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xv | |
Preface |
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xvii | |
Our credo |
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xvii | |
Our organising principles |
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xix | |
Our disorganising principles |
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xxi | |
An apology to readers and a lifeline |
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xxii | |
Acknowledgements |
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xxv | |
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PART I Setting out to alter the narrative |
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1 | (96) |
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1 In difference (and not deference) to narrative medicine |
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3 | (20) |
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3 | (3) |
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Clearing out the interruptions to poetry |
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6 | (5) |
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Where "plot" collapses into field and soil |
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11 | (4) |
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15 | (2) |
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Creativity as medical and poetic devices |
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17 | (6) |
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2 The imperialism of narrative |
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23 | (20) |
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23 | (1) |
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A spotted (potted and spotty, non-chronological --- read: poetic) history of generic narrative medicine |
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24 | (6) |
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Whose tale is it? I told you a story but you narrativised it back! |
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30 | (4) |
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Critiques of narrativism's imperialism |
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34 | (3) |
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With what shall we identify? The problem of false identification |
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37 | (6) |
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3 What's the story behind narrative medicine? The shared epistemologies of narrative medicine and biomedicine |
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43 | (19) |
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Is narrative medicine a handmaiden to biomedicine? Historically speaking, how could it not be? |
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43 | (8) |
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The scientific aspirations inherent to Narrative Medicine's interpretive tool |
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51 | (6) |
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Russian formalism aspires to science, I.A. Richards in its wake, Narrative Medicine in Richards's wake |
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57 | (5) |
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4 Is narrative medicine just another story biomedicine tells before we go to sleep? |
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62 | (23) |
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Problems of definition: narrative as Procrustes's bed |
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62 | (10) |
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Patients' narratives as reconstructions and translations |
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72 | (3) |
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75 | (3) |
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78 | (3) |
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Is Narrative Medicine ever wrong? |
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81 | (1) |
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Hey, Godot's here again! But in name only |
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82 | (3) |
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5 What can Russian Formalism do for us lately? And other unapplications |
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85 | (12) |
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85 | (1) |
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Slow jamming the medical interview, Russian Formalism style |
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86 | (9) |
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We have escaped Narrative Medicine's reach |
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95 | (2) |
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PART II Theorising lyrical medicine |
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97 | (188) |
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6 Re-visioning diagnostic reasoning, or stepping out from the skull |
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99 | (19) |
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Clinical reasoning: a dialogue |
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99 | (1) |
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The undercut edges give an apple-core appearance |
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100 | (2) |
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102 | (3) |
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105 | (2) |
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From tic to tick (or vice versa) |
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107 | (2) |
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How language thinks the doctor |
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109 | (2) |
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111 | (1) |
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The Art of Memory or super-mnemonics |
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112 | (2) |
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114 | (4) |
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7 Out from the skull and into the world |
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118 | (18) |
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Reclaiming biomedicine from the narrativists: abduction |
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118 | (4) |
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Externalism, the "new realism", or enactivism |
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122 | (5) |
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127 | (1) |
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Somehow everything fell into place |
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128 | (1) |
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Sylvia Plath's Object-Oriented Ontology |
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129 | (7) |
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8 Celebrating lyric poetry, beauty, and medical moods |
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136 | (31) |
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136 | (2) |
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Character, achieved by approaching subjects "slantwise" |
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138 | (4) |
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Intensity, depth, and brevity with focus on particulars |
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142 | (6) |
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Epiphany or sudden insight |
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148 | (5) |
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Metaphors as vehicles of expression |
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153 | (2) |
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Subjectivity and confession --- stressing emotion, mood and passion, or embrace of affect |
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155 | (4) |
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Tolerance of ambiguity embracing empathy |
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159 | (1) |
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Beauty or form (qualities) |
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159 | (4) |
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Orientation to here-and-now space and place rather than there-and-then time |
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163 | (4) |
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9 Poeticising with a medical imagination: what medicine can do for poetry |
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167 | (22) |
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Where reductive biomedicine is information not wisdom, and where it fails to feed poetry |
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167 | (4) |
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Chapped hands sift greasy suds: the domestic interior of community medicine |
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171 | (2) |
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Irrigating an otherwise arid EBM to see if it flowers |
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173 | (1) |
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174 | (3) |
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Two cultures, or one culture in two minds? |
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177 | (1) |
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The sensual diction of the consultation: a carnal hermeneutics |
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178 | (3) |
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181 | (3) |
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184 | (2) |
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Cat's milk needs topping up |
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186 | (3) |
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10 Diagnosing with the poetic imagination: what poetry can do for medicine |
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189 | (26) |
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Medicine breathing the airs of poetry |
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189 | (3) |
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Hello to the soil of the fields. Welcome roots |
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192 | (3) |
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195 | (2) |
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Marriages between poetry and medicine: let us not admit impediments? |
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197 | (4) |
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Back to iatroversalio: splicing medicine and poetry |
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201 | (10) |
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Kindling the poetic imaginations of medical students |
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211 | (4) |
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11 Kinds of ambiguity in clinical work |
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215 | (19) |
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How to resist cutting the Gordian Knot |
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215 | (1) |
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Clinical reasoning is social and efflorescent (bursting forth and flowering) |
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216 | (2) |
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The jarring harmony of things |
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218 | (3) |
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Pinning ambiguity down as it slips away --- a lost cause? |
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221 | (4) |
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Friendly fire and black suns |
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225 | (1) |
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Ambiguity is not an absolute good: unproductive vs productive ambiguity |
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226 | (1) |
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227 | (3) |
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A riposte to Empson's scheme |
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230 | (4) |
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12 General change and the poetry uselessness red book |
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234 | (9) |
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234 | (1) |
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Poetry-thought for the medical masses |
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235 | (3) |
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A manual for poetry-thought in medicine? Why, yes. Our general case for this |
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238 | (2) |
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240 | (3) |
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13 Tactical ambiguity spelunking amidst Canadian physician-poets |
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243 | (17) |
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Informed consent for poets |
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243 | (1) |
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First-type ambiguities arise when a detail is effective in several ways at once |
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244 | (4) |
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In second type ambiguities two or more alternative meanings are fully resolved into one |
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248 | (1) |
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An ambiguity of the third type, considered as a verbal matter, occurs when two ideas, which are connected only by being both relevant in the context, can be given in one word simultaneously |
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249 | (2) |
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An ambiguity of the fourth type occurs when two or more meanings of a statement do not agree among themselves, but combine to make clear a more complicated state of mind in the author |
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251 | (2) |
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An ambiguity of the fifth type occurs when the author is discovering his idea in the act of writing, or not holding it all in his mind at once |
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253 | (1) |
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An ambiguity of the sixth type occurs when a statement says nothing, by tautology, by contradiction, or by irrelevant statements; so that the reader is forced to invent statements of his own and they are liable to conflict with one another |
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254 | (3) |
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An example of the seventh type of ambiguity occurs when the two meanings of the word, the two values of the ambiguity, are the two opposite meanings defined by the context, so that the total effect is to show a fundamental division in the writer's mind |
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257 | (3) |
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14 Practitioner-poets do the footwork |
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260 | (25) |
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260 | (1) |
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So you feel dangerous: poetry as method, abolition medicine, and Palestine solidarity |
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260 | (6) |
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266 | (3) |
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269 | (1) |
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270 | (2) |
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272 | (1) |
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272 | (1) |
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273 | (2) |
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Megan EL Brown and Martina Kelly |
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275 | (10) |
Appendix 1: Links to poems |
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285 | (2) |
Index |
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287 | |