From the Libraries of Pauline Kael and Cheryl Crawford
This list consists of books from the libraries of two prominent, trailblazing women in the arts in the 20th century – Cheryl Crawford and Pauline Kael.
Cheryl Crawford was a theater producer and director, and in 1927 she co-founded The Group Theatre with Harold Clurman and Lee Strasberg. Crawford was influential in the early careers of such actors as Helen Hayes, Mary Martin, Ingrid Bergman, and Tallulah Bankhead, among many others. In 1947, she co-founded The Actors Studio with former Group Theatre members Elia Kazan and Robert Lewis; it was later headed by Lee Strasberg. Actors who trained at The Actors Studio included Marlon Brando, James Dean, Paul Newman, Marilyn Monroe, Al Pacino, Dustin Hoffman, Steve McQueen, Martin Landau, Shelley Winters, Jane Fonda, Ellen Burstyn, Harvey Keitel, Jack Nicholson, and many more. Cheryl Crawford was perhaps the most prominent woman behind-the-scenes in American theater during the middle 50 years of the 20th century.
Pauline Kael was the longtime film critic for The New Yorker, and widely considered the most influential critic of her era. Roger Ebert wrote in an obituary that she "had a more positive influence on the climate for film in America than any other single person over the last three decades." Kael made her reputation by being "witty, biting, highly opinionated and sharply focused" and she was not afraid to go against prevailing opinion, received wisdom or, most especially, hype. One critic later wrote about her that she "was more than a great critic. She reinvented the form, and pioneered an entire aesthetic of writing." As the books from her library attest, she had a huge impact on a wide range of people: in the obituary he wrote, Ebert said she "had no theory, no rules, no guidelines, no objective standards. You couldn't apply her 'approach' to a film. With her it was all personal," and it was this in personal commitment – to her love of film and her unwillingness to accept mediocrity as success – that she influenced a generation of film critics and moviegoers.
We are very pleased to be able to offer a group of Kael's typescripts for the "blurbs" that she condensed from her full-length reviews, to fit into The New Yorker's "Goings On About Town" section, most of them with her holograph corrections. Kael's manuscript material is very scarce.
Item #s 1 – 25 are from the library of Cheryl Crawford.
Item #s 26 – 72 are from the library of Pauline Kael.
Cleveland, World, (1960). Inscribed by the author to Cheryl Crawford and her partner, Ruth Norman: "For Ruth and Cheryl and a Merry Christmas from Conrad and Mary/ Brewster/ 1960." Front hinge cracked, spine cloth sunned, modest foxing. A good copy, lacking the dust jacket.
(NY), Viking, (1985). Translated, edited and with an introduction by Curt Leviant. Inscribed by Aleichem's granddaughter, Bel Kaufman, to Cheryl Crawford: "For Cheryl and Charlotte, with much love from the author's granddaughter and Sidney [her husband]." Dated May 24, 1985." Kaufman wrote the bestselling novel, Up the Down Staircase, which was made into a successful film in 1967 and was later adapted into a play. Aleichem wrote the stories on which the musical Fiddler on the Roof was based. Very good in a very good dust jacket. Two newspaper book reviews laid in.
(Birmingham), University of Alabama, 1979. Inscribed by Rawls to Cheryl Crawford on the dedication page: "and for Cheryl, with admiration and affection/ Eugenia." Dated December 1, 1979. With several small corrections to the text in the author's hand. Rawls and Bankhead were lifetime friends from childhood. Near fine in a good dust jacket with only minor edge wear and foxing but with dampstaining to the spine.
NY, Weidenfeld & Nicolson, (1989). From the estate of Cheryl Crawford. With an autograph note signed by Sawyer-Laucanno laid in, to Charlotte [Abramson]. Abramson, a longtime friend of Crawford, was the executor of her estate, and the two are apparently buried together. Near fine in a near fine, price-clipped dust jacket.
NY, Atheneum, 1981. Inscribed by Brenman-Gibson to Cheryl Crawford, "a pioneer & a terrific woman." Crawford appears more than 15 times in the index to this massive work (over 700 pages). Near fine in a very good dust jacket with a bit of dampstaining on the verso.
(London), Viking, (1998). A novel by the Booker Prize-winning author. Signed by Brookner on the title page. Unmarked, but from the estate of Cheryl Crawford. Near fine in a fine dust jacket.
NY, Hawthorn, (1979). Inscribed by Chasins to Cheryl Crawford, "one of the greatest artists of our time -- in affectionate admiration." Dated 11/13/79. Near fine in a near fine dust jacket creased on the front flap.
NY, Knopf, 1945. From the library of Cheryl Crawford, who co-founded the Group Theatre with Clurman. Checkmarks in the Index, presumably by Crawford, who appears in the Index dozens of times herself -- more than anyone else other than Les Strasberg and Clifford Odets. Front hinge cracked. A fair copy, lacking the dust jacket.
Indianapolis, Bobbs-Merrill, (1977). Inscribed by the author: "For B.B. Bonnie[?]- Who read and listened patiently, encouraging me to finish. With love/ Cheryl." Foxing to edge of text block; very good in a very good dust jacket with a few small edge tears.
London, Poetry Bookshop, (1922). Later printing of this collection edited by Davies. With the 1924 ownership signature of Cheryl Crawford. Several poems marked with an "X" in pencil. Mild foxing; very good, without dust jacket.
NY, Random House, (1985). Edited by Natalia Danesi Murray, the "friend" of the title. Inscribed by Murray to Cheryl Crawford, "with affection," and dated in the month of publication. With a book review laid in. Bowed and edge-sunned; a good copy in a very good, spine-sunned dust jacket.
NY, Macmillan, (1980). From the library of Cheryl Crawford. Inscribed to her by a third party, "Since you're in this I thought you should read it. Enjoy." Crawford appears numerous times in the text, as might be expected, and is also in several photographs. Near fine in a near fine dust jacket with a few closed edge tears.
[Copenhagen], Decenter, 1968. A proof copy of the first English language edition. Inscribed by the author to Cheryl Crawford, "a bit of European life/ from Elsa/ (apologies for the many misprints)." Gress has also written "Proof Copy" on the half title and corrected multiple errors in the text. Edge-sunned; a near fine copy in wrappers, in a very good dust jacket.
NY, Norton, (1984). Inscribed by the author to Cheryl Crawford, "with deepest admiration." Dated January, 1986. Crawford appears in the text numerous times, and in one photograph, as one of the founders of The Group Theatre. Very good in a very good dust jacket with an open tear at the lower front corner.
NY, Dutton, (1971). First Dutton paperback edition. From the library of Cheryl Crawford. Crawford, The Actors Studio and The Group Theatre all appear in the text. Spine creased; very good in wrappers.
NY, Quill, 1984. Second printing of the revised and expanded edition. Warmly inscribed by the author: "[My Heart Belongs] to my darling Cheryl - On page 315 'What a Window' is the last 10 or 11 years in 'ca'/ I love you through all the years!!" Dated June 2nd, 1984. Crawford is credited in the text with giving Martin a huge break by having her fill in for Marlene Dietrich when Dietrich backed out of a play Crawford was producing. Authorial annotation on page 314. Very good in wrappers. A very nice association.
NY, J.P. Tarcher, (1974). Second printing. Inscribed by the author to Cheryl Crawford, "with deep appreciation for all the years of theatrical exploration." A book on "Scientific Discoveries and Explorations in the Psychic World," by an author whose pseudonymous first book, My Self and I was a groundbreaking study of LSD therapy. Modest foxing; very good in a good, edgeworn dust jacket.
(NY), Times Books, (1985). Inscribed by the author to Cheryl Crawford, "one of the glorious ones!" Dated the month after publication. With a "Compliments of the Author" bookmark laid in. Near fine in a near fine dust jacket.
NY, Knopf, 1990. From the estate of Cheryl Crawford. Laid in is a review of the book and a packing slip addressed to Charlotte Abramson, as Crawford's co-executor. Fine in a fine dust jacket.
Austin, University of Texas Press, (1978). Text by the Stotts, with photographs by Fred Fehl. From the library of Cheryl Crawford, and with a lengthy, appreciative inscription to her by a third party. Spine crown worn, else a near fine copy in a good, edge-chipped dust jacket.
Garden City, Doubleday, 1980. Inscribed by Adams to Cheryl Crawford in the year of publication: "Hope you enjoy this." Crawford appears in the text numerous times, as well as in a couple of photographs. Very good in a very good dust jacket.
NY, Summit Books, (1978). Inscribed by the author to Cheryl Crawford: "Thank you for your lovely comment; I'm proud to have it on the cover and glad that we are neighbors and friends." Dated 2/12/79. Crawford has a three-sentence blurb on the rear panel; in part, "I was moved and exhilarated." Very good in a very good dust jacket.
NY, Harper & Row, (1967). Inscribed by Wilder to Cheryl Crawford, "ever affectionately," and dated March 21, 1967, in New York. As with another copy of this book that was inscribed on the same day, the recipient's name is filled in in what appears to be a child's hand. Laid into this copy is a six-page typescript of Wilder's 1918 playlet "Nascuntur Poetae [Poets are Born]." The book has apparent smoke damage to the upper edges; only a fair copy, lacking the dust jacket. The typescript appears to be a carbon copy; folded in thirds; near fine.
NY, Hill and Wang, (1979). Inscribed by the author to Cheryl Crawford, "with great affection & admiration." Dated May 1, 1979. Minor foxing to the edges of the text block; near fine in a near fine dust jacket with a closed edge tear on the lower rear panel.
San Francisco, Hayoka, (1983). Poetry, much of it related to San Francisco and the Bay Area. Inscribed the author to Pauline Kael: "Dear Pauline, I hope these poems provoke memories. With much affection for all you've said, Bill." Kael lived in the Bay Area and ran a movie theater before moving to New York City, where she became the film critic for The New Yorker. Some discoloration to wrappers and foxing to page edges; very good in wrappers.
London, Routledge & Keegan Paul, (1975). The first British edition, this being the less common cloth issue. Signed by the author. Unmarked, but from the library of Pauline Kael. Foxing to top edge; near fine in a near fine dust jacket.
NY, Popular Library, (1973). The first paperback edition, which quotes Pauline Kael's description of the book -- "women nomads of the 60's, wandering in and out of love." Inscribed by the author to Pauline Kael: "Jan 76/ For Pauline/ with love, Eleanor." Near fine in wrappers.
NY, Bantam, 1972. An advance review copy of the Emmy Award-winning screenplay of the acclaimed television drama, a paperback original. Advance copies of paperback originals are quite uncommon; this copy is from the library of Pauline Kael. Brian's Song celebrated a friendship between two football players that transcended their racial differences, at a time when racial tension was at a high point in the U.S. Near fine in wrappers, with review slip laid in.
(n.p.), [Self-published], (1975). Inscribed by the author to Pauline Kael: "For Ms. Pauline Kael/ I have enjoyed and respected/ your thoughts for some years, and/ thought you might find this amusing./ Sincerely,/ David Castleman." An uncommon, apparently self-published, collection.
NY, Grove (Evergreen), (1959). The first American edition of this play, written by an 18-year-old English woman and taking on social issues she thought were being ignored in the arts. The 1961 film adaptation, for which Delaney wrote the screenplay, won four BAFTA awards, including for best screenplay. An Evergreen original, i.e., softcover, from the library of Pauline Kael and with Kael's ownership signature on the inside front cover. Before devoting her writing career to film criticism, Kael had written poetry and plays, and her best friends in San Francisco were other poets and artists. Spine slanted; very good in wrappers.
Berkeley, Eric B. Rasmussen, (1974). Poetry, number 221 of 850 numbered copies, inscribed by the author to Pauline Kael with "best wishes" in July, 1976, and signed "Simone di Piero." The author's first book. In 2012 he won the Ruth Lilly Poetry Prize for lifetime achievement, given out by the Poetry Foundation. Original wrappers; three small (and unnecessary) tape reinforcements to the spine, otherwise near fine.
Columbus, (Pfeifer Printing Co.), (1976). Self-published poetry collection, one of 1000 copies, this copy inscribed by the author to Pauline Kael "with my compliments." Foxing to page edges; very good in wrappers.
Princeton, Princeton University, 1972. Inscribed by the author to Pauline Kael: "for Pauline / this is small thanks for so much pleasure offered in the way of criticism -- and friendship/ with great affection/ Michael." Fine in a near fine, mildly edge-sunned dust jacket.
Toronto, Playwrights Canada, (1990). Inscribed by the author to Pauline Kael in the month of publication: "Pauline -With many, many thanks. All the best, XO/ Don Hannah/ July, 1990." This is the third play by the award-winning Canadian playwright, who had been a film reviewer before writing for the theater. Upper spine bumped, still near fine in wrappers.
Auckland, Hodder & Stoughton, (1981). Nonfiction, by a New Zealand author, broadcaster and historian, about a reclusive couple who lived alone in the remote and rugged mountains of that country for 40 years, hiding out. Inscribed by the author to Pauline Kael with what amounts to a full-page letter on the half-title, asking if Pauline could "consider interesting some film person or Agency in this" and pitching the idea to her. Doubtless Kael received many such petitions; this one, coming from an accomplished writer and historian -- whose long-lived radio show, Open Country, gave rural New Zealanders a chance to recount their stories and folk tales, and connect with the urban population -- is especially passionate and even eloquent. Illustrated with photographs. Lower spine bumped; near fine in a near fine dust jacket.
NY, Dramatists Play Service, (1985). An early one-act play by this playwright and filmmaker, inscribed by the author to Pauline Kael "with admiration and gratitude." Slight fading to the spine; near fine in stapled wrappers.
(NY), Dramatists Play Service, (1989). Probably her best-known play, about two strangers thrust upon each other in a remote cabin in Alaska. Inscribed by the author to Pauline Kael "with many thanks for your generosity," with a U.S. postage stamp of an Alaska highway next to the inscription. Staples rusted, else fine in stapled wrappers.
NY, Knopf, 1975. The author's first book, a collection of stories and a novella, signed by Kaplan on a tipped-in leaf. With a note to Pauline Kael from a Knopf publicist laid in, asking her to "take a look at these proofs" and provide a comment if she liked the book. This is the published book, not the proof, and it has a blurb by Cynthia Ozick but not Kael. Also laid in is a Knopf's "Compliments of the Author" slip, and a note with Kaplan's name and phone number. Foxing to the page edges; near fine in a near fine dust jacket.
Berkeley, Kept Press, 1976. Poetry chapbook, inscribed by the author to Pauline Kael. Kauffman has also included a photocopy of a letter he received from Jean Rhys, thanking him for his poems. Near fine in stapled wrappers.
Minneapolis, Coffee House, (1995). Poetry, a finalist for the Minnesota Book Award for Poetry. Signed by Keenan on the title page and additionally inscribed by her to Pauline Kael on the half-title in the month before publication, with a one-page autograph letter signed to Kael laid in, along with a homemade booklet invitation to the publication party for the book in May, 1995. Covers a bit splayed from the laid in materials, otherwise fine in wrappers.
(St. Paul), New Rivers Press, (1987). Second printing of this poetry collection, inscribed by the author to Pauline Kael "whose work has inspired and delighted me." Spine faded; covers splaying; very good in wrappers.
Garden City, Doubleday, 1975. A book on "Personal Morality Today" by a Catholic priest. Inscribed by the author to Pauline Kael, "who has a great sense of life." Slightly musty; near fine in a spine-faded, thus very good, dust jacket.
(n.p.), Grand Street, (n.d.). Offprint from the literary journal Grand Street, inscribed by the author to Pauline Kael, "with gratitude, respect, admiration, and _____ (fill in the blank)" and dated January, 1991. Klawans was the longtime film reviewer for The Nation, winner of a National Magazine Award for his reviews, and author of Film Follies: Cinema Out of Order and Left in the Dark, a collection of reviews. Slight wear; near fine in stapled wrappers.
(Sydney), Erewhon, (1988). A novel by an Australian novelist/playwright, inscribed by the author to Pauline Kael: "Because you write so marvellously [sic]." Near fine in a very good dust jacket with a dampstained upper rear corner.
NY, Random House, (1973). The first book by the longtime editor-in-chief of Simon and Schuster publishing house. With an autograph note to Pauline Kael taped to the front free endpaper, conveying "Best wishes, as ever" and signed "Michael." Covers a bit splayed; very good in a near fine dust jacket.
NY, Pyramid, (1975). His first novel, a paperback original. Inscribed by the author to Pauline Kael and her daughter "with affection, and gratitude for your friendship and support,/ love, George." Malko later became a screenwriter as well as writing nonfiction and fiction. Spine cocked and creased; very good in wrappers.
(Fayetteville), Lost Roads, 1977. Poetry, inscribed by the author: "A little gift to Pauline Kael, the best of all critics - John McKernan." Covers slightly sunned and a bit spotted; a very good copy of the issue in wrappers.
(Pittsburgh), University of Pittsburgh Press, (1977). Poetry, inscribed to Pauline Kael "because I seem to spend my free time reading your reviews & going to those movies --." Meinke has won numerous awards for his poetry, and his story collection The Piano Tuner won the 1986 Flannery O'Connor Award for Short Fiction. Near fine in wrappers.
Charlottesville, Blue Ridge Review, 1978. An essay in the combined issue 1 & 2 of The Blue Ridge Review, with an autograph post card signed laid in to Pauline Kael, inviting her to visit him in Charlottesville and wishing her a happy birthday. The essay recounts Minckler's efforts to make a film about the director Claude Jutra, and includes excerpts from the film, including a scene at the end of the film when Jutra cites Kael as one of the only critics he understands, and the film focuses on Kael's portrait on the dust jacket of one of her books, and slowly zooms in, leaving just her eyes. On this page Minckler has written another note to Kael suggesting she might be interested in this scene, and again inviting her to visit. Signed "Love, David." Offsetting to pages from the paperclip holding the postcard in; about near fine in stapled wrappers. A bookmark has Minckler's address, and on the postcard Kael has written "answered."
London, Collins, (1972). A collection of children's sayings and drawings, assembled by Newman, who has inscribed the book to Pauline Kael with love. On the title page, under "God Bless Love," Newman has added "(and film critics!!)." Minor soiling to the pictorial boards; near fine.
(n.p.), (Mount Alverno Press), (1973). An early book of poetry by the longtime actor, who appeared in Taxi Driver, among many other films. This edition was limited to 100 copies in wrappers, the first 50 of which were numbered and signed. This is copy #7, signed by the author and is from the library of Pauline Kael. Near fine in wrappers.
(Los Angeles), The Jesse Press, (1988). Poetry, inscribed by the author in the year of publication to Pauline Kael, "a great American film critic. With respect, Harry." Covers fading near the spine; very good in wrappers.
(Los Angeles), Cahuenga, (1996). A large collection of his poetry, over 260 pages spanning nearly 20 years. Warmly inscribed by the author to Pauline Kael in 1997: "To Pauline Kael, the most brilliant film critic of our time. I love your writing & I miss your writing. You were the reason I bought The New Yorker. With love & respect, Harry E. Northup." A nice inscription from a poet and actor who worked in a large number of films that Kael reviewed, including Mean Streets, Taxi Driver, and Alice Doesn't Live Here Anymore. Fine in wrappers.
New Haven, Yale University, 1971. Inscribed by the author to Pauline Kael in 1972: "For Pauline, who is the Samuel Johnson of film criticism -- David." Slight dampstaining to the upper rear cover and the dust jacket there; very good in a very good, price-clipped, mildly soiled dust jacket with a small open tear at the lower front spine fold.
NY, Random House, (1976). From the library of Pauline Kael. A review copy, of sorts, with a signed note from Patrick laid in asking the recipient (likely Kael) to let him know it was received, and giving his phone number. The book is also signed by Patrick. Slightly musty; very good in a near fine, lightly edgeworn dust jacket.
Brooklyn, Hanging Loose, (1996). Poetry by an award-winning poet, inscribed by the author to Pauline Kael in the year of publication "with all good wishes." A fine copy of the issue in wrappers.
(n.p.), [Self-published], (n.d.). Poetry, apparently self-published. Inscribed by the author: "Especially for Pauline Kael/ with the warmest regard of the author and in keen appreciation of your own remarkable literary accomplishments/ Travers Phillips/ 2nd April, 1985." Slightly sunned and spotted; very good in wrappers.
(Los Angeles), Cahuenga, (1998). Poetry, inscribed by the author to Pauline Kael and signed Holly Prado Northup. Prado was married to Harry E. Northup, and they were two of the five poets who operated the Cahuenga Press. Fine in wrappers, with a Diane DiPrima blurb.
(Highland, NY), (Center for Gestalt Development), (1989). Second edition, originally published by Harper & Row in 1975. With a long inscription by the author to Pauline Kael: "Dearest Pauline - I still treasure my memories of your showing me Maybeck and your 'gingerbread house' in Berkeley way back. It was the first opening of a door to a friendship which has been precious to me./ Dan/ 10/15/89." Near fine, without dust jacket, likely as issued.
(NY), Avon, (1976). The sixth printing of the paperback reprint, from the library of Pauline Kael and with her comments on the text at numerous points throughout the book. On the inside front cover she wrote "In its own terms well written, except for Hesther-Dysart scenes, through parents' stuff awfully mechanical -- they're all making points." Elsewhere, she wrote: "awful scene -- so arch & British...Gawd -- like wartime British movies..." then later "another terrible scene -- all explanation of what's coming." These comments, and others, refer to the scene she mentioned earlier with Hesther and Dysart. At many other locations in the text she has underlined, made a marginal mark or comment or highlighted some passage with her annotations. A glimpse of the close, critical reading with which she engaged this text. Spine slanted; pages age-toned; still a near fine paperback.
NY, Holt Rinehart Winston, (1980). Inscribed by the author to Pauline Kael "who has the dubious distinction of having first put my name and writing between hard covers. With admiration, Rich Setlowe." Setlowe was, among other things, the longtime film reviewer for Variety, and Kael quoted his review, in 1970, of Michelangelo Antonioni's film Zabriskie Point in her own New Yorker review of the same, which was later collected in Deeper Into Movies. Some dust soiling to page edges and covers; near fine in a near fine dust jacket.
NY, Random House, (1971). An advance review copy of this highly regarded play, which won the New York Drama Critics Circle Award for best play, and was nominated for four Tony Awards. From the library of Pauline Kael. Random House plays typically have small hardcover printings, and advance copies are especially scarce. Very good in a dust jacket with a jagged tear on the front panel, thus only good, with review slip laid in.
NY, Bantam, (1979). A review copy of this paperback original of a musical about runaway children in New York that used runaways that Elizabeth Swados met as the actors. Introduction by Joseph Papp, the founder of the Public Theater and the producer of this play, and with an essay about Swados and the play from The New York Times. Unmarked, but from the library of Pauline Kael. Near fine, with review slip laid in. Review copies of paperback originals are uncommon.
NY, World, (1971). Nonfiction, subtitled "Nine Portraits of Power and Conflict," written by a former aide to President Johnson who later served for 38 years as the head of the Motion Picture Association of America. Inscribed by the author to Pauline Kael: "This isn't KANE but in all humility I send it to you! Affectionately/ Jack Valenti." Near fine in a near fine dust jacket. A nice association.
(London), Quartet, (1997). Third printing of the U.K. edition, which was issued as a softcover original. Inscribed by the author to Pauline Kael "who knows, as rappers say, the word. Love, Armond." Dated in 1999. White is an African-American film and music critic, known for his controversial, often-contrarian reviews, who has cited Pauline Kael as being one of his influences "for her willingness to go against the hype." Fine in wrappers, and a nice association.
NY, Viking, (1974). Nonfiction, a personal account of a catastrophic injury and recovery, inscribed by the authors to Pauline Kael "with affection." Jack Willis was a documentary filmmaker and the producer of the television show The Great American Dream Machine. Slight foxing to page edges; near fine in a near fine dust jacket. Uncommon signed.
(n.p.), (n.p.), (1988-1991). Thirteen typescript "blurbs" by Pauline Kael -- her own condensations of her full-length reviews, re-written for the "Goings On About Town" section of The New Yorker in subsequent weeks. Most are a full page long and bear her small or not-so-small holograph changes, written in pencil. One is a photocopy, with the changes also photocopied. Included are several films that Kael panned, including The Godfather Part III and Dances With Wolves, for which she had to distill her long, thoughtful (and sometimes scathing) critiques into far fewer sentences. Films included, in addition to the two mentioned above, are: Sleeping With the Enemy; Awakenings; L.A. Story; The Bonfire of the Vanities [photocopy]; Edward Scissorhands; The Sheltering Sky; The Grifters; Rodrigo D: No Future; Tune in Tomorrow; Reversal of Fortune; and Vincent & Theo. 13 blurbs, totaling 15 sheets. A bit of age-spotting to the paper, and rust offset from paperclips; very good or better. Manuscript material by Kael is scarce: even her full-length reviews did not, for the most part, remain in her archive -- when she sent them off to The New Yorker, they never came back to her.
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