Summary
With the publication of his first book of poems,The Weary Blues, in 1926, Langston Hughes electrified readers and launched a renaissance in black writing in America. The poems Hughes wrote celebrated the experience of invisible men and women: of slaves who "rushed the boots of Washington"; of musicians on Lenox Avenue; of the poor and the lovesick; of losers in "the raffle of night." They conveyed that experience in a voice that blended the spoken with the sung, that turned poetic lines into the phrases of jazz and blues, and that ripped through the curtain separating high from popular culture. They spanned the range from the lyric to the polemic, ringing out "wonder and pain and terror-- and the marrow of the bone of life." The poems in this collection were chosen by Hughes himself shortly before his death in 1967 and represent work from his entire career, including "The Negro Speaks of Rivers," "The Weary Blues," "Still Here," "Song for a Dark Girl," "Montage of a Dream Deferred," and "Refugee in America." It gives us a poet of extraordinary range, directness, and stylistic virtuosity.
Author Biography
Langston Hughes was born in Joplin, Missouri, in 1902. After graduation from high school, he spent a year in Mexico with his father, then a year studying at Columbia University. His first poem in a nationally known magazine was "The Negro Speaks of Rivers," which appeared in Crisis in 1921. In 1925, he was awarded the First Prize for Poetry of the magazine <b>Opportunity</b>, the winning poem being "The Weary Blues," which gave its title to his first book of poems, published in 1926. As a result of his poetry, Mr. Hughes received a scholarship at Lincoln University in Pennsylvania, where he won his B.A. in 1929. In 1943, he was awarded an honorary Litt.D. by his alma mater; he has also been awarded a Guggenheim Fellowship (1935), a Rosenwald Fellow
Table of Contents
AFRO-AMERICAN FRAGMENTS |
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3 | (1) |
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The Negro Speaks of Rivers |
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4 | (1) |
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5 | (1) |
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6 | (1) |
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7 | (1) |
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8 | (1) |
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9 | (1) |
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10 | (1) |
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11 | (2) |
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13 | (1) |
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14 | (3) |
FEET OF JESUS |
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17 | (1) |
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18 | (1) |
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19 | (1) |
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20 | (1) |
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21 | (2) |
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23 | (1) |
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24 | (1) |
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25 | (1) |
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26 | (1) |
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27 | (1) |
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28 | (1) |
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29 | (4) |
SHADOW OF THE BLUES |
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33 | (2) |
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35 | (1) |
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36 | (1) |
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37 | (1) |
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38 | (1) |
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39 | (1) |
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40 | (1) |
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41 | (1) |
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Reverie on the Harlem River |
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42 | (1) |
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43 | (1) |
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44 | (1) |
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45 | (1) |
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46 | (3) |
SEA AND LAND |
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49 | (1) |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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53 | (1) |
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54 | (1) |
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55 | (1) |
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56 | (1) |
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57 | (1) |
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58 | (1) |
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59 | (1) |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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63 | (1) |
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64 | (1) |
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65 | (1) |
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66 | (1) |
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67 | (1) |
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68 | (1) |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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72 | (1) |
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73 | (1) |
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74 | (1) |
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75 | (1) |
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76 | (1) |
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77 | (1) |
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78 | (3) |
DISTANCE NOWHERE |
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81 | (1) |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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85 | (1) |
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86 | (1) |
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87 | (1) |
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88 | (1) |
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89 | (1) |
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90 | (1) |
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91 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (2) |
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96 | (1) |
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97 | (1) |
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98 | (1) |
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99 | (1) |
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100 | (1) |
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101 | (1) |
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102 | (1) |
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103 | (4) |
AFTER HOURS |
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107 | (1) |
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108 | (1) |
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109 | (1) |
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110 | (1) |
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111 | (1) |
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112 | (1) |
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113 | (1) |
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114 | (2) |
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116 | (1) |
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117 | (1) |
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118 | (3) |
LIFE IS FINE |
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121 | (2) |
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123 | (1) |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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127 | (1) |
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128 | (1) |
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129 | (1) |
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130 | (1) |
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131 | (1) |
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132 | (1) |
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133 | (1) |
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134 | (1) |
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135 | (1) |
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136 | (1) |
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137 | (1) |
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138 | (1) |
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139 | (4) |
LAMENT OVER LOVE |
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143 | (1) |
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Ballad of the Fortune Teller |
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144 | (2) |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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Ballad of the Girl Whose Name Is Mud |
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149 | (1) |
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150 | (1) |
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151 | (1) |
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152 | (1) |
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153 | (4) |
MAGNOLIA FLOWERS |
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157 | (1) |
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158 | (1) |
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159 | (1) |
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160 | (2) |
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162 | (1) |
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163 | (1) |
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164 | (1) |
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165 | (1) |
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166 | (1) |
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167 | (1) |
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168 | (1) |
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169 | (1) |
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170 | (1) |
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171 | (1) |
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172 | (1) |
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173 | (1) |
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174 | (3) |
NAME IN UPHILL LETTERS |
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177 | (1) |
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178 | (2) |
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180 | (2) |
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182 | (2) |
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184 | (2) |
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186 | (1) |
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187 | (1) |
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188 | (1) |
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189 | (1) |
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Note on Commercial Theatre |
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190 | (1) |
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191 | (1) |
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Seashore through Dark Glasses |
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192 | (1) |
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193 | (1) |
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194 | (1) |
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195 | (1) |
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196 | (1) |
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197 | (1) |
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Ballad of the Man Who's Gone |
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198 | (3) |
MADAM TO YOU |
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201 | (1) |
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202 | (1) |
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203 | (1) |
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204 | (2) |
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Madam and the Number Writer |
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206 | (2) |
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208 | (2) |
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Madam and the Charity Child |
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210 | (1) |
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Madam and the Fortune Teller |
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211 | (1) |
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Madam and the Wrong Visitor |
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212 | (1) |
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213 | (2) |
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Madam and Her Might-Have-Been |
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215 | (2) |
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217 | (4) |
MONTAGE OF A DREAM DEFERRED |
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Montage of a Dream Deferred |
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221 | (54) |
WORDS LIKE FREEDOM |
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275 | (1) |
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276 | (3) |
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279 | (1) |
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280 | (1) |
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In Explanation of Our Times |
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281 | (3) |
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284 | (1) |
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285 | (1) |
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286 | (2) |
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288 | (2) |
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290 | (1) |
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291 | |