,31,1","dangling,79,1,92,1","daniel,2,2,11,2,93,1,88,1,106,12,174,10,176,9,177,9","danielle,2,1,11,1,155,10","dante,157,1","daring,105,1","dark,39,1,26,1,38,1,53,2,64,1,85,1,105,1,115,1,132,1,136,1,138,1,153,1,163,1,175,2,178,4,205,2,208,1,222,1,236,1,262,1","darkened,45,2,53,1,98,1","darker,110,2,115,1,140,1","darkly,62,1","darkness,40,2,53,1,105,1,116,2,131,1,146,1,148,1,173,2,201,1,206,1","darling,93,1","darn,197,1","darting,115,1","daryl,2,1,6,2,11,1,28,1,26,2,30,1,244,1","darylscrog,26,1","dash,95,1,220,1","dashboard,138,1","dashed,220,1","data,151,1","date,137,1,175,1,199,1,200,1","dated,38,1","dating,98,1","datsun,203,1","daughter,46,1,52,1,77,1,90,2,118,5,128,1,138,1,175,2","daunt,222,1","david,4,1,93,1,47,2,154,1,172,1","davis,4,1,164,1,157,2,199,3","dawn,43,1,64,1,97,1,138,3,146,1,184,1,185,1,186,1,187,1,188,1,189,1,190,1,191,1,192,1,193,1,194,1","dawning,111,1","day,2,1,15,1,16,1,33,2,43,1,45,1,47,1,50,1,53,1,60,1,61,1,67,1,71,1,72,1,77,1,82,2,83,1,92,1,87,2,94,1,97,3,111,5,115,1,118,1,122,1,128,1,142,1,134,1,136,1,146,1,151,2,170,1,190,1,200,1,201,1,203,1,204,1,208,1,210,5,218,1,228,1,230,1,245,1","daydreams,22,1","daylight,132,1","days,12,1,93,1,33,1,46,1,53,1,55,1,68,1,82,1,96,1,105,1,125,1,142,1,138,1,152,1,171,1,182,1,200,1,205,1,241,1,229,1","dazed,42,1,153,1","dazzle,208,1","dazzled,153,1","dazzling,170,1","dazzlingly,123,1","dc,13,1","dd,16,4,17,4,18,4,22,4","dead,2,1,6,1,12,1,39,2,17,1,95,1,96,1,132,1,138,1,175,1,185,1,204,1,224,2","deadlines,10,1","deadly,59,1","deaf,45,1,132,1","deal,2,1,6,1,21,1,43,1,67,1,68,2,151,1","dealing,43,1,200,1","deals,222,1","dealt,57,1,180,1","dean,107,1","dear,2,3,7,3,82,2,83,1,84,1,117,1,151,1,175,2,229,1","death,29,1,22,1,46,1,51,1,67,1,82,1,96,3,138,1,146,2,175,3,182,1,200,2,205,1,241,1,222,2,235,1,236,3","deaths,175,1","debacle,95,1","debased,202,1","debatable,4,1","debate,12,1,27,1,88,2,107,1","debating,102,1","debris,133,1","debt,202,1","debut,133,1","decadent,12,1","decadently,12,1","decades,43,1,122,2,237,1","decay,146,2","deceit,47,1","december,156,1,175,1","decent,119,1,151,1","deceptive,58,1,171,1","deceptively,171,2","decide,4,1,27,2,21,1,72,1,113,1,158,1","decidedly,41,1,205,1","decides,37,1","deciding,210,1","decision,118,1,130,1,132,1,175,1,226,1","decisions,231,1","decisiveness,218,1","deck,52,1,105,1,195,1","declaration,157,1,211,1","decocting,158,1,207,1,209,1","deconstruction,4,1","deconstructive,2,1,7,1,86,1","deconstructs,200,1","decoquere,158,1","decorated,262,1","decorative,227,1","decoy,105,1,208,1","decrepit,179,1","dedans,121,1,251,5","dedicated,4,1,84,2","dedicating,6,1","deemed,12,1","deep,19,1,46,1,95,2,98,1,103,1,106,1,115,5,138,1,156,1,171,2,238,1","deepen,146,1","deepening,92,1","deepens,51,1","deeper,92,1,88,1,114,1,137,1,230,1","deeply,4,1,88,1,122,1,179,1,218,1","deer,84,1,136,1,177,1,205,2","def,4,1","defeat,69,1","defense,88,1","defiance,158,1","defiantly,27,1","deficiencies,175,1","deficiency,163,1","defied,25,1","defies,142,1,174,1","defiled,222,1","definable,208,1","define,33,2,35,2,47,1,73,2,88,2,91,1,133,2,245,2","defined,4,1,12,1,65,1,200,1","defines,12,1,160,1,222,1","defining,12,1,155,1,161,1,200,1,205,1","definite,12,1","definitely,93,2,37,1,94,1,154,1","definition,12,2,49,1,69,1,73,1,81,1,91,2,94,1,164,1,124,1,137,1,158,3,160,1,174,1,206,1,244,1","definitional,211,1","definitions,12,1,29,1,47,2,88,2,122,1,124,1,155,1,160,1,174,2","definitive,151,1,157,1,206,1,262,1","deft,133,1,200,1","deftly,105,1","defunct,229,1","defy,171,1","defying,107,1","deg,138,2","degeneratesinto,230,1","degree,17,1,87,1,137,1,154,1,199,1,226,1,262,1","degrees,171,1","deity,212,1","del,29,1,26,1,33,3,80,1,85,1,156,1,163,1","delay,10,1,110,1","deletion,146,19","deletions,4,1","deliberate,92,1","deliberately,158,1","deliberating,47,1","delicacy,62,1,148,1","delicate,40,1,59,1,109,1,210,1","delicately,123,1","delicious,12,1,213,1,217,1,218,2","deliciously,122,1,170,1","delight,32,1,146,1,170,1","delighted,47,1,160,1","delightful,200,1","delightfully,174,1","delineate,124,1","deliriously,201,1","deliver,127,1,200,1","delphic,211,1","deludes,207,1","delusion,81,1","delusions,243,5","delve,35,1,244,1","dem,78,1","demand,88,1,107,1,147,1,156,1,213,1,221,1","demanded,195,1","demanding,3,1","demands,4,1,26,1,60,1,62,1,94,1,107,2,160,1,222,1,238,4","demeanor,22,3","demeanors,22,1","demise,32,1,175,2,205,1","demiurge,133,6","demo,137,1","democracy,12,1,29,1,33,1,245,1","democratic,12,2,29,1,33,1,245,1","demons,238,1","demonstrate,12,1","demonstrated,226,1","demonstrates,88,1,200,1,238,1","demonstration,107,1","den,203,1","denial,132,1,133,1","denied—i,146,1","denise,2,1,6,2,11,1,12,1,16,2,17,1,18,1,22,1,69,1,73,2,81,1,91,1,94,1,244,1","dennis,222,2","denote,158,1,205,1","denoting,158,1","denounce,130,1","dense,4,1,110,1,166,1,210,1","density,110,1,151,1,154,1,156,1","dental,205,1","dented,72,1,95,1","denver,10,2,13,1,44,1,48,6,60,1,63,1,68,1,80,3,108,1,164,1,124,1,134,1,155,1,158,2,161,1,169,1,211,1,200,1,229,1","depart,175,1,214,1","departing,200,1","department,10,1","departs,200,1","departure,105,1,133,1","depend,146,2","depended,160,1,229,1","dependence,146,1","dependent,174,1","depending,10,1","depends,37,1,200,1,244,1","depict,47,1,222,1","depicting,222,1","depictions,99,1","depicts,222,1","deposits,222,1","depredated,133,1","depressor,236,1","deprived,36,1","depth,4,1,12,2,51,1,170,1,199,1,232,1","depths,70,1,35,1,92,2,179,1","derail,174,1","derided,201,1","derivative,29,1","derived,122,1,137,1,154,1,157,1,160,1,169,1","derives,201,1","derrida,226,1","des,186,5","descartes,33,1,245,1","descend,146,1","descendant,33,1,245,1","descendants,240,1","descended,92,1,175,1","descendents,130,1","descending,92,1,143,1,138,1","descends,175,1,210,1","descent,159,1,213,1","describe,16,1,130,1,151,1,219,5,222,1,224,1","described,198,1","describes,158,1,200,1,222,3,244,2","describing,142,1,175,1,202,1,222,1","description,47,1,88,1,94,1,134,1,146,1,152,1,222,2,244,1","descriptions,221,1,222,1","descriptive,151,1","descriptively,28,1","descriptors,163,1","desert,2,1,6,1,33,2,34,5,133,1,215,1,224,1,231,1","deserted,83,1","desertscapes,133,1","deserve,12,1,123,1","deserves,10,1,129,1,231,1","design,1,2,3,8,4,8,6,2,7,2,10,8,11,8,33,1,47,1,80,1,157,8,167,8,170,8,171,8,172,8,173,8,174,8,175,8,176,8,177,8,178,8,179,8,180,8,181,8,182,8,202,8,207,8,211,8,212,8,213,8,183,8,184,8,185,8,186,8,187,8,188,8,189,8,190,8,191,8,192,8,193,8,194,8,195,8,196,8,197,8,198,8,199,8,200,8,201,8,203,8,204,8,205,8,206,8,208,8,209,8,210,8,215,8,216,8,217,8,218,8,214,8,239,8,240,8,241,8,242,8,219,8,220,8,221,8,222,8,223,8,224,8,225,8,226,8,227,8,228,8,229,8,230,8,231,8,232,8,233,8,234,8,235,8,236,8,237,8,238,8,243,8,247,8","designate,33,1,245,1","designated,10,1,226,1","designating,102,1,126,1,137,1","designation,154,1","designations,126,1,154,1,160,1,163,1,195,1,221,1,237,1","designator,158,3","designed,6,1,8,4,21,1,170,1,200,1,262,1","designer,47,1,122,1","designs,200,1","desirable,154,1,157,1,160,1","desire,21,1,22,2,58,2,62,1,63,1,107,3,110,1,138,2,158,1,173,1,207,1,200,1,226,1,227,1,228,1,231,1","desires,105,1,171,1","desiring,194,1","desirous,178,1","desists,133,1","desk,87,1,138,1","despairer,146,2","desparate,204,1","desperado,83,1","desperate,73,1,133,1","desperately,45,1,136,1","despite,22,1,34,1,105,1,118,1,123,1,132,1,148,1,213,1,184,1,185,1,199,1,204,1,210,1,222,1","dessert,17,1,231,1","destabilized,195,1","destined,186,1","destiny,22,1,43,1,222,1","destitute,95,1","destroy,43,1,170,1","destroys,222,1","destruction,7,1,47,1,67,1,175,1","destructive,175,1,222,1,262,1","detached,205,1","detaches,188,1","detail,53,2,67,1,95,1,107,2,122,1,142,1,154,1,156,1,211,1,199,1,205,1,224,1","detailed,200,1,222,1","details,88,1,142,1,205,2,222,1","detective,45,1,169,1","detectives,28,1","detention,22,1","determine,73,1,105,1","determined,10,1,12,1,119,1","detestable,175,1","detritus,200,2","devastating,169,1","devastation,162,1","develop,47,1,199,1,238,1","developed,6,1,131,1,262,1","developing,12,1","development,12,4,69,1,88,1,95,1,106,1,147,1,151,1,211,1","developments,12,1","deviant,83,1","device,172,1,180,1,206,1,262,1","devices,105,1,142,1,170,1,171,1,175,1,180,1,262,3","devil,39,2","devise,262,1","devised,25,1","devoid,175,1,195,1","devolved,137,1","devote,210,1","devoted,4,1,12,1,47,2","devotees,122,1","devoured,204,1,222,1","dexterity,190,1","dia,80,1","diachronic,12,1","diachronically,105,1","diagonal,141,1","diagram,33,1,156,1","diagrammed,37,1","dialectic,84,1,160,1","dialectical,4,1,152,1,154,1,159,1,160,1","dialogic,200,2","dialogical,12,2,88,1","dialogism,200,1","dialogs,221,1","dialogue,4,2,7,1,62,1,161,1,184,1","diamond,85,1","diamonds,122,1,220,1","diapers,101,1","diary,106,1,175,2,222,1","diastole,72,1","dibickel,95,1","dice,179,1","dichten,52,1","dick,87,1,219,1","dickensian,160,1","dickin,93,1","dickinson,238,1","dictate,175,1","dictates,33,1,168,1","dictatorship,224,1","diction,170,1","dictionary,212,5,200,1","did,39,1,93,3,17,1,21,1,22,1,26,2,37,2,38,1,47,1,82,1,92,2,96,1,97,1,116,1,120,2,122,1,130,4,138,1,146,1,150,2,156,1,157,1,170,1,176,1,202,1,191,1,204,1,216,1,240,1,242,1,220,1,231,1,247,1","didactic,175,1","didacticism,157,1","didn,27,1,93,4,17,1,18,1,21,5,22,1,82,2,95,1,114,2,119,1,121,1,148,1,175,1,180,1,204,2,210,1,215,1,222,1,224,1,228,1,233,1","die,118,1,146,2,176,1,196,1,222,1","died,25,1,77,1,115,1,175,2","diego,142,1","dies,171,1,175,1","diet,43,1,132,1,195,1","diferance,142,1","differ,175,1","difference,12,1,13,1,16,2,33,1,37,1,41,1,52,1,60,1,69,1,73,3,81,1,91,1,94,1,107,1,119,2,146,2,149,1,154,2,160,2,163,2,170,1,175,2,180,2,200,2,218,1,244,1,245,1,247,1","differences,93,1,85,1,105,1,164,1,124,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1,172,1,174,1,175,1,247,1","different,4,1,12,3,49,1,65,2,68,1,81,1,92,1,88,1,105,1,107,3,113,3,146,1,147,1,148,1,149,1,151,2,152,1,154,1,155,1,157,1,158,1,160,1,172,2,174,1,175,2,177,1,207,3,212,1,185,1,186,1,191,1,199,1,229,1","differentiate,16,1,41,2,69,2,73,3,81,2,85,1,91,2,94,2,244,2","differentiation,12,3,102,1,126,1,137,2","differently,12,2","differing,161,1","differs,175,1","difficult,7,2,26,1,36,1,47,2,161,1,182,1","difficulties,78,1,171,1","difficulty,154,2,171,1,175,1","diffuse,221,1","dig,66,1,95,1,130,1","digest,175,1","digested,199,1","digestive,192,1","diggers,175,1","digit,2,1,7,1,89,1","digital,4,1,122,2,132,1,200,2","digitalism,208,1","dignity,222,1","digressions,221,1","digs,46,2,205,1","dilate,146,1","dilation,122,2,146,1","dilemmas,47,1,142,1","diluted,96,1","dim,206,1,208,1","dimension,3,1,43,1,175,1","dimensional,107,1,159,1","dimensions,262,1","dimensionsof,88,1","dimes,132,1","diminish,124,1","dimly,45,1","dimmer,208,1","din,133,1","diner,148,1","ding,133,1","dingy,175,1","dining,59,2","dinner,2,1,7,1,42,1,44,1,59,2,62,1,116,1,244,1","dino,62,1","dinty,47,1","dip,205,1","diplomats,24,1","dipped,59,1","dirct,37,1","direct,21,2,49,1,159,1,171,1,211,1,244,1","directed,162,1,209,1","direction,98,1,153,1,238,2","directions,52,1,73,1,102,1,126,1,137,1,175,1,200,1,206,1,215,1,238,2","directly,107,1,159,1,170,1,175,1,200,1,210,1","director,21,1,33,1,82,1,153,1,184,1","directors,83,1","directs,222,1","dirt,53,1,84,1,86,1,96,1,105,3,204,1","dirty,105,1,138,1,176,1,197,1","dis,88,1,170,1","disagree,33,1,62,1,73,1,244,1,245,1","disappear,43,1,139,1,239,1,242,1,230,1","disappearance,262,1","disappeared,118,1","disappearing,26,2,33,1,49,3,245,1","disappears,62,1,139,1,210,1","disappering,49,1","disappointment,200,1","disarms,69,1","disarray,57,1,227,1","disaster,63,1,96,1,111,2,158,1","disastrous,77,1","discern,149,1","discernible,199,1,205,1","discerning,154,1","discerns,107,1","disciples,146,1","discipline,50,1,142,1,147,1,231,1","disclaimer,169,2","disclose,196,2,222,1","disclosure,133,1","discography,106,1","discomfort,154,2","discomforts,154,1,160,1,163,1","disconcerting,107,1","disconnect,107,1","discontinuity,52,1,60,1,63,1,244,1","discourse,12,1,150,1,171,1,211,1,200,1,238,1","discourses,88,1,105,1,150,1","discover,12,1,43,2,73,1,75,1,88,1,138,1,150,1","discovered,87,1,122,1,161,1,222,2","discoverers,222,1","discoveries,211,1","discovering,124,1,170,1","discovers,70,1","discovery,100,1,175,1,262,1","discredited,208,1","discreet,238,2","discrete,96,1","discs,132,1","discursive,211,2,200,1","discuss,10,2,160,1","discussed,200,1","discusses,172,1,174,1,180,1,247,1","discussing,4,1,67,1,83,1,122,1","discussion,4,4,6,3,7,5,10,1,12,1,47,4,88,4,174,1","discussions,124,2","disease,238,1","disembodied,164,1","disenchanted,131,1","disfigured,222,1","disfiguring,222,1","disguise,187,1","disguised,128,1","dish,95,1,109,1","dished,105,1","disinclined,122,1","disintegrates,175,1","disinterest,133,1","disjoint,158,2,207,2,209,2","disjointed,88,1,142,1","disjointedness,158,1,207,1,209,1","disjunction,107,1","disjunctionexhibited,88,1","disjunctive,105,1,148,1,152,2","disjunctures,160,1","disk,208,1","dislike,163,1","dislocate,12,1","dismantle,88,1","dismantled,175,1","disney,36,1","disobey,206,1","disorder,47,1,107,1","disorganized,114,1","disowned,203,1","disparate,85,1,170,1,262,2","dispassion,92,1","dispense,73,1,107,1","disperse,122,1","dispersing,208,1","displacement,88,1,210,1","display,218,2","displayed,226,1","displeasures,207,1","disposable,72,1","disposed,230,1","disregard,81,1,170,1","disrupt,12,2,88,2","disrupted,154,1,155,1,160,1","disruption,107,1","disruptions,4,1,12,1,137,1","dissatisfied,92,1","dissent,88,1","dissertation,65,1","dissolution,154,1,160,1,169,1,210,1","dissolve,27,1,154,1,160,1,169,2,178,1,210,1,226,1","dissolves,203,1,222,1","dissolving,1,1,137,1,154,1,157,1,160,1,169,1","dissonance,156,1","distance,21,1,26,1,33,1,40,1,45,1,49,1,53,1,68,1,76,1,107,1,109,1,116,1,118,1,156,1,161,1,171,1,176,1,213,1,186,1,204,1,208,2,210,1,239,7,221,1,222,1,245,1","distanced,199,1","distant,95,1,116,1,138,1,171,1,206,1,210,1,222,2","distillation,33,3,156,1","distilled,33,2","distilment,207,1","distinct,62,1,107,1,115,1,142,1,133,1,244,1","distinction,49,1,73,1,119,1,151,1,154,1,157,1,160,1,161,2,163,1,211,2","distinctions,12,1,47,1,56,1,60,1,88,1,124,2,154,2,160,10,169,3,172,1","distinctive,50,1,200,1","distinctly,29,1,244,1","distinguish,12,1,69,1,102,1,124,1,126,1,137,1,157,2,163,1,170,1,200,1","distinguished,151,1","distinguishing,157,1","distorting,156,1","district,203,1","distrust,4,1,160,1","distrusted,131,1","disturb,192,1","disturbing,4,1,88,1,105,1","disuse,72,1","ditch,140,1","dithyrambic,151,1","dive,85,1,150,1","divergent,200,2,262,1","diverging,200,1","diverse,4,1,12,1,47,1","diversified,262,1","diversity,210,1","divide,4,6,161,1","divided,4,1,54,1,160,1,200,1","divides,4,1,13,1","divine,178,1,224,1","divined,133,1","divinely,175,1","diving,202,1","divisible,95,1","division,4,1,54,1,122,1,146,1,262,1","divisions,4,1,137,1,154,1,160,1,169,1","divisive,4,1","divorced,96,1,160,1","divvied,204,1","dizzy,204,1","dizzying,122,1","dna,175,2","docile,79,2","dock,262,1","doctor,16,2,125,2,212,1,236,2","doctoral,158,1","doctors,93,1,66,1","doctress,204,1","document,1,12,122,1,251,4,252,4,253,4","documentation,157,1","documented,205,1","documenting,208,1,227,1","documents,175,1,205,1,221,1","doesn,42,1,65,2,92,1,88,1,95,1,99,1,102,1,122,1,126,1,137,1,138,1,147,1,148,1,149,1,153,1,154,1,155,1,156,1,158,1,160,1,162,1,178,1,181,1,184,1,185,1,206,6,222,3","dog,28,1,25,1,26,1,49,1,75,1,81,1,83,1,107,1,114,1,123,1,170,1,212,2,210,1,233,12,262,2","dogma,129,1,154,1,157,1,160,1","dogs,83,2,172,1","doin,93,1","doing,2,1,6,1,27,1,93,1,22,1,24,1,34,1,62,1,65,1,73,1,116,1,156,1,158,1,160,1,175,1,206,1,242,1,238,1,244,1","doll,60,2,118,2,242,5,235,6,262,2","dollar,157,1,200,1","dolls,235,1,243,5","dolphin,56,1","domain,30,1,92,1,133,1","dome,116,1,204,2","domestic,156,1","dominance,195,1","dominant,41,1,62,1,171,1,244,1","dominate,122,1","domination,12,1,29,2,33,1,244,1,245,1","donald,12,1","donated,122,1","donna,133,1","donne,210,1","donned,202,1","donnie,38,4","doodles,22,1","door,70,1,93,1,28,1,15,1,38,1,42,2,45,1,46,3,50,1,59,1,66,1,63,1,72,1,95,1,98,1,117,1,130,1,132,1,138,1,146,1,151,1,154,1,156,1,202,1,222,1","doorframe,96,2","doorknob,223,1","doors,62,1,65,1,116,1,132,1,146,1,208,2,222,1,244,1","doorway,40,1,53,1,224,1","doorways,96,1","doped,95,1","doric,213,2","doris,22,1","dorothy,152,1,154,1,159,1,160,1","dorsal,19,1","dose,95,1","doses,166,1","doso,99,1","dot,33,3,206,1,208,2","dots,85,1","dotted,64,1","dotting,205,1","double,1,6,2,4,4,6,5,12,6,5,7,5,8,12,9,12,10,12,11,5,12,7,33,1,47,2,48,4,67,1,78,1,80,4,88,3,122,4,164,1,149,1,150,2,151,2,154,2,156,1,157,3,160,2,161,1,163,1,166,1,168,1,200,7,203,1,244,4,245,4,246,4,248,4,249,4,250,4","doubled,95,1","doubleroom,88,1","doubling,12,1","doubly,107,1","doubt,21,1,120,1,132,1,138,1,146,3,170,1,206,1","doubting,171,1","doubtless,146,1","doubts,199,1","dougherty,1,1,2,2,6,2,11,2,12,1,40,1,41,2,42,1,62,2,88,1,142,13,171,5,244,2","douglas,200,2","doused,95,1","douses,183,1","dove,213,1","down,13,3,27,1,93,1,29,1,20,1,22,1,33,1,34,3,37,1,38,1,42,2,45,2,46,1,49,2,53,3,59,1,60,2,61,1,62,4,65,6,63,1,76,2,79,1,82,1,83,2,92,3,84,1,95,5,96,1,97,1,98,1,105,1,107,3,109,3,110,1,114,2,115,3,117,1,118,2,143,1,125,5,128,2,129,1,142,1,135,1,138,4,145,1,146,2,149,2,153,1,158,2,172,1,177,3,207,1,193,1,196,2,197,1,199,1,203,1,204,1,206,3,209,1,210,1,216,1,242,1,222,4,224,3,226,1,230,1,231,2,244,4,247,1,262,1","downstairs,46,1,132,1","downstream,76,1","downy,61,1","dowses,160,1","doxsee,210,5","dozen,32,1,146,1,185,1","dozing,42,1","dr,1,7,6,7,7,9,12,6,13,8,27,8,39,8,70,9,93,9,28,8,29,8,14,8,15,8,16,8,17,8,18,9,19,8,20,8,21,8,22,8,23,8,24,8,25,8,26,8,30,8,31,8,32,8,33,8,34,8,35,8,36,8,37,8,38,8,40,8,41,8,42,8,43,8,44,8,45,8,46,8,47,9,48,5,49,8,50,8,51,8,52,8,53,9,54,9,55,9,56,9,57,9,58,9,59,9,60,9,61,9,62,9,65,9,66,9,63,9,64,9,67,9,68,9,69,9,71,9,72,9,73,9,74,9,75,9,76,9,77,9,78,9,79,9,80,5,81,9,82,9,83,9,92,9,84,9,85,9,86,9,89,9,90,9,91,9,94,9,95,9,113,1,124,1,129,1,229,1,244,5,245,4","draft,68,1","drafted,122,2","drafts,122,3,151,5","drag,2,1,6,1,93,1,22,8,45,1,161,1","dragged,37,1","dragging,95,1,262,1","dragon,175,1","dragonfly,247,1","drags,98,1","drain,75,1","drained,137,1","drains,141,1","drake,175,1","drama,4,1,28,1,47,1","dramas,172,1","dramatize,88,1","drank,33,1,245,1","drape,103,1","draping,133,1","draw,19,2,146,1,158,2","drawer,66,1","drawing,29,1,64,1,80,1,95,1,105,1","drawings,121,1,167,1","drawn,3,1,32,1,33,1,92,1,133,1,154,1,184,1","draws,37,1,98,1,149,1,175,1","dread,65,1","dreaded,172,1","dreadful,201,1","dream,4,1,12,1,22,2,26,2,38,1,73,1,96,1,114,1,138,4,140,1,147,1,170,1,175,6,193,2,199,3,224,1,226,1,260,1,261,4","dreamed,12,1","dreaming,20,1,32,1,132,1,171,1,214,1","dreams,37,1,38,1,44,1,62,1,71,1,92,1,164,1,140,1,147,2,175,4,204,1,210,3,215,1,213,2,244,1,262,1","dreamscapes,67,1","dreamy,34,1,210,1","dredging,49,1","dress,34,1,98,1,138,1,140,1,148,1,202,1,193,1,242,1","dressed,43,1,97,1,204,1,240,2","dresses,188,1","drew,115,1,204,1","drift,213,1","drifted,107,1","drifting,74,1,262,1","drifts,206,1","drink,43,1,84,1,97,1,130,1,177,1","drinking,42,1,82,1,83,1,203,1,228,1","drinks,218,1","drive,93,1,30,1,37,1,38,1,83,1,95,2,105,4,138,2,168,1,171,1,180,2,205,1,206,3","driveby,42,1","driven,27,1,41,1,62,1,127,1,161,1,170,1,201,1,226,1,244,1","driver,95,1,143,1","drivers,146,1","drives,77,1,88,1,105,2","driveway,93,1,140,1","driveways,30,1","driving,17,1,42,1,168,1,175,1,206,1,231,1","drizzled,83,1","drone,95,1","drop,95,1,100,1,215,1","droplets,176,1","dropout,41,1,175,1","dropped,34,1,40,1,46,1,68,1,172,1,204,1","dropping,140,1","drops,98,1,132,1,138,1,222,1","drove,17,1,203,1","droves,176,1","drowning,205,2","drowsy,114,1","drucker,51,1","drug,133,1,175,1,202,1","drugged,95,7","drum,86,1,98,1","drumming,42,1","drunk,95,1","drunken,93,1,33,1,215,1,245,1","drunkenboat,161,2","dry,64,1,86,1,132,1","drying,97,1","ds,28,4,26,4,30,4","du,121,1,184,1,251,1","dub,161,1","dubbed,161,1,174,1","dubious,133,1","duck,70,1,227,1","duckling,200,1","ducornet,2,1,11,1,167,10,254,5,255,5,256,5,257,5,258,5,259,5,260,5,261,5","ducornet1,255,4","ducornet2,254,4","ducornet3,256,4","ducornet4,257,4","ducornet5,258,4","ducornet6,259,4","ducornet7,260,4","ducornet8,261,4","dude,106,1,201,1","due,16,1,78,1,122,1,150,1,201,1","duende,33,5,245,2","duffle,203,1","dug,98,1,106,1,107,1,202,1,226,1","duhamel,2,1,6,2,11,1,12,1,16,2,17,1,18,1,22,1,69,1,73,2,81,1,91,1,94,1,244,1","dull,51,1","duller,219,1","dumb,93,1,92,1","dump,17,1,107,1,203,1","dumpster,66,1,98,1","duncan,88,1","dunce,181,1","dunes,107,1","dunham,2,1,4,1,11,1,97,9,98,9,99,10,148,3,153,1,154,3,156,1,158,3,160,4,162,3","dunhamhave,88,1","durand,2,1,11,1,208,5,209,10","durand1,208,4","duras,121,1","durations,211,1","duress,77,1","during,10,2,122,1,164,1,128,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1,171,1,175,1,193,1,196,1,200,2,205,1,222,1","dust,38,1,178,2,242,1","dustclouds,64,1","dusty,42,1","dutton,2,1,11,1,155,10","duty,109,1,112,1,192,1","dwell,238,1","dwellers,43,1","dwelling,238,5","dwells,200,1,238,1","dwelt,203,1","dying,39,1,77,1,138,1,146,2,235,1","dylan,170,1,220,1","dynamic,58,1,132,1,137,1,201,1","dysfunction,107,1","eacute,10,2,12,1,22,1,90,1,121,1,142,1,134,1,137,1,157,1,184,6,223,2,252,1","eady,41,1","eager,77,1","eagles,103,1","ear,93,1,29,1,56,1,58,1,90,1,99,1,107,2,120,1,146,1,161,1,170,1,178,2,210,1","earl,12,1","earlier,77,1,105,1,142,1,210,1,222,3,226,1","earliest,88,1,122,1,146,1,157,1","earlobe,84,1","early,12,1,26,1,41,2,88,1,91,1,111,1,122,1,142,1,133,1,144,1,146,1,148,1,171,1,175,1,208,1","earned,96,1","earns,221,1","earrings,22,1","ears,132,1,202,1,206,1,214,1,238,1","earth,23,1,40,1,86,1,88,2,110,3,146,2,175,2,177,1,178,1,185,2,193,1,205,1,222,1,226,1","easier,91,1","easily,43,1,62,1,95,1,102,1,122,1,158,1","east,96,1,117,1,175,1,203,1","eastern,151,1","easting,223,1","easy,22,1,92,1,91,1,95,1,111,2,114,1,146,4,147,1,175,1,177,1,216,1","eat,27,4,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1","emulous,146,1","emulsion,138,1","emunctory,223,1","enable,113,1,124,1,129,1,148,1,153,1,154,2,156,1,158,1,160,2,162,1,169,2","enabled,164,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1","enables,95,1,154,1,155,1,160,1,170,1","enabling,210,1","enact,154,1,155,1,160,1","enactment,107,1","encapsulating,210,1","encased,109,1,230,1","encasing,230,1","encaustic,204,1","encircle,217,1","encke,2,1,11,1,195,10,196,5,197,5,198,5","encke1,196,4","encke2,197,4","encke3,198,4","encoding,122,1","encompasses,129,1","encompassing,210,1","encounter,12,1,28,1,200,1,262,1","encountered,26,1","encountering,244,1","encounters,73,1,152,1,175,1","encourage,10,1,200,1","encourages,151,1,200,1","encrier,184,1","encroach,91,1,124,1","encyclopedic,169,1,226,1","end,4,1,13,3,40,1,57,1,65,3,62,3,68,2,73,3,92,1,97,1,107,3,118,1,128,1,133,3,138,1,146,6,151,2,156,1,157,1,158,2,165,2,171,1,173,1,175,4,208,3,215,1,214,1,239,1,222,1,224,1,226,1,227,1,244,3,262,1","endangered,175,1","endeavor,55,1,154,1","endeavored,262,1","endeavoring,184,1","ended,93,1,147,1,152,1,156,1","endedness,152,1","endgame,203,1","ending,107,1,165,1,175,2","endings,170,1","endless,136,1,203,1","endlessly,230,1","endorsements,262,1","endowed,262,1","endowment,137,1","ends,23,1,60,1,67,1,87,1,96,1,99,2,108,1,119,1,134,1,146,1,152,1,158,1,169,1,171,1,175,1,229,1","endstops,55,1,107,1","endurance,199,1","endured,138,1,222,1","enduring,3,1,163,1,186,1,195,1","enemies,79,1,92,1","enemy,66,1","energized,142,1","energy,3,1,105,1,142,1,175,1,200,1","enfants,121,1","enfolding,146,1","engage,7,1,47,1,171,1,200,1,221,1","engaged,96,1,160,1,221,1,224,1","engagement,61,1,171,1","engagements,171,1","engages,159,1,209,1","engaging,171,1,195,1","engagingas,88,1","engenders,158,1,200,1","engine,72,1,96,1,105,1,211,1","engle,113,1","english,10,1,12,3,77,2,99,1,163,1,180,1,207,1,200,4","engorged,203,1","engrafts,200,1","engraved,132,1","enhance,124,1,156,1","enhanced,3,1,162,1","enigmatic,49,1,175,1,262,1","enjambed,107,1","enjambment,107,1","enjoy,12,1,47,1,107,1,147,1,151,1,153,1,158,1,190,1,194,1,224,1,238,1","enjoyed,26,1,37,1,199,1","enjoyment,43,1","enjoys,90,1","enlarge,146,2,175,1","enlightened,43,1","enmeshed,200,1","enormous,3,1,81,1,92,1,107,2,147,1","enough,29,1,22,1,43,1,46,1,49,1,59,1,64,1,95,2,96,1,101,1,105,2,106,1,113,1,114,2,116,1,136,1,146,1,148,1,149,1,150,1,153,2,154,1,155,1,157,1,158,1,160,1,162,1,171,1,211,1,218,1,213,1,242,1,226,1,235,1,238,1,262,1","enriched,3,1","enriches,171,1","enroute,218,1","entail,33,1,69,1,73,1,81,1,91,1,94,1,244,1,245,1","entails,88,1,105,1,238,1","enter,2,1,12,2,70,1,87,1,88,1,96,5,175,1,231,1,244,1","entered,17,1,262,1","entering,63,1,132,1,239,1","enterprise,152,1","enters,213,2","entertain,21,1","entertainment,91,1","entire,12,1,47,1,59,1,67,1,107,1,120,1,124,1,142,1,133,1,170,1,193,1,222,1","entirely,88,1,122,1,123,1,142,1,157,1,160,1,239,1","entirety,171,1","entities,175,1","entitled,37,1,85,1,99,1,137,1,151,1,184,1","entitlement,29,1,244,1","entity,110,1","entrance,45,1,96,2","entries,175,3","entry,28,1,106,1","enumeration,170,1","enunciated,133,1","envelope,130,1,204,1","envied,95,1","envision,222,1","envisionings,222,1","ephemeral,171,1,208,1,222,1","epic,12,1,88,2,152,1,175,10,200,2","epical,175,1","epically,175,1","epidemic,83,1","epigraph,105,1,210,1,226,1","epileptic,84,1","epiphanic,106,1,150,1","epiphanies,262,2","epiphany,262,1","epistemological,157,1","epistolary,107,1,226,1","epitaph,222,1","epitomizes,200,1","epoch,47,1,163,1","epochs,222,1","equal,55,1,175,1,190,1,195,1,231,1","equally,4,1,12,2,142,1,146,3,175,1,238,1,244,1,245,1","equals,82,1","equate,175,1","equation,132,1,231,1","equeerlibrium,95,1","equilibrium,95,1","equipoise,57,1","equipped,152,1,221,1","equivalent,87,1,107,1,195,1","erase,51,1,137,1,154,1,157,1,160,1,169,1","eraser,86,1","erases,137,1","erasing,105,1,185,1,192,1","erasure,132,1","erato,192,5","erie,41,2","eroding,211,1","erosion,208,2","erosions,208,1","erosive,88,1","errant,175,1","erroneous,12,2,88,1,164,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1","erupting,33,1","escapable,157,1","escape,43,3,47,1,84,1,98,2,153,1,204,1","escaped,76,1","escapes,55,1,197,5","escaping,157,1,160,1,205,1,238,1","eschewing,107,1,171,1","eschews,154,1,171,1","eshelman,88,1","esp,4,1,10,1,12,1","espace,121,1,251,1","especially,47,1,75,1,99,1,151,1,156,1,208,1,222,1,229,1,238,1,262,1","espouse,12,1","essay,4,2,10,1,47,1,67,1,99,1,106,1,150,1,152,1,154,1,156,1,160,1,171,1,175,2,200,3,228,1,238,1","essayist,262,1","essayistic,171,2","essays,129,1,148,1,152,1,184,1,262,1","essence,60,1,68,1,124,1,175,2,200,1,222,2","essential,6,1,43,1,91,1,107,1,124,1,175,1,222,2,226,1","essentialist,12,1","essentially,160,2,200,1","est,157,1","establish,12,1,73,1,136,1,238,1","established,12,1,107,1,170,1","establishes,200,1,222,2","establishing,133,1","establishment,156,1","estate,156,1,175,1","esther,48,1","estimated,175,2","estranged,21,1","estrangement,206,1","etched,2,1,6,1,14,1,117,1","etching,200,1","etchings,94,1","eternal,133,1,210,1,222,1","eternity,192,1","etherdome,159,1","ethereal,34,1,210,1","ethical,175,1","etienne,75,1","etiquette,199,2","etymological,12,1","etymology,211,1","eucalyptus,139,1,175,1,206,1","eulogy,224,1","eunice,77,1","europe,121,1,153,1","european,12,1,35,1,146,1","euterpe,190,5","eva,210,1","evaluating,210,1","evansville,102,1","even,4,1,7,1,12,1,39,1,93,1,28,2,16,1,18,2,22,1,38,1,41,1,43,5,47,2,52,1,65,2,66,1,73,2,81,1,82,2,92,2,83,1,84,1,85,1,95,2,99,2,107,1,114,1,117,1,118,1,122,1,164,2,124,2,142,2,133,1,134,1,136,1,137,1,138,1,146,1,147,1,148,2,149,1,151,1,153,2,154,2,157,3,160,7,163,1,165,1,169,1,170,1,171,4,174,1,175,1,178,1,179,3,202,1,207,1,211,1,212,1,184,1,188,1,199,1,200,1,205,1,206,6,209,1,210,4,221,1,222,1,224,1,227,1,229,1,236,2,262,1","evening,58,1,96,2,142,1,133,1","evenings,61,1","evenly,170,1","evenson,160,1,229,1","event,2,2,111,5,112,5,124,2,144,1,157,1,159,1,160,1,170,1,210,1","events,3,1,43,1,85,1,124,1,152,1,154,1,159,1,160,1,175,2,182,1,205,1,210,1","eventual,223,1","eventually,27,1,21,1,96,1,122,2,239,1,221,1,222,1","evergreen,226,1","everybody,138,1","everyday,4,1,12,1,44,1,62,1,108,1,210,7,227,1,244,1","everyone,15,1,22,2,38,1,69,1,130,1,182,1","everything,10,1,30,1,37,1,57,1,76,1,82,1,85,1,105,1,106,1,107,1,114,1,116,4,119,1,120,1,132,1,138,1,148,2,157,1,170,1,184,1,187,1,192,1,200,1,201,1,206,1,208,1,215,2,223,1,224,2,226,3,227,1,244,1","everywhere,18,1,19,1,185,1,191,1,206,1,223,2,229,1","evicted,203,1","evidence,77,1,164,1,189,1","evidenced,102,1","evident,88,1,175,1","evie,138,1","evil,47,1,146,1","evocative,4,1","evoke,3,1,262,1","evolution,12,2,175,2","evolutions,131,1","evolve,137,1,153,1,226,1","evolved,240,1","evolves,156,1","evolving,7,1,12,1","ex,82,1,96,1,133,1","exact,33,1,105,1,107,1","exactly,33,1,43,1,84,1,96,1,106,1,107,1,118,1,120,1,145,1,154,1,160,1,200,1,204,1","exaggerated,147,1","exaggerates,200,1","exaggerating,22,1,262,1","examination,35,1,204,1,238,1,244,1","examine,62,1,67,1,88,2","examined,41,1","examines,12,2,184,1,238,1","examining,3,1,133,1","example,4,1,41,1,81,1,83,1,105,2,107,1,164,1,155,1,170,2,171,1,175,1,211,1,199,1,200,6,210,2,222,1,226,1,238,1,262,3","examples,85,1,164,1","exasperated,174,1","exceeds,108,1,154,1,155,1,160,1","excellence,129,2,146,2","excellent,26,1,107,1,164,1","except,12,1,13,1,93,1,41,1,53,1,76,1,90,1,133,1,146,2,157,1,206,1,208,1","exception,47,1,174,1,200,1","exceptions,170,1","excerpt,67,1,88,2","excerpted,200,1","excerpts,122,1,164,1,175,1,195,1","excess,84,1","excessive,107,1,224,1,262,1","exchange,46,1,98,1,100,1,205,1","exchanging,127,1,157,1","excited,151,1","excitement,26,2,244,1","excites,165,1","exciting,12,3,124,1,155,1,211,1,262,1","excluded,222,1","exclusive,160,1","exclusively,10,1,47,1,174,1","excuse,39,1,37,1,45,1","executed,205,1","executors,122,1","exemplars,200,2","exemplifies,88,1","exemplify,88,1","exercise,93,1,69,1,107,1,124,1,151,1,175,1","exercised,107,1","exercises,12,1,68,1,107,2,151,1,175,1","exert,127,1","exertion,210,1","exhaled,105,1","exhaust,72,1","exhausted,95,1","exhaustic,204,1","exhaustion,59,1","exhaustively,195,1","exhibit,107,1","exhibited,3,1,80,1,107,1,167,1","exhibiting,107,1,162,1","exhibits,48,1,214,1","exhilarating,73,1,200,1","exhortation,154,1","exile,222,1","exist,4,1,18,1,92,1,85,1,88,1,107,3,126,1,138,1,154,2,160,2,163,1","existed,12,1,88,1","existence,3,1,33,1,47,1,120,1,201,1,210,1,243,1","existent,56,1,209,1","existing,12,2,65,1,160,1,238,1","exists,4,1,12,2,73,1,105,1,158,1,201,1,210,1","exit,141,1","exiting,63,1","expand,4,1,88,2,89,1,107,1,124,1,207,1","expanded,146,1","expanding,158,1,207,1,209,1","expanse,158,3,207,2,209,2,210,2","expanses,55,1,216,1","expansion,156,1","expansive,107,2,122,1,150,1,156,1,170,1","expansiveness,170,1","expect,43,1,168,1","expectation,41,1,47,2,158,1,178,1,199,1","expectations,12,2,60,2,62,1,91,2,153,1,156,1,210,1","expected,73,1,83,1,102,1,105,1,120,1,126,1,137,1,209,1","expecting,26,1","expects,133,1,150,1","expensive,23,1,202,1","experience,21,1,35,2,43,1,47,2,65,1,68,2,73,1,88,2,102,1,105,3,106,1,122,2,124,4,126,1,142,1,137,1,150,1,152,2,170,2,171,1,175,3,180,1,199,2,200,3,205,1,210,1,224,1,238,3,262,5","experienced,148,1","experiences,65,1,138,1,205,1,210,1,222,4,262,1","experiencing,175,1,201,1","experiential,162,1","experiment,12,1,22,1,147,1,238,1","experimental,12,1,41,1,129,1,133,1,154,1,157,1,160,1,238,1","experimentalism,4,1","experimentation,238,1","experimenting,151,2","experiments,88,1,122,2,147,1,156,1","expertise,200,1","expiate,179,1","explain,62,1,67,1,107,1,122,1,143,1,138,1,154,1,158,1,200,1","explained,107,1,200,1","explaining,82,1,105,1,179,5,210,1,236,1","explains,67,1","explanation,222,1","explicitly,107,1,200,1,238,1","explode,4,1,34,1,88,1,142,1,196,1,203,1","explodes,160,1,222,1","exploding,33,1,86,1","exploit,29,1,107,1,200,1","exploration,3,1,12,3,105,2,124,1,171,1,175,1","explorations,4,1,105,1","explorationsis,88,1","exploratory,211,1","explore,1,1,3,1,12,2,88,1,122,3,150,1,160,1,262,1","explores,12,1,105,2","exploring,4,1,12,2,105,1,238,1","explosion,138,1","explosive,107,1,142,1","expose,35,2,244,1","exposed,67,1,201,1","exposes,201,1","exposing,50,1","exposition,85,1","expository,107,1","express,95,1,199,2,200,1","expressed,53,1","expresses,12,1,29,1,33,1,245,1","expression,28,1,35,1,59,1,62,1,88,1,162,1,216,1","expressionless,214,1","expressions,170,1","expressway,96,1","exquisite,171,1,208,1","exquisitely,35,1,106,1","extend,12,1,160,1,211,1","extended,67,1,107,2,131,1,151,1,157,1,160,1,200,2","extends,137,1,175,1,210,1","extension,73,1,175,1","extensions,12,1,120,1,210,1","extent,12,2,29,1,33,1,88,4,91,2,152,2,154,2,159,2,160,2,175,2,245,1","extention,49,1","exteriorizing,12,1","exterminators,84,1","external,100,1,133,1","extinct,175,2","extinction,175,1","extra,66,2,229,1,236,1","extraction,2,1,100,5","extras,217,1","extravagance,223,1","extreme,106,1,200,2","extremely,47,1,164,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1,230,1","exudes,222,1","eye,93,4,32,1,38,1,53,1,56,1,60,1,64,1,92,1,95,1,103,1,107,2,120,1,125,3,131,1,138,1,148,1,161,1,170,1,179,1,182,1,186,1,191,1,200,2,208,4,210,1,217,2,227,1","eyebrow,156,1","eyebrows,26,1,132,1","eyed,38,1,45,1,79,1","eyeglasses,132,1","eyeholes,214,1,241,1","eyeing,34,2","eyelash,130,1","eyelashes,22,1","eyeless,175,1","eyelets,127,1","eyes,93,2,14,1,25,1,34,2,43,1,45,1,46,2,50,1,53,1,59,1,79,1,82,1,92,1,85,1,90,1,95,8,97,1,101,1,114,1,115,3,123,1,132,1,138,2,156,1,173,1,211,1,185,1,186,1,194,1,200,2,203,1,204,3,208,5,210,2,238,1,220,1,222,1,224,1,230,3,262,1","eyetrouble,207,1","ezine,5,4,9,4","fa,210,1","fabio,161,1","fable,65,1,95,1,107,4,113,1,180,2,212,1","fables,12,1,99,1,107,1,161,1","fabric,28,1,36,1,84,1,125,4","fabrication,92,1","fabrics,28,1","fabulism,129,1","fabulist,12,1","fabulous,22,1,157,1","facade,49,1","face,39,1,93,1,28,2,34,3,40,1,42,1,46,1,47,1,50,1,51,2,60,1,84,1,86,1,95,5,98,1,118,2,138,1,156,1,171,1,175,2,185,5,191,1,192,1,194,1,206,1,208,2,214,1,242,1,222,1,230,2,262,2","faced,181,1,222,1,262,1","faces,22,1,26,1,116,1,157,1,185,1","faceted,142,1,200,1","facets,137,1,175,2","facile,222,1","facilitated,91,1,124,1","facilitators,174,1","facilities,175,1","facility,95,1","facing,90,1,180,1,190,1","fact,28,1,47,2,51,1,65,1,107,2,122,1,154,1,160,1,175,2,199,1,200,1,238,1,239,1,222,2,224,1,247,1,262,1","factor,133,1","factored,112,1","factorial,119,1","factories,76,1","factory,41,1,87,1,174,1,208,1","facts,21,3,133,1,157,1,174,1,211,1","faculties,93,1","faculty,93,1,95,1,164,1","fade,42,1","faded,175,1,185,1","fadeout,2,1,7,1,90,1","fades,123,1,236,1","fading,1,1,175,1,200,1,230,1","fail,157,1,222,1","failed,133,1,158,1,208,1","failing,206,1","failings,191,1","fails,10,1,138,1,181,1","failure,211,1","failures,160,1","faint,61,1,115,2","fainted,59,1","faintest,30,1,115,1","fair,93,1,40,1,138,1","fairly,154,1,195,1,221,1,237,1","fairy,12,1,34,1,65,1,175,1","faith,72,1,95,1,130,1","faithful,230,1","fajardo,200,1","fake,22,1,122,1","faking,39,1","falalalalalala,43,1","fall,1,2,2,2,6,1,52,1,65,1,62,1,117,1,164,1,146,1,149,1,157,1,160,1,175,1,196,1,200,1,201,1,242,1","fallacy,88,1,164,1,137,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,166,1,168,1","fallen,82,2,92,1,110,1,202,1,185,1,214,1,240,1,223,1","falling,39,2,41,1,57,1,62,1,118,4,119,1,140,1,177,1","fallow,111,1","falls,62,2,132,1,157,1,158,1,162,1,175,2,190,1,203,2","false,22,1,174,1,208,5","falters,171,1","fame,22,1","familiar,10,1,26,1,58,1,66,1,117,1,133,1,138,1,175,2,200,1,210,2,244,1","familiarity,210,1","familiarizing,151,1","families,175,1","family,93,4,22,1,34,2,44,1,46,1,62,1,67,1,92,2,87,1,90,2,98,1,99,1,108,1,118,1,119,1,121,1,134,1,165,1,175,4,205,1,224,1,244,1","famous,2,1,7,1,58,1,132,1,175,2","famously,157,1","fan,66,1,122,1,138,3,167,1,204,2","fanaticism,106,1","fancies,199,1","fancy,175,1","fanned,61,1","fanny,133,1","fans,22,2,132,1,138,1","fantastic,62,1,199,1","fantasticsegue,99,1","fantasy,37,1,105,1","far,30,1,92,1,103,1,107,1,113,1,114,1,115,1,136,1,137,3,146,3,149,2,152,1,157,1,174,1,200,1,204,3,206,2,208,1,216,1,226,2,229,1","farah,22,1","faraway,92,1,136,1","farm,148,1","farmer,26,1,103,2","farmers,146,1","farmgirl,204,1","farmhouse,206,1","farrell,41,1","farther,52,2,136,1,156,1","fascinated,107,1,122,1,200,1","fascinating,200,1","fascination,88,1","faseedshess,95,1","fashion,158,1,262,1","fashioned,178,1,262,1","fashioning,105,1","fast,22,1,64,1,117,2,118,1,136,1,146,1,159,1,175,1,205,1,241,1","fastened,19,1","faster,117,1,138,1","fasting,127,1","fat,38,1,46,1,132,1,138,1,175,1,203,1","fatal,123,1","fatalities,96,1","fate,107,1","father,17,3,46,4,61,1,75,1,92,1,90,1,106,1,116,1,118,1,128,1,133,2,138,3,175,9,177,2,241,2","fathers,175,1","fathomless,132,1","fatter,125,1","fatty,61,1","fault,2,1,118,6","faults,208,1","faux,209,1","favor,77,1,146,1,150,1,210,1","favored,50,1","favorite,62,1,82,1,95,1,96,1,156,1,165,1,173,1,184,1,222,1,247,1,262,1","favorites,157,1","fawcett,22,1","fawn,146,1","fc2,163,1","fear,4,1,39,1,45,1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201,1","forehead,93,1,18,1,34,1,82,1,202,1,214,1,241,1","foreheads,92,1","foreign,186,1","foremost,238,1","forenoon,146,1","foresee,77,1","foreseen,175,1","foreskin,170,2","forest,70,1,76,1,138,1,193,1,216,2","forever,34,1,37,1,217,1,244,1","forexample,88,1","forget,12,1,43,3,62,1,96,1,125,6,175,1,183,1,206,1,213,1","forgetfulness,54,1","forgetting,125,2,210,2,216,1","forgive,102,1,175,1","forgiven,54,1","forgiveness,128,1","forgot,116,1","forgotten,92,2,27,1,64,1,185,1,205,1,210,1","fork,31,1,84,1","forks,105,1","form,2,1,3,1,12,3,13,2,29,3,21,1,33,4,47,3,52,1,60,1,65,1,62,3,73,4,87,1,88,5,91,3,95,1,99,2,106,2,107,4,108,2,110,1,113,1,119,1,122,2,164,1,124,3,126,1,129,2,142,2,134,2,136,5,137,1,147,4,148,6,149,2,150,2,151,1,153,2,154,13,155,2,156,8,157,5,158,10,160,19,161,1,162,4,163,1,165,1,166,1,168,3,169,4,171,1,172,2,175,3,189,1,195,1,200,6,202,1,208,1,210,1,238,4,222,1,226,2,229,2,244,1,245,1,262,1","formal,12,4,88,2,122,1,175,2,176,1,200,2,238,1","formalism,4,1,238,1","formally,200,2,222,1","format,10,2,88,1,147,1,150,1","formation—the,146,1","formed,64,1,105,1,110,1,158,2,161,1,206,1","former,41,1,85,1,122,1,164,1","formerly,100,1","formidable,212,1","forming,76,1","formless,129,1","forms,3,1,4,3,6,2,7,3,12,5,29,2,26,1,33,2,35,1,47,2,73,2,78,1,85,2,88,3,107,1,111,2,124,3,133,1,146,1,156,2,163,1,170,1,174,2,175,2,207,1,195,1,200,3,210,2,238,6,244,5,245,7,262,2","forsythe,93,1","fort,200,1","forteen,52,1","forth,4,1,95,1,111,2,122,1,143,1,222,1","forthcoming,2,1,69,1,37,1,41,2,52,1,65,1,73,1,91,1,102,1,119,1,122,1,124,1,133,1,147,1,149,1,152,1,154,1,161,1,165,1,211,2,209,1,217,1,221,1,247,1","fortitude,120,1,222,1","fortunate,222,1","fortunately,98,1","forty,84,1,138,1","forum,7,1","forward,27,2,59,2,116,1,156,1,159,1,168,2,173,1,174,1,182,1,217,1,220,1","forwards,153,1","foss,200,1","fossil,136,1","foster,200,2","foucauldian,105,1","foucault,142,1","fought,79,1","found,69,2,93,1,16,1,25,1,33,1,40,1,73,2,81,2,82,1,85,1,91,3,94,2,101,1,114,2,116,1,117,1,122,3,130,1,134,2,146,2,171,2,185,2,196,1,239,1,242,1,222,3,229,1,244,2,262,1","foundation,21,2,48,1,80,1,105,1,129,1,137,1,157,1","foundations,131,1","founded,1,1,7,1,175,1,201,1","founding,6,1,21,1,211,1","fountain,208,1","fountains,132,1","four,2,1,9,4,93,1,19,1,84,1,96,1,103,5,107,1,116,1,122,2,148,1,154,1,170,1,199,1,200,3,215,1,262,2","fourteen,96,1,154,1,171,1,200,1","fourteeners,200,2","fourth,105,1,147,1,148,1,158,1,201,1","fowl,94,1","fox,73,1","frac12,175,1","fractalling,202,1","fractious,31,1","fracture,208,4","fractured,154,1,195,2,221,1,237,1","fractures,208,3","fracturing,208,1","fragile,123,1,206,1,223,1","fragility,122,1","fragment,65,1,142,1,207,2,221,1,226,1,228,7","fragmentary,200,1","fragmentation,154,1,155,1,160,1,226,2","fragmented,142,1,175,2","fragments,122,4,134,1,158,1,160,1,163,1,175,2,207,1,209,1,222,1,226,1","frail,83,1,171,1","frame,18,1,45,1,52,1,152,1,162,1,217,1","framed,12,1,49,1,111,1,162,1,205,1,210,1,230,1","frames,262,1","frameworks,12,1","france,12,1,184,1,262,1","frances,156,1","francis,137,1,209,1,238,5","francisco,4,1,157,1,175,1","frank,29,1,180,1","frankfurt,134,1,154,1,155,1,160,1","frankly,137,1","frantic,83,1,218,1","fraud,92,1","fraught,160,1","freckles,174,2","frederic,88,1","frederico,33,1,245,1","free,12,1,13,1,65,1,62,1,95,1,105,1,110,1,124,1,146,3,148,1,152,1,154,2,157,1,158,1,160,2,169,1,175,2,212,1,195,1,203,1,210,1,244,1","freed,20,1","freedom,12,1,84,1,107,2,148,1,149,1,156,1,162,1,217,1","freefalling,95,1","freeing,107,1,222,1","freelanced,35,1","freely,77,1,226,1","freeman,2,1,11,1,168,10","frees,73,1","freestanding,106,1","freezerblunt,203,1","french,4,1,12,4,14,1,37,1,59,1,82,1,94,1,121,1,137,1,157,1,171,1,184,5,185,1,186,1,187,1,188,1,189,1,190,1,191,1,192,1,193,1,194,1,209,2","frenzied,224,1","frequent,96,1,147,1,218,11,224,1","frequently,133,1,150,1,262,1","fresh,122,1,129,1,154,1,157,1,160,2,174,1,218,1,229,1","freshly,238,1","freshman,22,1","freud,58,1,210,1","friday,184,1","friedrich,12,1","friend,38,1,92,1,17,1,22,1,24,2,82,1,83,2,106,1,122,1,183,2,226,1","friendless,46,1","friendly,114,1","friends,16,1,21,1,45,1,87,1,99,1,108,1,119,1,132,1,134,1,138,1,159,1,165,1,220,1,222,1,235,2","friendship,133,1","friggin,93,2","frightening,73,1,83,1,132,1","frightens,123,1","frisbee,107,1","frizz,22,1","frog,70,1,198,5,204,1","frogs,143,1,132,1","front,38,1,27,1,28,1,21,1,22,1,26,2,33,1,95,1,96,1,122,1,123,1,143,1,138,1,140,1,141,1,175,3,202,1,206,1,210,1,222,2,226,1,230,1","fronts,262,1","frost,75,1,111,1","frottage,229,1","frowning,132,1","frozen,105,1,132,1,218,1","fruit,39,1,65,1,95,1,103,1,170,1,262,1","fruitful,210,1","fruition,146,1","frustrated,106,1,154,1,179,1,195,1,221,1,237,1","fuchsia,22,1","fuck,43,4,82,2","fucked,82,1,211,1","fucker,93,1","fucking,34,2,83,1","fuego,80,1","fulbright,151,1,157,1","fulfill,121,1","fulfilling,12,1,192,1","full,26,1,33,2,73,1,84,1,102,1,114,4,115,2,125,3,128,1,142,1,133,1,138,2,151,1,173,2,175,1,181,1,211,1,203,1,205,1,210,1,215,1,222,1,226,1,262,1","full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253,1","inching,174,1","incidence,58,1","incidences,222,1","incidental,105,1","incisive,200,1","inclined,73,1,102,1,126,1,137,1,174,1,194,1","include,10,2,12,2,47,1,48,1,49,1,80,1,94,1,129,1,174,1,184,1,262,2,226,1","includean,88,1","included,2,1,4,1,67,1,99,1,122,1,137,1,145,5,157,1,222,1","includes,4,3,10,1,12,1,106,1,30,1,41,2,47,2,62,2,156,1,209,1,210,1,244,2","including,4,1,12,1,29,1,26,1,37,1,41,1,47,1,88,4,96,1,104,2,129,1,137,1,150,1,151,3,154,1,157,1,162,1,167,2,168,1,175,1,180,1,207,1,184,1,200,1,210,1,215,1,226,2,247,1","inclusive,170,1","incognita,163,1","incoming,138,1","incompatible,170,1","incomplete,122,1,163,2","inconclusive,73,1","incongruity,47,1","inconsequential,112,1","inconsistent,200,1","incorporate,107,1","incorporating,121,1,175,1,238,1,247,1","incorrect,107,1","incorrectness,158,1","increase,4,1","increasing,47,1,162,1","increasingly,4,1,119,1","incredibly,95,1,175,1","indebted,192,1","indecisive,94,1","indeed,107,1,122,1,160,1,174,1,175,1,184,1,199,1,200,1,205,2","indefinable,208,1","indefinite,2,1,7,1,210,1","indefinitearticle,54,1","indentation,134,1","independence,146,1","independent,4,1,146,1","indeterminacy,4,1,107,1,171,1,200,1","indeterminate,171,1,221,1","index,122,1","indiana,85,2,164,2,172,1","indians,83,1","indicate,10,1,107,1,153,1,156,1,208,1,222,1","indicated,95,1","indicates,107,1","indicating,46,1","indicative,179,1","indifference,184,1,222,4","indifferent,146,1,210,1,222,2","indirection,107,1","indispensable,160,1,172,1","indistinguishable,210,1","individual,29,1,133,1,146,3,156,1,175,1,200,1","individually,162,1","individuals,131,1,146,1","inductively,93,1","indulge,54,1,95,1","industrial,17,1,224,1","industry,12,1,35,1,83,1,137,1,195,1","inertia,173,1","inescapable,262,1","inevitability,59,1","inevitable,47,1","inevitably,12,1,157,1,215,1","inexact,210,1","inexpensive,96,1","infatuation,105,1","infected,113,1,157,1","infecting,157,1","infection,113,3","infections,157,1","infectious,81,1,113,2,124,3,129,2","inferior,146,1","inferno,157,1","infers,158,1,207,1,209,1","infiltration,2,1,6,1,18,1","infinite,138,1,175,1,200,2","infinitely,92,1,62,1","infinites,52,1","infinitesimal,47,1,197,1","infinity,198,1","infirmities,77,1","inflammation,179,1","inflecting,262,1","inflections,51,1","influence,58,1,88,1,93,1,129,1,171,1,200,1,262,2","influenced,4,1","influences,4,2,105,1","influential,210,1","info,166,1","inform,118,1","information,3,1,10,1,121,1,212,1,218,1","infrastructure,3,1","infuse,146,1","infused,222,1","infuses,222,1","ingests,208,1","ingredients,73,1","inhabit,57,1,138,1,170,1,175,1,195,1","inhabitants,62,1","inhabited,175,2","inhabiting,107,1","inhalation,105,1,226,1","inherent,88,2,107,1,169,1,175,2","inherently,12,1,152,1,200,1,228,1","inheres,160,1","inimitable,12,1,201,1","initial,134,1,153,1","initially,154,1,200,1","initiated,212,1","ink,63,1,87,1,95,1,99,1,108,1,119,1,134,1,137,1,184,1,239,1,230,1,251,1,252,1","inks,80,4","inkwell,184,1","inleaves,88,1","inna,93,1","innate,152,1,228,1","inner,19,1,53,1,60,1,200,1,214,1,226,1","innovate,195,1","innovation,133,1,195,2,200,3","innovative,157,1,200,1","innovator,226,1","inopportunely,222,1","inquire,138,1","inquiry,6,1,107,3,124,1,211,1,222,1","inquisition,167,1","insanity,185,1","inscribe,88,1,195,1","inscribed,200,1","inscribing,179,1,200,1","insect,115,3,262,1","insects,39,1,68,1","insecurity,171,1","insel,157,1","inserted,55,1,175,1","inserting,67,1","inserts,175,1","inside,2,1,6,1,39,1,27,1,17,1,22,4,33,1,45,1,52,1,60,1,63,1,83,1,85,1,89,1,95,1,105,1,107,4,111,2,114,1,117,2,118,1,128,1,130,1,151,2,152,1,175,1,179,2,185,1,204,1,214,1,242,1,262,1,230,1,244,2","insides,179,5,234,5","insidious,205,1","insight,3,1,4,1,124,1,148,1","insightfully,200,1","insignificant,147,1","insignificant—and,146,1","insistence,55,1,206,1","insistent,27,1","insisting,88,1,210,1,222,1","insists,195,1","insofar,137,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,164,2,166,1,168,1","inspiration,12,1,262,1","inspire,3,1,4,1,10,1,88,1,107,1","inspired,26,1","inspires,107,1","inspiring,122,1","instability,4,1,195,1","installation,162,1","installed,122,1","instance,12,1,13,1,73,1,142,1,205,1","instancepress,159,1","instances,195,1","instant,47,1,163,1,173,1","instantly,26,1,238,1","instead,1,1,4,1,12,1,16,1,17,3,22,2,41,1,47,1,50,1,62,1,73,1,89,1,95,3,99,1,133,1,146,1,147,1,151,1,154,1,155,1,160,1,171,2,181,1,185,1,199,2,205,1,209,1,242,1","instinct,51,1,133,1,184,3,217,1","instinctive,148,1,154,1,156,1,158,3,160,1,162,1,165,1,207,2,209,2","instinctively,99,1,148,1,154,2,156,1,158,1,160,1,162,2,165,1,217,1","institute,48,1,102,1,129,1,262,1","institutions,4,1,132,1,195,1","instruct,224,1","instructed,24,1","instruction,85,1,157,3,175,1,211,1","instructions,18,1,54,1,193,1,218,1","instrument,47,1,175,1","insulting,218,1,219,1","intact,107,1,200,1,262,1","intake,220,1","intangible,210,1","integer,157,1","integral,146,1,222,1","integrity,137,1,154,1,157,1,160,1,169,1,170,1,200,1","intellect,95,1,152,1","intellectual,3,1,4,1,133,1,151,1","intelligence,12,1,29,1,33,1,74,3,132,1,245,1","intelligent,107,1","intended,13,1,25,1","intense,52,1,142,2,262,1","intenseinterest,88,1","intensely,106,1","intensifies,262,1","intensifying,3,1","intensity,12,3,47,1,88,3,105,1,156,1,166,1,262,3","intent,69,1,35,1,109,2,115,1,136,1","intention,6,1,25,2,161,1,230,1","intentioned,160,1","intentions,22,1","intently,30,1","inter,200,1","interaction,171,1","interchangeable,199,1","interconnected,67,1","intercourse,243,1","interdependent,134,1","interest,10,1,88,5,99,1,122,2,124,2,137,1,148,1,154,1,156,1,158,2,160,2,162,1,175,1,215,1,238,1","interested,4,2,10,1,33,1,47,2,88,1,105,1,122,1,147,1,151,3,152,1,155,2,159,1,160,2,175,1,211,1,209,1,238,1","interesting,12,1,88,3,91,1,122,2,133,1,137,1,148,1,152,2,154,1,155,1,156,1,157,1,158,1,160,1,162,1,164,1,165,2,238,1","interestingly,105,1,157,2","interests,13,1,184,1","interface,160,1,229,1","interferes,105,1","interferometer,106,1","interim,154,1,221,1","interior,92,1,107,3,208,1,217,1","interjection,28,1","interlace,62,1","interlude,175,1","interludes,170,1","intermedia,26,1","internal,49,1,100,1,142,1,170,1,226,1","internalized,105,1","international,47,1,161,1","internationally,3,1","interossei,19,1","interplay,200,1,262,1","interpret,49,1","interpretation,200,1,262,1","interpretations,4,1","interpretive,12,1","interrogate,12,1","interrupted,92,1","interruption,51,1,157,1","intersect,62,1","intersection,1,1,117,1,209,1","interstate,203,2","intertextual,200,1","intertextuality,133,1","intertwining,105,1,169,1","interval,160,1","intervals,200,1,224,1","intervened,186,1","interview,47,1,84,1,88,2,147,1,200,1,232,1","interviewed,4,1,83,1","interviewer,83,1","interviewing,232,1","interviews,200,1","intestinal,179,1","inthe,88,2","intimacy,199,1,239,1","intimate,51,1,68,1,175,2,186,1,200,1,205,1,222,1","intimately,160,1,175,1","intoxication,224,1","intractability,200,1","intricate,3,1,26,1","intricately,28,1,170,1","intrigue,12,1","intrigued,12,1","intrigues,207,1","intriguing,6,1,12,1,156,1","intrinsic,107,1","intrinsically,91,1,105,1,146,1","intro,67,4","introduce,12,1,107,1","introduced,41,1,107,1,161,1,171,1,175,1","introduction,1,2,2,6,4,5,6,1,7,2,12,11,13,1,38,1,39,1,69,1,70,1,92,1,27,1,28,1,29,1,14,1,15,1,16,1,17,1,18,1,19,1,20,1,21,1,22,1,23,1,24,1,25,1,26,1,30,1,31,1,32,1,33,1,34,1,35,1,36,1,37,1,40,1,41,1,42,1,43,1,44,1,45,1,46,1,47,3,48,1,49,1,50,1,51,1,52,1,53,1,54,1,55,1,56,1,57,1,58,1,59,1,60,1,61,1,65,1,66,1,62,1,63,1,64,1,67,3,68,1,71,1,72,1,73,1,74,2,75,1,76,2,77,2,78,1,79,1,80,1,81,1,82,1,83,1,84,1,85,1,86,1,88,6,89,1,90,1,91,1,93,1,94,1,95,1,99,1,122,2,124,1,164,1,172,1,175,1,244,1,245,1","introduction2,47,4","introduction3,88,4","introduction5,4,4","introductory,62,1","intrusion,174,1","intuition,151,1","intuitive,26,1,156,1,162,1","invaded,222,1","invaluable,43,1","invasion,211,1,222,1","invasive,208,1","invent,37,1","invented,66,1,231,1","inventing,53,1,194,1","invention,147,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,164,1,166,1,168,1","inventors,224,1","invents,238,1","inverse,53,1","inversely,200,1","inversions,200,1","inverted,143,1","invested,133,1,179,1","investigate,145,1,171,1,238,1","investigates,175,1,238,1","investigation,6,1,132,1,175,2,238,1","investigations,208,1,238,1","investigative,211,1","investment,158,1,210,1","investments,26,1","invests,44,1,62,1,244,1","inviolable,202,1","invisibility,12,1,208,1","invisible,12,1,43,2,79,1,95,1,105,2,109,1,117,1,138,1,171,1,185,1,262,1","invisibly,179,1","invitation,43,1,84,1,132,1","invited,122,1,146,1","invites,105,1,217,1","inviting,175,1","invitingly,58,1","invocation,60,1,134,1,154,1,155,2,160,1,175,1,262,2","invocations,262,2","invocatory,160,1","invokes,238,1","invoking,160,1","involve,50,1","involved,50,1,146,1,151,2,175,2","involves,40,1,146,1,221,1","involving,105,1,131,1","inward,115,1,198,1,200,1","iowa,13,2,42,1,60,1,63,1,81,1,91,2,108,1,113,1,122,2,149,1,168,3","iridescence,208,1","iris,123,1","irish,203,1","iron,75,1,105,1,146,1","iron—i,146,1","ironic,29,1,171,2","ironically,12,1,107,1,165,1,175,1,184,1,210,1","ironicist,171,1","irony,4,1,88,1,105,1,171,3,200,1","irrational,85,1,124,1","irreconcilable,4,1","irrefutable,21,1","irregular,208,1","isbn,78,2","ishmael,81,1,83,1","isidro,169,1","isis,261,1","isla,222,3","island,142,1,238,1,222,1","islands,175,1","ism,107,1","isn,18,1,37,1,43,1,84,1,103,1,107,1,122,1,142,1,135,1,151,1,152,1,153,1,164,1,206,2,211,1,187,1,210,1,226,1","isness,72,1","isolated,199,1","isolates,60,1","isolation,133,1","israel,3,1,77,2","issue,1,10,2,15,4,11,5,12,6,10,7,12,8,4,9,12,10,1,11,5,12,7,13,2,38,2,39,2,69,4,70,2,92,2,27,2,28,2,29,2,14,2,15,2,16,2,17,2,18,2,19,2,20,2,21,2,22,2,23,2,24,2,25,2,26,2,30,2,31,2,32,2,33,2,34,2,35,2,36,2,37,2,40,2,41,2,42,2,43,2,44,2,45,2,46,2,47,9,48,2,49,3,50,2,51,2,52,2,53,2,54,2,55,2,56,2,57,2,58,2,59,2,60,3,61,2,65,2,66,2,62,2,63,2,64,2,67,3,68,2,71,2,72,2,73,5,74,2,75,2,76,2,77,2,78,2,79,2,80,2,81,4,82,2,83,2,84,2,85,2,86,2,88,9,89,2,90,2,91,4,93,2,94,4,95,2,122,1,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33,2,148,1,149,1,150,1,154,2,156,1,157,1,158,3,160,2,161,1,162,1,165,1,180,1,211,1,184,2,200,7,207,2,209,2,210,2,221,1,226,1,238,4,262,4","poetica,171,1","poetically,238,3","poetics,4,2,12,1,88,1,149,1,152,1,164,1,174,1,200,4","poetries,4,1,12,1","poetry,1,5,4,15,5,16,6,1,7,1,8,8,9,16,12,16,13,7,26,7,38,4,69,8,70,4,92,4,106,2,27,4,28,4,29,6,14,4,15,4,16,5,17,4,18,4,19,4,20,4,21,8,22,4,23,4,24,4,25,4,30,4,31,4,32,4,33,10,34,4,35,7,36,4,37,8,39,4,40,4,41,5,42,4,43,4,44,4,45,4,46,4,47,5,49,9,50,4,51,4,52,6,53,4,54,4,55,4,56,5,57,4,58,4,59,4,60,6,61,4,65,4,66,4,62,4,63,6,64,4,67,4,68,4,71,4,72,4,73,6,74,4,75,4,76,4,77,4,78,4,79,4,81,8,82,4,83,4,84,4,85,6,86,4,87,2,88,5,89,4,90,4,91,6,93,4,94,6,95,4,99,3,102,2,107,6,108,1,113,5,122,3,142,1,124,10,126,3,129,6,133,6,137,3,138,2,146,1,148,4,149,5,150,3,151,2,152,4,153,2,154,11,155,3,156,12,157,9,158,4,159,5,160,11,161,3,162,4,164,5,165,1,166,1,168,1,170,1,171,4,172,2,174,4,180,8,201,2,211,5,184,7,192,5,194,5,200,7,207,2,209,5,217,3,221,2,226,1,238,10,262,2,222,4,244,4,245,2,247,7","poetry—narrative,146,1","poets,4,7,12,1,106,1,29,1,47,1,60,1,65,2,75,1,88,3,91,1,99,1,102,1,107,1,113,1,122,1,126,1,133,3,134,1,147,1,148,1,151,2,154,1,156,1,160,1,165,1,170,1,171,1,180,1,175,1,184,1,200,2,209,1,238,4,262,1,237,1,247,1","poignant,142,1,222,1","point,4,3,27,1,28,1,21,1,33,1,55,1,76,1,83,1,88,3,91,1,93,1,99,1,102,1,113,2,126,1,133,2,136,1,137,1,146,1,148,2,152,1,154,1,157,1,158,1,160,2,162,1,175,1,200,1,204,1,226,1,239,1,247,1","pointed,115,1,157,1","pointing,46,1,208,1,242,1","points,46,1,51,1,88,1,105,1,133,1,156,1,180,1,200,1,205,1,207,1,238,2","pointsman,223,1","poised,31,1","poisonous,103,1,179,1","poke,47,1","poked,241,1","pokes,222,1","polanco,2,1,7,1,11,1,47,1,80,2","polar,208,1","polarities,105,1","polarity,154,1","polaroid,202,1","pole,74,1,171,1,196,1,200,2","polemical,12,1","poles,17,1,107,2,133,1","police,28,1,45,1,203,1","policeman,28,1","policy,10,5","poling,74,1","political,3,1,4,3,33,1,47,1,56,1,63,1,84,1,132,1,129,1,154,1,156,1,160,2,169,1,201,1,195,1,200,1,238,1,244,1","politicians,34,1","politics,88,2,142,1,146,1,169,1,226,1","polka,2,1,97,6","pollen,175,1","polls,175,1","polymer,34,1","polymny,189,5","polymorphous,142,1","pomo,133,1","pompom,155,1","ponce,2,1,6,2,11,1,44,2,45,1,46,1,62,1,244,1","poncho,220,1","pond,170,2","pondered,34,1","pondering,170,1","ponge,137,1,209,1","ponytail,38,1,46,1","poodles,180,1","pool,2,1,66,1,82,1,115,7,166,1,211,1,236,1,247,1","pools,43,1,76,1,115,1,206,1,204,1","poor,15,1,43,1,53,2,146,1,170,1","poorly,205,1","pop,83,1,132,1,156,1,171,1,224,3","popcorn,45,1,98,1,179,1,182,1","pope,32,1","popped,220,1","poppies,86,1","popping,96,1","popular,22,1,96,1,200,1","popularly,91,1","populate,171,1,205,1","populated,205,1","population,12,1","porcelain,214,1,230,1","porch,158,1","pore,58,1","porkchop,203,1","pornographic,175,1","porous,53,1,200,1","porszombat,2,1,6,1,24,1","portable,196,1","portaging,224,1","portioned,133,1","portions,94,1","portland,149,1,168,1,226,1,218,2,227,1","portmanteau,227,1","portrait,185,1,240,5","portraits,15,1,145,2","portray,262,1","portugal,167,1","portuguese,137,1,149,1,150,1,154,1,156,1,157,1,160,1,161,1,164,1,166,1,168,1","pose,47,1,90,1,203,1","posed,47,1","posh,62,1","position,47,1,51,1,129,1,145,1,152,1,154,1,157,1,158,1,160,2,171,1,175,1,208,1","positioned,128,1,182,1","positioning,133,1,211,1","positive,12,1,124,1","posse,33,1,161,1","possessed,92,1,176,1","possesses,158,1,195,2,238,1","possessing,158,1","possession,10,1,158,1,213,1","possessions,175,1","possibilities,12,1,41,1,47,1,88,4,105,1,107,2,124,1,147,1,151,1","possibility,85,1,105,1,112,1,133,1,134,1,156,1,172,1,211,1,195,1,200,2,205,1,238,1","possible,10,1,13,1,21,2,37,1,54,1,65,1,62,1,91,1,95,1,107,1,119,1,122,1,133,1,146,1,148,1,149,1,151,1,170,1,180,1,175,1,211,1,200,2,208,1,210,1,226,1,244,2","possibly,4,1,47,1,123,1,152,1,160,1,219,1","post,4,1,113,1,137,1,171,1,175,1,195,1,262,1","postage,132,1","postal,68,1,204,1","postcard,67,1,68,3,87,1,99,1,108,1,119,1,134,1,226,6","postcards,68,1,87,1,99,1,108,1,119,1,130,1,134,1","posterity,122,1","postmodern,4,2,200,1,238,1","postmodernism,4,2,175,1","postmodernist,200,2","postmodernists,200,1","postmoderns,200,2","postpone,62,1","posture,184,1","pot,138,1,233,2","potency,33,1","potent,33,2,200,1","potential,3,1,102,1,105,1,107,1,147,1,151,1,154,1,156,1,195,1","potentials,88,1","potes,134,1","potluck,202,1","pots,204,1,228,1","potter,185,1","pound,46,1,52,1,175,1,204,1","pounded,262,1","pounding,81,1,147,1","pounds,222,1","pour,27,1,200,1","poured,95,1,241,2,230,1","pouring,138,1,176,1,241,1","pout,181,1","poverty,12,1,88,2","powder,62,1,105,1","power,12,1,106,1,29,1,22,1,33,2,43,1,47,1,62,1,133,1,137,1,138,1,146,3,175,1,199,1,200,1,262,1,222,2,245,2","powered,95,1","powerful,60,1,149,1,170,2","powering,3,1","powerless,86,1","powers,107,1,152,1,175,1,200,1","powhatan,149,1","pox,154,1","pp,4,4,6,1,7,1,12,5,26,1,69,2,33,5,44,4,45,4,46,4,47,7,49,1,60,1,62,2,63,1,73,2,81,2,91,2,85,5,87,1,88,1,94,2,99,1,108,1,113,2,119,1,124,4,129,1,134,1,148,2,149,1,150,1,153,2,154,3,156,1,157,1,158,3,160,3,161,1,162,2,164,1,166,1,168,1,200,2,229,1,244,7,245,7","pr,146,1","practical,125,2","practice,151,1,206,1,211,1,184,1,213,3","practiced,39,1","practices,73,1,160,1","practionner,211,1","practitioners,6,1,43,2,73,1,133,1","pragmatic,151,1","prairie,29,1","praise,151,3,178,1,211,1,200,3,226,5","praised,238,1","praises,200,1","prayerful,160,1","pre,26,1,138,1,200,1,230,1","preached,22,1","precede,107,1","precedent,238,1","precedents,204,1","precious,156,1,200,1","precipitate,88,1","precipitated,122,1","precipitates,170,1","precipitation,158,2","precise,107,1,113,1","precisely,73,1,142,1,124,1,170,1,210,1","precision,59,1,161,1,172,1,208,1,210,1","precocious,97,1","preconceptions,213,1","preconditioned,13,1","predatory,208,1","predecessors,99,1,200,1","predicament,175,1","predicated,151,1","predictability,137,1","predisposition,151,1","predominance,262,1","preface,122,1,175,2","prefacing,217,1","prefer,10,1,62,1,154,2,164,1,166,2,243,1","preferdeath,146,1","preference,190,1","pregnant,2,1,7,1,28,1,66,1","preoccupation,170,1,205,1","preparations,138,1","prepare,222,1","preparing,122,1","prescribes,126,1","prescriptive,160,1","presence,3,1,51,1,146,2,165,1,170,1,171,2,201,1,211,1,184,1,210,1,262,1","present,4,1,47,1,49,1,65,1,62,1,67,1,99,1,105,1,133,1,152,1,154,1,157,1,158,1,159,1,160,2,164,1,175,4,206,2,207,1,209,2,210,3,262,1,229,1,236,1,237,1,244,1","presentation,33,1,175,2,211,1,200,1","presented,4,1,12,1,21,1,47,1,122,1,149,1,175,1,200,1,235,1,244,1,245,1","presenting,122,1","presently,48,1","presents,82,1,88,1,133,2,200,1,210,1,236,1","preservation,122,1,195,1","preserve,122,1,130,1,200,1,210,1","preserved,77,1","preserving,200,1","president,47,1,124,1,146,1,181,1,222,1","press,10,2,12,1,26,3,106,1,29,2,16,2,21,1,35,1,37,2,41,3,49,1,52,2,56,2,60,2,65,1,88,2,104,1,107,1,142,1,126,2,129,1,133,2,134,1,146,1,151,2,152,3,153,2,154,1,156,4,157,1,158,1,159,1,161,1,163,1,164,2,171,1,175,2,211,1,199,2,200,6,205,1,207,1,209,1,226,1,238,1,262,2,222,2,247,1","pressduhamel,151,1","presse,200,1","pressed,45,1,47,1,51,1,193,1,194,1,204,1","presses,98,1,206,1,205,1","pressing,66,1,201,1,194,1,222,1","pressure,92,1,47,1,51,1,107,1,115,1,122,1,154,1,201,1,211,1,185,1,195,1,221,1,237,1","pressureon,88,1","pressurized,29,1","prestado,80,1","presubscribed,158,1","presumed,208,1","presumes,65,1","presumptions,88,1,137,1","pretend,27,1,123,1,209,1,235,1","pretending,96,1,153,2","pretense,165,1,184,1","preterit,179,1","pretty,38,1,21,1,22,2,59,1,154,1,156,1,222,1","prevailed,131,1","prevailing,170,1","prevails,146,1","prevalent,175,1","prevallet,209,1","preview,122,1","previous,4,3,36,1,60,1,65,1,102,1,107,1,126,1,137,1,144,1,148,1,153,1,154,1,158,3,160,1,162,1,170,1,178,1","previously,35,1,44,1,65,1,85,1,88,1,122,2,131,1","price,43,1,63,1,122,1,130,1","priceless,107,1,156,1","pride,146,1","pried,146,1","priest,146,1,262,3","prim,218,1","primacy,133,1","primal,213,1","primarily,73,1,105,1,107,1,124,1,160,1,162,1,262,1","primary,10,1,67,1,88,1,151,1,175,1,208,2","prime,33,2,97,1,175,1","primed,208,1","primordial,222,1","prince,22,1","princeton,157,1","principle,107,1,262,2","principles,3,1,151,1","print,33,1,166,1,172,1,174,1,201,1,205,1","printed,10,1,142,1","printer,104,1","printing,95,1,163,1","prism,3,1,106,1","prison,95,1,238,1","prisoner,130,1","private,77,1,102,1,105,1","priviledges,12,1","privilege,65,1,232,1","privileged,160,1","prize,13,1,41,1,91,1,122,1,151,1,154,1,156,1,161,1,180,1,211,1","probably,10,1,26,1,21,3,22,1,33,1,65,1,68,1,73,1,102,2,122,2,126,1,137,1,139,1,152,1,245,1","problem,68,1,83,2,195,1","problematic,160,1,170,1,180,1","problems,43,1,47,1,107,2,169,1","procedure,158,1","proceed,47,1,125,1","proceeded,65,1,62,1,137,1,154,1,157,1,160,1,169,1,244,1","proceeding,147,1","proceeds,12,1,171,1","process,12,1,58,1,68,1,105,1,113,1,121,1,122,2,142,1,137,1,148,1,153,2,154,2,158,1,160,1,162,2,163,1,175,2,200,1,209,1,210,1","processed,122,1","processes,4,1,12,1,159,1,175,1,209,1","processing,204,1","proclaiming,43,1,191,1","procreating,222,1","prodding,68,1","prods,46,1","produce,83,1,107,1,175,1,244,1,245,1","produced,26,1,122,1","produces,6,1,16,1","product,158,1,171,1","production,185,1","productive,12,2,113,1,124,1,148,1,153,1,154,1,158,1,160,1,162,1,262,1","products,212,1","profess,133,1","profession,218,1","professions,238,1","professor,99,1,151,1,163,1,184,2,205,1,207,1,262,1","professors,146,1,205,1","profile,226,1","profound,3,1,60,1,161,1,222,1","profoundly,137,1,138,1","program,29,1,21,1,22,1,44,1,56,1,63,1,149,1,150,1,151,1,164,1,165,1,211,1,182,1,184,1,208,1,262,1","programmed,25,1","progress,12,1,93,1,169,1,213,7","progression,69,1","progressively,12,1","project,50,1,51,1,67,1,137,1,164,1,169,1,175,8,200,2,209,1,229,1","projected,162,1","projection,88,1","projective,152,1,226,1","projects,175,2,210,1","prolepsis,133,1","proliferation,211,1","prolific,262,1","prolonged,61,1","prominent,47,1,95,1,163,1","promise,107,2,185,1,236,1","promised,38,1,92,1,34,1,178,1","promises,58,1,160,1","promising,66,1","promotea,88,1","promoting,4,1,162,1","promotional,126,1,154,1,155,1,160,2,163,1","prompts,161,1","pronounce,75,1","pronounced,95,1","pronouncing,120,1","proofs,87,1","prop,183,1,243,1","propelled,159,1","propelling,74,1","proper,195,1,200,1","properties,107,1,191,1","prophecy,150,1","prophet,133,1","prophetic,3,1","prophets,133,1","prophylactic,51,1","proportional,145,1","proposals,211,1","proposed,122,1","proposes,184,1","proposition,152,1","propulsion,34,1","propulsive,211,1","prosaic,210,1,238,1","prose,1,5,4,5,5,8,6,1,7,2,8,8,9,8,10,2,12,33,13,7,26,15,38,4,69,11,70,4,92,4,106,3,27,4,28,4,29,13,14,4,15,4,16,11,17,4,18,12,19,4,20,4,21,8,22,4,23,4,24,4,25,4,30,4,31,4,32,4,33,15,34,4,35,7,36,4,37,7,39,4,40,4,41,12,42,4,43,4,44,5,45,4,46,4,47,11,49,6,50,4,51,4,52,6,53,4,54,4,55,4,56,5,57,4,58,4,59,4,60,10,61,4,65,10,66,4,62,6,63,7,64,4,67,5,68,5,71,4,72,4,73,14,74,4,75,4,76,4,77,4,78,4,79,4,81,12,82,4,91,12,83,4,84,4,85,10,86,4,88,22,89,4,90,4,93,4,94,9,95,4,99,7,102,4,107,11,108,1,113,3,119,1,122,4,142,1,124,9,126,4,129,6,134,4,137,10,145,3,147,5,148,13,149,11,150,7,151,7,152,4,153,3,154,37,155,14,156,20,157,23,158,11,159,2,160,46,161,19,162,6,163,3,164,10,165,6,166,5,168,7,169,1,170,7,171,13,172,4,174,12,180,12,181,1,175,1,201,2,211,7,184,9,195,3,199,1,200,10,207,4,209,12,210,1,217,3,221,4,226,8,238,5,262,12,222,1,229,5,237,6,244,11,245,9,247,4","prostitute,146,1","prostitution,147,1","protean,200,1","protect,105,1,138,1,146,1","protective,206,1","protest,200,1","protests,200,1,222,1","proto,238,1","protocolary,226,1","proud,7,1,116,1,131,1,146,1","proust,164,2","prove,12,2,88,1,241,1","proverbial,160,1,172,1","proves,133,1,138,1","provide,7,1,10,1,85,1,105,1,138,1,148,1,175,1,200,1,238,1","provided,12,1,94,1","providence,52,1,238,1","provides,4,1,34,1,67,1,105,1,160,1,226,1","providing,107,1,202,1,222,1","proving,120,1","provisional,159,1,160,3","provisionally,200,1","provocative,7,1,154,1,160,1,161,1,163,1","provoke,4,1,33,1,88,1,245,1","provokes,154,1","provokethe,107,1","prow,95,1","proximities,220,1","proximity,85,1,96,1,190,1","prudence,146,1","pseudopod,197,1","psoriasis,179,1","psyche,26,1,21,1,244,1","psychically,148,1","psychological,73,1,171,1,180,1","psychology,62,1","psychopathology,210,1","psychotherapy,84,1","pt,175,1","puberty,236,1","public,48,1,87,1,129,1","publication,1,1,10,2,12,2,33,1,122,1,156,1,199,1,222,1","publications,44,1,91,1,122,1,150,1,154,1,156,1,166,1,262,1","publicly,47,1","publish,7,1,10,1,47,1,67,1,88,2,122,3,222,1,227,1","published,4,1,10,1,12,2,26,3,35,1,47,1,48,1,49,1,56,2,62,1,63,1,73,2,78,1,94,1,113,1,122,1,134,1,137,1,147,1,151,1,154,1,156,2,158,1,163,1,164,1,180,1,201,1,184,1,195,1,207,1,209,1,210,1,238,2,232,1","publisher,1,1,10,1","publishers,10,3,47,1,175,1,200,2","publishing,12,1,33,1,47,4,56,1,88,1,210,1,222,1","publishingbook,88,1","puente,40,1","puerto,85,1","puff,194,1","puffed,92,1","pull,92,1,106,1,99,1,148,1,154,1,158,1,160,1,162,1,207,1","pulled,92,1,34,1,114,2,118,1,130,1,203,1,205,1,214,1","pulling,227,1","pulls,105,1,138,1,163,2,175,1,199,1","pulp,203,1","pulse,59,1,95,1,173,1,178,1,231,1","pulsing,83,1,95,1,178,1","pumping,231,1","pumpkin,132,1","pumps,84,1,125,3,202,1","pun,171,1","punch,202,1,205,1","punchdipper,202,1","punches,227,1","punching,218,1","punctuated,199,1","punctuation,122,1,134,1,145,1","punished,238,1","punishment,142,1,150,1","punjab,179,1","puns,238,1","puppet,26,1","purchase,211,1","purchased,51,1","purdy,222,2","pure,22,1,33,1,65,1,107,1,133,1,147,1,156,1,159,1,173,1,180,1,181,1,200,1,222,3","purely,73,1,149,1,180,1","purges,200,1","purify,146,1","puritan,238,2","purity,146,1","purple,92,1,114,1","purplereserved,103,1","purples,115,1","purported,195,1","purpose,6,1,92,1,25,1,114,1,206,1,214,1,222,1,228,1","purr,59,1","purred,34,1","purse,45,1","pursued,107,1","pursuing,199,1","pursuits,33,1","purveyor,171,1","push,107,1,113,1,147,1,238,1","pushcart,151,1,156,1","pushed,59,1,105,1,115,1,214,1","pushes,7,1,42,1,47,2,98,1,156,1,201,1,238,1","pushing,159,1,177,1","pussy,82,1","putative,133,1","puts,4,1,32,1,46,2,47,1,77,1,107,1,175,1,206,1,211,1","putt,75,1","putti,227,1","putting,30,1,93,1,123,1,151,1,218,1","puzzle,238,1","puzzled,122,1","puzzles,238,1","pylon,193,1","pynchon,137,1","pyrenees,121,1","qtd,12,2","qua,160,1","quaamina,66,2","quale,29,1","qualified,210,1","qualifies,102,1","qualities,146,1,175,1,222,1","quality,3,1,33,1,47,1,88,1,122,1,146,1,158,1,172,1,207,1,209,1,226,1,222,2","quantity,133,1,208,1","quarter,26,1,69,1,40,1,156,1,161,1,211,1,210,1,230,1","quarterly,26,2,21,1,44,1,60,1,62,1,85,2,113,1,124,1,155,1,156,1,161,1,163,1,165,1,211,2,184,1,195,1,229,1","quarters,96,1","quash,4,1","quasi,142,1","quatrains,170,1","queen,2,2,6,1,70,1,106,11,16,1,22,1,43,1,128,6","queens,22,5","queer,22,1,203,1","quell,4,1","quenching,133,1","queneau,99,1","query,10,1","quest,262,2","question,4,2,6,1,12,3,13,1,26,3,69,2,27,1,29,1,16,1,21,1,22,1,33,1,35,2,37,1,41,1,44,1,47,2,49,1,52,1,56,1,60,1,65,1,62,3,63,1,68,1,73,2,81,2,91,2,85,2,87,1,88,2,94,2,95,1,98,1,99,1,102,1,105,4,108,1,113,1,119,1,122,2,124,2,126,1,129,1,134,2,137,2,148,1,149,1,150,1,151,3,152,1,153,1,154,9,155,4,156,4,157,5,158,1,159,1,160,12,161,2,162,1,163,1,164,1,165,2,166,1,168,1,169,1,170,1,172,1,174,3,180,1,211,1,184,1,195,1,200,1,207,1,209,2,214,1,217,1,221,1,226,1,238,1,224,1,237,1,244,2,245,1,247,1","questioned,131,1","questioning,175,1,199,1,210,1","questions,6,2,7,2,12,2,47,1,78,1,82,1,88,1,90,1,122,1,124,1,154,1,155,1,160,1,180,1,200,1,238,3,262,1,244,9,245,10","quick,44,1,47,1,85,1,98,1,149,1,156,1,172,1,174,1,205,1","quickest,226,1","quickly,46,2,107,1,118,2,122,1,133,1,150,1,159,1","quicksand,107,1","quiet,22,1,30,1,43,1,96,1,205,2,210,1,213,2","quietest,82,1","quietude,137,1","quietus,200,1","quin,62,1","quincy,93,1","quintane,209,1","quintessentially,133,1","quirky,107,1","quit,183,1","quite,4,1,21,1,67,1,82,1,87,1,95,1,99,1,108,1,119,1,134,1,146,1,148,2,149,1,157,1,163,1,164,1,171,3,175,1,200,1,238,2,262,1,223,1,244,1,247,1","quivering,32,1,34,1,96,2,109,1","quizzical,28,1","quo,169,1","quotation,209,1,262,1","quotations,10,1","quote,26,2,217,1","quoted,107,1,171,1","quotes,160,1,164,1,210,1","quotidian,4,1,142,1,210,2","quoting,29,1","rabbit,150,1","rabbits,107,1","raccoons,66,1","race,12,1,92,1,206,1","rachel,247,1","racial,142,1","racing,206,2","rack,200,1","radar,193,1","radi,200,6","radial,154,1","radiant,262,1","radiate,175,1","radical,91,1,154,1,175,2,195,2,221,3,237,2","radically,88,1","radicals,110,1","radio,39,1,87,1,151,1,211,1","radiohead,82,1","radishes,123,1","rae,12,1","rafael,200,1","rag,93,1,118,2,122,1","rage,22,2,122,1","ragged,105,1","rags,176,1","raid,84,1,122,1","rail,238,1","railing,176,1,179,1","railway,105,1","rain,39,1,75,1,83,1,84,1,98,1,135,1,138,2,176,1,196,1,204,1,210,3,228,1","rainbow,106,1,36,1","raining,210,2","rains,208,1","rainstorm,151,1","raise,146,2,173,1,206,2","raised,84,1,99,1,105,1,121,1,146,1,180,1","raising,123,1,154,1,220,1","raked,107,1,133,1","rallying,175,1","ralph,12,1","ramke,1,1,2,1,7,2,11,1,47,2,58,1,60,2,87,1,99,2,102,1,108,1,119,1,134,1,229,1","rampage,224,1","ran,106,2,79,1,83,1,96,1,117,1,118,4","ranches,30,1","rancho,26,1,166,1","random,154,1,171,1,228,1","randomly,118,1,133,1","rang,99,1","range,12,1,122,1,142,1,124,1,147,1,175,1,238,1","ranges,142,1","ranging,133,1,160,1","rank,203,1","ransom,4,1,82,1","ransson,2,1,7,2,11,1,47,1,81,2,82,1,83,1,84,1,113,2,124,2,129,2","rapacious,222,1","rape,82,1,196,1","rapes,98,1","rapid,148,1,154,1","rapidly,208,2","rapids,178,1","rapture,31,1","rare,106,1,43,1,88,1,170,1,171,1,182,1,196,1,232,1","rarely,33,1,88,1,199,1,236,1","rarest,262,1","rash,54,1","rasula,200,4","rat,56,1,86,1","ratcliffe,2,1,11,1,87,4,88,1,104,4,139,9,140,9,141,9,143,9,144,9,145,9,152,2,154,1,159,1,160,1","rather,10,1,12,4,62,1,102,2,105,1,107,1,122,2,142,2,124,2,133,1,146,1,151,3,159,1,160,4,175,1,206,1,185,2,209,1,262,1,222,3,229,1,233,1","rationale,137,1","rattling,60,1,95,1","rature,200,1","raul,160,1","raven,238,5","ravenna,205,1","ravens,179,1","raw,103,1,206,1,224,1","ray,1,1,2,1,4,1,11,1,92,1,88,1,132,9,129,10,130,9,131,9,154,1,157,1,160,1,200,2,262,12,236,1","rayon,222,1","razor,203,1","reach,18,1,79,1,95,1,146,2,156,1,177,1,175,1,200,1","reached,85,1,115,2,117,1,203,1","reaches,30,1,46,1,89,1,222,1","reaching,57,1,116,1,144,1,178,1","reaction,12,1,73,1,113,1,126,1,154,1,160,1,162,1,163,1","reactions,214,1","read,4,2,12,3,26,2,41,2,49,1,65,1,62,1,67,2,73,1,75,1,81,1,88,1,93,2,95,3,101,1,102,4,107,5,113,7,117,1,119,2,122,3,142,1,124,3,129,1,137,2,138,1,148,1,151,2,153,1,154,3,155,1,157,5,158,1,160,3,161,3,162,1,163,1,164,1,174,2,175,3,199,1,200,2,210,1,217,1,226,1,229,1,231,1,244,1","reader,13,2,26,4,106,1,47,2,49,1,65,4,62,3,95,1,99,1,105,3,107,4,124,1,133,1,137,2,149,2,150,2,152,2,153,2,154,2,156,1,157,1,158,2,160,2,162,2,165,1,166,1,169,2,170,1,171,2,184,1,200,1,205,2,217,1,238,3,229,3,244,3","readerly,200,1","readers,26,1,47,1,62,1,67,1,73,1,88,2,94,2,105,1,107,1,122,4,154,1,168,1,175,3,200,5,205,2,238,1,220,1,222,4","readership,12,1","readily,26,1,175,1,195,1","reading,4,1,10,4,12,1,26,1,38,1,33,1,47,1,62,1,73,2,85,2,87,1,88,2,95,1,99,1,102,1,107,2,113,1,124,1,126,1,133,2,137,2,141,1,144,1,150,1,151,1,152,2,165,2,170,1,171,1,175,2,206,1,184,2,200,9,238,1,262,3,244,1,245,1,247,1","readings,4,1,200,1","readjustment,200,1","reads,26,1,29,1,33,1,65,1,75,1","ready,50,1,95,2,133,1,181,1,202,1","reaffirm,169,1","reaffirms,185,1","reagan,218,1","real,2,5,4,1,6,1,17,2,22,1,47,2,85,1,88,5,90,1,93,1,102,1,120,1,122,1,133,2,139,1,140,1,141,1,143,1,144,1,145,3,148,1,152,3,154,3,159,2,160,3,175,1,183,1,184,1,199,3,205,1,209,1,213,1,223,1","realigned,59,1","realism,105,1,222,1","realities,4,1,170,1,205,1","reality,3,1,4,1,88,1,105,1,107,3,122,1,142,2,159,2,170,1,199,3,209,6,222,1","realization,28,1,132,1,262,1","realize,45,1,88,1,113,1,171,1,182,1,215,1","realized,26,1,106,1,107,3,122,1,218,1","realizes,222,1","realizing,138,1","really,4,2,17,1,21,1,22,1,34,2,80,1,91,1,83,1,90,2,95,1,96,1,97,1,105,2,113,1,122,1,123,2,134,1,148,2,153,3,154,4,155,2,156,3,157,1,158,1,160,3,162,1,171,1,175,1,186,1,200,2,239,1,222,1","realm,4,1,73,1,102,1,126,1,137,1,210,1","realms,174,1","reals,88,1","reanimates,200,1","reappear,211,1","rear,74,1","rearview,18,1","reason,4,1,54,1,67,1,83,2,93,2,123,1,137,1,147,2,154,1,161,1,165,2,168,1,171,1,201,1,206,1,212,1,199,1,238,1,262,1","reasonable,160,1","reasoning,33,1","reasons,20,1,33,2,151,1,186,1","reassembled,227,1","reassess,21,1","reassign,10,1","reattachments,100,1","rebel,156,1","rebellion,77,2","rebuilding,2,1,6,1,30,1","rebuilt,118,1","recall,43,1,142,1,138,1,200,1","recalling,52,1","recalls,154,1,160,1,163,1","recapitulates,200,1","recede,125,1","receded,92,1","recedes,125,2","receding,125,2,208,2","receive,3,1,10,1,12,1,47,1,175,1,208,1","received,6,1,10,1,12,1,21,1,48,3,65,1,68,1,87,1,94,1,102,1,119,1,122,1,129,2,152,1,156,2,167,1,171,1,180,1,184,1,186,1,262,2,231,1","receives,146,1,175,1","receiving,13,1,65,1,62,1,244,1","recent,4,1,12,2,16,1,52,1,60,1,91,2,102,1,104,1,122,2,157,1,160,1,165,1,168,1,200,2,217,1,226,2,262,1,247,1","recently,29,1,33,1,37,1,62,1,63,1,68,1,80,1,113,1,134,1,137,1,145,1,151,1,154,1,157,1,159,1,161,1,162,1,164,1,166,1,172,1,174,2,180,1,201,1,211,1,184,2,195,2,200,2,221,1,237,1","reception,41,2,133,1,205,1","receptive,29,1","recieves,146,1","recipes,146,1","recipient,73,1,91,1,122,1,151,1,163,1,168,1","recitation,262,1","recited,161,1","recites,224,1","reclaim,150,1","recluse,107,1","recognition,210,2,215,1,227,1","recognize,103,1,113,1,133,1,138,1,222,3","recognized,146,1,200,1","recognizes,175,1","recognizing,161,1,221,1","recollection,226,1","recombinant,230,1","recombinatory,211,1","recommend,122,1","recommendation,199,1","reconciliation,151,1","reconfiguration,195,1","reconfigures,200,2","reconsider,62,1,210,1","reconsiders,88,1","reconstruct,110,1","reconstruction,224,1","record,106,2,39,1,122,1,210,1","recorded,106,1,210,1","recordings,205,1","records,210,1","recounts,222,1","recovered,138,1,210,1","recovers,210,1","recreate,154,1,180,2","recreating,107,1,154,1","recrimination,107,1","rectangle,210,1","rectangular,140,1,208,1,224,1","recueil,184,1","recurring,262,1","recursively,133,1","recycling,83,1","red,38,3,24,1,25,1,37,1,66,1,76,1,84,1,95,1,103,1,107,1,110,7,138,4,158,1,176,1,181,1,206,3,197,1,204,2,208,3,216,1,262,1,220,1,224,1,242,1","redbud,109,1","reddened,175,1","reddish,141,1","redefine,129,1","redemptive,133,1","rediscovered,83,1","redolent,103,1","reduce,171,1","reduced,192,1","redwood,156,1","redwoods,206,1","reedy,59,1","reeked,22,1","reel,202,1","reels,173,1","reenactment,88,1","reexamine,105,1","refashioning,200,1","refer,12,1","reference,51,1,52,1,60,1,63,1,105,2,244,1","referenceless,105,1","references,241,1","referential,107,1","referred,122,1,174,1","refers,99,1,148,1,154,1,158,1,160,1,162,1","reflect,200,1,262,1","reflected,140,1","reflecting,65,1,62,1,74,1,244,1","reflection,58,1,145,1,147,1,200,2,205,1,262,1,231,1","reflective,133,1,204,1,208,1","reflects,46,1,105,1,171,1,211,1","reflexive,200,1,210,1","reform,211,1","refraction,208,1","refractive,3,1","refrain,262,1","refreshing,85,1","refrigerator,46,1,123,1,132,1,150,1","refuge,3,1,213,1,219,1","refugee,114,1","refusal,228,1","refuse,33,1,88,1,245,1","refused,66,1,138,1","refuses,52,1,107,1","refusing,150,1,226,1","regained,53,1","regard,12,3,22,1,133,1","regarded,170,1","regarding,12,2,26,2,88,2,102,1,105,1,113,1,124,1,126,1,129,1,137,1,180,1","regardless,91,1,222,1","regards,73,1","regardsto,99,1","regenerative,200,1","region,175,1,205,1","regional,129,1","regions,205,1","register,45,1","registers,145,1,200,1","regret,77,1,216,1","regular,10,1,22,1,77,1,138,1,146,1,156,1","regularity,210,1","regularly,95,1","regulate,158,1","regulated,210,1,237,1","regurgitated,106,1","reified,161,1","reigns,205,1","reinforce,12,1,29,1,33,1,245,1","reinforces,200,2","reinstates,105,1","reinterpretthe,88,1","reinventing,171,1","reinvention,195,1","reinvigorate,200,1","reinvigorates,88,1","reissued,199,1","reiteration,170,1","reject,4,2,12,1,43,3","rejecting,12,1,210,1","rejection,2,1,6,1,12,1,43,3,60,1,88,1,161,1","rekindle,21,1","relate,69,1,73,1,81,1,91,1,85,1,94,1,244,2","related,7,2,22,1,82,1,149,1,150,1,151,1,154,1,156,1,157,1,160,2,161,1,164,1,166,1,168,1,205,1,208,5","relatedness,207,1","relates,238,2","relation,12,4,152,1,154,2,155,1,159,1,160,4,175,2","relations,91,1,134,1,137,2,154,3,155,3,160,4,171,1,175,1,231,1","relationship,12,1,98,1,124,1,147,1,152,1,154,1,158,1,159,1,160,1,170,1,180,1,175,9,199,1,210,1,262,1,222,1","relationships,107,2,124,1,131,1,238,1,229,1","relative,91,1,149,1,159,1","relatively,122,1,172,1","relatives,132,1,138,1","relax,170,1","relaxation,47,1","relaxed,175,1","relays,222,1","release,10,1,33,1,47,2,79,1,230,1","released,10,1,29,1,180,2,175,1","releases,10,1","relent,27,1","relentlessly,3,1","relevance,33,1","relevant,10,1,107,1,122,1","reliance,25,1,262,1","relic,105,1,142,1","relied,67,1","relief,29,1,182,1,244,1","relies,12,1,107,1,174,1,210,1","religion,146,1","religious,4,1,113,1,138,1,201,1,222,1","relish,156,1","relocates,210,1","reluctance,91,1,149,1","reluctant,52,1,222,1","relying,171,1","remain,4,1,12,1,15,1,36,1,43,1,107,1,119,1,137,1,138,1,172,1,185,1,186,2,192,1,262,1,222,1","remainder,205,1","remained,12,1","remaining,33,1,111,1,118,2,180,1,200,1,205,1","remains,4,2,33,1,68,1,73,1,107,1,130,1,146,1,148,1,153,1,154,1,158,1,160,1,162,1,175,1,183,1,185,1,199,1,205,1,214,1","remakes,201,1","remark,174,1","remarkable,59,1,204,1,238,1","remarking,74,1","rembrandt,227,1","remember,92,1,43,1,58,1,64,1,93,1,95,1,96,1,99,1,102,1,107,1,125,4,126,1,138,2,146,1,157,1,177,1,180,1,206,1,204,1,215,1","remembered,96,1,97,1,204,1","remembering,205,1","remembers,90,1,96,1,210,1","remembrance,175,1","remembrances,214,1","remind,4,1,206,1","reminded,172,1","reminder,210,1,214,1","reminding,12,1,142,1,210,1","reminds,66,1,147,1,222,1","reminisce,107,1","reminiscent,4,1,199,1,221,1","remiss,200,1","remix,200,1","remote,208,5,210,1","remove,123,1","removed,180,1","removes,98,1","removing,47,1","ren,134,1,184,1","renaissance,120,1,200,5","render,200,1","rendered,54,1,91,1,95,1,111,1","rendering,100,1,175,1,199,1","renders,175,1","renewed,88,1","renowned,3,1,41,1,247,1","rent,132,1,204,1","reopen,107,1","repainted,230,1","repair,95,1","repaired,25,1","repairman,171,1","repeat,20,1,207,1,210,10","repeated,23,1,64,1,210,1,231,1","repeating,185,1","repetition,41,1,145,2,151,1,170,1,210,5,262,2","repetitions,262,2","repetitive,210,1","replaced,12,1,87,1","replacements,1,1","replaces,36,1,99,1,210,1","replay,109,1","replete,4,1","replicates,211,1","replied,74,1,83,1","replies,201,1","reply,47,1,82,1,200,1,262,1","reponse,113,4","report,75,1,201,2,196,1,205,1","reportage,171,1","reported,46,1","reporters,47,1","reports,46,1,151,1","repository,122,1","represent,150,1,158,1,170,2,238,1,222,1","representation,21,1,105,1,152,1,262,1,244,1","representations,262,1,230,1","representative,107,1,262,1","representatives,175,1","represented,48,1,80,1,85,1,104,1,133,1","representing,185,1","represents,137,1,159,1","reprint,10,1","reprinted,52,1","republic,85,1","republished,137,1","repulsive—,146,1","reputation,174,1,199,1","request,53,1","requiem,196,1","require,88,1,93,1,107,1,154,2,156,1,160,1,169,1,195,1,221,2,237,1","required,25,1,151,1","requirement,149,1","requirements,73,2","requires,55,1,95,1,137,1,150,1,211,1,195,1,200,1,238,1","requisitecollapse,88,1","reread,67,1","rereading,52,1","res,47,1","resbio,13,4,26,4,69,4,29,4,16,4,21,4,33,4,35,4,37,4,41,4,44,4,49,4,52,4,56,4,60,4,65,4,62,4,63,4,68,4,73,4,78,4,81,4,91,4,85,4,94,4","rescue,183,5,202,4,224,1,227,1","rescues,105,1,137,1,200,1","research,67,2,184,1,247,1","researchers,69,1,16,1,73,1,81,1,91,1,94,1,244,1","resemblance,92,1","resemblances,93,1","resemble,115,1,130,1,154,1,170,2,215,1","resembled,176,1","resembles,96,1","reserve,10,2,224,1","reserves,133,1","reservoir,76,1","resided,96,1","residence,48,1,63,1","residences,153,1","residential,96,1","resides,48,1,171,1,175,2","residing,159,1,205,1","residue,213,1","resign,107,1","resignation,205,1","resilience,222,1","resist,4,1,149,1,221,1","resistance,83,1,200,1","resistant,171,1,262,1","resisted,121,1","resisting,129,1,154,1,160,1,169,1","resistless,146,1","resists,212,1,200,1","resolution,161,1,174,1,200,2","resolve,21,1","resolved,131,1,137,1","resonance,162,1","resonate,47,1","resonated,244,1,245,1","resort,160,1","respect,92,1,18,1","respectfully,107,1","respectively,56,1,200,1,205,1","respites,185,1","respond,7,1,78,1,209,1,238,1","responded,4,1","responding,105,1","responds,200,1","response,6,1,12,2,13,1,26,1,69,1,29,1,16,1,21,1,33,1,35,1,37,1,41,1,44,1,49,1,52,1,56,1,60,1,65,1,62,1,63,1,68,1,73,1,78,1,81,1,91,2,85,1,87,1,88,1,94,1,99,5,102,5,104,1,105,1,108,5,113,1,119,5,124,5,126,5,129,6,131,1,134,5,137,5,147,1,148,4,149,5,150,5,151,6,152,4,153,5,154,3,155,7,156,5,157,5,158,5,159,5,160,6,161,5,162,5,163,5,164,5,165,6,166,5,168,5,169,5,172,5,174,5,180,6,201,5,211,5,184,5,195,5,200,1,207,5,209,5,217,5,221,5,226,5,229,6,232,6,237,5,244,2,245,1,247,6","responses,4,1,6,2,7,2,47,3,49,1,62,1,156,1,200,1","responsibilities,107,1","responsibility,107,1,185,1","responsible,12,1,100,1,101,1,107,1","respose,152,1","rest,76,1,86,1,95,3,146,2,201,2,206,1,215,1","restaurant,27,1,121,1,206,1","rested,53,1","restful,218,1","resting,39,1,77,1,103,1","restraint,68,1,93,1","restrict,12,1","restricted,107,1,200,1,205,1","restrictions,12,4,69,2,33,1,73,3,81,2,91,2,85,1,94,2,149,2,150,1,154,3,156,2,157,1,160,1,161,1,164,1,166,1,168,2,244,2,245,1","restrictive,65,1,126,1,154,1,160,2,163,1,262,1","rests,175,1,200,1","result,73,2,105,1,107,1,151,1,154,1,160,1,195,1,221,1,238,2,228,1,229,2,237,1","resultant,200,1","resulting,262,1","results,73,1,93,1,222,1","resumed,174,1","resurrection,24,1","resurrections,171,1","retaining,33,1","retells,238,1","retina,208,1","retold,205,1","retorts,47,1","retoucher,208,1","retract,179,1","retracting,204,1","retreat,58,1,171,1","retribution,175,1","retrieve,158,1","retrieved,158,1","return,27,2,66,1,84,1,95,1,113,1,129,1,148,1,150,1,160,1,262,1,229,1,243,1,251,1,252,1,253,1","returned,122,3,162,1,178,1,202,1,222,3","returning,196,1,199,1,239,1","returns,12,1,98,1,210,1,262,1,222,1","rev,200,1","reveal,12,1,156,1,205,1,222,2","revealed,35,1,43,1,131,1,149,1,175,2,262,2","revealing,4,1,21,1,85,1,148,1,175,1,204,2,244,1","reveals,26,1,88,1,122,1,171,1,200,1,205,1,226,1,262,1,222,1","revelation,58,1,122,1,170,1","revelations,154,1,205,1","revelatory,175,1","reverence,200,1","reverently,223,1","reveres,200,1","reverse,262,3","reversed,230,1","revert,10,1","review,4,4,10,13,26,4,69,1,106,1,29,3,21,2,33,1,44,1,62,2,63,1,73,4,85,3,88,1,99,1,102,2,104,1,105,1,107,1,142,1,133,1,148,2,149,4,152,1,154,1,155,1,161,2,163,1,165,2,166,2,168,2,170,1,171,5,172,1,174,1,175,5,211,1,195,2,199,5,200,1,205,5,208,2,210,9,221,2,226,2,238,5,262,6,222,5,229,1,247,1","reviewed,10,2,226,1","reviewer,10,2,151,1","reviewers,10,2,200,1","reviewing,10,1","reviews,4,1,10,5,12,1,88,2,122,1,154,1,155,1,221,1,229,1","revise,68,1","revised,52,1,87,1,99,1,108,1,119,1,122,1,134,1,151,2,200,1","revision,21,1,170,1","revolt,216,1","revolutionary,222,1","revolutions,172,1","revolve,131,1","revolved,203,1","revolves,203,1","revolving,30,1,204,1","rewarding,175,1","rewards,175,1","rewritten,87,1,99,1,108,1,119,1,134,1","rhapsodic,200,1,262,2","rhapsodies,209,1","rhetoric,169,1,201,1","rhetorical,170,1,189,5,200,1,210,1","rhetorically,210,1","rhino,73,1","rhode,238,1","rhyme,35,1,142,1,156,1,163,1,171,1,198,1","rhymes,42,1","rhyming,151,1","rhythm,35,2,42,1,50,1,147,1,156,1,160,1,188,1,221,1,226,1,229,1","rhythmic,147,1,163,1,180,2,262,3","rhythmical,151,1","rhythms,138,1,170,1","ri,52,1","ribbed,128,1","ribboned,64,1","ribs,34,1","rice,17,1","rich,10,1,12,2,13,1,61,1,146,2,152,1,161,1,166,1,262,1,222,1","rich—but,146,1","richard,1,1,2,2,11,2,88,1,133,10,166,10","richardgarcia,166,1","richards,2,1,11,1,88,3,126,10,127,9,128,9,154,2,155,1,160,3,163,2","richly,220,1","ricketts,175,1","rid,157,1,222,1","riddles,200,1","ride,222,1,224,1","riders,76,1","rideshare,224,1","ridge,139,1,141,1,143,1,144,2,145,1","ridges,45,1,206,1,215,1","ridicule,22,1","ridiculous,107,1","riding,106,1,97,1,142,1,199,1,229,1","riffs,171,1","rifle,75,1","rifleman,75,1","rifles,181,1,210,1","rift,4,1,158,1","rigamarole,138,1","right,4,1,10,2,13,1,106,1,17,2,21,1,34,2,46,1,60,1,61,1,77,1,82,1,83,2,93,4,94,1,128,1,131,1,134,3,139,2,140,1,143,1,144,3,145,2,146,1,147,1,149,1,150,1,151,1,152,2,154,1,159,1,160,1,174,1,178,1,175,1,201,2,206,2,185,2,200,4,202,2,204,1,242,1","righteous,46,1,77,1,146,1","rightly,200,1,229,1","rights,4,1,10,2,139,1,182,1","rigid,49,1,124,1","rigor,199,1","rigorous,222,1","rikki,2,1,11,1,167,10,254,9,255,9,256,9,257,9,258,9,259,9,260,9,261,9","rim,115,1,141,1","rimbaud,161,1,179,1,262,3","rimbaudean,226,1","rind,203,1","ring,70,1,106,1,98,1,105,1,156,1,178,1,202,1,203,2","ringing,95,1,206,1","ringling,181,1","rings,26,1,38,1,61,1,127,1,157,1,183,1,244,1","rinse,27,1","riot,31,1","ripen,43,1,203,1","ripeness,203,1","ripped,84,1,175,1","ripping,117,1,202,1","ripple,208,1","rippling,53,1,59,1,208,1","rise,106,1,42,1,53,1,62,2,72,1,105,2,124,1,127,1,146,1,152,1,154,1,159,1,160,1,172,1,180,1,195,1,200,1,204,1","risen,176,1","rises,40,1,129,1,136,1,154,1,157,1,160,1,190,1,208,1","rising,64,1,115,1,185,1","risk,91,2,124,1,156,1,186,1,210,1","ritter,78,1","ritual,210,1","rituals,152,1,210,1","rivendel,33,1","river,70,1,63,2,67,3,68,1,74,6,76,5,77,1,85,1,95,1,103,1,112,1,163,1,130,1,131,1,178,2,175,1,197,1,205,1,216,1,262,1","rivera,142,1","rivering,63,1,178,1","rivers,116,1","riverside,175,1","riveting,3,1","road,29,1,30,1,65,1,62,1,76,1,84,1,93,1,95,1,113,1,146,2,151,1,177,1,206,5,202,1,205,2,238,1,244,1","roadance,161,1","roadies,202,1","roads,30,1,205,2","roared,175,1","roasting,138,1","robber,163,1,199,9","robe,45,1","robert,2,3,4,1,11,3,12,3,29,1,33,1,47,1,75,1,88,3,107,1,134,10,135,9,136,9,154,1,155,2,160,1,167,1,226,10,227,9,228,9,229,10,230,9,231,9,245,1","roberts,2,1,11,1,149,10,172,2,174,1,247,1","robinson,2,1,11,1,159,10,209,2,262,1","robischon,48,1","rochelle,200,1","rochester,10,1,73,1","rock,106,1,87,2,95,1,97,1,105,1,115,1,130,1,136,1,141,1,143,1,206,2,198,1,202,3,216,1,262,1","rocker,138,1","rocket,175,1","rocks,83,1,84,1,177,1","rocky,48,1,80,1,102,1,129,1,222,1","rococo,107,1","rod,93,1,173,1","rode,106,1,50,1,76,2,222,1","rodent,99,1","rodin,262,3","rogers,2,1,11,1,162,10,217,2","rohrer,247,1","rojoing,40,1","role,12,1,47,1,51,1,59,1,154,1,156,1,157,1,160,1,262,2","roll,106,1,59,1,87,1,97,1,98,1,175,1","rolled,34,1,76,1,79,1,116,1","roller,116,1,262,1","rollers,38,1","rollicking,55,1","rolling,92,1,55,1,146,1,159,1","rollover,1,2","rollovers,1,1","rolls,177,1","romans,182,1","romantic,133,7","romanticism,133,2","romanticize,13,2","romp,142,1,133,1","ron,1,1,2,1,11,1,12,1,88,2,137,10,138,9,149,1,150,1,154,2,156,1,157,1,160,2,161,2,164,1,166,1,168,1,169,2","ronald,200,2","ronde,186,5","ronk,2,1,4,1,11,1,206,5,207,10,210,25","ronk1,206,4","roo,156,1","roof,42,1,76,1,95,1,105,1,141,1,262,1","rooftop,122,1","room,1,6,2,4,4,6,5,12,6,5,7,5,8,12,9,12,10,12,11,5,12,7,27,4,17,1,21,1,33,1,45,2,46,1,47,2,48,4,56,1,59,1,64,1,67,1,78,1,80,4,82,1,88,3,89,1,95,2,96,2,100,1,101,1,107,1,115,1,116,2,122,4,163,1,134,1,135,1,138,1,146,1,149,1,150,2,151,3,154,2,156,1,157,3,160,2,161,1,164,1,166,1,168,1,171,1,175,1,185,1,200,2,213,1,241,1,224,1,231,1,236,1,244,4,245,4,246,4,248,4,249,4,250,4","rooms,96,2,100,1,132,1,211,1","rooster,232,1","root,62,1,86,1,137,1,154,1,157,1,160,1,169,1","rooted,88,2","roots,12,1,184,1,244,1","rope,262,1","ropes,95,1,127,1","rose,105,1,116,2,131,1,141,1,178,1,222,1,230,1","rosemarie,1,1","roses,192,1,200,4","rosmarie,2,1,6,2,11,1,12,2,51,1,52,2,60,1,63,1,154,1,211,1,244,1","roster,133,1","rot,214,1","rotating,208,2","rotor,72,1","rots,171,1","rotted,206,2","rotten,22,1","rotting,175,1,204,1","roubaud,52,1","rough,43,1,96,1,122,1,146,1,175,1,203,1,222,3","roughly,6,1,91,1,105,1,229,1,244,1,245,1","roulin,185,1","round,35,2,65,1,95,1,114,1,161,1,222,1","rounded,217,1","rounds,30,1","rouse,200,1","rousseau,175,1","route,161,1","routes,238,1","routine,188,1,210,3","routines,30,1","roving,92,1","row,182,1,210,1","rowed,74,1","royal,185,1","rub,208,1","rubber,85,1","rubbing,200,1,229,1","rubble,205,1","rubens,227,1","rubric,122,1,160,1","ruby,103,1","rude,115,1","rudimentary,185,1,222,1","rue,77,1","rug,30,2","ruin,76,1,118,1,133,1,152,1,228,1","ruinous,133,1","ruins,262,1","rule,48,1,77,1,80,2,200,1","ruled,146,2","ruler,92,1,146,2","rulers,95,1","rules,13,1,41,3,45,1,151,2,156,2,175,1,206,1","rum,107,1","ruminate,69,1,73,2,81,1,91,1,94,1,244,1","ruminating,69,1,49,1,73,1,81,1,91,1,94,1,170,1,244,1","rumination,170,1","ruminations,4,1","rummage,72,1","rumor,82,1","run,33,1,61,1,77,1,84,1,94,1,95,1,179,1,211,1,191,1,207,1,224,1","runaway,202,1","rung,203,1","running,42,1,63,1,79,1,87,1,96,2,99,1,108,1,119,1,134,1,206,1,197,1","runs,76,1,93,1,98,1,262,1","runway,22,1","rupture,154,1,155,1,160,1","ruptured,154,1,155,1,160,1,177,1","rural,205,7","rush,26,1,21,1,54,1,74,1,76,1,132,1,175,1,211,1,224,1","rushed,114,2,222,1","rushing,157,1","russel,81,1","russell,2,1,4,2,11,1,12,1,26,1,41,1,88,1,113,1,124,1,129,1,239,9,240,9,232,7,233,9,234,9,235,9,236,9","russian,40,1","rust,72,1","rusting,130,1","ruthlessness,200,1","rw,51,4,52,4","rye,27,2","rzicznek,2,1,11,1,174,10,176,5,177,5","rzicznek1,176,4","rzicznek2,177,4","sack,147,1","sacrament,31,1","sacred,49,1,193,1,200,1,241,1,262,1","sacrifice,50,1,153,1","sacrificial,211,1","sad,95,2,117,1,123,2,178,2,223,1","saddam,195,1","sadness,187,1","safe,26,1,33,1,57,1,114,1,120,1","safekeeping,122,1","safety,118,1,218,1,230,1","saftesbury,12,1","sag,127,2","sages,146,1","sagging,177,1","sahara,95,1","said,4,1,38,1,92,5,17,4,18,1,21,1,22,2,23,3,34,14,39,1,58,2,59,1,65,2,62,2,74,1,75,1,86,1,93,4,95,5,97,1,99,1,101,1,102,2,103,1,117,5,163,2,125,2,126,2,137,1,146,1,149,1,154,2,157,1,160,1,171,4,206,1,211,1,194,1,205,1,210,1,241,1,220,2,233,5,242,2,244,2,247,1","sailers,133,1","sailing,95,1,212,1","sailor,222,1","sailors,33,1,245,1","sails,34,1","saint,83,1,95,1,142,1,141,1","sainthood,227,1","saints,29,1,43,1","sake,110,1,123,1,201,1","salamander,105,2","salamun,113,1","sale,2,1,117,8,211,1","saleable,94,1,124,1","sales,211,1,224,1","salina,101,1","sally,152,1","salmon,76,1,103,3,132,1","salt,33,1,34,1,51,1,85,1,95,1,132,1,124,2,140,1,178,1,195,1,222,3,245,1","salted,61,1","saltonstall,21,1","salty,31,1,222,1","salvage,2,1,7,1,72,1","same,4,3,28,1,33,1,47,1,53,2,57,1,91,1,88,2,93,2,95,1,105,2,107,2,113,1,117,1,120,1,133,1,134,1,136,1,137,1,143,1,145,1,146,3,148,1,153,1,154,2,158,1,160,2,161,2,162,1,170,2,178,1,175,2,201,1,184,1,195,2,196,1,199,1,200,1,210,2,217,1,221,2,226,1,238,2,240,1,262,2,228,1,229,1,234,1,237,1,247,1","sameness,116,1","sample,10,1","sampling,175,1","samuel,171,1","san,4,1,150,1,157,1,175,1,217,1,218,1","sanctuary,262,2","sand,33,1,34,2,105,1,200,1,204,1,208,1,222,13","sands,146,1","sandspit,139,1","sandwich,27,6,93,1,229,1","sandwiches,123,1,204,1","sandy,92,1","sane,42,1","sang,22,1,43,1,76,1,178,1,220,1","sans,133,1,209,1","sanskrit,178,1","santa,2,1,6,1,32,1,48,1,104,1","santana,262,1","santeria,40,1","sappho,175,1","sarah,2,1,11,1,77,2,168,10","sardonic,171,1","sash,146,1","saskya,2,1,11,1,158,10,207,1,209,3","sat,22,1,75,2,115,1,116,2,176,1,216,1","satch,99,1","satellite,95,1,109,1","satellites,208,1","satin,61,1","satisfaction,154,2,185,1","satisfactory,73,1","satisfied,45,1,110,1,146,1","satisfies,217,1","satisfy,222,1","satisfying,238,1","satoric,180,1","saturated,211,1","satyr,170,1","savannas,133,1","save,106,6,40,4,47,1,85,1,88,1,133,1,161,1","saver,95,1","saving,62,1,95,1","savor,194,1","saw,2,1,38,1,92,3,106,1,34,1,40,1,74,1,86,2,115,2,132,5,142,1,138,1,146,1,154,1,177,1,185,1,210,1","sax,50,1","saxifrages,206,1","say,12,1,69,1,27,4,30,2,31,1,33,1,35,1,37,2,41,1,42,1,43,1,61,2,65,1,66,1,73,1,76,1,81,1,82,4,91,3,83,1,84,2,93,6,94,1,95,11,107,4,109,5,112,1,137,1,149,2,150,1,151,1,152,2,154,1,155,2,156,2,157,3,158,1,160,1,161,2,164,1,166,1,168,1,170,1,171,1,172,2,174,2,178,1,206,3,211,2,212,1,185,1,195,1,210,3,213,2,226,1,222,1,227,1,236,2,244,2,247,1","saying,28,1,17,1,49,1,65,1,85,1,95,3,97,1,116,1,120,1,142,1,153,1,157,1,164,1,170,2,180,1,206,1,220,1,222,1,230,1","says,69,3,106,1,16,2,30,1,34,1,37,1,46,7,52,1,60,1,65,1,63,1,73,3,81,2,91,2,93,1,94,2,95,5,102,1,105,1,107,1,124,1,126,1,129,1,137,1,139,1,151,1,154,2,157,2,160,1,181,1,175,1,206,4,211,1,183,4,200,1,208,1,210,2,213,1,240,2,222,3,229,1,244,3","scale,51,1","scaled,111,1","scalpel,236,1","scalps,202,1","scan,41,1","scanned,122,1","scans,122,3","scansion,160,1","scape,64,1","scar,206,1","scare,37,1","scared,83,1,114,1","scares,4,1,123,1","scarf,117,1,139,1","scarlet,59,1,208,1","scatter,30,1,42,1,210,1","scattered,35,1,45,1,67,1,170,1,208,1","scattering,175,1","scatting,42,1","sce,33,1","scenario,208,1","scene,4,1,12,1,38,1,47,2,67,1,107,1,118,1,172,1,177,1,183,5","scenery,175,1,206,1,217,1,224,1","scenes,41,1,62,1,244,1","scent,125,3,156,1","schaefer,48,1","schedule,210,2","scheduled,210,1","schema,133,1","scheme,146,1","schemes,126,1","schism,4,2","schizophrenic,62,1","schizophrenically,221,1","schlegel,12,1,65,1,102,2,126,2,137,2","scholar,122,1","scholarly,10,1,88,1,122,1","scholars,12,2,47,1,88,1,122,4","school,4,1,12,1,38,1,92,1,22,1,29,1,37,1,41,1,46,2,90,1,101,2,118,1,121,1,163,1,126,1,129,1,137,2,138,2,146,1,154,2,157,1,160,2,164,1,175,1,204,1,229,1,247,1","schoolgirl,204,1","schools,146,1","schoolteacher,122,1","schooner,29,1","schuldt,2,1,7,2,11,1,69,2,47,1,72,2,124,1","science,146,1,236,1","sciences,184,1","scientific,175,4,239,1,222,1","scientists,132,1","scintillate,196,1","scissors,260,1,261,4","scold,129,1","sconce,61,2","scope,175,2","scored,3,1","scotch,206,1","scott,4,1,200,2,262,5","scrambled,132,1","scrambling,140,1,241,1","scraping,45,2,98,1","scraps,163,1","scratch,226,1","scratched,33,1,208,1,245,1","scratching,105,1","scream,95,1","screamed,93,1,202,1","screamily,147,1","screaming,16,1,22,1,93,1,107,1","screams,45,1","screen,17,1,42,1,132,1,133,1,161,1,203,2,210,4","screens,133,1,212,1,210,1","screensavers,138,1","screw,93,1","screwed,82,1","scribble,95,1","scribbled,201,1","script,122,1,151,1,178,1,227,1","scrivener,160,1","scroggins,2,1,6,2,11,1,26,2,28,1,30,1,244,1","scroll,178,1","scrolls,178,1","scrotum,179,1","scrubbed,50,1,53,1,222,1","scrubby,95,1","scrupulously,200,1","scrutinized,195,1","scrutiny,154,1,195,1,221,2,237,1","sculpt,170,1","sculpted,186,1,188,1","sculptures,156,1","scumbling,185,1","scurries,138,1","sea,92,4,74,1,105,1,138,1,146,1,165,1,175,3,198,1,210,1,222,46","sealed,122,1","seals,175,1","seamless,160,1","seamlessly,105,1,170,1","seams,175,1","sean,1,1,2,2,6,2,11,2,12,1,40,1,41,2,42,1,62,1,88,1,142,10,171,5,244,1","search,3,1,141,1,133,1,175,1","searchable,122,1","searched,17,1,122,1,241,1,222,1","searches,208,1","searching,106,1,102,1,120,1,132,1,124,1,191,1,196,5","sears,2,1,6,1,36,4","seashells,222,1","season,173,1,193,1","seasons,74,1","seat,46,1,95,1,182,1,213,2","seated,59,1","seats,17,2,45,1,151,1,202,1","seattle,168,1,200,1,218,1","sebastopol,221,1","secluded,210,1","second,47,2,49,1,75,1,93,1,107,1,118,1,123,1,163,2,133,1,138,1,145,1,149,1,160,1,171,1,201,1,200,1,202,1,210,1,218,1,229,1,234,1","secondary,10,1,67,1,180,1,199,1,236,1","seconds,84,1,117,1","secret,43,2,82,1,86,1,189,1,196,1,226,2,222,2","secretary,204,1","secretions,178,1","secretly,24,1,200,1","secrets,43,1,181,1,175,1,226,1","section,4,1,12,2,88,3,105,4,122,2,134,2,146,10,153,1,165,1,170,1,175,1,206,1,210,4","sections,88,2,96,1,205,3,262,1,218,1","secular,4,1,200,1","secure,238,2","security,122,1","sedge,175,1","seduction,12,1,243,1","see,2,1,6,2,69,1,17,1,21,1,22,1,24,1,29,1,33,2,39,2,41,1,43,2,45,2,47,1,51,1,53,3,61,3,67,1,68,1,72,3,73,2,77,2,81,1,91,1,88,2,90,1,94,1,95,3,96,1,98,2,101,1,107,2,115,1,122,1,132,1,142,1,128,1,140,1,146,2,147,1,154,1,156,2,159,3,161,2,164,1,172,1,173,1,177,1,179,1,181,2,175,3,206,1,182,4,199,2,200,1,202,1,204,1,208,1,216,1,221,1,262,1,218,1,228,1,230,1,231,1,235,1,244,1","seed,111,1,178,1","seeds,120,1,178,1","seedy,22,1","seeger,157,1","seeing,26,1,35,1,39,2,46,1,152,1,154,1,159,1,160,1,175,4,212,1,205,1,207,1,210,1,214,1,213,1,238,1,239,1","seek,92,1,163,1,126,1,154,1,160,1,185,1,191,1,194,1,222,1","seeker,43,1","seeking,211,1,187,1,190,1,213,1","seeks,62,1,133,1,152,2,154,1,184,1,185,1,222,1","seem,4,4,12,2,106,1,27,1,47,3,85,2,88,1,90,2,95,1,105,1,107,2,114,1,122,2,163,1,124,1,133,1,152,2,153,1,154,1,156,1,159,1,160,1,161,1,170,1,171,1,195,1,199,3,205,2,209,1,238,1,262,1,222,1","seemed,92,1,39,1,50,1,76,1,85,1,96,1,115,1,118,2,122,1,152,1,154,1,159,1,160,1,176,1,179,1,193,1,203,1,222,1","seeming,151,1,182,1","seemingly,4,1,85,1,105,1,148,1,170,1,171,1,238,1","seems,4,4,12,2,27,1,21,1,37,1,47,2,66,1,62,1,81,1,85,1,88,1,90,1,93,1,95,1,100,1,105,2,107,1,113,1,123,2,142,2,124,2,128,1,133,2,149,1,150,1,152,1,154,7,155,3,156,1,157,2,159,1,160,5,161,3,164,1,166,1,168,1,170,1,172,1,177,1,206,3,205,1,210,1,217,1,262,3,247,1","seen,17,1,41,1,55,1,72,1,96,1,105,1,110,1,117,1,122,1,123,1,138,1,154,1,162,1,172,1,176,1,206,1,200,1,204,1,208,2,217,1,230,1","seeped,92,1","seeping,89,1,223,1","seeps,108,2,128,1,154,1,155,1,160,1,222,1","sees,16,1,22,1,45,1,46,1,133,1,159,1,201,1,206,3,226,1,222,2","segalen,137,1","segments,210,1","segue,102,1","seize,146,1","seized,200,1","selby,122,1","seldom,82,1,196,1","select,122,1","selected,10,1,16,1,52,1,129,1,154,1,161,1","selecting,133,1","selection,13,1,122,1,161,1","selections,2,1,11,1,26,1,122,6,146,8","self‑possessed,146,1","selfish,133,1","selfsame,200,4","sell,218,1","semantic,88,1,107,1,200,2","semantics,152,1","semblance,222,1","semezdin,223,1","semi,207,1","seminal,199,1","senate,212,1","send,10,4,22,1,64,1,144,1,169,1,171,1","sender,226,1","sending,10,1,30,1,61,1,157,1","sends,93,1,226,1","sensation,162,2,175,1,217,1","sensations,85,1,244,1","sense,12,3,26,1,21,1,29,1,33,1,62,2,73,1,77,1,84,1,95,1,102,1,105,1,107,1,113,1,115,1,118,1,124,2,133,2,134,2,137,2,152,2,153,1,154,3,156,1,157,2,159,1,160,5,162,1,164,1,169,2,175,3,206,1,211,2,183,1,200,1,205,1,207,1,210,1,217,1,213,2,238,3,222,1,245,1","senses,53,1,74,1,120,1,146,1,152,1,217,1","sensibilities,4,1,47,1,73,1","sensibility,12,2,29,1,33,1,59,1,175,1,245,1","sensing,208,5,262,1","sensitive,106,1,224,1","sensitivity,106,1,210,1","sensitization,223,1","sent,10,1,38,1,106,2,156,1,200,1,226,1,222,1,231,1","sentence,4,1,69,1,28,1,21,1,22,1,37,1,47,2,68,1,95,3,99,1,107,10,163,2,145,2,149,1,152,2,156,1,157,1,160,1,166,1,172,1,174,1,180,2,201,1,211,3,199,2,221,1","sentences,56,1,60,1,67,1,95,2,107,12,122,1,133,1,145,1,171,1,211,5,194,1","sentencing,95,1","sentiment,154,1","sentora,129,1","separate,21,1,76,1,96,1,105,1,138,1,231,1","separated,215,1","separates,174,1,214,1","separation,217,1","september,217,1","sequence,26,1,69,1,205,1,262,1","sequences,41,1","sequential,171,1","sequestered,127,1","sequined,204,1","serbs,138,1","serenely,116,1","serial,10,1,137,1","serialization,12,1","series,13,1,41,1,60,1,67,1,133,3,137,1,143,1,145,1,154,3,157,1,159,2,172,1,174,1,199,1,205,1,210,3,262,1,247,1","serious,200,1,222,1","seriously,238,1","sermons,146,1","serotonin,95,1","serotoniton,95,1","serve,62,1,175,4,218,1","served,137,1","serves,7,1,12,1,99,2,127,1,206,1,232,1","service,68,1,98,1","serving,218,1","servo,106,1","sesame,218,1","sessile,100,1","sessions,99,1","set,12,1,26,3,21,1,30,1,39,1,43,1,59,1,86,1,115,1,139,1,169,1,173,1,177,1,178,1,210,1,238,1,241,1,262,2,231,1","sets,31,1,32,1,45,1,60,1,124,1,175,1","setting,30,1,128,1,129,1,147,1,180,1","settle,146,3","settled,175,1","settlements,67,1","settles,177,1","settling,121,1,175,1,202,1","seven,60,1,122,1,133,1,167,1,170,1,171,1,208,5,222,1","seventeenth,47,1,200,2","seventh,182,1","seventies,26,1,22,1","several,4,2,10,1,12,1,92,1,20,1,37,1,47,3,82,1,84,1,96,3,138,1,154,1,156,1,180,2","severed,262,1","sex,213,1","sexist,12,1","sexton,170,1","sexual,122,1","sexuality,122,1,125,2,147,1","sexy,183,1","sf,13,1","sfirst,88,1","sfragmentary,88,1","sgml,122,1","sh,146,1","shackled,51,1","shade,43,1,96,1,115,1,138,1,200,1,220,1,222,1","shaded,204,1","shades,82,1,110,1,112,1,208,1","shading,86,1,133,1","shadow,38,1,45,1,86,1,115,1,193,1,231,1","shadowboxing,65,1","shadowing,205,1","shadows,39,1,53,2,98,1,131,2,208,1","shadowy,33,1,245,1","shaggy,30,1","shake,51,1,93,1,107,1,113,1,197,2,231,1","shaken,194,1","shakes,46,1,142,1,133,1","shakespeare,83,1,200,34","shakespop,200,1","shaking,34,1,135,1","shaky,116,1","shal,146,1","shall,58,1,146,18,231,1","shallow,96,1,115,1,206,1,208,1","shallows,92,1,230,1","shamans,262,1","shame,107,1,132,1","shamefully,174,1","shank,64,1","shapard,12,2","shape,50,1,73,2,95,1,103,1,116,1,120,1,123,1,139,1,140,1,145,2,148,1,152,1,154,1,156,1,157,1,158,2,168,1,200,3,208,1,209,2,262,1","shaped,26,1,38,1,164,1,204,2","shapeless,200,1","shapes,3,1,130,1,168,1,200,1","shaping,22,1,156,1,157,1","shard,31,1","shards,46,1,163,1,138,1,205,1,223,1","share,122,1,124,1,146,1,151,1,156,1,170,1,185,1,200,1,226,1,222,2","shared,97,1,161,1,175,1,199,1","shares,133,1,175,1","sharing,171,1","sharp,137,1,206,2,196,1","sharpened,79,1","sharply,105,1","shatter,29,1,244,1","shattered,84,1,133,1","shattering,201,1","shaved,204,1","shaver,38,1","shaving,236,1","she,2,1,7,1,13,1,38,7,70,1,27,14,16,2,17,1,22,5,29,3,30,2,31,3,34,16,35,1,37,1,42,2,43,8,45,24,46,14,52,3,65,1,66,1,62,3,63,2,71,4,77,1,78,1,83,1,86,3,87,4,93,13,95,3,96,17,102,2,103,3,105,7,107,1,113,3,115,1,116,1,117,2,118,6,119,3,121,4,163,2,124,2,128,1,140,1,146,1,147,1,148,2,149,2,150,2,151,2,153,2,154,3,156,2,157,6,158,1,159,1,160,2,161,2,162,1,164,4,166,2,167,2,168,3,170,2,177,1,175,6,201,1,206,25,182,3,183,6,184,2,186,1,189,1,207,1,209,1,210,3,216,2,217,1,221,1,238,10,220,1,222,4,224,2,233,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ures,21,1,133,1,171,1,212,1,200,1,238,1","structuresand,88,1","structureto,88,1","struggle,33,1,88,3,170,1,171,1,245,1","struggled,95,1","struggles,88,1,96,1","strugglesseem,88,1","struggling,205,1","strummed,178,1","strumming,18,1,42,1","strung,127,1","struts,202,1","strutting,83,1","stuck,93,2","student,46,1","students,26,2,41,1,62,1,151,4","studied,59,1,131,1","studies,3,1,12,2,163,1,184,4","studios,212,1","studious,95,1","study,3,1,93,1,95,1,105,1,122,1,179,1,215,1","studying,122,1","stuff,49,1,93,1,95,1,107,1,133,1,211,2,234,1","stuffed,17,2,93,1,202,1,262,1","stumble,98,1,224,1","stumbling,79,1","stumps,40,1","stunning,107,1,175,1","stunningly,175,1","stupid,229,1","stuttering,108,1","stuttgart,237,1","stygia,74,1","style,4,1,35,1,62,1,82,1,95,1,158,1,197,1,226,1,262,2","styles,47,1,238,1","stylistically,199,1,200,1","sub,156,1","subconscious,113,1","subdivision,146,1","subject,10,1,12,1,37,1,142,1,146,1,165,1,170,1,175,8,206,14,184,1,198,1,200,1,207,2,210,2,262,2","subjecting,195,1","subjective,129,1,133,1,210,1","subjectivity,200,3","subjects,3,1,146,1,171,1","sublime,105,2,146,1,195,1,210,2","sublimity,195,1,210,1","submission,10,6,146,1","submissions,1,2,10,3","submissions5,10,4","submit,10,2","submitting,10,2,43,1,47,1","subordinate,161,1,200,1","subscription,218,1","subsequent,195,1,208,1","subsequently,105,1,238,1","subsides,201,1","substance,195,1,262,1","substantial,21,1,50,1","substitutionary,160,1","subsumed,199,1","subterranean,35,1","subtext,200,1","subtitle,238,1","subtle,103,1","subtler,60,2,107,1","subtlety,26,1,185,1,199,1","subtly,152,1,157,1","subtracted,103,1","suburban,106,1,28,1,32,1","suburbia,106,1,83,1","subversion,12,3,154,2,155,1,157,1,160,2","subversive,12,1,155,1","subvert,62,1,148,1,153,2,154,1,158,1,160,1,162,1","subverting,4,1,65,1,154,1","subverts,154,1","subway,93,1,94,1,229,2","succeed,262,1","success,61,1","successes,50,2","successful,41,1,62,1,174,1,262,1,244,1","successfully,62,1,244,1","succession,138,1,200,1","succinct,107,1,150,1","succumbs,107,1","suck,216,1","sucked,43,1","sucker,229,1","sucking,95,1","suction,92,1","sudden,12,2,26,1,34,1,45,1,47,1,49,1,82,1,85,1,93,1,138,1,156,2,215,1","suddenly,26,1,59,1,79,1,98,1,122,1,135,1,138,1,153,1,193,1,202,1,227,1,236,1,244,1","sue,181,1","suet,138,1","suffer,77,1,113,1,187,1","suffered,175,1,205,1","suffering,95,1","sufferings,222,1","suffers,16,1","suffice,222,1","sufficiently,238,1","sugar,117,3,224,1","sugary,95,1","suggest,47,1,49,1,65,2,105,1,107,1,163,1,124,1,146,1,149,1,150,1,152,1,154,3,155,1,156,1,157,1,159,1,160,3,161,1,164,1,166,1,168,1,195,1,200,2","suggested,107,1,146,1,200,1,238,1,233,1","suggesting,88,1,152,1,154,1,159,1,160,1,170,1,172,1","suggestion,12,1,105,1,133,1,154,1,155,1,160,1,238,1","suggestive,44,1,62,1,147,1,244,1","suggests,4,1,12,5,26,1,21,1,29,2,33,3,47,3,68,1,107,2,163,1,148,1,149,2,150,2,152,1,153,1,154,9,155,1,156,2,157,3,158,1,159,1,160,8,161,2,162,1,164,2,166,2,168,2,169,1,170,1,205,1,213,1,262,2,222,2,245,3","sui,170,1","suicidal,76,1,224,1","suicide,106,1,62,1","suit,43,1,138,1,181,1,185,1,198,1,203,5,204,4,240,7","suitable,10,1","suits,36,1,181,1","sulks,22,1","sullenly,45,1","sullivan,29,1","sum,10,1","summarize,161,1","summary,222,1","summer,1,2,2,3,4,1,7,1,106,1,34,1,42,1,46,1,95,1,96,2,122,1,128,1,153,1,173,1","summit,114,2,208,1","summoned,26,1","summons,182,1","sumptuous,105,1","sun,1,1,3,4,4,4,6,1,7,1,10,4,11,4,13,1,34,1,43,1,46,1,53,1,64,1,74,2,95,1,111,1,114,1,115,4,117,1,128,1,136,1,138,3,157,4,167,4,170,4,171,4,172,4,173,4,174,4,176,4,177,5,178,4,179,4,180,4,181,4,175,4,201,4,206,4,211,4,212,4,182,4,183,4,184,4,185,6,186,4,187,4,188,4,189,4,190,4,191,4,192,4,193,4,194,4,195,4,196,4,197,4,198,4,199,4,200,5,202,4,203,5,204,4,205,4,207,5,208,5,209,4,210,4,214,4,215,4,216,4,217,4,213,4,221,4,226,4,238,4,239,4,240,4,241,4,218,4,219,4,220,4,222,4,223,4,224,4,225,4,227,4,228,4,229,4,230,4,231,4,232,4,233,4,234,4,235,4,236,4,237,4,242,4,243,4,247,4","sunblent,203,1","sunday,2,1,6,1,42,1,90,1,146,1,213,1","sunflowers,185,1","sung,43,1","sunglasses,43,1","sunk,210,1","sunken,92,1","sunlight,143,1,214,1","sunny,210,1","sunrise,103,1","suns,185,1","super,22,1,221,1","superficial,222,1","superimpose,152,1","superimposes,200,1","superior,146,2","superman,262,1","supernatural,222,1","superseded,146,1","supersedes,60,1","supervision,95,1","supplement,43,1","supplied,151,1","supplier,77,1","suppliers,77,1","supplying,73,1","support,106,1,95,1,210,1","supporting,213,1","suppose,49,1,99,1,160,2,206,1","supposed,12,1,29,1,33,1,93,2,101,1,117,2,146,1,171,1,245,1","supposedly,12,1,77,1","supremely,189,1","sur,184,1","sure,10,1,28,1,33,1,34,1,46,1,47,1,50,1,90,1,122,1,123,1,138,1,154,1,164,1,215,2,238,1,239,1,262,1","surely,69,1,22,1,49,1,122,1,133,1,206,1,218,1","surface,4,1,35,1,64,1,88,1,96,1,107,1,115,1,154,1,156,1,171,2,175,1,211,1,185,1,208,1,210,1,244,1","surfaces,154,1","surfacing,227,1","surfeit,57,1","surge,31,1,211,1","surgeries,58,1","surmise,77,1","surpasses,154,1,227,1","surp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6,2,103,2,107,2,112,1,113,2,118,1,122,2,132,1,124,2,129,2,133,1,136,1,138,1,146,1,171,1,176,1,177,2,185,3,186,1,204,2,209,1,226,1,240,3,241,1,222,1,230,1,236,1,242,1,262,1","underbrush,216,1","undercurrent,158,1","underdeveloped,163,1","underdog,247,1","underground,64,1,129,1,222,1,262,1","underlying,210,1","undermine,12,1","undermines,12,2,200,1","undermining,4,1","underneath,70,1,63,1,87,1,96,1,99,1,108,1,119,1,134,1,222,1,262,1","underscored,262,1","underscores,200,2,262,1","underscoring,200,1","underside,145,1","understand,22,2,82,1,88,1,107,1,146,2,157,1,170,2,171,2,184,1,214,1,222,4","understanding,35,1,67,1,105,1,162,1,184,1,189,1","understandings,160,1","understands,222,1","understated,170,1,205,1","understood,22,2,160,1,162,2,190,1,194,1,217,1","undertaking,222,1","undertook,122,1","undertow,114,1","underwear,125,1","undesirable,47,1","undetermined,56,1","undine,128,1","undocumented,101,1,205,1","undone,57,1","undoubtedly,4,1,12,1,88,2","undulant,92,1","une,184,2","unearthly,34,1","unemotional,107,1","unemployed,42,1","uneven,177,1,208,1,262,1","unexpected,47,1,73,2,102,1,126,1,137,1,156,1,158,1","unexplainable,199,1","unexplored,35,1","unfamiliar,59,1,75,1","unfathomable,92,1","unfazed,199,1","unfeminine,29,1,244,1","unfilmed,118,1","unfinished,80,1","unfixed,53,1","unfold,175,1","unfolding,210,1","unfoldings,107,1","unfolds,105,1,262,1","unforgiving,96,1","unfortunately,107,1,262,1","unfounded,4,1","unfunny,181,1","unfurling,34,1","unglued,117,1","ungrown,146,1","unhaltered,146,1","unharmed,118,1","unhinged,95,1,242,1","unhook,146,1","unicycle,50,1","unified,200,1","uniform,138,1","unifying,262,1","uninitiated,170,1","unions,35,1","unique,12,3,85,1,107,1,142,1","uniqueliterary,88,1","uniquely,12,1","unit,12,1,160,1,180,2,211,1","united,121,1,151,1,164,1","units,154,1,211,1,195,1,200,1,204,1,221,1,237,1","univeristy,21,1","universal,35,1,146,1,175,1","universality,35,1","universally,12,1","universe,105,2,146,1,152,1,171,1,211,1,200,1,204,2,210,1,213,1","university,4,1,10,1,12,1,26,1,69,1,16,1,37,2,44,1,48,1,49,2,52,1,60,2,68,1,91,1,88,2,102,1,107,1,108,1,119,1,122,1,124,1,129,2,133,1,148,1,149,1,150,1,151,4,157,1,158,1,159,1,164,2,165,1,169,2,174,1,211,3,184,3,200,3,238,1,262,1","unjust,7,1,47,1","unknowables,157,1","unknown,25,1,50,1,88,1,105,2,175,1,192,1","unkown,231,1","unless,119,1,133,1,151,2,154,1,157,1,160,1","unlike,65,1,160,1,170,2,178,2,199,1","unlikely,159,1","unlimited,226,1","unlock,70,1,138,1","unlocked,130,1","unlocks,45,1","unmade,144,1","unmarketable,94,1","unmetaphorical,147,1","unmotorized,86,1","unnamed,74,1","unnatural,206,1","unnecessarily,176,1","unnecessary,154,1","unofficial,76,1","unopened,227,1","unoriginal,83,1","unpaginated,200,2","unpaid,132,1","unperturbed,76,1","unpredictable,50,1","unpublished,88,1,122,2","unraveling,142,1","unread,107,1,227,1","unreadable,205,1,262,1","unrealistic,222,1","unrecognizable,210,1,214,1","unrelated,107,1,148,1","unrelenting,200,1","unremitting,222,1","unripe,33,1,245,1","unseen,95,1","unselfconsciously,21,1","unsentimental,205,1","unsheathed,66,1","unspoken,88,1,137,1","unstable,65,1,91,1,105,1,170,1","unsteady,95,1","unsung,52,1,142,1","unsure,123,1,231,1","unsuspected,186,1","untied,205,1","until,10,1,92,2,106,1,17,1,35,1,41,1,43,3,53,1,62,1,73,1,86,1,89,1,95,2,96,1,108,1,120,1,122,1,138,1,174,1,177,2,175,1,240,1,224,1,227,1,231,1","untitled,2,1,6,1,40,1,47,1,251,4,252,4,253,4","unto,29,1","untouchable,171,1","untouched,53,1,227,1","untoward,208,1","untrained,170,1","unused,95,1","unusual,22,1,23,1","unusually,238,1","unwieldy,238,1","unwillingness,171,1","unwrapped,95,1","unzipped,125,1","upcoming,147,1","upon,10,3,12,1,28,1,37,1,41,1,65,1,62,1,75,2,91,1,85,1,88,1,95,1,107,1,116,1,124,1,146,3,165,1,175,3,189,1,195,1,196,1,199,1,200,7,205,1,208,1,226,1,230,1,231,1,244,1,262,2","upper,93,1,141,1,140,1,200,1","uppland,147,1","upriver,76,1","upside,38,1","upstate,205,1","upward,59,1,131,1,213,1","upwards,177,1,185,1","uquhart,88,1","urania,193,5","urban,142,2,208,1","urge,4,1,26,2,154,1,195,1,196,1,221,1,237,1","urged,220,1","urgencies,222,1","urgency,12,1,165,1,184,2","urgent,210,1","urging,226,1","url,122,1","urquhart,2,1,11,1,134,10,135,9,136,9,154,4,155,4,160,4","uruguay,129,1","usage,12,1","usc,87,1","use,12,2,106,2,43,1,60,1,63,1,68,1,72,1,84,1,85,1,88,2,89,1,93,1,102,1,107,1,113,1,142,1,124,1,126,1,129,1,130,1,134,1,137,1,145,1,147,2,152,2,154,1,156,3,157,1,160,1,171,1,174,1,180,2,175,4,200,2,208,1,227,1,244,1","used,12,1,38,1,18,1,21,1,24,1,43,1,61,1,75,1,76,1,83,1,95,1,122,3,138,1,151,1,162,1,224,1,237,1","useful,12,2,99,1,133,1,151,1,152,1,210,1","usefully,175,1","useless,69,1,73,2,81,1,91,1,94,1,244,1","uses,146,1,152,1,180,2,175,2,238,3,222,1","using,12,1,67,1,82,1,161,1,170,1,210,1,238,1,222,1","usual,16,1,23,1,88,1,153,2","usually,10,1,33,1,52,1,68,1,81,1,113,1,122,1,154,1,156,1,170,1,206,1,195,1,221,1,230,1,237,1","utah,34,2,124,1,169,1","utilitarian,172,1","utilize,262,1","utilizes,171,1","utmost,33,1,162,1","utpala,43,1","utter,22,1,262,1","utterance,59,1,158,2,212,1,207,1,209,1","utterly,208,1","uuml,78,1","v8n4,222,1","vacancy,52,1","vacant,216,1,222,1","vacation,43,1,150,1","vaccuum,204,1","vague,13,1","vaguely,94,1","vain,122,1","valentine,37,1,244,1","valery,186,1","valid,88,1","vallejo,142,1","valley,77,1,177,1","valparasio,222,1","valuable,175,1","value,13,1,102,1,124,1,195,2,238,1","values,4,1,12,1","vampire,98,1","van,83,1,93,1,142,1,185,2,227,1","vandenberg,175,1","vanilla,218,1","vanish,43,1","vanished,138,1,239,1,254,4,255,5,256,4","vanishes,45,1","vanishing,239,1,223,1","var,1,1","variable,200,1,262,1","variants,133,1","variation,111,1,151,1","variations,200,1","varied,6,1,12,1,146,1,244,1,245,1","varies,210,1","variety,88,1,150,1,175,2,184,1","various,4,2,6,1,12,7,49,1,91,2,100,1,107,1,127,1,147,1,151,1,156,1,168,1,180,1,175,1,206,1,222,2,231,1","varying,4,1,49,1,110,1,160,1,171,1","vase,178,1","vassal,128,1","vast,26,1,47,1,146,1,173,1,175,2,226,1","vastness,223,1","vaultdoors,204,1","vector,200,1","veer,26,1,109,1","vegas,133,1","vegetable,146,1,185,1","vegetarian,218,1","vegetation,170,1,208,1","vehicle,21,1,93,1,105,2,159,1,180,1,203,1,262,1","veil,61,1,186,1","vein,112,1,131,1","veins,59,1,133,1","velleities,133,1","velocity,63,1,107,2,124,1,226,1","velvet,43,1,59,1,115,1,156,1","vendler,200,2","vengeance,203,1","vents,174,1","ventured,43,1","venues,231,1","verb,37,1,49,1,171,2","verbal,158,1","verbs,157,1","verge,21,1,212,2,262,1","verges,171,1","verlag,78,1","vermin,84,1","veronese,185,1","versa,243,3","verse,12,4,26,2,21,2,29,2,33,3,47,1,52,1,60,3,63,1,68,1,91,2,87,1,99,2,107,2,108,1,119,1,122,2,126,2,134,1,148,4,152,3,154,2,155,1,157,1,160,2,161,1,168,1,170,3,172,5,201,1,211,1,184,1,195,1,200,2,209,1,221,1,226,1,229,1,244,1,245,3,262,1","versebecomes,99,1","verses,47,2","version,36,1,119,1,151,1,171,1,200,3","versions,175,1,213,5","verso,122,1","versuche,206,1","versus,4,2,133,1,229,1","vertical,109,1,139,1,144,1","vessel,29,1","vessels,222,1","vestigial,213,1","vi,2,1","via,12,2,33,1,88,3,107,1,175,1,210,1,262,1","vibrate,96,1","vice,124,1,243,3","vicinities,210,1","vicinity,210,2","victim,2,1,6,1,45,2","victor,137,1","victoria,104,1","victorious,29,1","victory,29,1,244,1","victrola,86,1","videla,222,1","videos,121,1","videotape,132,1","videotapes,33,1","vie,128,1","vietnam,84,1","view,2,1,6,1,17,1,19,1,21,1,59,1,95,1,136,1,206,6,207,1,208,2,225,1","viewed,158,1,161,1,215,1","viewer,162,1,217,1","viewing,139,1,222,1","viewpoint,208,2","vignettes,67,1,142,1","vigor,74,2","vigorous,179,1","vikings,67,1","village,87,1,138,1,205,1,222,1","vincent,185,1","vine,131,1","vinland,67,1","vinyl,42,1","violate,73,1","violates,146,3","violence,84,2,99,1,138,1,222,1","violent,47,1,59,1,133,1,222,2","violently,59,1","violets,109,1","violin,18,1","viral,157,1","vireo,175,2","virgin,70,1","virginity,71,1","virtual,224,1","virtually,154,1,262,1","virtue,172,1,175,1,200,1","virtuosos,12,1","visable,230,5","viscera,217,1","visceral,62,1,162,2,217,1,238,1","visibility,133,1","visible,52,1,96,1,138,1,146,1,185,1,200,1,208,2","vision,3,1,35,1,96,1,132,1,137,1,146,1,170,1,175,3,199,1,200,2,202,1,208,2","visionary,3,1,175,1","visionarypoets,88,1","visions,210,1,262,1","visit,3,1,38,1,17,1,78,1,121,1,237,1,262,3","visiting,63,1,175,1","vistas,206,1","visual,81,2,88,1,107,1,145,1,154,3,156,1,161,1,175,2,201,1,200,1,217,1,262,1","visualize,36,1,133,1","visually,41,1,170,1,226,1","visuals,81,1","vital,47,1,88,1,142,1,204,1,222,1","vitality,91,1,124,1,209,1","vitalizes,60,1","vitamin,220,1","vitiated,133,1","vivid,73,1,142,1,156,1,206,1,200,1","vividly,33,1","viz,151,1","vocabulary,95,1,133,1","vog,2,1,138,1","voice,4,2,12,1,26,1,32,1,41,1,62,1,87,1,107,1,113,1,115,1,117,1,121,1,163,1,160,1,170,5,176,1,201,2,211,1,189,1,190,1,194,1,205,2,238,1,244,1","voices,4,1,12,1,30,1,42,1,123,1,128,1,129,1,171,1,238,1","void,20,1,210,1","voidy,203,1","vol,4,1,164,1,222,1","volatile,157,1","volcanoes,216,1","volition,175,1","volt,63,1,91,1,122,1,211,1,221,1","volume,95,1,133,2,137,1,170,1,200,5,238,1,262,2","volumes,52,1,137,1,151,1,200,1","voluminous,64,1","vor,78,1","vote,156,1","vowel,51,1,203,1","voyage,222,2","voyeur,33,1","vs,154,1,157,1","vulnerability,199,1,222,1","wacky,165,1,184,1","wad,84,1","wafting,59,1","wag,93,1","wage,158,1","wagging,93,1,233,1","wagnel,61,1","waist,34,2,114,1,140,1,146,1","waistcoat,59,2","waisted,59,1","wait,27,1,17,1,50,2,61,1,156,1,211,1,214,1,216,1,222,2","waited,87,1,204,1,262,1","waiting,2,1,6,1,20,1,42,1,82,1,95,1,98,1,117,1,146,1,154,1,171,1,224,1,231,1,236,2,262,1","waits,45,1,226,1","wake,7,1,37,1,47,1,64,1,110,1,133,1,140,1,157,1,171,1,226,1","wakes,138,1,199,1","waking,85,1,123,1,138,1,140,1,147,1,178,1,222,1","waldman,41,1","waldo,12,1","waldrep,2,1,11,1,160,10,229,3","waldreps,229,1","waldrop,1,1,2,1,6,2,11,1,12,2,51,1,52,3,60,1,63,1,154,1,211,2,244,1","walk,27,3,17,1,22,1,77,1,95,2,107,1,146,2,159,1,160,1,177,1,193,1,210,1,213,1,218,1","walkarounds,181,1","walked,38,1,23,1,58,1,64,2,107,1,11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arrFiles=new Array();arrFiles[0]=new Array(1,"","2005-02-19","Double Room: A Journal of Prose Poetry&Flash Fiction","","","\');//Uncomment the next line for fading rollovers instead of dissolving:document.write( \' \');var onImages=new Array();function Rollover(imgName, imgSrc){onImages[imgName] = new Image();onImages[imgName].src = imgSrc;}function turnOn(imgName){ if(document.images[imgName].filters != null)document.images[imgName].filters[0].apply();document.images[imgName].offSrc = document.images[imgName].src;document.images[imgName].src = onImages[imgName].src;if(document.images[imgName].filters != null)document.images[imgName].filters[0].play();}function turnOff(imgName){ if(document.images[imgName].filters != null)document.images[imgName].filters[0].stop();document.images[imgName].src = document.images[imgName].offSrc;}//Specify name of participating images, plus paths to their onMouseover replacements:Rollover(art, images/art_on.jpg); sitemap More Works by Benjamin Shiff Editors: Peter Conners Mark Tursi Publisher: Michael Neff site design: ... sun-design.com ©2005 Double Room Issue #5 Introduction Double Room is a biannual literary publication founded in 2002 to explore the intersection of prose poetry and flash fiction. Issue #1 Fall 2002/Winter 2003 Cole Swensen, Rosemarie Waldrop, Sean Thomas Dougherty, ... Issue #2 Spring & Summer 2003 Bin Ramke, Peter Johnson, Joanna Howard, Albert Mobilio, ... Issue #3 Fall 2003/Winter 2004 Ava Chin, Ray Gonzalez, Ron Silliman, Walt Whitman, ... Issue #4 Spring & Summer 2004 Alison Townsend, Cecilia Woloch, Eleni Sikelianos, Richard Garcia, ... List of Contributors DR Site Links DR Home Submissions DR Issue #5 DR Issue #4 DR Issue #3 DR Issue #2 DR Issue #1 Introduction Email Other Links Submissions",12);arrFiles[1]=new Array(2,"site.html","2005-02-17","Double Room Site Map","","","Issue #1 | Issue #2 | Issue #3 | Issue#4 -Back to the Cover- Issue I (Fall 2002 / Winter 2003) Introduction to Issue I Cole Swensen The Hand Etched in Glass The Hand Photographed Palmar view, con \'t. Denise Duhamel A Real Nurse Infiltration The Drag Queen Inside Me Christopher Kennedy Waiting for the Lawnmower Shod Trouble with the Machine What Were You Doing In Porszombat? The Genius Daryl Scroggins Not This Way Rebuilding Holly Iglesias Merchant of Menace Santa Maria de Galeria Jonathan Carr The Desert Janet Lowenbach The Curb Before Sears Nin Andrews 1967 What The Dead See How to Deal with Rejection Sean Thomas Dougherty Sunday, 8:14 A.M. Untitled Pedro Ponce Victim Monster Rosmarie Waldrop The Material World Thom Ward Elevator Dale Chisman Issue II (Spring / Summer 2003) Introduction to Issue II Susan Maxwell Statue Statue Joanna Howard Daddy-Longlegs The Actor at Dinner Bin Ramke Where The Famous Wish They Had Lived Gian Lombardo On the Mark Indefinite Article Three Wishes Peter Johnson Massaging the Ass of a Pregnant Woman Name Tony Leuzzi Christine The Peasant Woman \'s Words to Hans Morgan Schuldt Salvage Brian Kiteley Introduction to Kiteley \'s Poems 1923: Wallace Stevens in Western Massachusetts 1874: The Williamsburg Flood 1779: Monarch of Hampshire County Marjana Gaponenko Children Jesus Polanco Johannes Göransson Dear Ra Dear Ra Dear Ra Anthony Tognazzini I \'d Heard She Had A Deconstructive Personality Albert Mobilio Language Comparison Matthew Miller Orca Gladiator Fadeout Digit Issue III (Fall 2003 / Winter 2004) Introduction to Issue III Ava Chin Enter At Your Own Daniel Nester Elizabeth Willis Gary Young Four Poems Ginger Knowlton 87 Extraction Jamey Dunham The Zoo The Man Who Killed Polka Joel Brouwer Karla Kelsey Two (Bordering Alignment) One Trace-Event ,On Origin Trace-Event, Day 12 Laurel Snyder Night 1 (The Wave) Night 3 (The Tide Pool) Night 4 (The Train) Night 5 (The Bake Sale) Fault Lisa Hargon-Smith Egg Albino Greyhound Lynn Kilpatrick How To Sleep With Mathew Miller Nicole Peyrafitte Peter Richards Nativity Medford Highland Queen Ray Gonzalez Who Were You? The Third Hand I Saw Richard Greenfield Robert Urquhart Cause Form Ron Sillman Final For (From VOG) Sean Thomas Dougherty Stephan Ratcliffe Note On Included Works 3.10 (From REAL) 3.12 (From REAL) 3.13 (From REAL) 3.14 (From REAL) Walt Whitman (Talbot Wilson Notebook Selections) Issue IV (Spring / Summer 2004) Introduction to Issue IV Aase Berg 1 2 3 4 5 Alison Townsend 1 2 Andrew Michael Roberts 1 Andrew Neuendorf 1 2 Bill Tremblay 1 Brian Clements 1 2 3 4 Cecilia Woloch 1 2 3 Chris Arigo 1 Christine Boyka Kluge 1 Danielle Dutton 1 2 Eleni Sikelianos 1 Elizabeth Robinson 1 Ever Saskya 1 G.C. Waldrep 1 2 Hoag Holmgren 1 Jaime Rogers 1 Jessica Treat 1 Laird Hunt 1 Nathan Parker 1 2 Richard Garcia 1 2 Rikki Ducornet Sarah Elisbeth Freeman 1 2 T.G. Gerlach 1 2 Issue V (Winter / Spring 2005) Introduction to Issue V Benjamin Shiff Brigit Pegeen Kelly ChristopherKennedy Dan Manchester 1 Eleni Sikelianos F. Daniel Rzicznek 1 2 Gene Meyers 1 2 3 George Kalamaras 1 2 Gerry LaFemina 1 2 3 Jean-Michel Maulpoix 1 2 3 4 5 6 7 8 9 10 Jeffrey Encke 1 2 3 Jen Bervin Jessica Treat Joyelle McSweeney 1 2 3 Lynn Kozlowski Marcella Durand 1 Martha Ronk 1 2 Matthew Cooperman 1 2 Morton Marcus 1 2 3 Naomi Shihab Nye 1 2 3 Pablo Neruda Paula Koneazny 1 2 3 Robert Gibbons 1 2 Robert Strong 1 2 Russell Edson 1 2 3 4 5 6 Thalia Field Tom Whalen 1 2 3 Issue VI (Spring / Summer 2004) Forthcoming ...",12);arrFiles[2]=new Array(3,"issue_five/Benjamin_Shiff.html","2005-02-19","Benjamin Shiff : Works & Bio","","Page Design by Cactus May: Sun-Design.com","site map Featured Artist Benjamin Shiff Benjamin Shiff was born in Cologne, Germany in 1931. He began living in Israel at the age of two, growing up in the challenging, complex years of the young State. Living through traumatic political events has scored Shiff \'s enduring themes with visionary insight. Benjamin Shiff, an internationally renowned artist, continues to receive critical acclaim for his exploration of human existence. The enormous energy of Shiff \'s paintings, exhibited throughout the world, explore the merger of prophetic vision with physical reality. Shiff \'s monumental figures are drawn from a profound knowledge of human form and emotional potential, then analyzed through a metaphysical prism. His subjects are fully cognizant of alienation and conflict, therefore the constant search for comfort and refuge. Powering the canvas with a riveting presence, these luxurious shapes evoke melancholy and inspire meditation. Shiff achieves a refractive quality by overlapping color planes and combining natural and mystical forms into intricate, demanding composites. Relentlessly examining creative principles, Benjamin Shiff enriched his technique through advanced Art studies (The Old Master Technique) in Austria. His intellectual infrastructure was enhanced through the study of Philosophy, intensifying the spiritual and mystical dimension of his work. For more information on Benjamin Shiff visit: http://www.shiffstudio.com",12);arrFiles[3]=new Array(4,"issue_five/introduction5.html","2005-02-23","Double Room Editors: Introduction to Issue#5","","Page Design by Cactus May: Sun-Design.com","site map Introduction to Issue#5 The Editors As the political divisions in this country seem more contested and irreconcilable than ever, the scene in American poetics seems to be revealing itself as equally divisive. In the political realm, there is, of course, the divide along ideological and party lines, as well as along religious beliefs and secular values. These conflicting paradigms seem as tense and dialectical as ever. In some ways, it is an atmosphere that is reminiscent of America in the 1950’s replete with a growing social conservativism, an increase in government control (e.g. the Patriot Act, the Academic Bill of Rights), and a manipulative leadership obsessed with creating an overall feeling of fear throughout the country (e.g. of communism and homosexuality in the 50’s and terrorism and homosexuality today). In poetry, there is a divide, as there was in the 1950’s, between so-called academic writing on one hand and writing outside of institutions of higher education on the other. In the 1950’s it was the academic formalism of the New Critics like John Crow Ransom, Allen Tate, Cleanthe Brooks, et al. and the Black Mountain Poets, the Beats, the San Francisco poets, and New York School on the other. However, is the divide in American writing today the same as it was then? We would argue that a schism does exist, but it comes through in a completely different guise. On the surface it seems to be a divide between academic or, even, so-called ‘workshop’ poetry, and poetry that exists outside of this, whether as performance or through independent writers unaffiliated with any university. Although these labels seem inadequate, there remains a clear gap between writing that is deeply interested in the processes of language and a poetry more interested in drama: e.g. the MTV-style performance poetry of Russell Simmons’ Def Poetry Jam on one hand and avant-garde writers concerned more with craft and the nuances of language on the other. There is also a rift today between writers who have been influenced by theory, philosophy and other ‘intellectual’ thought (esp. deconstruction, post-structuralism, postmodernism, etc.), and writers who tend to reject this kind of thinking. This schism is among poets who absorb and celebrate the indeterminacy and uncertainty brought about (at least in part) by postmodernism and the social realities of postmodern society, and writers who reject it. Perhaps this gap is not really a division between academic and non-academic poets, as much as it is a divide within the academy itself. Or, perhaps the divide is really multiple divides? In a survey in The Bloomsbury Review last summer, various poets were asked the question: “What recent trends in American poetry do you find troubling or worrisome?”[1] As you might imagine, the responses present often bitterly divided ideas about what poetry is or should be. There are complaints about Postmodern Language Poetry on one hand and confessional narrative poetry on the other; or, academic experimentalism versus performance poetry; or, avant-garde writing versus writing with more depth and meaning. But, perhaps, Paul Hoover’s insight is most telling: “I don’t find much that is worrisome in poetry; it’s the political life of the country that scares me.” Hoover’s assessment seems right on here, yet there still remains a concern about the way in which competing paradigms and varying trends contribute to and participate in the ongoing conversation over poetics – some are simply sophomoric and juvenile and quash any real dialogue, while others seem to inspire and provoke evocative and worthwhile discussion. Quite possibly, the new avant-garde may do the opposite of previous avant-garde movements throughout literary history (e.g. Dada, Surrealism, Objectivism, the Beats, Language) have done. That is, instead of subverting or undermining previous sensibilities, they actually absorb them. David Barbiero suggests something similar in his essay “Avant-Garde without Agonism?” where he claims there is more openness to a “plurality of influences” within the avant-garde today than ever before. There are poets in this issue of Double Room , for example, who have accepted the kind of influences presented by movements as diverse as Surrealism and Language or Imagism and Symbolism, and have adopted strategies from both. Consider Joyelle McSweeney’s sprawling and eclectic mix of surrealist impulses and disturbing syntactic disruptions. Or, read Tom Whalen and Gene Myer’s comic, idiomatic anecdotes that borrow from the dream world as well as absurdities from quotidian reality. On the other end of this swinging pendulum—Paula Koneazny, Martha Ronk and Matthew Cooperman—are writers who continue to remind us of the dangers of language and the instability of narrative. Or, the poetry of Robert Gibbons and George Kalamaras whose dense metaphysical explorations are tempered with wildly imaginative figurative language and irony. We are also happy to feature several translations of French poet, Jean-Michel Malpoix, whose work is imbued with twisting philosophical ruminations, as well as airy images. And, we’re of course, pleased to feature several poems from prose poet master, Russell Edson who we interviewed in our previous issue. You will certainly find an eclectic mix of voices from poet to poet, writer to writer. Our Special Feature this issue includes a a digital essay on Jen Bervin’s wonderful text, Nets . W. Scott Howard puts forth a largely debatable claim that this book of ‘deletions’ can be read as a prose poem. Certainly, as Howard notes, the book demands various interpretations and readings, but is it prose poetry? We leave that for you to decide. And, of course, there is our Discussion on the Forms section, which brings us to our final point. George Kalamaras, one of the poets published in this issue who responded to the same question in the The Bloomsbury Review noted above, said this: “I find troubling a continuing distrust of imaginative and surrealist poetries, as well as a seemingly strict adherence to more strictly defined genres in which genre-bending forms like the prose poem are often suspect.” We largely agree and hope to explode that mistrust with the work included here and with our ongoing discussion on these forms. We remain dedicated to furthering and promoting the discussion about what constitutes prose poetry or flash fiction, and resist the urge quell the dialogue with weird and, often, unfounded suspicions. We think the work here provides its own legitimacy and creates its own space in this burgeoning movement we call pp/ff. We also want to point-out that the January/February 2005 issue of American Book Review , guest edited by Double Room co-editor Peter Conners, highlights some of the same issues we have been discussing in the last five issues. One reason we point to this is that the journal includes reviews of numerous books from the pp/ff genre that are certainly worth reading. It also includes an article by Jamey Dunham that highlights many of the other journals devoted to exploring pp/ff, including Sentence , Cue , Minima and more. A perusal of this will undoubtedly expand your ideas of this genre. It is becoming increasingly clear that the pp/ff community of writers is beginning to constitute a new kind of avant-garde, or, at least, a voice somewhere among these multiple poetic movements. And, it is voice that seems to be gaining momentum everyday. ---------------- [1] Davis, Jon. “A Survey by Ray Gonzalez.” The Bloomsbury Review Vol. 24/Issue 3 (May/June 2004).",12);arrFiles[4]=new Array(5,"issue_five/index.html","2005-02-19","Double Room: Issue #5","Double Room, prose poetry, flash fiction, fiction, poetry, literary, ezine,e-zine, magazine, contemporary fiction, contemporary poetry","Double Room is an online magazine featuring prose poetry and flash fiction. Welcome to Issue #4","site map",12);arrFiles[5]=new Array(6,"issue_one/issue1.html","2004-06-18","Double Room: Issue One","","","Issue I: Fall 2002/Winter 2003 A Discussion on the Forms A large part of our intention in founding Double Room was to bring prose poetry and flash fiction to the forefront of discussion by dedicating an area solely to the investigation of their natures. And who better to lead that discussion than active pp/ff practitioners? With this purpose in mind, we developed a list of 15 questions designed to crack open the forms to various angles of inquiry. Each contributor was asked to address one question in a roughly 250 word response. As you will see below, the answers we received are as varied, intriguing, and essential as the work each writer produces. Peter Conners and Mark Tursi, Editor s Contributor Responses: Contributor Responses Cole Swensen Denise Duhamel Christopher Kennedy Daryl Scroggins Holly Iglesias Johnathan Carr Janet Lowenbach Nin Andrews Sean Thomas Dougherty Pedro Ponce Rosmarie Waldrop Thom Ward [Issue I Questions] DR Site Links DR Home DR Issue #3 DR Issue #2 DR Issue #1 Introduction Contact DR Other Links DR Issue #4 Contributors and Works Featuring the Art of: Dale Chisman Cole Swensen The Hand Etched in Glass The Hand Photographed Palmar view, con \'t. Denise Duhamel A Real Nurse Infiltration The Drag Queen	Inside Me Christopher Kennedy Waiting for the Lawnmower Shod Trouble with the	Machine What Were You Doing In Porszombat? The Genius Daryl Scroggins Not This Way Rebuilding Holly Iglesias Merchant of Menace Santa Maria de Galeria Jonathan Carr The Desert Janet Lowenbach The Curb Before Sears Nin Andrews 1967 What The Dead See How to Deal with Rejection Sean Thomas Dougherty Sunday, 8:14 A.M. Untitled Pedro Ponce Victim Monster Rosmarie Waldrop The Material World Thom Ward Elevator site map Web Site Design: cactUs may ... sun-design.com",12);arrFiles[6]=new Array(7,"issue_two/issue2.html","2004-06-18","Double Room: Issue One","","","Issue II: Spring & Summer 2003 From the Editors As our government embarks on what appears to be yet another unjust, horrific, and brutal war, it may be difficult to think about the prose poem in any significant way. It may be even more difficult to engage in a discussion of genre boundaries and borders when our military pushes past the borders of other peoples often leaving a path of destruction in its wake. [More] A Discussion on the Forms Double Room was founded as a forum to publish prose poetry, flash fiction, and related evolving forms. However, it also serves as a place for discussion on those forms to take place among those who know them best—the writers. DR #1 began a provocative discussion touching on many issues related to pp/ff, and we are proud to continue that discussion with DR #2. For this issue, we asked our contributors to respond to a list of eight questions that were created out of the contributor responses to issue # 1. In this way, we hope to provide continuity between issues, as well as, create a dialogue that will span the life of the journal. Contributor Responses Marjana Gaponenko Johannes Göransson Joanna Howard Peter Johnson Brian Kitely Tony Leuzzi Susan Maxwell Matthew Miller Albert Mobilio Bin Ramke Morgan Schuldt Anthony Tognazzini [Issue II Questions] DR Site Links DR Home DR Issue #4 DR Issue #3 DR Issue #2 DR Issue #1 Introduction Contact DR Other Links Contributors and Works Featuring the Art of Jesus Polanco Brian Kiteley Introduction to Kiteley \'s Poems 1923: Wallace Stevens	in Western Massachusetts 1874: The Williamsburg Flood 1779: Monarch of	Hampshire County Marjana Gaponenko Children Johannes Göransson Dear Ra Dear Ra Dear Ra Anthony Tognazzini I \'d Heard She Had A	Deconstructive Personality Albert Mobilio Language Comparison Matthew Miller Orca Gladiator Fadeout Digit Susan Maxwell Statue Statue Joanna Howard Daddy-Longlegs The Actor at Dinner Bin Ramke Where The Famous Wish They Had Lived Gian Lombardo On the Mark Indefinite Article Three Wishes Peter Johnson Massaging the Ass	of a Pregnant Woman Names Tony Leuzzi Christine The Peasant Woman \'s Words to Hans Morgan Schuldt Salvage site map Web	site Design: cactUs may ... sun-design.com",12);arrFiles[7]=new Array(8,"issue_three/issue3.html","2004-02-04","Double Room: Issue 3","Double Room, prose poetry, flash fiction, online journal, designed by cactUs","Double Room: A Journal of Flash Fiction & Prose Poetry","site map",12);arrFiles[8]=new Array(9,"issue_four/index.html","2004-06-19","Double Room: Issue #4","Double Room, prose poetry, flash fiction, fiction, poetry, literary, ezine,e-zine, magazine, contemporary fiction, contemporary poetry","Double Room is an online magazine featuring prose poetry and flash fiction. Welcome to Issue #4","",12);arrFiles[9]=new Array(10,"issue_five/submissions5.html","2005-02-19","Double Room Submission Policy","","Page Design by Cactus May: Sun-Design.com","site map Submission Guidelines for Reviewers, Publishers, and Authors From the Editors Please note that the next reading period for Double Room 2005 will be announced shortly (i.e. in March or April). Submissions: It is our policy to consider submissions during a designated reading period that usually lasts 2-3 months. We only accept submissions during this period! We are considering format changes for the next issue that may include a guest editor. Until we confirm these changes for ourselves, we need to delay the reading period. Therefore, we will announce our next reading period for 2005 in March or April. So, please stay tuned and keep writing! For Reviewers: Before submitting a review, you should become familiar with the work and the reviews in Double Room , and then send an email query to double_room@hotmail.com that includes a c.v. (or résumé) and a writing sample. We are only interested in reviews of books that have a significant number of prose poems or flash fictions. Please indicate that you would like to submit an original review that has not been published elsewhere, and whether you need the book sent to you or already have it in your possession. Be sure to provide the book title, author, and publisher. At that time, we will consider you for a review assignment. Our review guidelines are as follows: 1) Reviews must be between 500 and 2000 words. Because we are exclusively an online journal we have the luxury of not being limited to a certain length. But, anything more than 2,000 words is probably more suitable as a scholarly essay than a review (though we are admittedly flexible on this part). We would like reviews to be at least 500 words. 2) We try to focus on current releases, which means books released within the last year. But, if it’s a book that should be reviewed (esp. by a small press) that has not been reviewed or has received little attention—and deserves more—we’ll certainly consider it. 3) If you become a regular reviewer for Double Room , we attempt to assign books according to your interest, so please let us know what those are. If the book we send fails to inspire you, we would prefer you let us know so we can reassign the book and send you something else. In other words, we encourage a discussion of books that are worthwhile, rather than reviews that are mostly negative. 4) Deadlines are determined upon assignment, but are firm. 5) We reserve the right to edit your review. We will attempt to discuss any major changes with the reviewer, but depending on time constraints this may not be possible. Therefore, by submitting your review, you agree to our edits. We also reserve the right not to publish a review if we feel it does not meet Double Room standards or if it conflicts with our mission and aesthetic. 6) All quotations from the primary text should include page numbers and a complete MLA citation for any secondary sources. 7) Double Room obtains First North American Serial and/or Electronic Rights. All rights revert back to the author upon publication. But, please discuss any reprint plans with us. 8) When sending a submission, please send it as an attachment in Microsoft Word or Rich Text Format to double_room@hotmail.com. Your subject line should be as follows: “Review of” + “the author’s last name of the book you are reviewing.” Upon acceptance we will ask for a short bio. For Publishers & Authors: Double Room considers books that have a significant number of prose poems and flash fictions. We accept printed books and electronic files. Publishers or authors who would like to have a new release considered for review are welcome to submit review copies and any relevant press information to one or both of the following addresses: Mark Tursi Department of English University of Denver Denver, CO 80218 AND/OR Peter Conners 999 Park Avenue Rochester, NY 14610 We cannot review everything we receive, though all books are given ample consideration. Since we are a bi-annual publication, it may take several months to consider a book. We will notify you if your book is selected for review.",12);arrFiles[10]=new Array(11,"contributors.html","2005-02-19","Past Contributors: Double Room","","Page Design by Cactus May: Sun-Design.com","site map Past Contributors Double Room Issue #1 Cole Swensen Denise Duhamel Christopher Kennedy Daryl Scroggins Holly Iglesias Jonathan Carr Janet Lowenbach Nin Andrews Sean Thomas Dougherty Pedro Ponce Rosmarie Waldrop Thom Ward Dale Chisman Issue #2 Susan Maxwell Joanna Howard Bin Ramke Gian Lombardo Peter Johnson Tony Leuzzi Morgan Schuldt Brian Kiteley Marjana Gaponenko Jesus Polanco Johannes Göransson Anthony Tognazzini Albert Mobilio Matthew Miller Issue #3 Ava Chin Daniel Nester Elizabeth Willis Gary Young Ginger Knowlton Jamey Dunham Joel Brouwer Karla Kelsey Laurel Snyder Lisa Hargon-Smith Lynn Kilpatrick Mathew Miller Nicole Peyrafitte Peter Richards Ray Gonzalez Richard Greenfield Robert Urquhart Ron Sillman Sean Thomas Dougherty Stephan Ratcliffe Walt Whitman (Talbot Wilson Notebook Selections) Issue #4 Aase Berg Alison Townsend Andrew Michael Roberts Andrew Neuendorf Bill Tremblay Brian Clements Cecilia Woloch Chris Arigo Christine Boyka Kluge Danielle Dutton Eleni Sikelianos Elizabeth Robinson Ever Saskya G.C. Waldrep Hoag Holmgren Jaime Rogers Jessica Treat Laird Hunt Nathan Parker Richard Garcia Rikki Ducornet Sarah Elisbeth Freeman T.G. Gerlach Issue #5 Benjamin Shiff Brigit Pegeen Kelly Christopher Kennedy Dan Manchester Eleni Sikelianos F. Daniel Rzicznek Gene Myers George Kalamaras Gerry LaFemina Jean-Michel Maulpoix Jeffrey Encke Jen Bervin Jessica Treat Joyelle McSweeney Lynn Kozlowski Marcella Durand Martha Ronk Matthew Cooperman Morton Marcus Naomi Shihab Nye Pablo Neruda Paula Koneazny Robert Gibbons Robert Strong Russell Edson Thalia Field Tom Whalen",12);arrFiles[11]=new Array(12,"introduction.html","2004-02-04","Double Room: An Introduction From the Editors","","","Peter Conners & Mark Tursi Introduction to the First Issue No artistic abominations on the walls. Definite, positive art is blasphemy compared to dream and the unanalyzed impression. Here all is bathed in harmony \'s own adequate and delicious obscurity. - Charles Baudelaire Taking inspiration from Baudelaire \'s prose poem Le Chambre Double, published in Paris Spleen in 1869, Double Room, as the title suggests, is a new literary publication devoted to exploring prose poetry and flash fiction. Who among us, in his ambitious days, hasn \'t dreamed of the miracle of a poetic prose? asked Baudelaire in a correspondence with Arsène Houssaye, opening-up, what we think is an intriguing and complex conversation between poetry and prose, fiction writers and poets. By launching Double Room, we hope to enter and enter others into this conversation. In addition, we are intrigued by the space that the prose poem/flash fiction (pp/ff) occupies in a literary, historical, cultural as well physical context. The doubling of prose poem/flash fiction and the etymological roots of stanza from the Latin for room, as well as, the poetic unit, is yet another layer of intrigue that we hope adds more fodder to the debate over these genre tensions. Certainly, there exists a kind of intensity, urgency and immediacy in pp/ff that is unique and inimitable in regard to other forms. This intensity, on one hand, has to do with subversion, or a challenge to conventional genre distinctions, and on the other, an attempt to embody the criteria of both. Therefore, the conflicting and somewhat paradoxical relationship simultaneously confounds our expectations while also fulfilling them. In other words, it would seem that prose poems and flash fictions are, by their very nature, polemical, dialogical, oxymoronic, and contradictory. This of course almost always implies a subversion, or some attempt to undermine and disrupt certain ideologies, traditions and assumptions within literature and language. However, this oxymoron argument, though useful and certainly compelling, is somewhat cliché and threadbare, and relies on rather conventional literary categories. In other words, the notion of inherently subversive and oxymoronic actually returns the pp/ff to the very constraints and restrictions it supposedly undermines; i.e. formal literary convention. Definitions for prose and poetry are not universally agreed upon, and therefore, it follows that a definition of prose poetry or flash fiction would prove equally as slippery. Although various conventions have been established in an attempt to distinguish one from the other, all of which inevitably, arise from the existing cultural milieu: i.e. social context, readership, publishing industry, criticism/reviews, anthologies, canonization, economics, gender, race, literary history, academic labeling, etc. Critic Steven Monte notes that negative differentiation plays a significant role in this development: . . . genres are negatively defined in relation to neighboring genres rather than determined by a particular set of formal traits, so that at any given moment in our reading we identify only a handful of generic traits or contexts. Our sense of genre is therefore always in progress, changing as we read onward and encounter new interpretive frameworks. (10) In other words, the prose poem and flash fiction, necessarily, emerge in relation to existing poetries and fictions - as a response, subversion, celebration, rejection, or experiment, with or against - decadently or progressively - other genres (e.g. the novel, lyric poetry, the short story). Genre itself has a legacy, which is both diachronic (historical) and synchronic (ahistorical), in ways that find all forms defining themselves in relation to other forms in historical and cultural contexts. The pp/ff may be unique in that it defines itself against other genres, via negative differentiation and opposition. Most scholars argue that the poème en prose originated with 19th century French Symbolists \' attempt to reject the strict formal poetry of the time, and specifically with Aloysius Bertrand \'s publication of Gaspard de la Nuit (1842), and Baudelaire \'s Paris Spleen (published in 1869). However, others have written compelling arguments for the origin of the Modern prose poem developing concurrently in French and in English, beginning with writers such as Edgar Allen Poe, Oscar Wilde, Walt Whitman, and Ralph Waldo Emerson, as well as T.S. Eliot and Gertrude Stein. Thus, the evolution is connected to an attempt to introduce everyday speech and colloquialisms into poetry, while also in some way rejecting ornamentation. Robert Bly <1> suggests that the prose poem is more democratic than other forms of verse (esp. traditional/formal poetry). He argues that verse written in traditional forms are all about control (i.e. tone, sound, measure), and in a way reinforce human being \'s supposed domination over chaos. Bly suggests that these demonstrate a mastery of subject matter by language that is more consistent with bourgeois values and associated with the aristocratic class; i.e. the mastery of the population by the aristocracy. The prose poem, in contrast, Bly argues, is the form that best expresses 20th century ideas of democracy in the sense that it is concerned with sensibility and intelligence, as opposed to order and power. In a sense, it de-priviledges and de-legitimizes certain conceptions of beauty that have been in place since Socrates and Plato. It undermines what people have for so many years deemed as beautiful. The prose poem calls into question ideas about what can be used in poem - in the spirit of Williams and Wordsworth before; i.e. using the language that ordinary people speak. Prose poet Russell Edson ties the development of the prose poem in English to a uniquely Modern American \'free verse \': the prose poem comes to us (Americans) not so much from the idea of the poème en prose, but out of modern poetry itself . . . I don \'t think a line of European virtuosos is necessary to find the availability of the prose poem in America (qtd. in Monte 134). Monte also explores how the form can arguably be traced to the 17th century with various moments in between; e.g. in 1699 Cervantes suggests that the epic can be written in verse or prose, and the Anthony, earl of Saftesbury \'s perjorative use of it in 1711 (first appearance in the OED). By \'Modern \' then, we refer to the incarnation of the prose poem since the 1850 \'s when the term actually finds convergence with its form and usage in English and French. It is at this time, from Baudelaire onward, that the prose poem is framed as a decadent, dialogical genre that is \'experimental. \' Although some scholars and editors have attempted to include a wide range of voices (e.g. Jonathan Monroe, in A Poverty of Objects, examines Friedrich Schlegel, Novalis, and Helga Novak in relation to the prose poem, as well as various anthologies that do include an eclectic mix writers), critical and academic studies of the prose poem have generally remained an exploration of its development in France and America. Needless to say, this neglects a very rich evolving history of prose poetry and flash fiction elsewhere around the world - Jorge Luis Borges, Octavio Paz, and Julio Cortazar in Latin America or Italo Calvino in Italy, for instance.<2> Also, widely neglected is the voice of women in the development and evolution of this genre. Gertrude Stein is often the only woman mentioned with any depth in critical academic studies, except for some recent efforts in the analysis of L=A=N=G=U=A=G=E poetry that also, by happenstance, includes prose poetry (e.g. writers like Lyn Hejinian, Rae Armantrout, and Rosmarie Waldrop). And even further, several Native American writers (e.g. Sherman Alexie) who continue to explore the margins of poetry and fiction in surprising and exciting ways, still do not receive the attention they deserve. We hope this journal not only attempts to fill these gaps, but also that it serves to challenge the often-erroneous, elitist assumptions that have created them; i.e. what Ron Silliman calls the exteriorizing serialization of language. The flash-fiction, at least in terms of labeling, has a significantly more recent beginning. These stories emerged onto the literary scene in various journals that espouse a new type of narrative with a depth and intensity of penetration into human life that was of luminous difference in kind from the novel or the larger story (qtd. in Shapard 11). Contests in different literary journals as wells as various anthologies carrying names life Sudden Fiction seem as responsible for creating this genre as anything else. Certainly, the flash fiction is linked to other developments in fiction and genre, including the short story and the novel. Donald Barthelme suggests (somewhat ironically) that the novel is dead and is being replaced by what existed before, and thereby complicates the entire historical process; i.e. to what extent are flash fictions extensions of early fables and fairy-tales, and to what extent are they a reaction to and against the novel and short story? An historical exploration of genre does reveal a plethora of characteristics that is unique to each (prose poetry or flash fiction), but finding a specific definition will always remain elusive. Therefore, to explore this genre on processes rather than classifications based on fixed traits (Monte 30), and through a mode that examines how the writers themselves interrogate genre categories seems ultimately more productive and exciting. In other words, instead of attempting to establish normative or essentialist categories, one proceeds by exploring how the genre itself, and the writers within the genre question received histories and labels, and further, how the writers construct and disrupt different genre categories. The questions then, rather than what are the categories and restrictions, become: How does one read a prose poem differently than a flash fiction? Should they be read differently? And finally, in what ways do genre categories extend or restrict the boundaries of language? The exploration is one that looks closely at the work itself and the muddling and crossover, as well as negative differentiation that occurs; or, as Monte asserts: the invisibility of the fence should not cause us to forget that the fence exists (Monte 152). In other words, what artifice, what seduction, does the writer use to dislocate our expectations of genre? The eclectic and diverse cross-section of writers offered in this first issue will prove that the possibilities in regard to this last question are numerous and varied. From the fabulist tales of Denise Duhamel and Christopher Kennedy to the logical disruptions of Rosmarie Waldrop and Sean Dougherty to the lyric sensibility in Holly Iglesias, the work presented here is as different as it is exciting. The authors \' discussion of genre in our archive section is equally as interesting, and will undoubtedly stimulate various ways of thinking about these hybrid genres. We hope you enjoy this issue and all future issues. Mark Tursi & Peter Conners [Introduction to Issue II Here] Footnotes: <1> Holly Krummenacher Iglesias, in her response to the editors \' questions regarding genre, which you can link to from the homepage, does a wonderful job of reminding us of some of Robert Bly \'s often erroneous and sexist assertions. Here, his suggestion that the prose poem is more \'democratic \' seems useful and productive, whereas many of his other observations regarding poetics, poetry and the prose poem do not. <2> Also lacking in critical discourse surrounding the prose poem is the OULIPO connection. In other words, what are the restrictions provided by the pp/ff and how do various writers discover freedom via these restrictions? The OULIPO school certainly offers a rich assortment of work and \'exercises \' in this regard. Works Cited: Monte, Steven. Invisible Fences: Prose Poetry as a Genre in French and American Literature . Lincoln, NE: University of Nebraska Press, 2000. Shapard, Robert and James Thomas. Sudden Fiction (Continued) . New York: W.W. Norton & Co., 1996. DR Site Links DR Home DR Issue #3 DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[12]=new Array(13,"issue_one/CS_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Cole Swensen Response & Bio Question 1. What is the difference between a prose poem and a flash fiction? What interests me is not so much the prose poem or the flash fiction itself, but a vague (and perhaps ultimately meaningless) notion of genreless writing. To have a genre in mind while writing is to be led by, preconditioned by, rules, limits, constraints associated with that genre, whether or not we \'re aware them. For instance, a prose poem should be between three lines and three pages, and all its lines should stretch from the left to the right margin. This is fine, and I don \'t want to over-romanticize the no constraints bit, or romanticize it at all because I don \'t think it has any more value in itself than does any particular form - except that I do wonder about writing that finds its own form- is this possible, or is this just anthropomorphizing writing? I think it is. Still, a genre becomes a target, tying down the other end of the piece; the beginning is necessarily tied down to the writer; if the free end gets tied down too soon, options may be missed. Writing without genre would be writing without this target, without a receiving end, which in some way must add up to without a reader. I think of Benjamin \'s opening comment in The Task of the Translator: No poem is intended for the reader, no picture for the beholder, no symphony for the listener. Writing without genre may be an approach to this ideal. BIO Cole Swensen \'s latest books are Such Rich Hour (2001) and Oh (2000). Her work has been awarded the SF Poetry Center Book Award, the Iowa Poetry Prize, a National Poetry Series selection, and the New American Writing Award from Sun & Moon. She divides her time between Denver, Iowa City, and Washington DC. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[13]=new Array(14,"issue_one/CS_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Cole Swensen The Hand Etched in Glass We knew this was coming. We always thought they were flying. But, no, it \'s light alone. It \'s morning and the light is streaming in. Blinding, you think, and put your hand up to your eyes. And stayed. We \'re all part window. There \'s someone coming in through the french window, but you don \'t notice him; you notice the window. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[14]=new Array(15,"issue_one/CS_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Cole Swensen The Hand Photographed Here we tend toward particulars, though they remain black & white and/or the black before the door, the white, slipping out. They \'re more angular than their portraits would have led you to believe you could live here too - we \'re not as poor as we look. Photographs have a way of implying that it was a little cold that day, or that we live like pets in the laps of everyone who wanted something else. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[15]=new Array(16,"issue_one/DD_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Denise Duhamel Response & Bio Question 1. What is the difference between a prose poem and a flash fiction? Prose poetry and flash fiction are kissing cousins. They are kissing on Jerry Springer, knowing they \'re cousins, and screaming So what? as the audience hisses. They \'re kissing one One Life to Live, unaware one \'s aunt is the other \'s mother. A prose poem suffers from amnesia, and when her friends tell her about her past, nothing they describe produces in her even a flicker. In a flash, she thinks: they are wrong--something tells me I was once a short short. Flash fiction looks into the mirror and sees a prose poem. A prose poem parts his hair on the left instead of the middle, and his barber tells him he \'s flash fiction. A prose poem walks into a bar, and the bartender says, What \'ll you have? The usual paragraph? A flash fiction walks into the doctor \'s office and the doctor says, How \'s that stanza feeling? There may be a difference between flash fiction and prose poems, but I believe the researchers still haven \'t found the genes that differentiate them. BIO Denise Duhamel is the author of 13 books and chapbooks, the most recent of which is Queen for a Day: Selected and New Poems (University of Pittsburgh Press, 2001.) She has edited, with her husband Nick Carbo, Sweet Jesus: Poems about the Ultimate Icon, due out from the Anthology Press in time for Christmas 2002. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[16]=new Array(17,"issue_one/DD_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Denise Duhamel A Real Nurse His father was almost dead now, but he wouldn \'t go to the hospital to visit him. Instead he kept walking with his wife from movie to movie, into strange movie theaters with oddly placed seats. He would walk out of each right after the opening credits, saying, Come on honey, I can tell this one \'s no good. This went on for a good part of the afternoon until his wife finally said, Wait--shouldn \'t we go see your father? We \'ve already spent 100 on movie tickets and we haven \'t seen a single movie yet, just snippets! And why do we always get the worst seats? Why do we sit at an 88 degree angle from the screen? What \'s up with all these poles nowadays blocking the average moviegoer \'s view? The husband said, Typical! Typical! All you care about is yourself... and the wife thought at least he was driving to the hospital as he fumed, but instead he drove home and marched straight to the kitchen. He made stuffed peppers stuffed with pebbles instead of rice. After dessert and tea, the husband finally did agree to go to the hospital, but, once there, the couple couldn \'t find the right room. Their friend Sherry, who worked as a nurse, said, This dump is so cold, they \'re keeping the very sick ones in the ovens! The husband and wife clutched each other, but Sherry said, Don \'t worry, the ovens are on really low. The man searched the industrial silver machines for his father. Inside, the sick curled, their skeletal elbows jutting from hospital gowns. But this too was only a movie the couple had entered. The husband whispered to his wife, I didn \'t know Sherry was an actress. All these years, I thought she was a real nurse. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[17]=new Array(18,"issue_one/DD_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Denise Duhamel Infiltration When I was brushing my teeth this morning, I first noticed the prose poem on my forehead: The kiwi pities the bald lime ... Then, the prose poem in my rearview mirror: Eight blue sleeves reach for the blue parrot ... As I stepped on the gas, the tiniest prose poem of all on my big toenail: Fetus daisy . There was even a prose poem embroidered around my windshield: My spine is made of your footprints, my picture frame is made of your hair ... Everywhere were little chunks of text, orderly graffiti, that baffled the critics on NPR. Harold Bloom was booming, claiming the prose poem didn \'t even exist, when Terry Gross said, Dr. Bloom, with all do respect, isn \'t that a prose poem on your breast pocket? There was a prose poem where the instructions for the parking meters used to be: Bend to kiss the water, find your lost hand in the nearest tree ... The prose poem on the cop \'s license plate began: The violin thunderstorm, the cumulus flute, the harp strumming in each woman \'s heart ... DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[18]=new Array(19,"issue_one/CS_3.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Cole Swensen Palmar view, con \'t. there are four bones. there are fingers toward. they are fastened to the inner. there is something called interossei; we have them. Dorsal almost everywhere and when you draw in. We learned that from. Watch closely the animals. some move outward; these are called spreaders. they draw away, they lie deep, they. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[19]=new Array(20,"issue_one/CK_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Christopher Kennedy Waiting for the Lawnmower The ceiling felt like a sidewalk. I appeared to be hovering above it in the perverse sky of my last coherent thought. All of my reasons for being here slid down the walls like passing headlights. I attempted to repeat several mantras, none of which freed me from the corporeal moment. After many hours, I was still awake, dreaming of a green void where I could breathe my lungs clean like a patient on an operating table lit by the concern of those who cut him. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[20]=new Array(21,"issue_one/CK_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Christopher Kennedy Response & Bio Question 9. Cultural critic Michael Benedikt suggests that there is probably a shorter distance from the unconscious to the prose poem, than from the unconscious to most poems in verse. In what ways do you think this is true? I \'m sitting in my bedroom/office, writing at the computer, claustrophobic, myopic, on the verge of some kind of minor breakdown. I don \'t have the will to write a poem, nor do I have any desire to sort out the facts of my life in order to create a construct of memory designed to misrepresent my actual experience, a fiction if ever there was one. So I write whatever comes to mind with no sense of what it might be. I \'m sitting where I am because my wife and I are estranged and soon to separate. In the meantime, I live in a very small room of the house where I sleep, eat, and write. My world has shrunk to about 8 \' X 10 \'. All I really have is my imagination and my neuroses. I write about monkeys and men who are lost, among other things. But I don \'t write about myself. Some time has passed, and when I look at what I \'ve written, I see that all of it is autobiographical in painfully revealing ways. I decide not to show anyone what I \'ve written. Some more time passes, and I have a slightly more objective view of my work. It makes me laugh, though I \'m still uncomfortable. I show some of the work to a few friends. They like it. I reassess. Aside from a few word choices or basic sentence structures, I don \'t do any substantial revision. There seems to have been a more direct flow from my unconscious to the page. Is it art? Probably not. Is it poetry? I doubt it. But it is a more accurate representation of who I am than any of the verse I \'ve written. Because I wasn \'t concerned about art or about poetry, I wrote something else, something less concerned with artifact and more concerned with...well, concerned with being honest. Not that I set out to be honest. I was simply trying to entertain myself at a time when I could barely convince myself to get out of bed. I thought quite a bit about Joseph K. and wondered how soon before my transformation would begin. So what \'s my point? It \'s pretty simple. I wrote prose poems because I didn \'t care about any of the things that used to mean a great deal to me about poetry. I didn \'t care if I got the facts right, since I no longer thought it possible to know the past. I didn \'t care about line breaks or meter, because I didn \'t have the resolve to worry those things into place. I did, however, rekindle my love affair with metaphor; it kept me at bay from myself as I was writing and allowed me to write as unselfconsciously as I ever have. Of course, metaphor, being made of tenor as well as vehicle, eventually presented me with some irrefutable facts about myself. And if all this sounds a little too much like a form of autotherapeutic nonsense, that \'s because I left out the best part: I had a good time writing these prose poems. I felt liberated from myself in a way I didn \'t think was possible, and I had the rush of knowing that what appeared on the page in front of me was as direct a hit on my own psyche as I could muster. So yes, I agree with Michael Benedikt. But only because he said probably. BIO Christopher Kennedy is the author of a collection of prose poems, Nietzsche \'s Horse, from Mitki/Mitki Press. His work has appeared/will appear in Grand Street, Ploughshares, The Threepenny Review, The Quarterly, Mississippi Review, and many other magazines and journals. He received a Constance Saltonstall Foundation for the Arts grant in 1997 and a poetry fellowship from the New York Foundation for the Arts in 1999. One of the founding editors of 3rd Bed, he is the Director of the MFA Program in Creative Writing at Syracuse Univeristy. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[21]=new Array(22,"issue_one/DD_3.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Denise Duhamel The Drag Queen Inside Me It was a mistake in the late seventies to have curly hair, and mine misbehaved in the worst way. What I wanted were wings, a misnomer for that Farah Fawcett hair that was all the rage--an utter mismatch for curly-tops like me. The hairdresser misunderstood and gave me a A Star is Born perm that he assured me better matched my personality. When I tried to wash it out, the chemical smell mystified my whole family who said the bathroom reeked of rotten eggs, no matter how long they left the windows open. The curls on my head began misbehaving and soon turned to frizz, a misshapen Afro. At first I thought it was a mistake to stand out. I crawled through my freshman year of high school in my misshapen overalls, hiding my breasts. But then the drag queens inside me misled me to experiment with oversized accessories--misshapen brooches and clip-on earrings that left telltale misdemeanor green circles on my lobes. I misunderstood gaudy for glamorous. I had my misgivings towards the quiet girls with thin gold chains around their boring necks, small plates spelling out their boring names--Doris, Carol, Ann. Maybe I was a witch with a Miss Stake through my heart. I related to drag queens because they worked what they had, despite their misgivings about what should be. If their pretty souls were mismatched with less-than-pretty faces, if their murky demeanors betrayed their pure intentions, they made the most of nature \'s mistakes with wigs and false eyelashes, misleading everyone with regard to their happiness, their fake smiles understood as real. The drag queens inside me are a mismatched band of seedy glamour girls: Down the runway first is Miss Fit,	her walk articulating her elegant loneliness. Miss Demeanor	slouches and shuffles while Miss Understood	sulks in the corner. In the program, Miss Beehive	is misspelled as Miss Behave.	Lime mules peek out from under Miss Match \'s	fuchsia tulle. Miss Lead	coos, Miss Match, you look fabulous! The announcer gets	Miss Nomer \'s name all wrong, and all the girls in me	are mystified by beauty contests in general. I had a dream in which I had true Miss Star Demeanor and sang to a crowd of screaming fans, no one was mystified by my obvious dream symbols, yet my desire for fame was totally mismatched with my desire to be a poet. I met a talent agent who wanted to send me out for character actress parts, misfits like The Snapple Lady or the Where \'s the Beef? lady who was mystified by her tiny hamburger in a 70 \'s fast food commercial. But I said No thanks, Miss Creative Management. I thought then it was ingénue or bust. I once misspelled annual as anal, then fell in love with my mismatched (plaid and stripes) teacher for his kind misshapen question mark in the margin of my term paper. He had no misgivings about my talent, no need to ridicule me in front of the class. Love is probably a misnomer for how I felt. Why, oh why, am I always the misled, instead of the leading lady? I asked the girl who also committed the misdemeanor of being a misfit, misunderstood by nearly everyone, even me, her mystifying make-up a palimpsest for her misgivings. The boy who sat next to me also misunderstood his own crush on the kind teacher and began to misbehave in creepy super-jock ways, misleading the class and himself. Tori Spelling and Bette Midler know that inside every girl like me is a gaggle of drag queens spelling it out for her, shaping her drag destiny which is a misnomer for the way she laughs too loud, misunderstood by the standard girls and misled by the regular boys who mistake her as the persistent kooky best friend with the demeanor of a stand-up comic mismatched with her rage at the world and her misgivings about being a misfit in the first place. We all had misgivings about not being popular or smart enough, mistaking our own clumsy adolescence for a death sentence, mystified by hair which started to grow in strange places and the misshapen patches of acne on our cheeks. We learned to misbehave by doing the opposite of what every nun preached, a spell of detention only made us understand the power of doodles and daydreams. We were all mystified by weird teenage feelings, mistaking anything unusual as queer or homo, misnomers for whatever we didn \'t understand. If only I really did look like Barbra Streisand, the misfit with the big nose who made it, the misfit who still gets her name misspelled--Barbara instead of Barbra. She takes the lead when it comes to drag queens \' imitations though surely she has misgivings when she sees Drag Barbras misbehaving, exaggerating her Funny Girl nasal misgivings and her Prince of Tides long nails. Maybe it was a misdemeanor when she put out that Christmas album and led all her Yentil-loving fans to boo her. Now it \'s easy for me to see why I was/am a misfit.	Why I am lipsynching. Why I went bust. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[22]=new Array(23,"issue_one/CK_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Christopher Kennedy Shod I walked cleverly to the ends of the earth and met a man who said something unusual to me. He said, It could be a work of genius or just the usual idiocy shod in expensive shoes. Shod? I repeated, as if that were the strangest thing he said. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[23]=new Array(24,"issue_one/CK_4.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Christopher Kennedy What Were You Doing In Porszombat? I made windows out of human flesh. I instructed beggars how to eat their streets. Corpses flocked to me for resurrection. Diplomats secretly sought my advice to cure their most treacherous thoughts. And I fell in love one night under the window made of human flesh. I fell in love with the memory of the woman whose flesh I used. I could see her winding her way through the narrow streets, twirling her red skirt, and laughing at the clouds. Her murderer following closely behind her as a friend might follow a wayward friend. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[24]=new Array(25,"issue_one/CK_3.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Christopher Kennedy Trouble with the Machine There was trouble with one of the machines. It would not function as the machine it was intended to be. The sound it emitted was not the sound of a healthy intention. The lights that flashed blazed red like a dog \'s eyes in photographs. The system devised a system other than the one it was programmed to obey. Its new intention defied logic and therefore required a reliance on systems of belief. The man who repaired it had died long since. The workers gathered to worship it. Oh, metal object of unknown purpose, we are made in your image and likeness. The janitor shouted, I found the plug! He plugged it in. Nothing. Thank God! was the general consensus. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[25]=new Array(26,"issue_one/DS_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Daryl Scroggins Response & Bio Question 7. My prose poem hero is __________ because __________ My prose poem hero- I first encountered Russell Edson \'s prose poems back in the mid seventies, and they instantly produced in me an urge to rush out and show them to anybody who would stop and look. That urge has persisted, and for years I have enjoyed seeing my own excitement appear in the faces of students in the workshops I teach. I play selections from a tape- A Performance at Hog Theater (Watershed Intermedia)- in which Edson reads his work, and watch the eyebrows go up. A generation has passed since the first time I did this, and the poems still do what they did the first time. Sometimes I let students borrow the tape when they ask - but not my first edition of The Intuitive Journey and Other Works. Prose poems like The Neighborhood Dog, The Little Lady, and A New Life showed me, early on, that the imaginative territory open to writers of prose poems was much more vast than I had realized. Edson \'s work reveals a fluid convergence of voice and character, dream logic and dark comedy - an Edward Gorey working at puppet theater, and more. Edson shaped my sense of what excellent work in very short prose forms can be, and I will always be grateful to him for this. Question 10. Cultural critic Michael Benedikt suggests that there is probably a shorter distance from the unconscious to the prose poem, than from the unconscious to most poems in verse. In what ways do you think this is true? Regarding the Michael Benedikt quote- Set a verse poem in front of a person, and an intricate set of demands is summoned before the first line is read. Readers brace themselves in a particular way, expecting subtlety from the start. But place a block of prose in front of a reader, and the reading of it starts as one might read a newspaper of cereal box copy. When news gives way to dream logic, the reader \'s mind is not pre-set against it: there is a flow in which the reader readily confuses a comfortable following of text with a safe passage granted through a difficult territory. And when excitement hits, it rings through the reader \'s suddenly undefended psyche with a sound that is both familiar and strange - news from a new world that oddly contains one \'s history. Question 16. In Adagia, Wallace Stevens writes, Poetry is a pheasant disappearing in the brush. What is a pp/ff? Regarding the Wallace Stevens quote- If poetry, as Wallace Stevens wrote, is a pheasant disappearing in the brush, a prose poem is the brush acting like a pheasant is hidden in it. BIO Daryl Scroggins \' poems and short stories have appeared in magazines and anthologies around the country, including Asylum, Best Texas Writing, Carolina Quarterly, Chiron Review, The Comstock Review, Farmer \'s Market, 5-Trope, The Madison Review, Mudfish, New Growth: Contemporary Short Stories By Texas Writers, New Growth2, Northern Music: Poems about and Inspired by Glenn Gould, Northwest Review, Pearl, Poetry Now, The Prose Poem, The Quarterly, Quarter After Eight, !TEX! Magazine, Veer, and Web del Sol. The Game of Kings, a book-length prose poem sequence, was published in 2001 by Rancho Loco Press, and Winter Investments, a full-length collection of short stories, will be published this year by The Trilobite Press. Oracle, a chapbook of sudden fictions, was published by The Trilobite Press in November of 2000. He teaches fiction writing at the University of North Texas. (darylscrog@yahoo.com) DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[26]=new Array(27,"issue_one/CK_5.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Christopher Kennedy The Genius I will return to the kitchen and add more mayonnaise to the tuna fish and mix it together, doing my best to make the tuna fish smooth and appetizing. Again my mother will call out to me, and I will pretend I didn \'t hear, and she will be more insistent, and I will relent. I will walk into the living room just at the moment when she has forgotten she has called me. She will get very angry at me when I ask her what she wants. I will return to the kitchen and spread the tuna fish on a piece of rye bread. Then I will place another piece of rye bread over the tuna fish and put the sandwich on a plate. I will pour a glass of milk, and then I will stand in the kitchen with the sandwich in one hand and the glass of milk in the other. I will debate whether or not to stay in the kitchen and eat my sandwich or go out to the living room and eat it. I will eventually decide to go out to the living room. I will sit on the couch and put the sandwich and the milk on the coffee table. I will lean forward and take a bite of the sandwich. My mother will ask me what I am eating. I will tell her. She will say it looks good. I will ask if she wants one, and she will say she has just eaten, which is true, since she called me from a restaurant after finishing her lunch. I will take a sip of the milk and eat another bite of sandwich. She will ask me what kind of tuna fish is it that I am eating. I will say it is the kind I always eat. She will ask me which kind is that, and I will say I don \'t know, I would have to go look at the can to be able to answer that question. She will be angry again, though not terribly so. She will be silent for a long time. I will ignore her and think to myself how petty I am when I am with my mother, how driven by the hard nugget of meanness inside me that never seems to fully dissolve. I will get up from the couch and bring my plate with its crumbs and my glass of milk with its coating of milk out to rinse in the kitchen sink. Then I will put some water on the stove to boil for tea. I will walk back into the living room and sit down, leaning forward so as not to seem too comfortable, and wait for the tea kettle to whistle. At which point I will decide to walk into the kitchen, stand defiantly at the front of the stove, and place my fingertips on the burner like a genius composing at the piano. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[27]=new Array(28,"issue_one/DS_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Daryl Scroggins Not This Way I don \'t like stories in which a person fingers fabrics or pads into the kitchen for more tea. I don \'t like to hear that a person has stormed in or stormed out, even if it has something to do with the fabric or the tea or suburban drama - or the fact that, afterwards, nothing will ever be the same. I don \'t like to encounter the words, In the first place at the beginning of a sentence, and I don \'t want to hear that a person turns a quizzical expression upon another person. No chagrin. None of this is bearable, even if it \'s the police who are nonplused as they look at the cloth the woman is strangled with, and the spilled tea, and the mysterious signs of no forced entry. I don \'t want to hear that the pregnant woman was a policeman \'s wife. And please, avoid the interjection of a face peeping in at the open front door, a neighbor \'s face (the whole world descriptively behind her), a person who starts by saying, I \'m sure it \'s nothing, but. Best at this point would be a burst of intricately mumbled confession and the bare beginning of a general realization. After that I would be happiest if one of the detectives just shot the neighbor, then his partner, and then the yapping dog. I would be happy if he just left the damn gun on the table. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[28]=new Array(29,"issue_one/HI_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Holly Iglesias Response & Bio Question 12. Robert Bly suggests that the prose poem is more democratic than other forms of verse. He argues that verse written in traditional forms are all about control, and in a way reinforce human being \'s supposed domination over chaos. The prose poem, Bly suggests, in contrast, is the form that best expresses 20th century ideas of democracy in the sense that it is concerned with sensibility and intelligence, as opposed to order and power. To what extent do you agree with Bly \'s assessment? Bly has also stated (at The Prose Poem panel at the 1997 AWP conference) that the prose poem is good for him because it brings him down a notch and allows him to feel less victorious. In addition, he asserted that the prose poem is a feminine form because it is like an ear or a vessel. You know: receptive. I believe that much prose poetry in the U.S. reads like it has been backed into a tight corner by narrow, tired definitions: derivative and ironic-unto-death. And yet I also see signs of life in prose poems that acknowledge the form \'s contour and exploit it, drawing attention to the pressurized conditions of confinement. These poems, written by women, are distinctly unfeminine. They are boxy things that mock the allure of curvature and hurl themselves through space like bricks to shatter the entitlement that beg relief from the burden of domination and the stresses of victory. In the spirit of quoting poets, let me conclude with the words of Laura Sullivan. I write prose poems because they are healthier than steroids. BIO Holly Iglesias \' work has appeared in journals including Prairie Schooner, Arts & Letters, Del Sol Review, The Prose Poem, The Massachusetts Review and U.S. Latino Review. She was awarded an individual artist grant for poetry by the Massachusetts Cultural Council in 2000, as well as the Frank O \'Hara Award from Thorngate Road Press for Good Long Enough. Her book, Hands-On Saints, was recently released by Quale Press. She lives in western Massachusetts where she coordinates a middle-school peer mediation program. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[29]=new Array(30,"issue_one/DS_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Daryl Scroggins Rebuilding On a shaggy green rug my sister and I play at building ranches. She is in charge of the main house, fences, corrals, barns and horses. My domain includes roads, driveways, garages, gas stations, cars and trucks, and - before it is lost - a silver helicopter. We work intently, putting all in order. We make lives with clear routines revolving around feeding horses and gassing up the car. But the fun is in setting things up, and once most of this is done, the faintest hint of boredom brings a storm. We announce it in voices that sound to us like those of our parents: Storm \'s coming, better get those horses in. Get going, now! Help me get everything into the storm cellar! I \'ll put the car in the garage! Then, like a lashing belt, a tornado comes, and another, sending barn and house and fences in a loose scatter to the far reaches of the rug. For a moment, afterward, all is quiet. Look, my sister says. A horse and the little girl are still alive. And the little boy, I say. He \'s too young to drive, but there \'s nobody left to say he can \'t and the car is fine. I set up the main road. She rounds up the animals. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[30]=new Array(31,"issue_one/HI_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Holly Iglesias Merchant of Menace She worries coffee grinds between her teeth, already on edge. She would have her say and eat it too, the egg flecks afloat in the sink, the slice of ham awaiting her mouth like a salty, pink sacrament. Hairnet lowered to her brow, she stacks bone china at the lip of the table, sets the kettle to boil, dangles a fork over the mouth of the blender. This is her finest hour: finger poised to trip rapture, a fractious riot of shard and surge. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[31]=new Array(32,"issue_one/HI_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Holly Iglesias Santa Maria de Galeria Natalia, late in the suburban morning, puts egg to skillet, the air already sweet with olive oil that spatters like static for the pain of it all. The child, the boy who will not thrive, watches from his stool by the stove dreaming of soft yolks and soccer shoes; watches the patience of his mother \'s hand, her spatula drawn for the perfect moment when the quivering ceases, when clarity surrenders and the yellow eye sets. The sky above them is a swarm of sound, the stockade of towers transmitting Mass in a dozen languages. The boy pants in small delight - the egg on a blue plate! - the ceiling light blinking like a martyr baffled by her own demise, the voice of the Pope emanating from the oven. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[32]=new Array(33,"issue_one/JC_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Jonathan Carr Response & Bio	1. What is the difference between a prose poem and a flash fiction? Flash fiction is a compact distilled piece of writing that follows all of the dictates (or lack thereof) that one would place on a work of fiction. It is an act of distillation. Of sparseness. Minimal strokes. A prose poem is often the very opposite. Where Flash fiction is a working down of a form prose poetry is an exploding up of a form, a release from structure, a star erupting, a channel run straight from the brain stem to the pen. 2. How do you define prose poetry? Pure brainstem 3. How do you define flash fiction? Firewater 5. My piece (desert) is a flash fiction, NOT a prose poem, because: It is a distillation of the fiction form. Minimalist presentation. 6. I refuse to designate my piece (desert) as a prose poem because: It is the exact opposite (see above reasoning). 7. My ff hero is __________ because __________ My piece has no heros 8. What restrictions does pp/ff entail? Only those which the authors places on themselves 9. What are the conventions of pp/ff? To state the obvious? Brevity. Potency. Distillation. 10. Cultural critic Michael Benedikt suggests that there is probably a shorter distance from the unconscious to the prose poem, than from the unconscious to most poems in verse. In what ways do you think this is true? less structure/ les strctre/ le stcte/ l sce/ se/ s/ 11. The prose poem, in the very least, is an alternative mode of articulation. Do you agree or disagree? Dot dot dot 12. Robert Bly suggests that the prose poem is more democratic than other forms of verse. He argues that verse written in traditional forms are all about control, and in a way reinforce human being \'s supposed domination over chaos. The prose poem, Bly suggests, in contrast, is the form that best expresses 20th century ideas of democracy in the sense that it is concerned with sensibility and intelligence, as opposed to order and power. To what extent do you agree with Bly \'s assessment? I think it is typical Bly to apply or overlay political concepts to poetry... of course correlations such as these can be drawn. It is the bread and butter of academia... I \'m not sure of the relevance to my writing. I speak for no one else. 13. Frederico García Lorca writes that the duende is a power and not a construct, is a struggle and not a concept . . . (it is) shadowy, palpitating, is a descendant of that benignest daemon of Socrates, he of marble and salt, who scratched the master angrily the day he drank the hemlock; and of that melancholy imp of Descartes, little as an unripe almond, who, glutted with circles and lines, went out on the canals to hear the drunken sailors singing. How does a pp/ff provoke the duende? Let me say I like question number twelve a whole lot. It reads so well. Duende. Duende. Duende. I am interested in publishing it in magazine minima. I \'m not kidding man. Email me. 14. Reading a pp/ff is like biting into a York Peppermint Patty for completely opposite reasons. And exactly the same reasons all at once. 15. How long is a flash fiction story? As long as it needs to be while retaining its potent quality, while remaining distilled. Which means it could be war and peace as long as it remains potent. If such a thing could be theoretically accomplished. This is a point of utmost importance. 16. In Adagia, Wallace Stevens writes, Poetry is a pheasant disappearing in the brush. What is a pp/ff? Well, off the top of my head. Prose poetry is a television being ejected through the front windshield of a car as it is struck head on by an oncoming bus full of nuns on their way to a knitting convention. Microfiction is a clam shell lost on the beach. One that no one will ever see. One that will never open. One that will spend the day being lulled by the waves. Plain and gray as the sky and the water and the sand. And inside the clam is the key to a safe full of vividly compromising videotapes of the prime minister of Luxemburg (if there is such a thing. A Prime Minister of Luxemburg that is) and believe it or not that was off the top of my sick little head. BIO Jonathan Carr is very busy these days. He is the Director of New Media @ Web Del Sol; he is the editor of Magazine Minima, a journal of microfiction; he is the editor of 07(group) a journal of New Media Art at Web Del Sol; and he is editing for the publication Rivendel. His multimedia art, fiction, and poetry, have recently appeared, or shortly will appear in: 3amMagazine, The Del Sol Review, Poems that Go, In Posse, Double Room, The Voyeur, Diagram, Minima , and Artifact. When not working on his literary pursuits Jonathan is usually maintaining a spartan existence via New Media/Web/Print Design. He occasionally breathes but rarely sleeps. Much of his work can be found on his website: http://www.negativespacemedia.com DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[33]=new Array(34,"issue_one/JC_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Jonathan Carr The Desert She peeked over the hood of the pick-up - a grin the size of the Mohave - so happy to be out of Utah. She was a tulip in the desert, summer dress back-dropped by the long unearthly line of windmills - sprouted like white plastic clovers spun lazily by the breeze - like the propulsion system of a mammoth fairy ship buried just beneath the ground. Let \'s just stay here forever, she said. In the middle of the desert? Why not? Look, the windmills are doing alright. We can build a house in the windmills. Yeah, that \'ll go over well. She tapped a beat on the hot metal, eyeing him playfully. Look at that sky. The sun was an angry thumb over the sand. Highway 10, an empty perpendicular for the horizon. The heat made snakes of the air. Hot. Majestic. Hot. Ethereal. Fucking Sweltering. She purred her way over to him and wrapped her arms around his waist. His mouth betrayed a grin despite the twitching of his cheek muscles. She turned with her back to him, holding his hands wrapped around her at the waist. They look so alien, she said, eyeing the uber-modern windmills wistfully. Who do you think put them here? They pondered in silence. Aging hippie politicians, he said. He could feel her ribs jiggling as she giggled. Utah was a nightmare. She groaned finally. He bent his head down smelling her hair. It \'s over now, he said. It \'s family, she said. Family is never over. He rolled his eyes to himself. It can be if you want it to. Please don \'t start that again. You promised. You \'re right. I \'m sorry. He kissed the top of her head. Once. Twice. We could build a home here, he said, if you want to. Really? Sure. I could chop down a few of these windmills, we could make a cabin out of them. That would be dreamy, just like the wild west. That \'s right, he said, living off the land. They made a strange swishing sound, the giant polymer sails of the things, mournful almost. Getting by with what nature provides us, she said. He could feel her tight against him as she began gently shaking - a quivering collapse that started in her stomach. I mean where are we really going anyway after all? We \'re going home, he said. You know that \'s not what I mean. He pulled his arms from around her and turned taking a few steps. He put his hand across his forehead staring out at nothing. Do we have to do this? he said. Do we always have to come here? Where? The desert? When he first tried to answer his throat went gritty with a sudden gust of sand. Once he cleared his throat he said nothing. He let his eyes glaze over, blurring away the line between the ground and the sky. I swear, he said finally, every time we get close to Salt Lake City again I start imagining there is going to be a sign at the city limits that says \'Keep Smiling or We \'ll Blow Your Fucking Head Off. \' That got a small laugh out of her, which was good. He felt good when he heard her laugh. Aaagh! she cried, Aaaagh! That \'s what \'s so great about the desert. I can finally explode. He turned around and saw that she was twirling, her arms splayed out, her face turned up towards the sky. He watched her spin and spin, wondering at the ferocity of her momentum. And then the little bits of you get carried off by the windmills, he said. She stopped spinning and slowly tilted her face down to look at him, a giant grin unfurling itself across her face like a flag. And then, she said, the little bits of me get carried off by the windmills. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[34]=new Array(35,"issue_one/JL_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Janet Lowenbach Response & Bio Question 1. How do you define prose poetry? My piece is both a prose poem and flash fiction. Why must we choose when the two forms have nourished this emerging mode of expression and given birth to a new way of seeing truth that is both poetry and image, rhythm and condensed meaning wound round and round like a chrysalis and not revealed until you penetrate both the writer's intent and your own experience? Prose poems expose life because they delve beneath the surface into the borderless things. They are images made, scattered about the page but merging through rhythm, mood, color, into the characters of a new idiom. The rhyme of old style poetry does not create understanding. Universality comes, I think, from knowing what the parts say. Question 2. How do you define flash fiction? As to flash fiction, it is to the short story, what a short story has always been to the novel, a more exquisitely felt examination of the previously unexplored territory of the human landscape. The poetic vision and language is employed to expose to its subterranean depths, the mystic layers of each man's being that hint at universal experience. BIO Janet Lowenbach is a journalist by trade - currently writing about US and European pharmaceutical outsourcing. She has also freelanced for the mainstream press, covering and photographing things like kidney transplant, the dairy industry, meditation, aging, men \'s liberation, maids unions, and camping. This is her first published piece of fiction. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[35]=new Array(36,"issue_one/JL_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Janet Lowenbach The Curb Before Sears I try to cross the curb at a Disney version of Sears. The curb is turquoise and stepped in topographic layers as in a trail map. I like trail maps, particularly because you can visualize those changes in height, but this one makes walking difficult, because the curb narrows, and I slip-slip like an oil-footed squirrel along the plateau side of the topography. Yet I remain transfixed on the color, on Sears, the turrets, and rainbow-bird colors, and a central plaza where all the people parade around in their new ski apparel. If you look closely, anomalies appear. One man \'s ski outfit pinches him shut like a tube and either covers or replaces his head. The outfit is yellow and black. The models are all Africans who, in the previous century, had been deprived of ski wear and other luxuries. Their long strides swoosh the black fabric that complements the yellows, pinks, and green accent colors of the suits, and they murmur in pleasure to one another as they move about the sky heavy plaza of Sears. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[36]=new Array(37,"issue_one/NA_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Nin Andrews Response & Bio Question 1. What is the difference between a prose poem and a flash fiction?	The honest answer, is this poetry or prose I never know for what anything is, definitely, how one draws the lines, say, between conscious and unconscious, the world without and within, how one decides, after all, what meaning means. I sometimes ask, should there be a goverment branch, a center of control, an editor in the sky, one who says, or at least knows? Is this the job of poetry or prose? Is poetry your god, or god, poetry? If you had a choice, would you love the god who is? Or isn \'t? Have you ever enjoyed yourself more than is possible? Who taught you what \'s impossible? Who dragged you through the mud like old shoes? Do you like the old school? Which one did you attend? Was it strict, controlled, as patriotic as red, white & blue? In the diagrammed sentence of your mind, which were you? Subject, verb or dirct object? If there were no adjectives, once upon a time, did you invent a few? Just so you could drive the slick new cars down the alleys of your dreams? Was it all a fantasy or hallucination? Do you sometimes wake and think you were never young? Never there? What seems still true? And why? Does it scare you, how little it matters? Are you cautious in the aftermath? Or do you still speed up at yellow lights? When you compose your valentine to the world, what does it say? I love you forever? Kiss my ass? Or everything depends on the weather? BIO Nin Andrews is the author of several books including most recently Why They Grow Wings. She has two books forthcoming, a book of translations of the French poet, Henri Michaux called Someone Wants to Steal My Name (Cleveland State University Press) and a chapbook entitled Any Kind of Excuse (Kent State University Press). DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[37]=new Array(38,"issue_one/NA_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Nin Andrews 1967 That was the year all the girls wore spit curls, or hair shaped like upside down tulips. My sister used lipstick in school, wiping it off before she walked in the front door. She was so pretty, I wanted to be my sister, to have her cherry red lips. My mother said looks don \'t matter. It \'s the mind that makes the woman. At night she was reading aloud to us. The Bible and The Gulag Archipelago. Don \'t you just hate it? My sister asked, blowing smoke rings in the dark. I mean, everyone else is eating Micky D \'s and watching I Dream of Genie, and we still have to listen to story hour and clean our plates of black-eyed peas and stewed tomatoes. We can \'t even go to the movies. Weekends she snuck off on her fat-tired bike to visit her friend, Annie G. who loaned her eye shadow and pink sponge rollers she slept on each night. Sometimes she went to the Cinema with an older guy, Donnie Shaver. Donnie had a ponytail and smoked weed. Afterwards, she \'d giggle and tell me what he did, showing off the marks where he broke her skin. Before he left, Donnie promised he \'d come back from Nam in a red Mustang and drive her away in a cloud of dust. He sent letters from boot camp, signed with Xs and Os. My sister showed them off and dated other men. I had nightmares. Only in the dreams, Donnie came back for me. But something always went wrong. Like the car flipping over or flying off a cliff and bursting into fire. Like the last scene in one of those black and white movies I never saw. Only the car was red. And my lips. And the flames. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[38]=new Array(39,"issue_one/NA_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Nin Andrews What The Dead See Resting my head on the mossy stone beneath the fruit trees, listening to Dad mouth off, and the katydids, I \'d count peaches, cross my arms over my chest, and let the wind fool with my bangs. That \'s how I practiced dying and never coming back. It was an art I knew, like lying, or taking the whole world inside and letting it burn. No one was there to set the record straight, the womb I fell from, soused with liquor. Besides, there was any kind of excuse. I was younger than I ever knew in air swimming with insects. Sometimes, talking with him on the patio about the folks who have gone from this world, I felt them, like they were fish bones caught in my throat. The dead see things, he said, they don \'t even let on to the devil they know. The living do too. Like my head was a transistor radio, he wanted to find that gospel station, make me fear the Lord. His breath warm on my face, a whiff of fish thawing, the rain like small feet on the lake, I \'d watch it and sip from a green Co-cola bottle slow, wondering what the Lord and devil don \'t know, seeing nobody seeing us. Nights, when Dad came home late, the headlights crossed my ceiling, the shadows kept falling and falling. I was good at faking shit, like sleep, like caring what I did. Afterwards, I \'d listen. It seemed the dark would look at itself and hum, like children whispering so soft, no one heard their words. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[39]=new Array(40,"issue_one/STD_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Sean Thomas Dougherty Untitled One thing that can save: the green darkness. One thing that can save: You tell. Troubles be I am a stranger. Troubles be: I eat. Where pain opens its delicate machinery, one thing that can save for certain: Baseball. Tito Puente rojoing from a passing car. A fine breath for nobody \'s temple. At night the flame rises high over US Steel, a towering light in the distance from the State Fair where a teenage girl is trembling. A circus teller looks into her globe. Every choice involves losing something. Across the boulevard, a gang of Russian boys flexing their new tattoos. Someone whispers the word Santeria. On the crowded boardwalk I dropped a quarter, found the word SOVENIERS stenciled in a doorway, a tall man with two stumps played the harmonica, the green darkness. The gypsy looked up. The girl on the street turned towards me - I saw her face. The one thing that can save for certain. At the end of the curve of the earth. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[40]=new Array(41,"issue_one/STD_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Sean Thomas Dougherty Response & Bio Question 1. What is the difference between a prose poem and a flash fiction? I do differentiate between Flash Fictions, Prose Poems, and a third genre that you haven't addressed: performance texts. Performance texts are either prose poems or narratives whose final reception is decidedly aural /oral as opposed to visually textual. A perfect example of a performance text is Ann Waldman's miraculous Marriage, with its sonic repetition and performative possibilities. Anyone who has seen her read this knows that Marriage is not fully consummated until it echoes off her tongue. With this in mind, I tend to approach and differentiate small prose texts based upon genre conventions, particularly for teaching. Why do this? For audience, for expectation, and for control over a text's reception. There are certain rules I begin with - obviously these are not absolutes. But I like to teach the prose poem as a series of leaps, particular a late leap such as in the work of Russell Edson or Charles Simic (who I sometimes say has an early leap, as if you leap and the prose poem catches you mid flight). Or even in the narrative prose poems of Cornelius Eady, there is an overwhelming tendency to leap or twist in the next to last or last stanza. For the Flash Fiction, I find it hard to believe - or yet to read one I find successful - that includes more than 2 or 3 characters (instead characters are introduced in linked sequences, such as in the work of Julia Alvarez), or is driven by more than one dominant voice or includes more than one or two scenes. One has simply to scan the numerous anthologies to see that the flash is historically closer to the Sketch, such as James Farrell's early work. These are generative rules and assumptions, both for myself and my students, rules to be examined and challenged, but in the beginning are a good place to start. BIO A former high school dropout and factory worker, Sean Thomas Dougherty is a nationally renowned performance poet. He is the author of six books including the forthcoming book of poems Nightshift Belonging to Lorca (2003 Mammoth Books) the book length experimental prose poem The Biography of Broken Things (2002 Mitki/Mitki Press) and Except by Falling winner of 2000 Pinyon Press Poetry Prize from Mesa State College. He is the editor of the forthcoming critical collection Maria Mazziotti Gillan (2003 Guernica, Canada) and the anthology Along the Lake: Contempoary Writing from Erie, PA (2003 YeOldeFontShoppe Press). He teaches at Penn State Erie. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[41]=new Array(42,"issue_one/STD_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Sean Thomas Dougherty Sunday, 8:14 A.M. No one is drumming the dusty sheens of their cars with callused palms. No one is driving the wrong way under street signs to avoid dozing cops. What is the backwards face of a clock? Sleep never finds the woman crossing herself as she stares at her breath in the bathroom mirror. Sing for not matter, for the sane man not scatting the yellow light outside the House of D. The smoke of newspaper is letters tangled in the sheets of drinking alone. Lift the labels and watch them scatter like black confetti, dazed by the waste of left over parades, the walls of the city will fade like Carmen Electra caught on long playing vinyl. Winter is a langorously hot summer of driveby shootings away. Sing while you \'re waiting in line to buy Appolinaire \'s leftover linen. Hear him rise like a James Tate line - all that fluttering nonsensical rhythm. Chew the academy \'s broken grievances. This is the last month of not winning. Amherst is a ha ha. Iowa an um hum. Time to get busy say the B-boys strumming the waves with their rhymes. Marita that neighbor next door lets down her long brown hair. When she opens her window all the little birds start singing. And a man named Antonio (you \'ve heard of him? Heard his wife call him to dinner?) pushes wide his screen door with two slopping yellow buckets of soapy water. He stands before his 1987 metallic blue Lincoln Continental. He \'s just been laid off (you heard them arguing last night). But this morning he looks like he doesn \'t give a God damn care. In his throat is the key to his sleeping children. Hear them come running down the long hallway of childhood laughter. The roof tops are toppling with unemployed angels. Their voices open the air. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[42]=new Array(43,"issue_one/NA_3.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Nin Andrews How to Deal with Rejection 1. Escape Artists Don \'t even try Some people are lucky. They are born with a gift. A single wish: to escape, become invisible, disappear for weeks at a time, or even years. When you least expect it, they simply vanish. They hide in Himalayan caves and don \'t come out until they \'re enlightened. There they never sleep or leave their meditation boxes, which are only 2 \' 6 by 2 \' 6. And they don \'t eat anything but air. There \'s a special technique for this called Cholen breathing. A person can slowly take apart the sky, one bite at a time. Some cave-dwellers supplement their diet with a single dab of Tibetan medicine, sucked off the pinky finger each day at dawn. The medicine, concocted by lamas, is made from the honey, gathered by a rare species of mountain bees that only drink from the Utpala flowers which bloom every 10,000 years and are held in the hands of Tara, the queen of the Buddhist heavens. Escape artists are smart. They reject the world before it can reject them. They discover the meaning of enough before it \'s too late. This is the first and most perfect method of dealing with rejection. 2. Practitioners Get used to it. Certain saints and monks wear hair shirts and sleep out in the cold without blankets until snow melts around their skin in warm pools, until their rough shirts turn to silk. Then they see only God. These are the practitioners of the art of self-rejection. They offer the world an invitation, Go ahead. Burn me. Beat me. 3. Amnesiacs Forget about it. There is always one memory a person must forget. A photo to be shredded or burned. No matter how many decades pass, the photo only grows clearer. Each person knows exactly which picture it is. To destroy this image is essential. The secret of amnesia, however, is not easily revealed to its seeker. A woman might recall her first grade Christmas concert. As a girl, dressed in black velvet, she sang a solo, at the top of her lungs, belting out all the wrong words. I had grits and eggs for breakfast. Falalalalalala! She has never sung again. If only she could forget . . . 4. Mind Over Matter Imagine it isn \'t happening. In each world, there is another. Each mind is actually many minds. The secret is to link the mind of one \'s choice with the world of one \'s wishes. Pay no attention to literal experience: it \'s all an illusion. 5. Try Again Nothing ventured, nothing gained. Consider it the price of admission, as if for certain sporting events. Remember, most enjoyment in this world has already been banned. For every child, there is a large adult, barring the way, shouting: No. Not you. Never. Simply ignore him. 6. Use a Mantra Swear Some words are magic, even holy. They hold within their syllables, silent or spoken, the secrets of destiny. Some poor people don \'t even know they own a mantra. The lucky ones discover it by accident. The sheer pleasure of proclaiming Fuck, fuck, fuck, fuck . . . 7. Lie Say you never even considered submitting your poems anywhere. Like a pair of invisible sunglasses you can peer through at will to see another dimension, lies are invaluable. And why not? Who knows when another childhood might be nice, compete with another set of constellations and zodiac for your life? Every soul yearns for an occasional vacation from truth. 8. Play God Become an editor Become a god. Or like Him. Or Her. You might want to change your name to Tara after the Buddhist goddess of feminine wisdom and compassion. Tara is completely green, the blue-green of leaves in shade, or onion grass. As a goddess, she has the power to accept or reject anyone or anything she likes. Editors do this. Others do it, too, carefully editing their past and beliefs to suit their needs. 9. Meditate Learn patience If a person could be still, a guru writes, then the world would come to her, like bees to nectar and offer her whatever she wanted. All her problems would be solved. All her memories would turn sweet. Her wishes would come true as naturally as a tomatoes ripen in July sun. But first, she must keep her eyes closed and remain quiet. How long? she wants to ask, but that would break the silence. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[43]=new Array(44,"issue_one/PP_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Pedro Ponce Response & Bio Question 7. My prose poem/flash fiction hero is _____ because ______ Barry Yourgrau because he invests the minutiae of everyday life - a family dinner, a chance meeting, a fireside nap in an armchair - with the suggestive logic and imagery of dreams. BIO Pedro Ponce \'s fiction has appeared previously in The Beacon Best of 2001, Ploughshares, Alaska Quarterly Review, Quick Fiction, and other publications. He is currently in the Ph.D. program in fiction at the University of Denver. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[44]=new Array(45,"issue_one/PP_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Pedro Ponce Victim The victim is not deaf to the soundtrack. She is not blind to the audience leering over popcorn cartons. She knows. As she unlocks her door and steps into the darkened kitchen, as she turns on the lights and shuffles through the day \'s mail (mostly bills she will never have to pay), she knows. She \'s about to Get It. She sets down her purse and makes her way to the bedroom. She sheds her clothes, ignoring the scattered whistles coming from the theater seats. She covers herself in a short silk robe. The flimsy material is too slight for the weather where she lives, but she knows the rules. A sudden scraping sound gives her an excuse to look out into the middle distance at the eyes watching her. She cannot let them see her look. Whatever fear she feels can register only briefly, for as long as it takes her to realize that the scraping is just a tree branch pressed against her window. Later, there will be the shadow behind the shower curtain, the thrust of a knife through the belly, the slow sinking to the tiled floor. For now, she must arrange herself into a blank, doe-eyed calm. She steps out to the living room for a cigarette. The soundtrack swells with tortured strings and computerized shrieks. She must sit through it all, just another night at home on the sofa. Her friends at the office are home, too, with husbands or boyfriends, or else out at the bars. She desperately wants a beer. But there is no time. She looks over her shoulder and parts the curtains behind her. Beyond the frame, where the audience can \'t see, the paramedics have already arrived. A police car idles beside the ambulance. She sees the detective inside yawning as he waits for the screams that will signal his entrance. She turns back to the dimly lit living room with what the audience takes to be a bemused stare. But she is actually looking squarely at the killer. He sullenly taps his watch while standing at the aquarium. The ridges of his clown mask are softened by the blue-green light of the tank. She takes one last drag on her cigarette and breathes it out in a narrow white funnel. Her satisfied smile is obscured as she vanishes down a darkened corridor. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[45]=new Array(46,"issue_one/PP_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Pedro Ponce Monster The bodies have been piling up for days. On television, the analysts have dropped their righteous anger to hazard admiration for the monster \'s cunning and efficiency. Their reports greet the boy as the father opens the door to let him in. The father offers the boy a beer he knows will not be taken. He chuckles as he digs a pipe from his cardigan pocket. The boy asks about the family \'s month at the lake. Went by too quickly, the father says. He fears that the summer sun has made his daughter soft in the head. That \'s why he appreciates the boy \'s tutoring. He pats the geometry book nestled against the boy \'s chest. Good man, good man, the father says, pointing toward the stairs. First door on the right. Halfway up, the boy can already smell the mingled perfume and lotion of the girl \'s room. Through the open door, he sees her sprawled on the bed over a magazine. She prods the air with a bare bronzed foot. Seeing the boy, she smiles, turns onto her back, and gets up. You can sit there, she says, indicating the bed. The sheets are still warm from her as he sits down. While she puts her hair up in a ponytail, the boy digs his fingers deep into the furrowed linen. Who do you think the monster is? the girl asks. The boy crosses his arms quickly. I don \'t know, he says. It could be anyone, she observes. She goes through her list of suspects: the school janitor, the friendless exchange student, the embittered widow across the street. What about him? the boy asks. He points to the signed picture wedged in the corner of her mirror. The boy in the picture wears a helmet and a sleeveless shirt banded with school colors. The girl gives the mirror a sly smile that reflects back to the boy. Jimmy? she says. Jimmy \'s a sweetheart. He \'d never hurt anybody. Would you Jimmy? She closes her eyes and puts a finger to her lips. She withdraws it with a loud smack. She reaches up to dab the face in the picture, smiling and closing her eyes over something she keeps to herself. She gets up and takes a seat beside the boy. Her hand almost brushes his knee. One thing for sure, she says. I know it \'s not you. The TV downstairs is loud enough for both of them to hear. Another death has been reported in the area of - The boy says they should get started. She begins to list the contents of the refrigerator. There is lemonade. There is cantaloupe. There is pound cake. Is there anything you want? the girl asks. The boy shakes his head. The girl opens her book to the assigned chapter. As they work through the lesson, the boy watches the moon grow fat behind the branches outside and trace ivory shards over his pale, hairless skin. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[46]=new Array(47,"issue_two/introduction2.html","2004-02-04","Prose Poetry and Short Fiction at DR","","","Peter Conners and Mark Tursi Introduction to the Second Issue “What, in fact, is the aim of every creative artist?” retorts Albert Camus in a 1951 interview. In answer to his own question, he suggests that it is “[t]o depict the passions of his day. In the seventeenth century, the passions of love were at the forefront of people's minds. But today, the passions of our century are collective passions, because society is in disorder. . . Artistic creation, instead of removing us from the drama of our time, is one of the means we are given of bringing it closer.” As our government embarks on what appears to be yet another unjust, horrific, and brutal war, it may be difficult to think about the prose poem in any significant way. It may be even more difficult to engage in a discussion of genre boundaries and borders when our military pushes past the borders of other peoples often leaving a path of destruction in its wake. Some of our writers address this very issue in their responses. In fact, many of the responses to the genre questions in our second issue seem somewhat angry about genre distinctions at all, acknowledging the inevitable, and, sometimes, undesirable political configurations and consequences attached to any art. As you will see, some writers reply by attacking genre definitions altogether, others poke fun at the attempt to define at all, and, still, some attempt specific definitions. These challenges that the writers pose, both in terms of genre and forms, as well as the challenges posed in their work, seem wrought with the tension and chaos of our times and the same chaos Camus seems to suggest. Is our current epoch any more chaotic, confused or violent than any other? It certainly seems, living in this moment, in media res, that we are ‘thrown' into these lives, this existence, as Heidegger suggests, with an increasing uncertainty and trepidation as to how to proceed. But, it is because of this that art and literature—the prose poem and flash fiction—becomes more important, more vital than ever. In his essay, Was That a Real Poem or Did You Just Make It Up Yourself?, Robert Creeley writes: “As a poet, at this moment . . . I am angered, contemptuous, impatient, and possibly even cynical concerning the situation of our lives in this ‘national' place. Language has, publicly, become such an instrument of coercion, persuasion, and deceit. The power thus collected is ugly beyond description—it is truly evil. And it will not go away. Trust to good verses then . . . Trust to the clarity instant in being human, that knows and wants no other place.” Creeley wrote this in 1974 while another brutal war was coming to a close and the House Judiciary Committee was deliberating over Watergate, but his words still resonate today, perhaps more than ever – especially with a current American President who is barely capable, when pressed by reporters, of stringing together a single coherent and grammatically correct sentence to save his life. As Creeley suggests, we must trust in the verses . . . in these paragraphs, in these stories, in these poems. The pp/ff form is now a major force in literary publishing. This, of course, carries its own problems, but the dilemmas associated with literary categorization certainly seem infinitesimal compared to the real conflicts of war happening today, and, certainly, they are less significant than the benefits we all receive in reading authors like the one's presented here in issue #2. Including Double Room, there are several new literary journal devoted to publishing the pp/ff: Sentence, CUE, Quick Fiction, Untitled, and Minima. In addition to journals, there are several new anthologies being published, which are devoted exclusively to the pp/ff: Sudden Stories: A Mammoth Anthology of Miniscule Fiction edited by Dinty Moore and Great American Prose Poems: From Poe to the Present, edited by David Lehman to name a couple. In the introduction to his anthology, David Lehman writes the following of the prose poem: “Writing in prose you give up much, but you gain in relaxation, in the possibilities of humor and incongruity, in narrative compression, and in the feeling of escape or release from tradition or expectation.” This release from tradition and expectation is crucial to our literature and art today more than ever. As this form continues to develop and put pressure on both verse and prose—and on itself—we as writers and readers are forced to face human consciousness and experience in similarly new and unexpected ways. In this issue we are happy to feature a vast array of work that sometimes puts the reader in a position to question their own role in the construction of experience and at other times pushes the reader to laugh at their own perceptions and perspectives. We include some well-known writers, like Bin Ramke and Brian Kiteley, as well as some new up-and-coming writers like Joanna Howard, Susan Maxwell, Matt Miller, Tony Leuzzi, and Anthony Tognazzini. We are also happy to publish writers who have either been very prominent in the prose poetry scene in America for a number of years, like Peter Johnson, Albert Mobilio and Gian Lombardo, or who are part of the new burgeoning pp/ff publishing scene, like Morgan Schuldt. Moreover, this issue includes some international poets: Marjana Gaponenko from the Ukraine and Johannes Göransson, who is originally from Sweden. Once again, the aesthetic sensibilities and styles of the writers in this issue are extremely diverse, but all are of the highest quality. We are also happy to feature the artwork of Mexican-American artist, Jesus Polanco; be sure to click on his name for the entire gallery of work. And, we have a new web designer, Cactus May, who has done an amazing job with the graphics and page design. We're delighted to have him as our web master. The discussion of forms continues with growing intensity. If any of you are interested in joining a similar discussion, you can do so by joining the pp/ff listserv and discussion group, which includes numerous writers, scholars, publishers and editors who are interested in the pp/ff form: http://groups.yahoo.com/group/PP_FF/ . Finally, we need to thank several people. Literary publishing is always a collaborative effort, and Double Room is no exception. Our contributors have been wonderful in helping with more than simply submitting poems and responses, so thanks to all of you, and special thanks to Michael Neff, Cole Swensen, Dale Chisman, Bin Ramke, and Peter Johnson. We hope you enjoy the work. Best, Mark and Peter . DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[47]=new Array(48,"issue_one/artist1.html","2004-02-05","Double Room: Links","","","Dale Chisman Three Conjugations 2002, 24x24, oil on linen About the Artist: Dale Chisman received his MFA from the University of Colorado at Boulder, and received two artist-in-residence grants from the Colorado Council on the Arts and Humanities, an Adolph & Esther Gottlieb Foundation Grant, and the AFKEY Award from the Denver Art Museum. From 1969 to 1984, Dale Chisman lived and worked in New York, and his important exhibits at that time include showings at The Brooklyn Museum, Martha Jackson Gallery, Bertha Schaefer Gallery, and The Once Gallery. In 1975 he received a MacDowell Colony Fellowship, and he has been published in Art and Architecture, The New York Times and the Rocky Mountain News. His works are in the public collections of Chemical Bank, Chase Manhattan Bank of New York, Colorado Collection at CU Boulder, IBM, US West, Captiva Collection! Denver, the National Museum of Art, Smithsonian Institute and Denver Art Museum \'s permanent collection. Chisman currently resides in Denver, where he has shown at the Kyle Belding Gallery, Robischon Gallery, Pirate Gallery, and the Museum of Contemporary Art/Denver. He also has had many shows in Santa Fe and Aspen, and is presently represented by Rule Gallery, Denver. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[48]=new Array(49,"issue_one/TW_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Thom Ward Response & Bio Question 1. In Adagia, Wallace Stevens writes, Poetry is a pheasant disappearing in the brush. What is a pp/ff? Yes, most often, I would agree with Mr. Stevens, that poetry is a pheasant disappering in the brush. I interpret that to mean that our poetic speech is more verb than noun, looks to imaginatively suggest and nuance more than anchor in some kind of rigid naming. Or, from another perspective, poetic speech is capacious enough to be both clear and enigmatic, peripheral, direct and mysterious. I lean toward the slippery slope of Stevens assertion, and the more I lean toward it, the further it slips from me. I suppose this is my way of saying I have no idea what the true or sustaining definition of a prose poem or flash fiction is. Nor do I plan on ruminating over the issue. What I do care about are the internal workings and playings of poetry and fiction. In the midst of a second or third read, I \'ll wonder how the language is slipping though me, how it is triggering conscious responses and dredging up the old, sacred stuff buried in the unconscious. Surely, flash fictions can collapse the distance and distinction between writer and reader (and, by extention, time and space). In the hands of an able author, they accomplish this as nimbly and effectively as our poems. When I feel this kind of collapsing occur, I know I \'m in the greater atmosphere of aesthetic transport, and that, not only is the language disappearing, but the self I present to myself and the world, is also disappearing, if only in the artifice of the language facade. What a gift. Give me such artifice, whether framed in poetry or prose. Let it flash, let it sudden, let the pheasant fly and touch down, fly and touch down, hedgerow to imaginary hedgerow. BIO Thom Ward is Editor of BOA Editions, Ltd. His poetry collections include Tumblekid (University of South Carolina-Aiken) and Small Boat with Oars of Different Size (Carnegie Mellon University Press). His new collection, Various Orbits, will be published by Carnegie Mellon in 2003. He lives with his wife, three children, two cottonwood trees, a dog and a cat (and a varying number of wild turkeys) in Palmyra, New York. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[49]=new Array(50,"issue_one/TW_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Thom Ward Elevator He couldn \'t wait for his successes so he went on without them. It seemed an adequate strategy as time and space are involved in our consciousness, not abstractions outside the mind. He favored the absurdity of addressing each day \'s tasks to the absurdity of ignoring such work. And who could project what might show up, the action of the mind itself unpredictable. He washed clothes, cut grass, scrubbed the bathroom floor. All the while he felt as if he should advance something else, a particular competence beyond his trajectory of chores. If he played alto sax, rode a unicycle or spoke Chinese, his talent would offer a substantial heft and shape. People might know him by it, and, perhaps, he could stop moving in his mind so furiously. Of course, this particular competence would advance its own rhythm, involve patience and discipline, and, most certainly, sacrifice. He wasn \'t sure if he was ready for that, though he cringed at the thought of being known by his trajectory of chores, one absurdity instead of another. He couldn \'t wait for his successes so he went on without them. And while he slept he was a man whose face was on the pillow but whose eyes were on the elevator, each door exposing and concealing that distinctive gift still unknown to him. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links sitemap",12);arrFiles[50]=new Array(51,"issue_one/RW_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Rosmarie Waldrop The Material World (for Johanna Drucker) If, close to morning, you see the physical fact of language you may take a prophylactic attitude. A figure of skating or speech. The scale is heavy flesh. You may clutch at your neck. You may think this does not make meaning. You may think your face is pressed against glass to project the death instinct outwards. If the oceanic feeling deepens without claiming any part of speech it will threaten to erase your skin. A contradictory position. Pressure just below the phrase level. You notice the picture blurred. (And shackled?) You notice, how slowly, the fly on the glass. You notice the blank face of letters while the dull presence of mortality breaks through the sound barrier. We are still unclear about the role of interruption in making love, glottal stop for a cigarette or grammar along with the tongue in the intimate depth of your cheek. Salt water or glass. The word before it fell and purchased opportunity. You couldn \'t count the inflections. You couldn \'t shake the alphabet. You live through it, shifting body to reference to broken glass back to the wallpaper of childhood, and without vowel points to betray human origins. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[51]=new Array(52,"issue_one/RW_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Rosmarie Waldrop Response & Bio Question 1. What is the difference between a prose poem and a flash fiction? Verse refuses to fill up all of the available space of the page. Even if the words celebrate what is (which mine usually don \'t), each line acknowledges what is not. It makes manifest that to create is to make a pact with nothingness (Clark Coolidge). Or, as Heather McHugh put it: [poetry] is the very art of turnings, toward the white frame of the page, toward the unsung, toward the vacancy made visible, that worldlessness in which our words are couched. Perhaps the greatest challenge of the prose poem (as opposed to flash fiction) is to compensate for the absence of the margin. I try to place the margin, the emptiness inside the text. I cultivate cuts, discontinuity, leaps, shifts of reference, etc. Gap gardening, I have called it, and my main tool for it is collage. This is perhaps just another way of talking about poetry as intense, concentrated language (as Pound and the German language know: Dichten=condensare), as cutting out steps. As Jacques Roubaud says, one can always go farther. This does not mean one can always go farther, step by step. (slightly revised from a note that appeared in New American Writing 15 (1997)) BIO Rosmarie Waldrop \'s most recent books of poems are Reluctant Gravities (New Directions, 1999), Split Infinites (Singing Horse Press, 1998), and Another Language: Selected Poems (Talisman House, 1997). Northwestern has reprinted her two novels, The Hanky of Pippin \'s Daughter, and, A Form/of Taking/It All, in one paperback. She has translated forteen volumes of Edmond Jabès \'s work. Her memoir, Lavish Absence: Recalling and Rereading Edmond Jabès, is forthcoming from Wesleyan University Press in fall 2002. She lives in Providence, RI. where she co-edits Burning Deck books with Keith Waldrop. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Email Other Links site map",12);arrFiles[52]=new Array(53,"issue_two/SM_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Susan Maxwell Statue Down to the smallest detail, I spread out my arms. The dark unclotting into darkness we could not see through as day but could see all the same. Eyes unchanged or unfixed, the zone blossomed back on itself all the same without speed or slowness and wrenched our senses. Poor tongue, inventing slimmer and slimmer gauges. Poor tongue, bright cliff. Our skulls fell through the scrubbed dirt walls until we learned to go untouched by the inner hill. There was a porous circle on the back as nerved and alive as a closed eye and we rested our fingertips there to see. Later, under sun, the gesture expressed pain or an order for tea. There was nothing in it except the request for an outline and this took us by surprise. World-blackened sketch or sketch-blackened, rippling past. All our ( meaning to rise and to sit back down, jeweled lump of ) days. A small shifting of skirts tucked between ankles and someone asking not to be kissed, down to the smallest detail. Our bodies whitening gradually into an inverse of the dark, mellifluous and brutal. When we darkened our only doorway again it was with our shadows and our shadows opposed us as a coined distance, a thing to be regained and held now too tightly for sight. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[53]=new Array(54,"issue_two/GL_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Gian Lombardo IndefiniteArticle Perhaps it's the wall that begs me to pay attention to its miraculous instructions. While it's always possible to misinterpret, there hasn't been a rash of misgivings with which to indulge. If, by chance, nothing's been forgiven, there's no reason to rush into a garden luxuriant in forgetfulness. Maybe that's all that needs to be followed — for what's been rendered has also been divided, with each division a tiny step on which to perch. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[54]=new Array(55,"issue_two/GL_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Gian Lombardo On the Mark These days only the periods between houses can be seen. The patchwork of homes has become a net from which no one escapes. There's only endstops rolling to no beginning. To negotiate such expanses stocked with shiny ball bearings requires rollicking legwork. Thus, a point can always be inserted between two others. It's not a futile endeavor; on the contrary, the activity ignites a consuming insistence. Things being equal, a nest of periods makes a hard bed in which to lie. But it's the grammar behind them that carries the burden. . DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[55]=new Array(56,"issue_two/GL_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Gian Lombardo Response & Bio	Given the current political situation, I \'m at a loss in answering any of them (genre distinctions being the last on my mind). How about this answer to an undetermined and non-existent 9th question: I want to write poems without giving a rat \'s ass about line breaks or stanzas. I want poems in sentences, paragraphs, blocks. I want these poems to be not mean. There \'s more than one way to write: keep an ear, an eye and a mind open... BIO Gian Lombardo has had two collections of prose poetry, Standing Room and Sky Open Again, published by Dolphin-Moon Press in 1989 and 1997, respectively. His next collection, Who Lets Go First, based on the I Ching, will be published by Swamp Press sometime in 2003. He teaches in the publishing program at Emerson College in Boston. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[56]=new Array(57,"issue_two/GL_3.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Gian Lombardo Three Wishes To inhabit a word without end. (As if falling, safe in the belief of reaching no ground.) For the worst that can be dealt: The smile, in equipoise, on either side of a line. The same willingness to make a mind up when everything chatters in disarray as when the will's made a bed undone by a surfeit of sleep and lovemaking. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[57]=new Array(58,"issue_two/BR_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Bin Ramke WHERE THE FAMOUS WISH THEY HAD LIVED Parmenides of Elea Where his influence could accumulate, where the horizon might retreat, where the basilisk smiles and the necessary arrogance of desire lingers into evening while yet hiding among the hieroglyphs. But I like it this way, he said to himself. Here shall I close my trustworthy speech and thought about the truth. Henceforward learn the beliefs of mortals, giving ear to the deceptive ordering of my words, he said. He watched stars move a certain way, the small sprinkling of the past he walked beneath when he was out late and lingering. In a land of ha-has and paths of desire. Where Nothing hovers invitingly above the closest horizon. Between the angles of incidence and of reflection. Among the agonies in the garden. Elsewhere. Sigmund Freud “If his lips are silent, he chatters at his fingertips; betrayal oozes out of him at every pore.” And yet looking into the mirror otherwise known as morning otherwise known as night was not a revelation to him. He had a path, strewn with candy wrappers, or flowers, and lined with stones, which was a comfort to him when his throat ached and his head betrayed him. Still wouldn't it have been good to stop in at some familiar coffee shop, to order in a childhood language a childhood treat, something with chocolate and a little something to soothe the guilt which follows from having hoped too fervently and made all those promises. A place where the libraries do not contain your own books and the children are not afraid. Memory, remember, is a dynamic process like the eloquence of birds and the kinds of cancer which affect the jaw. The cave of the mouth from which words emanate, and breath. “I am still out of work and cannot swallow,” he wrote after the first of his thirty-three surgeries. Etc. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[58]=new Array(59,"issue_two/JH_2.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Joanna Howard The Actor at Dinner Ladies and Gentlemen, I give you the greatest actor of all time, we were told by our host. No one appeared. The name was unfamiliar. The door stood swinging, as the soup was brought in, cutting the view of the corridor forward and back, with no one in sight. Already, it was an awkward dinner party of no more than eleven. The conversation was not loud enough to cover so conspicuous an absence. Brace yourselves, we were told, he has the lightest touch ever. On that belated cue the actor pushed into the dining room in plaid high-waisted trousers and a velvet waistcoat, the tips of his black moustache waxed, and curled upward toward his eyes. His arms stretched out a marvelous tremor that set the bouillabaisse rippling up over the terrine's lip. Every part of his body was violently attacking a role. Look at his throat veins, someone to my left shouted, they are coursing with anticipation and bloodlust. His shins, one of us said, his shin bones are the Laurence Olivier of shin bones. Bloody hell, another put forward, he has more expression in his corneas than I've felt in my entire life. A pretty young girl with strong sensibility fainted under the effect, our host laughing out a gloat. I was left speechless, myself, gazing at the wafting hint of mournfulness that slipped up the delicate curve of the actor's ankle below its scarlet stocking. Suddenly, I was struck with the inevitability of the finale. How can this amazing creature sit down before us and eat his soup? But with a hand gesture of marked closure, he completed his arrival as abruptly as it had begun, and lifting his coat-tails, seated himself across from me, mutely. The slightest blush of a smile appeared below his whiskers as he motioned to the host for a bolster to tuck against the small of his back in the dining chair. There was nothing remarkable to the manner in which he realigned the sliver beside his plate. He picked up his soup spoon, sorted out a shiny mussel, and chewed without flare. Before long, the conversation at the table slowly built to a mundane purr. I, however, kept on with his breathtaking performance, as he dipped the corner of a napkin in his goblet to clean the broth from his waistcoat, and brushed from his pant legs the crumbled traces of a French roll. Every gesture was studied precision. No part of him gave away the deadly exhaustion held up in his reedy chest, his absent utterance, the violent pulse below starched cuffs. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[59]=new Array(60,"issue_two/BR_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Bin Ramke Response & Bio Question 7. Rosmarie Waldrop says that, Perhaps the greatest challenge of the prose poem (as opposed to flash fiction) is to compensate for the absence of the margin. I try to place the margin, the emptiness inside the text. I cultivate cuts, discontinuity, leaps, shifts of reference, etc. \'Gap gardening, \' I have called it, and my main tool for it is collage. What, if any, specific tools do you use when crafting a pp/ff? Is the prose poem, in the very least, an alternative mode of articulation? Articulation, jointing. An articulated doll is one whose arms and legs move, a form of mimesis which is obviously limited and yet is a profound gesture toward some essence of human ability and ambition. I find that the necessity to make the tiny announcements which are line-ends in standard verse becomes sometimes, often, annoying, arbitrary, and ultimately misleading. I know there should be something more to the articulations of the prose poem than the rejection of this one gestural act, (the movement of the eye right to left and down), but one might argue that the jointure of line to line is THE critical articulation of verse which prose-poetry isolates and supersedes, at its best. So when it works the articulation of the prose-poem is simultaneously subtler and more powerful (at its best) than the jangly articulations of the rattling-down-the-page from line to line (like ball bearings across the face of the pin-ball machine) of the other kind of poem (at its not-best). There is more to the distinctions than this, but that more is available (to me) when it happens through the mechanism of the look of (and hence the invocation of the authority of) the paragraph. How a poem sets up expectations is how the poem vitalizes its elements. The expectations triggered by blocks of prose, packets of sentences, are complex and at times subtler, more nuanced, than the at-times overly self-conscious demands of the articulations of lines of verse. The metaphor of poem as doll, as an imitation-child to be played with and learned from--of the poem as Pinocchio, as humunculous, as little mind-machine which takes after Daddy and Mommy but begins to behave and misbehave according to its own inner necessities, is a convenience. A way of articulating an issue. BIO Bin Ramke is editor of the Denver Quarterly and the Contemporary Poetry Series for the University of Georgia Press. He is the author of seven books of poems, the first of which, The Difference Between Night and Day, won the Yale Younger Poets Award in 1978. His most recent book, Airs, Waters, Places from the University of Iowa Press (2001), are observations made about his previous books of poems. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[60]=new Array(61,"issue_two/JH_1.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Joanna Howard Daddy-Longlegs I had a daddy-longlegs, growing up, sending the fatty checks, picking out the rich accessories. We called it eau de eau, if you take my meaning. Hardly anything to complain about. He used to dance and dance rings around me. I've never been much of a mover. Then came the tornado. No, I'm joking. More like a long, prolonged engagement. What a whirl though on the big day, you could see my veil fluttering for and aft. And they always say, just you wait and see, he'll turn out to be your smutty illegitimate father, every time. Stick that in your Funk and Wagnel's, I tell them, I'm a success story. But you should see the evenings. What grandeur, and how. Every pillar a sconce, every sconce a bunting, every bunting--well take it from there. And when I run down that marble hall with a strip of cherry silk fanned out behind, what elemental flashing. What a burn, what a sight for sore legs. Who could ask for more, you will say. And then we slip up the stairs, me to my boudoir, a downy nest of satin, and he to his, right over my head, all the wee hours a faint soft-shoe on salted tiles. DR Site Links DR Home DR Issue #2 DR Issue #1 Introduction Contact DR Other Links site map",12);arrFiles[61]=new Array(62,"issue_two/JH_ResBio.html","2004-02-05","Prose Poetry and Short Fiction at DR","","","Joanna Howard Response & Bio Question 1. Sean Thomas Dougherty has stated that For the Flash Fiction, I find it hard to believe - or yet to read one I find successful - that includes more than 2 or 3 characters... or is driven by more than one dominant voice or includes more than one or two scenes. Do you agree or disagree with Mr. Dougherty \'s assertation? Can you think of any writers who have successfully gone beyond these borders? One of my all time favorite stories, flash or otherwise, is Dino Buzzati \'s short-short story The Falling Girl in which a young girl commiting suicide from the top of a posh appartment building, falls rather infinitely toward the ground in a nice suspension of time. As she falls, she passes many windows, leaving the inhabitants of the floo