Analysis: I chose to base my Reading Week Creative Project on the two types of narcissism in Paradise Lost: Satan's futile one and God's fruitful advancement, specifically through Eve's journey of escaping selfish and prideful narcissism (tempted by Satan) and her reflection through Adam. I began the photograph by staring into the mirror as Eve, representing Eve's first vain encounter with her own reflection: "There I had fixed mine eyes till now and pined with vain desire" (4.465-466). This was also the first time God reminded her of her role in choosing the right kind of narcissism: “What Thou seest , What Thoust seest, fair creature, is thyself / with thee it came and goes..But follow me..To him shall bear multitudes like thyself and / thence be called the Mother of human race." (4.467-469, .474). God introduces Adam as her other half, as he's her superior and her temperance, where together, they will carry out God's productive narcissism. This contrasts against Satan's narcissism, as his stubborness against God's authority creates a cyclical trap that just results in increasing misery: “how dearly I abide that boast so vain / Under what torments inwardly I groan / while they adore me on the throne of Hell” (4.087-89). However, he never repents and instead continues to ignore his guilt until he's in too deep to go back: “For never can true reconcilement grow where wounds of deadly hate have already pierced so deep / Farewell remorse!” (4.098-99, 109). Similarly, Eve falls into this trap of Satan's selfish pride where she allows herself to be tempted and falls by eating the apple, represented by the layered mirrors growing darker and duller. The infinity mirror effect (which I created through layering and editing the same picture on PicsArt) represents her fall into Satan's destructive narcissism, where she splits from Adam (as her partner in God's glory) and eats the apple in an attempt to increase her own vain knowledge to be more on par with Adam's: "in female sex, the more to draw his love / and render me more equal / for inferior who is free?" (9.822-23, .825). As represented by the darkening reflections of only Eve's image (on the left), her fall heavily revolved around her own selfish vanity, which is unfruitful (as why the infinity mirror's reflections are a static repetition only of her) like Satan's narcissism (darkening, static, never ending cyclical trap). However, Eve, unlike Satan, is able to escape this trap before it becomes too late because Adam, as her reflection, is able to help remind her of their free will in returning back to God's image of them through repentance :“self destruction therefore sought refutes / That excellence thought in thee” (10.1016-1017). Ultimately, it's their reflection as God's image of each other that allows them escape Satan's narcissistic "infinite mirror". This is why Adam's reflection staring back at Eve in the photograph stops the infinite mirror from darkening and continuing any longer. The bright colors of Adam also starkly contrast against the dull mirror frames, as God's will and grace always overpowers any of Satan's tactics, guiding Eve back on track. Eve no longer only sees herself, but God's fruitful and productive narcissism through Adam. The bright lens flare that emits a rainbow tint around Eve is also supposed to represent God's guidance and will throughout, as even through mankind's fall, God is able to bring greater grace and advancement. After all, this event is what allowed Him to bestow the greatest gift of all: Jesus Christ, represented by the rainbows coming out of the infinity mirror. The dullest and darkest colors within Satan's trap in the infinity mirror are also meant to represent the contrast of Satan's narcissism even further, as following him blinds you to the color around you until you're able to finally notice it when you break free. Though this adaptation doesn't represent Eve's narcissistic journey with Adam fully (as Adam also chose to fall into narcissism), the overall extent of Eve's role in Paradise Lost is now better able to be understood through this photograph.
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in which prospero charms himself
sinks deep into the walls of the island the ship wreck was just the crashing of wood against stone. the end of the story, not the beginning. in which the ship is named prospero prosperity pros & cons. in which he causes everything except his magic and the wood of the ship is taken from sycorax’s tree & & and he has only ever controlled one entity never caliban ariel cali ban always himself in which the shipwreck replay replay s. eyelashes close & stick together. and there is no one on the ship but it crashes anyway. in which this is not an island & this is not the sea this is just a shell of branches with eyes opening & closing. & prosperity stares you in the face opens the door & leaves. Analysis: For my reading week project, I decided to write a free verse poem based on Prospero from The Tempest. I wanted to focus on how Prospero continually exerts his magic and power over everyone else on the island, but also take into account the ending, with Prospero giving up his magic and leaving the island. With the ending, it seems like Prospero’s magic has taken too much out of him, and like he has been consumed by it; this causes him to leave the island and the magic that gives him power. I imagined that the main events of this play were all only within Prospero’s mind, and that the shipwreck became a part of him and everything else on the island. I wanted to frame the events of The Tempest as something more metaphorical and dream-like and focused on the shipwreck happening again and again to only Prospero. One main idea that I focused on was the wood of the ship also being part of the island; I wanted to include this to make it clear that everything is cycling through Prospero’s mind, and that he has become trapped within this idea of the island. I also included the repeated metaphors of eyes in the second half of the poem to represent Prospero’s relationship with the other characters in the play and everyone he has taken control of. I decided to frame it as if they were all watching him and the slow takeover of his magic. Finally, I repeated the word “prosperity” because it sounded like Prospero’s name; although I am not sure what his name was inspired from, I thought that the contrast between the evolution of Prospero’s character and the word “prosperity” was interesting to think about. This inspired the ending of the poem, with prosperity leaving him even though he had thought that he was successful throughout the entirety of the play. This idea of himself is clearly shown in his conversation with Miranda after the shipwreck, when he states, “By accident most strange, bountiful fortune / …hath mine enemies / Brought to this shore; and by my prescience / I find my zenith doth depend upon / A most auspicious star” (1.2.178-182). Here, he believes that his plans and the use of his magic will benefit him greatly, but the ending shows the negative effects of such magic and the loss of his prosperity, especially with his choice to give it up completely. My creative interpretation of Adam’s Fall in Paradise Lost was influenced both by Milton’s work and also by C.S. Lewis’ subsequent analysis of it. Within Paradise Lost, Eve at first wants to keep the apple and its knowledge from Adam, but later leads Adam to Fall, predominantly out of worry that she will be punished and left all alone. She thinks to herself “But what if God have seen / And death ensue? Then I shall be no more / And Adam wedded to another Eve… Confirmed then I resolve / Adam shall share with me in bliss or woe” (Milton 9.825-30). Eve ultimately now understands this concept of fear of death and resolves not to go through it alone. This is what sparks her desire to share her Fall with Adam. However, Lewis takes Eve’s decision even further, writing “I am not sure that critics always notice the precise sin which Eve is now committing, yet there is no mystery about it. Its name in English is Murder. If the fruit is to produce deity Adam shall have none of it…But if it means death, then he must be made to eat it” (125). My creative project aims to take Lewis’ accusation against Eve literally. What if she did truly murder Adam? In my photo, Eve is in a position of mourning Adam — she is hunched over his shrouded body with flowers in tow. But the flowers both on Adam’s body and in Eve's hair are dead, she had already Fallen prior to this moment and she can never return. Furthermore, Eve’s hands are covered in blood, the same hands that hold the bitten apple. Despite this posture of mourning, there seems to be no remorse within Eve as she holds the eye contact of the viewer. The new ‘Fallen’ Eve instead almost appears hostile. In the end, no matter the “sin” she has committed, Eve is no longer alone.
I enjoyed being able to adapt Eve in this way, although I still do not agree with C.S. Lewis’ interpretation and, by extent, the portrait of Eve I depicted. Through my adaptation I leaned into this idea of Eve being in control of Adam's actions ever since her Fall (blending with Adam’s “uxoriousness”) and this kind of grim determination that propels her to pull Adam down with her. However, with this, I chose to lose the idea of Eve that is truly in love with and cares for Adam. I believe, unlike Lewis, that Eve’s only so called crime here was to fear being alone. In a world where Eden is possible and yet instead you are suddenly faced with the prospect of eternal sin with no one to fight by your side I find that fear to be very very rational. In the end, Adam made his own decisions (even if they were ‘uxorious’) and he and Eve enter their new world hand in hand, still by each other’s side. Despite both this photograph and C.S. Lewis, I do not believe that is a sin. Thank you to my mother for being such a patient Adam (i.e. cadaver). For my reading week project, I decided to create my own Minesweeper game using java and modify a Pac-Man game using python code that I found from a youtube video. I opted to make a video game in order to emphasize the child-like sense of wonder that is present in Kamau Brathwaite’s poem “Letter SycoraX.” Video games are for all age ranges, and Caliban has both the sense of exploration associated with a child and the knowledge of an adult. Caliban is as inquisitive as a child who is ecstatic at the prospect of learning how to use a “key / board” and, similar to an adult, he knows famous references such as “cogito ergo sum” (25-26, 78). Caliban acts like an adult by taking on the responsibility of representing colonized groups and starting a rebellion. In the Minesweeper game, the hero successfully asserts his linguistic communities’ place in the world by placing the “X” that Caliban utilizes in the poem, avoiding the ghosts which represent the colonizers (74). Like the user can place the X’s, Caliban “chipp[s] / in dis poem” in order to act as a Moses figure (279). I opted to make the X’s blue because I associate blue with peace and acceptance that Caliban is fighting for, and I made the minesweeper bombs red because I connect red with anger and resistance to Caliban’s attempts at rebellion. Whenever the hero loses the game, they can continue trying to win the game, similar to how Caliban feels he can “get nutten really / rite” at first (179-180). Even though Caliban continues to be affected by the societal expectations established by his colonizers, he keeps trying to express himself in his writing, and he leads the way for a cultural rite of passage. The hero, Caliban, uses the “X” as a middle ground because he wants to make an original piece of work that has never been heard before. In the end, neither side necessarily “wins” the game because there are both red filled spaces and blue X’s in other spaces instead of having the board filled with solely X’s in order to demonstrate that all linguistic communities have a place in the world, no matter how they choose to express themselves.
In the Pac-Man game, Caliban is the hero who wins by collecting all of the dots, while having ghosts try to defeat him. I imagine a parallel connection between the hero gaining points in the game by collecting dots with Caliban convincing others of his story. Every time Caliban convinces another individual that his nation language is legitimate in its written form, the hero gains a point. The ghosts represent the others who haunt him and attempt to make him believe that his language is not worth trying to communicate in because both his appearance and his language differ from the colonized groups’ established societal norms, as Caliban says his girlfriend “kinda look at i funn. / y” (131-132). Compared to the ghosts, the hero looks different because he is an orange blob. Whenever the hero loses by getting caught by a ghost, I imagine a parallel connection to Caliban getting pushed “down” by authority figures even though Caliban continues to try to move up in social status (234). The dots are like X’s and the more Caliban collects, then the more he is able to express himself in the way that he would like, as shown in the poem. When the hero has won, Caliban and the rest are together on the same team because Caliban has successfully acted like a Moses-figure. Caliban goes on his own individual journey in order to convince others that his nation language is legitimate, and when he triumphs that means he has led the way to eventually unite his and the others’ cultural and linguistic communities. Caliban is fighting for “we,” which shows that he is not solely fighting for himself (161). Instead, Caliban is fighting for a more inclusive world. In the end, the ghosts and the hero peacefully coexist without having to change who they are as individuals, as the character’s looks remain the same. By adapting the poem into a video game concept, the poem loses its sense of empowerment at the end, its storyline, and certain nuances that are hard to reflect, such as the reference to “brigg / flatts” (168-169). In addition, unlike Caliban who desires to make an original piece of work, Minesweeper and Pac-Man are established games, so they are both not pioneering pieces of work. Minesweeper code: https://drive.google.com/file/d/1K93HB0VMHgXudSM45ZB8jL1y7Segy-iS/view?usp=sharing StdDraw class: https://introcs.cs.princeton.edu/java/stdlib/StdDraw.java.html Pac-Man code: https://github.com/plemaster01/PythonPacman For my creative project, I chose Option 6, and the work from class that inspired me was the oral reading of the poem “Caliban” by Kamau Brathwaite. The main starting point for me was the recognition that Brathwaite chooses to repeat the phrase “that does not signal health” in the audio, although this is not present in the original poem (17). This inspired me to superimpose the heartbeat flatline audio onto the recording to further emphasize the significance of this phrase that Brathwaite himself draws attention to. Throughout the first half of “Caliban,” an emphasis is brought to the duality of life and death. The life of the “Chrysler stir[ring]” is contrasted with the fact that it “does not produce cotton,” and the “Jupiter purr[ing]” is contrasted with the fact that it “does not produce bread” (8-9). The fact that the current life is not able to produce further life is explained by “the bad habits of their crippled owners” (7). The current environment is not stable and healthy enough to aid in the development of new life, emphasized by the repetition of “that does not signal health.” This could possibly be an analogy for what could occur to the population of black people after slavery has been overridden. Although they have successfully taken back their freedom and their right to life, this does not imply that the environment these “revolutions” have left them in is suitable for their prosperity (33). The audio of the cards ruffling comes in when “the gambling houses” are referenced and continues throughout the stanza that begins with “salute blackjack, salute backgammon” (19, 22). The audio of the printing of newspapers (using audio for printing machines that would be used in the 1970’s as The Arrivants was published in 1973) comes in when the phrase “newspapers spoke of Wall Street” is uttered (26). I found it interesting that the machinery that would produce food (“bread”) and clothing (“cotton”) are dysfunctional, while the machinery to produce newspapers on Wall Street, which would suit the publicity and documentation of the successful revolution and emancipation of black slaves, are still fully functional. Perhaps, an analogy can be drawn between this occurrence in “Caliban” and the character qualities Caliban displays in “Letter SycoraX.” Caliban is seen in “Letter SycoraX” to prioritize above all else spreading his native dialect with a wider, global audience through his poetry, which he is able to produce with the typewriter through a method that is very similar to the production of newspapers.
I intentionally silenced all the other audios when the bang of the gunshot audio was heard to emphasize the musicality of the following part of the poem and also to symbolize the “limbo silence” that is referenced in this passage (44-5). I was also inspired by the phrase “where the music hides him,” throughout creating the overlays on the original audio, as it could be interpreted that these additional sounds are intended to mask the message that is being portrayed through Brathwaite’s words, similar to how slaves would often use music and singing to mask the pain of their insufferable position (92). This idea is also referenced later on with this statement toward the finality of the poem: “and the music is saving me” (145). I kept the water audio running throughout most of the audio to symbolize the continuity of the months-long voyages that the ships to transport slaves would undertake traveling across “kalunga” as stated in the audio (which as Brathwaite describes, means “threshold between worlds” and is a word taken from the Kikongo language of the Congo-Angola Basin, often used to refer to this journey across the Atlantic Ocean) and the creaking of the ships being a mainstay throughout the journey. In the last portion of the audio, there are three distinct sounds other than the water. The first to come in is the whip sound, which comes in when the “whip light crawling” is referenced. Then, the audio of chains rolling along wood comes in when the darkness of the ship is referenced, and this is meant to symbolize the torture that slaves endured on their passage, being chained in the cramped, damp cargo hold of a ship. The final audio to come in is the drum, which also comes in when it is referenced. All of these audios continue until the original audio is completed, except for the whip, which continues through the silence, symbolizing how these other sounds, the “music,” is able to effectively mask the torture of an individual slave, but when the music is silenced, the torture and cruelty of this practice is brought to light. Works Cited Grantham, Tosha. crossed kalunga by the stars & other acts of resistance. Gregg Museum of Art & Design. NC State University. https://gregg.arts.ncsu.edu/exhibitions/crossed-kalunga/#:~:text=Courtesy%20of%20the%20artist.,a%20land%20beyond%20the%20horizon. Accessed 14 January 2024. Image acquired from this link: https://lithub.com/caliban-never-belonged-to-shakespeare/ "Engraving of Milton's Satan, courtesy of Gustave Dore from Milton's 'Paradise Lost'. (Hulton Archive/Getty Images)."
Poem: The Garden of Eden, He slowly crept upon Casting his eyes upon the two living in innocent bliss. His insides churned at the fact that he would be defined only by “demon,” While those in front of him did not know sins here in this Garden of Eden, He began to reminisce Of his past life, Of the purity he once held, only to leave it all for the endless abyss Of Hell, He could seek no escape, continuously unable to dismiss The regret, the longing, the depression he attempted to resist His newfound emotions began to conflict With the Evil façade he held, for his followers, even for him In one fell swoop it came crumbling down, unveiling bits Of his humanity, of the emotions he holds, until it all splits Back on was his mask, his feelings shrugged aside, For his humanity, Satan must always hide. Analytical Component: Within the fourth book of Milton’s epic, Satan faces an intriguing inner turmoil upon seeing Adam and Eve in the Garden of Eden. His emotions of longing as well as regret leaves him to question his current situation, deemed for either “Infinite wrauth, and infinite despaire” (Milton, IV). He seems to see no escape from his place within Hell, for “Which way [he] flie is Hell; [he] [him] self am Hell” (Milton, IV). This poem dives further into this inner quarrel Satan experiences, from the perspective of a third person narrator, one that knows Satan’s inner battle thoroughly and attempts to illustrate his inner thoughts during this scene. Through this poem, a new insight into one interpretation of Satan’s emotions and inner thoughts is introduced. It offers a clearer and more in-depth monologue of Satan’s turmoil within this scene, making some sense of the depression that he spirals into. I found that writing the poem, especially from a third-person point of view, helped to delve deeper into Satan’s character and understand more of the battle he faces. The perspective provides a way to form an interpretation of Satan’s thoughts and character, an interpretation he would not be self-aware enough to make for himself, as shown through his spiral. While the poem provides some clarity into Satan’s emotions within this scene, the perspective that it is written in dissolves some of the emotion and vulnerability Satan had in the original scene, something that drew me even more into his character. This personal connection to the reader is lost within the third-party narration, so while providing a deeper insight into his character within this specific scene, it still loses some of the original emotion Satan holds. For my creative project, I chose to represent Ariel’s enslavement to Prospero and his confinement in their relationship in Shakespeare’s The Tempest using a black ballpoint pen drawing. I attached my overall impression of Ariel’s involvement in the creation of his confinement and its layers to the motif of the “cloven pine,” as the first place Ariel was physically confined (1.2.276). Since reading The Tempest, I’ve been especially interested in the different degrees of confinement visible in Ariel and Prospero’s relationship. For simplicity, in my drawing, I sought to represent two: emotional and physical confinement. The larger tree on the left represents Ariel’s physical confinement, which has been mitigated by Prospero’s aid in his liberation. However, in the play, Ariel is far from free when he escapes the tree–now dead and harmless in my drawing–because he’s Prospero’s indentured servant instead.
Within his enslavement to Prospero, Ariel becomes more and more trapped as the play progresses, largely because he becomes more emotionally involved. Following the chronology of his increasing enslavement, Ariel’s place of physical confinement is in the left half of the frame and the words and pine cones representing his more complex psychological confinement are on the right. I used the striking line, “Do you love me, master?” to represent Ariel’s mental confinement within his enslavement to Prospero (4.1.48). I elected to leave out the word “master” in my piece to capture the essence of Ariel’s sentiment more sympathetically, and focus on Ariel's emotional need for "love." The phrase's connection to Prospero is contextually defined nonetheless. Though physical confinement, like Ariel’s in the tree, may seem more intuitively inescapable than anything, Ariel’s emotional attachment to Prospero proves more gripping when it leaves the reader questioning if he would be able to leave his master even if his enslavement “split,” or presented an opportunity to escape, like the tree. In the end, Ariel’s emotions are more inescapable than anything. Unlike the dead, harmless, already-split tree on the left, the falling seeds sown in Ariel’s mind with each of the words in his question are bound to grow into incredible prisons. For this assignment, I chose to illustrate “Letter SycoraX,” particularly focusing on the imagery of Sisyphus employed by Brathwaite throughout the second part of the poem. I was drawn to this idea because of its ability to powerfully depict important aspects of “Caliban’s” struggle – the heavy burden, its cyclic nature, and, thus, the feeling of frustration. He repeatedly writes, “a cyaan get nutten write,” therefore declaring this feeling of not being good enough and not being able to live up to the standards forced upon him by the “Prosperos,” while he emphasizes the prolonged experience of “slide / in black down” and losing any progress he might have made. Another key aspect of the poem that I tried to capture here in the rough, unpolished style of this drawing, is Caliban’s relaxed imperfection in the letter, which I found to be a strong source of argumentation in itself: Brathwaite’s writing showcases a version of Caliban that does not appeal to any audience other than his own mother, SycoraX, enabling him to reveal emotions ranging from anger to joy. In a similar way, leaving these imperfections in my own visual interpretation of the text allowed me to include ideas I may not have been able to otherwise, like the way previous iterations of the sketch remain visible in layers underneath, as if they represent such parts of Caliban’s identity.
Moving to specifics, on the left side of my illustration, I decided to place the Caliban-figure in a stance representing his resilience: the arms outstretched and feet flat on the ground as if he is preparing to stand. Although he may have previously been overcome by the difficulty of his task, remaining stationary simply to hold the weight of the rock, he gets ready to continue on. Drawing from Brathwaite’s play-on-words between “write,” “rite,” and “right,” which, to me, suggest that a heavy burden facing Caliban comes from language itself, I chose to add letters of the alphabet on the boulder to highlight this notion. “Caliban” appears etched into it, as well, because this identity, and even the name itself, are additional weights he must carry as he is put into boxes by Prospero and others. The right side, is meant to display the lasting effects of Caliban’s writing, leaving the viewer with the repeated affirmation “i is a somebody” (that is positioned specifically at the top of the hill), asserting his place in the world and the power of his words. I decided to create an optical illusion that represents Eve’s view of herself in the latter half of John Milton’s Paradise Lost based on the argument that Adam and Eve are meant to be equals. After eating from the Tree of Knowledge, Eve wonders if the fruit will “render [her] more equal … for inferior who is free?” (9.823, 9.825). Eve’s comments imply that she views herself as unequal and inferior to Adam. Part of her reasoning behind this perspective is Adam’s reinforcement of these ideas by saying that Eve is “[s]afest and seemliest” when she is with him (9.268). Adam paints himself in a stronger light, so Eve develops the attitude that she must “prove” her worth to make up for her inferiority. However, Eve is not inferior to Adam; the two of them are a team where Adam is the “head” (logical and cautious), and Eve is the “heart” (instinctual and ambitious) (8.562, 4.484). They both have their strengths and weaknesses, but those traits do not put one over the other. I chose to use an illusion because it intentionally warps the audience’s perception of the world, which is how I see this epic; on the surface, it may seem that Adam and Eve are on different hierarchal levels, but a closer examination reveals that they are equal. This illusion uses forced perspective to make it seem as if two objects of the same size are actually different sizes. In this case, Eve can only see herself as smaller/inferior while Adam is bigger/superior. Since Eve does not believe herself to be equal to Adam without eating from the Tree of Knowledge, she is “trapped” in the illusion, reflecting her question, “[F]or inferior who is free?” (9.825). However, the audience can see the illusion the way it is presented to them, or they can step back to see the reality that both figures are the same size. They can choose the interpretation that they think Milton is presenting, unlike Eve. For this creative project, I decided to visually represent a scene in Kamau Brathwaite’s “Letter SycoraX.” During SycoraX’s life and subsequently Caliban’s life, after Prospero robs their island from them, are overall both depicted as evil creatures. How I imagine Caliban’s letter is a reaction to the love from Prospero that was stripped from him after his attempted rape of Miranda, craving love and acknowledgement from his “Mamma.” This is not in any way defending Caliban for his actions, however in this graphic, I wanted to capture the vulnerable side of Caliban that is present in the letter, from his point of view. The letter, in certain parts, is desperate, almost in a childish way. One thing that I learned through working with children ages 4 and up is that they will repeat their sentences until they can think of a new one: “yu cyaan nevva turn / back / nor walk back up / nor / even back / up… down down down…runnin up runnin up runnin up runnin up / goin down / goin down / goin down / goin down” (Brathwaite 210 - 237). Here and everywhere, Brathwaite is seen repeating himself and overall, speaking in code that is not always easily understood.
Additionally, in the start of the letter, he says that he has joined the mercantilists (4) and mentions Prospero’s cursor with the meaning of “curse” as in magic and “cursor” as in computer. For this reason, I chose to add cursors on the graphic pointing up and down the staircase. The red cursors are meant to represent the forces that go against him as he calls out to his Mamma and begins finding his voice in the nation language, explaining how his way out of this nightmare of a staircase is shown through the gray cursors and the gray sound waves (representing his voice). The pixelated rendition of “The Scream” is meant to represent Caliban in a state of panic and desperation, while also pointing to the new world of language learning he enters: the computer “ling. / go” (144-145). Through depicting Caliban’s letter in this way, I feel as though he is able to be read as more relatable than before. While it is true that Caliban makes mistakes in The Tempest, it is also true that he was robbed from his mother, home, language, and freedom. Regardless of losing your home and becoming enslaved as Caliban has, finding your voice and needing your mother or guardian, feeling forces pointing you down as you try to run up your personal staircase tends to be a universal experience, which is what makes this depiction relatable beyond what we know about Caliban through The Tempest, which is what I imagine Brathwaite was trying to do through writing “Letter SycoraX.” |
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