Abstract:
This paper explores the hierarchical relationship between
human and non-human entities in Dhruba Hazarika’s Luck, through the
theoretical lenses of Claude Lévi-Strauss’s notion of binary opposition and
Jacques Derrida’s deconstructive methodology. It argues that the stories in
Luck destabilize the rigid binary of human/non-human by revealing their
interdependence and fluidity. Drawing from posthuman animal studies, the
analysis shows how Hazarika’s narratives blur the dividing line between species,
allowing characters—both human and animal—to flow into each other’s categorical
space.
Through close textual readings of all
nine stories in the collection, the paper demonstrates how animals are not
merely symbolic or peripheral, but central to the thematic structure of the
text. Hazarika constructs complex human-animal encounters that question
anthropocentric assumptions and foreground a more integrated view of beings
within the natural world. In doing so, Luck offers a literary space where
the notion of human superiority is unsettled, inviting a rethinking of identity,
agency, and subjectivity across species lines.
Keywords:
Binary opposition, deconstruction, posthumanism, animal studies, Dhruba
Hazarika, human/non-human, hierarchy, literary analysis.
This paper explores the human/non-human
binary in Dhruba Hazarika’s short story collection Luck through the lens
of Derrida’s three-phase model of deconstruction—liminality, elimination, and
liberation. By integrating posthuman animal studies and close literary analysis,
the paper argues that Luck dismantles anthropocentric hierarchies and
presents a porous boundary between species.
Dhruba Hajarika was born in Shillong,
Meghalaya in 1956. He is an Indian novelist writing in English language. Being
the founder secretary of ‘North East writers’ forum in 1997, this Katha award
winning writer of fiction has authored two novels that are rooted in the setting
and ecology north eastern people of India. His first novel A Bowstring Winter
was published in 2006 and the second Sons of Brahma in 2014 by Penguin.
With the same publication his collection of short stories Luck was
published in 2010 and found space in various newspapers like Sentinel and
The Telegraph. All his works have earned critical applaud. His collection
of short stories Luck, which is also a part of eight book series with the
title Jewels from the North East published by Penguin, deals with
human-animal encounter and develops such a flavour that the reader can't stop
before the story ends. It, simultaneously, develops a passion to read the next
story with a new fervour and similar encounter in the backdrop of lush green
setting of Assam.
Hazarika, in each of his stories, engages
with an innocent yet mystical connection between human and non-human, where
non-human includes the environment and the animals. It is to be noticed that
while dealing with his stories, Hazarika presents an elaborate and vivid
description of nature along with revealing human’s bond with distinct species of
animals. These stories are unique, as they not only talk of prolonged living
with an animal that develops further, rather it also talks of flickering moment
that brings a spark of emotion even in most self-absorbed humans, and the
outcome is the melting flow of emotions.
Thus, the paper attempts to dismantle the
straight forward binary of human/ non-human to
subtly reverse
and gradually deconstruct the idea of dividing line in
Derridean way of deconstructing the binary so as to bring out an equilibrium
that can be seen in the stories of Hazarika. The equilibrium is attained as the
dividing line becomes fluid so as to allow the flow of human and non-human in
each other’s category that even an animal becomes primary to fall under the
category of human and vice-versa. Detailed study of all the nine stories
incorporated in the collection would explore this fluid nature of the human/
non-human binary opposition.
Though several stories have got space in
the repository of English literature that reflect human animal encounter, yet,
Luck is a unique collection throughout, that deals with nine short
stories where animals emerge significantly as central figure, where each story
explores a gamut of possibilities in human-animal encounter revealing various
aspects of both in this interaction and thus provide a vivid understanding of
all the physical being in the backdrop of nature, connected with the
interweaving of human narratives and thoughts.
This article directs its attention
towards the natural environment and its interaction with humans discovering the
significant contributions of North East Indian historical literature to the
literary panorama to expand reader’s view point regarding the truths of Assam
and aims to explore the interconnectedness of human and non-human in this
region. In Hazarika’s panorama of colourful life of non-human both nature and
animals receive a brighter space which is in line with the present ecological
consciousness by presenting the intricate relationship between humans and the
various species of the natural world. The various stories in the collection
Luck engage with the natural world and its habitants and the miss steps made
by humanity. It is to be noticed that with the thinkers like Darwin Freud,
Lacan, Kristeva, Derrida etc, notion of autonomous rational entity of the
human’s superiority against the non-humans have been destabilized and the
outcome of it can be seen in the stories where Hazarika allows the readers to
take a break from the all-time human oriented world view.
Thus, the paper would work upon the
hypothesis that instead of a straightjacketed human/non-human binary, the
dividing line is porous and the nature of the two elements are fluid as in a
famous quote by M.M. Ildan it is said that "when animals behave like humans or
when human behave like animals don't be surprised because in every animal there
is a human, and in every human, there is an animal." (https://www.goodreads.com/quotes/tag/animals-and-attitude.
)
So, the paper goes on to explore this
fluid identity of human animals and nature as well as the spaces in between.
These stories are in the third phase of the Derridean understanding of the
binary opposition where all hierarchies are dismantled and attempt has been made
to locate the gaps interpreting which we got the jumbled positions of humans and
animals. This non-biased position has been perhaps taken by Hazarika because of
his personal affinity for nature and animals and this inclination is because of
his connections to the geographical region he hails from. This inclination is
influenced by his roots in North East India where the native culture and the
local setting inevitably values the idea of human’s coexistence with the
non-human world. Here, the ecological consciousness is naturally ingrained in
their culture through mythical undertones and day-to-day beliefs.
Thus, Hazarika's Luck breaks down
the human/ non-human boundary by contemplating over animal subjectivity and
animal perspective as presented in Derrida’s thought-provoking book titled
The Animal That Therefore I Am (2008).
1970s marked the beginning of a
re-evaluation of the human-animal relationship, leading to contemplation on
animal-centric issues such as habitat preservation, species extinction, using
animals as labour, their mistreatment, commodification for human entertainment,
consumption, and more. These actions, driven by human needs, often disregard the
larger ecosystem, contributing to environmental degradation. Within this
oppressor/oppressed framework, the concept of the posthuman emerged, with H. P.
Blavatsky contributing to its evolution. Cary Wolfe introduced the humanist
perspective of dismantling the binary opposition between humans and animals.
This Posthuman animal studies rejected
the conventional hierarchy where humans stood atop, imparting their language and
culture to animals. Instead, this approach of posthuman animal study seeks to
understand animals deeply by entering and participating in their world,
fostering new possibilities for mutual coexistence. This line of study gained
significance in the light of postmodern re-structuring of the human/non-human
division to human/ non-human encounter.
This animal-centric viewpoint finds
expression in various works, both written and on-screen, with an animal-centric
focus. George Orwell's Animal Farm (1945) portrays a group of farm
animals that rebel against their human owner, aiming to establish a utopian
society of equal coexistence. However, with shift in time, we find that the 21st
century documentary film "The Elephant Whispers," an Oscar-winning short
documentary is more about the coexistence of the two, that showcases the
profound bond between a couple and elephants, exploring animal emotions and the
harmonious relationship between tribal people and the nature. The documentary
also serves as a window into Indian culture and traditional environmental
conservation practices.
Dhurba Hazarika's collection of short stories Luck is similar in theme to
these works; however, the collection seems to look for maximum emotional impact
through varied human-animal encounters. Writing about this collection Ruskin
Bond writes, "Wild tales with difference... Hazarika's empathy with all
creatures great and small comes through in these absorbing, spare and often
deeply moving stories. Life in the forest and small towns of Assam is brought
vividly to life by a gifted writer"(Back Cover Page of Luck)
Through his skilful and poignant storytelling, Hazarika captures the attention
of readers through vivid imagery and an element of suspense runs in each
narrative. His genuine fondness for animals is apparent, ranging from his
admiration for the sleek Panther to his heartfelt sorrow over a wounded bird.
Immersing oneself in the entire book is akin to embarking on a journey through
the enchanting world of birds and animals. Beneath the surface, Hazarika also
aims to shed light on the gradual erosion of human compassion amidst the demands
of daily life.
Set against the backdrop of semi-rural Assam, the nine short stories that delve
into various aspects of human-animal interactions. While the stories primarily
provide a moving glimpse into ordinary life of the region, they occasionally
take a dramatic turn to explore the darker and crueler tendencies within
humanity. The opening story, "The Hunt", introduces four characters hailing from
diverse professions but united by their shared enthusiasm for hunting for sheer
entertainment. As they prepare to target a female deer, mentioned as a doe,
certain ethical considerations emerge. Adrian, acclaimed as the finest hunter in
Diphu, symbolically offers one of the deer's ears, meticulously placed on
a dry segun leaf, to the forest god as a gesture of reverence and piety.
“Adrian sliced off one of the deer’s ears and putting it on a dry segun
leaf, offered it to the forests gods.”
(Luck
3).
Running parallel to this narrative is a mythical undertone, as the offering of
the deer's ear to a forest god aligns with traditional practices meant to invoke
blessings and approval for the hunters. However, when the hunters proceed to
dissect the doe's stomach, they make a grievous discovery: "the tiny
spindly-green, almost transparent bodies roll out of the mother's womb. There
were three of them and they would probably have been beautiful fawns. The bullet
had gone through one of them" (Luck
4). Overwhelmed by the unintended consequences of their actions, the hunters
find themselves filled with remorse, standing before the forest god, pleading
for forgiveness. Even the doctor among them, who brings a burdened history to
the situation, is unable to suppress his emotions: "He sat down on the wet grass
and sobbed. ‘I can't do it. I can't do it,’ he cried" (Luck
4).
The ripple of guilt does not remain confined to just one individual but extends
to all four hunters. This shared sense of wrongdoing seems rooted in Assam's
mythical fabric, where such actions naturally invite bad omens. Their
apprehension of the impending consequences is mirrored in the signs of nature:
"In the pre-dawn silence, a fox howled far away, and nearby dry segun
leaves rustled down to the ground. There was putrid smell of blood and excreta,
and of something else that only the night and sudden death can bring" (Luck
3).
In the subsequent tale, titled "Luck," the protagonist, who possesses a deep
affection for animals and birds, perceives his own dwelling as a place shunned
by these creatures, as well as by humans. This perception transforms him into a
solitary figure, seemingly isolated by an intangible barrier: "It was as if our
house was taboo for animals and birds. Perhaps also for humans, since no men or
women lasted very long, either" (Luck 6). However, a fortuitous encounter
with a pigeon defies this pattern, breathing new life into the protagonist and
introducing a stroke of good fortune.
This pigeon's arrival serves as a turning point, not only mending the
protagonist's emotional state but also bestowing a sense of luck upon him. The
narrative weaves a poignant bond between the narrator and the pigeon,
concurrently infusing joy into his existence. Prior to this fortuitous
encounter, the narrator's home seemed cursed, as previous pets, preceding this
fortunate pigeon named "Luck," where they met unfortunate fates – either fleeing
or perishing, leaving the narrator in a state of solitude and sorrow:
I remember the sparrows we caught; the parrots, the chicken,
the ducks and the rabbits that we bought. Like guests who had been forced into
being guests, or people who had strayed into camps that cut off their freedom,
they stayed awhile, enlivening the compound, and then, when their spell came,
they were gone and there was nothing you could do about it. (Luck 6)
More than offering solace, this pigeon- Luck, becomes the narrator's companion,
filling his life with a sense of wholeness. In the presence of this avian
companion, the protagonist experiences a series of firsts. He extends an
invitation to his neighbours and hosts them for a meal, and his interactions
with colleagues undergo a positive transformation. The pigeon, aptly named
"Luck," not only brings mental solace but also imparts crucial life lessons and
values. This feathered companion becomes an agent of personal growth and
connection.
The theme of affection for animals and its profound influence is also evident in
Hazarika's story titled "The Leopard." This narrative highlights not only the
love and significance attributed to cows but also underscores the power of
friendship. The story revolves around three companions who skip school to embark
on a journey up the Hengerabari hills in search of a lost cow in the
dense hill, shrouded in trees, sometimes bewildered wanderers akin to a
jungle. In this quest, the trio, feeling like mature
individuals, exemplify a human-to-human connection fuelled by concern for an
animal. Their experiences lead them to establish connections with the intricate
animal realm of the jungle:
We saw a fox flash past us, sleek and secretive. And once a
pair of porcupines trying to copulate at the base of a boulder, as a crow
swooped angrily down at them at short intervals. Snakes of different sizes and
colours crossed our path but did us no harm. I remember startling one away from
a wild fowl's nest built in the brambles by a narrow stream. (Luck 30)
Ultimately, their search concludes in the tragic discovery of their pregnant
cow, which has fallen prey to a wild tiger. This poignant occurrence, the
killing of a pregnant mother animal, resonates across two stories, 'The Hunt'
and 'The Leopard', serving as a poignant reminder of life's unrelenting reality
and the ecological equilibrium that sustains it. These narratives exemplify the
intricate interplay of nature, revealing its capacity for retribution.
In these two stories, the concept of nature exacting its revenge emerges
prominently. This way Hazarika seems to express the way nature treats human and
animals equally, erasing any binary. In his stories, the cyclic nature of
existence pervades everywhere, no matter one is human or animal. In 'The Hunt,'
the doctor's remorse upon inadvertently killing a pregnant doe, along with the
three unborn fawns, mirrors the cyclic nature of existence. This parallels the
sorrow he has experienced in losing his own wife and child a year ago.
Similarly, 'The Leopard' portrays the death of a pregnant cow at the hands of a
leopard. In a turn of fate, the villagers retaliate by killing the leopard when
it ventures into their cattle shed around daybreak. Subsequently, villagers
stumble upon “two starving (leopard) cubs beyond Blue Mountain” (Luck
33).
A parallel theme of nature seeking
revenge can be observed in the story 'Ghostie' – “About a month later, news
emerges that Pyn, a plumber had been struck by a speeding motorcycle while
crossing the road near Laitumkrah. This incident confines him to a
hospital bed for three weeks, rendering him unable to consume solid food and
relying on a bedpan for his needs.” (Luck 74). Jycbo, one of the three
friends of around ten years in the position of the protagonist, speculates,
"Maybe it happened to Pyn because he hit Ghostie. Maybe, huh?" (Luck 74).
It is to be noticed, here, that Hazarika,
mostly, presents animals in his stories as emblematic of fertility, evoking
images of a flourishing natural world teeming with vitality and the capacity for
abundant reproduction. Dealing with this idea, Hazarika, again dismantles the
binary focussing more on animals’ capacity where they endowed with fertility and
glides on to humans. As in ‘The Hunt’ and in ‘The Leopard’ similar illustration
of this notion is found in 'Chicken Fever,' where the imagery centres on laying
hens. Here, the protagonist Barman rescues the militant girl who was to be
attacked by the troops under Barman, but he saves her as he envisions her future
power as a mother. He remarks, "But I left you safe, girl. You'll live, and one
day you will be a mother, like that fat, brave hen. You'll live, and make life.
And perhaps you'll remember me" (Luck 60).
Talking of yet another perspective, away
from either human or non-human category, the paper delves into dealing with an
in-between category through the depiction of the bond between human owners and
their pets which is distinctive, with mutual emotional dependency that develops
gradually. Pets rely on their owners for essential provisions such as
sustenance, shelter, and care, while owners derive a distinct sense of
well-being from these animals. Research underscores the role of pets in reducing
stress, lowering blood pressure, increasing oxytocin levels, and even mitigating
pain. Above all, pets offer companionship that can help combat loneliness.
Engaging with pets has been associated with positive mental and physical
outcomes. Hazarika frequently captures this unique owner-pet relationship in
stories like 'Luck' and 'Chicken Fever.' This connection becomes evident when
Rattan Deb Barman- the protagonist in ‘Chicken Fever’, stands before the hen
coop, his heart pounding with anger, after a one-eyed mongoose kills his
rooster. Barman's fury in the aftermath of the mongoose's attack on his pet is
palpable. He makes a vehement promise to avenge his pet's death, vowing to
inflict a slow and painful demise upon the mongoose. His anger is evident as he
declares, "One day I'll kill you, I promise. I'll kill you slowly so that you
will know the pain you have given me. You bastard, I'll wait for the day when I
can skin you and roast you alive and feed you piece by piece to the pigs at the
sweeper's colony."(Luck 37)
Similarly, an alternate facet of this
bond emerges in the story 'Ghostie.' Here, the narrative delves into a complex
love-hate relationship between three boys and a stray dog named Ghostie. This
canine figure repeatedly appears mysteriously, sparking the boys' curiosity.
They perceive it as a recurring presence wherever they go. Their intrigue
gradually morphs into malevolent intentions. The boys, existing somewhere
in-between innocence and malevolence, display casual cruelty as a characteristic
of childhood “Young boys, someone has said, are condemned to walk the ragged
line between innocence and evil, occasionally being casually cruel as only
children can be” (Luck 69). They relentlessly provoke Ghostie, kicking a
ball forcefully at its nose or damping it with boiling water. Remarkably, the
dog remains unresponsive, embodying an almost saintly figure that the boys dub
as the "spirit of final justice" (Luck 77). This intricate love-hate bond
between young boys and a stray dog encapsulates a distinct category, neither pet
nor stranger, residing in a realm of its own.
Now looking at another perspective, we
find Hazarika's narratives often portray animals as carriers of luck. Just as a
pigeon brings fortune to the young bachelor in the title story, "Chicken Fever"
celebrates the successful accomplishment of Barman and his team's mission
without any loss of life. Barman attributes this success to the luck brought by
a black hen, stating, "I know it was the black hen that brought us luck. It was
good luck. Very good luck." (Luck 60)
Not just luck, but Hazarika's love for
animals is also marked by delicate intricacy, indicative of keen observation and
accurate portrayal. Such vivid word painting serves as evidence of Hazarika's
deep affinity for animals. For instance, while describing the animal protagonist
Ghostie in the story of the same name, Hazarika narrates:
In the early-morning sun the brown and white of his skin
appeared different than it would later in the day. He stood with his head erect,
chest curving out as if tensing itself against a possible attack--or perhaps
because he had no fear of the world. From a distance, with the sunlight bouncing
off the thin fur, he looked like a regal apparition. (Luck 66)
Moving to the discussion of
human/non-human binaries, Hazarika's stories offer a nuanced portrayal where
these categories are not rigidly confined to just humans and animals. The
boundaries between them are porous, giving rise to a spectrum of intermediary
spaces. Hazarika's narratives compel the readers to explore these in-between
spaces that signify bonds stretching from humans to animals, spanning a range of
categories. Despite the apparent duality of human/animal, the stories showcase
diverse and overlapping relationships.
Pets, though animals, blur the boundaries
and become closely aligned with the human category in the binary opposition.
They attract love and affection from humans, effectively becoming part of the
family, as seen with the pigeon in "Luck" and the hen in "Chicken Fever."
Conversely, the mongoose aligns more with the second category, and its
instinctive action of killing the rooster renders it a target of human anger. A
similar complex blend of categories is found in the case of the girl from the
militant group. While being human, she shares a connection with second category
as she belongs to the militant group, and Barman, in the name of his pet black
hen, rescues her.
The human-animal binary is thus enriched
with a range of in-between spaces and overlapping categories, defying a
simplistic dualism by the conclusion of "Chicken Fever," where Barman returns
from his mission to his doorstep:
Rattan handed the rooster and the hen to the boy who took
them carefully and looked up at him, eyes wide with relief. From somewhere
behind him, Rattan heard his wife: ‘Are you alright?’ ‘Yes, I am fine.’ He
stepped forward. ‘See what I brought you for dinner.’ He lifted the roe. (Luck
62)
Again, here the rooster and the hen, in one hand of Rattan, are to be taken care
of whereas the roe in the other is called as ‘dinner’.
Indeed, the classification of entities
aren't solely based on their physical nature as human or non-human, but rather
on the actions and treatment they experience. This approach takes into account
the dynamic interactions and relationships between humans and animals, which can
transcend conventional categories.
Immanuel Kant's viewpoint adds an important aspect to
this discussion. According to Kant, the key distinction lies in the capacity for
autonomy and rationality. While both humans and animals possess desires that can
drive them to act, humans possess a unique ability to deliberate and make
choices independent of their immediate desires. This capacity for rational
decision-making and autonomy is closely tied to the concept of having a "will."
In Kant's philosophy, autonomy is a hallmark of humanity, and it stems from
their ability to act based on their own rational principles rather than being
driven solely by instinct or desires.
Kant's perspective aligns with the
nuanced portrayal of human-animal relationships in Hazarika's stories. The
characters' actions and treatment of animals reflect their ethical inclinations
and the choices they make. Some interactions showcase a deep sense of compassion
and understanding, while others reveal more callous attitudes.
By focusing on actions and decisions,
rather than solely on physical attributes, the stories in Hazarika's collection
highlight the intricate and multifaceted nature of the human-animal
relationship. This approach recognizes that the classification of entities isn't
fixed, but rather emerges from a complex interplay of emotions, ethics, and
rationality.
In his significant contribution, "The
Case for Animal Rights," Tom Regan, an American philosopher, presents a
compelling argument that asserts the existence of rights for animals comparable
to those attributed to human beings. Regan challenges the prevailing notion of
animals possessing an inferior and unequal status, contending that this
perspective is misguided. Moreover, he criticizes the fallacy of establishing an
equivalent moral standing for animals on utilitarian principles. Instead, Regan
advocates for grounding the ethical significance of animals in the framework of
rights-based moral considerations.
Much like Kantian philosophy, Tom Regan
shares the perspective that all entities with a "subject-of-a-life" possess
intrinsic value and should be treated as ends in themselves, rather than as a
means to an end. Regan aligns with the argument put forth by French philosopher
Jean-Jacques Rousseau in 'The Social Contract,' where Rousseau posits that
individuals have either explicitly or implicitly consented to relinquish certain
freedoms in exchange for protection of their rights and the maintenance of
social order under the authority of a ruler or majority decisions.
In accordance with this line of thought,
Tom Regan asserts that non-human or animals also possess rights. His book 'The
Case for Animal Rights' (1983) elaborates on this concept, asserting that
animals should be granted rights because they, like humans, are "subjects of a
life."
The notion of treating animals as
"subjects of a life" is notably evident in Hazarika's stories, where instances
abound of humans yielding to their affection for animals and respecting the
autonomous wills of these creatures. Such occurrences can be found throughout,
but the mention of the title story is must, where the narrator demonstrates a
keen awareness of the independent intentions of animals.
The story develops with day-by-day increase in the bond of the narrator and the
pigeon as the pigeon was the only companion to the lonely bachelor and secondly,
the pigeon brought luck for him. The narrator was proud of Luck and was
overwhelmed by its grace and intelligence. It’s many a times that the narrator
saved the pigeon and brought it back from the verge of death. For instance, when
Luck was sick, the narrator ran down the road and reached the vet four miles
away. The narrator served Luck like a mother.
But this lovely bond turns out to be a love-hate relationship because like all
other creatures that the narrator tried to tame, this pigeon too flew away
though leaving behind its family:
His daughters and sons, grandsons and two great
-granddaughters inhabit my house. The box above the veranda is always full, the
nests in it keep getting bigger and bigger. Pigeons from other houses in the
locality have shifted in and my purchase of gram and rice has increased. But
none have the poise and nobility of Luck. And three years after it happened, as
I write about it, I know that Luck, the survivor, Luck, the pigeon with
intelligence, Luck, the lover and adventurer, Luck, my lucky charm, would want
me to tell you how it was (Luck 28).
This story is a unique nature writing
and a simple inartificial documentation of the inevitable clashes and communion
between the narrator and the pigeon can be seen. Here, the pigeon plays the role
of bringing man back to life and taught him the true sense of happiness.
Thus, in various narratives, Hazarika
skilfully presents the dual aspects of human nature, both the virtuous and the
malevolent. Animals, featured prominently in these stories, serve as conduits to
reveal the intricate dimensions residing within individuals. Ranging from the
innocence embodied by animals like deer in 'The Hunt,' Hazarika seems to
undertake the role of guiding humanity towards moral rectitude. With 'Luck,' he
infuses life with vivacity, emphasizing the wholeness found in the interplay
between humans, nature, and animals.
In 'The Leopard,' a rich and diverse
ecological system is brought to the forefront, while 'The Chicken Fever' subtly
unveils suppressed sentiments of affection, both for fellow humans and animals.
This emerges through the protection of hens and the depiction of an innocent,
naked woman concealed amidst haystacks. Through 'Ghostie,' Hazarika delves into
the narrative of seemingly innocent children crossing ethical boundaries,
revealing their capacity for malevolence.
Through these narratives, Hazarika
challenges the anthropocentric worldviews that traditionally position animals as
inferior to humans. By emphasizing emotional reciprocity, ecological awareness,
and species fluidity, Luck aligns with posthuman thought and Derrida’s
call to reconsider the ethical and ontological status of animals. The collection
thus becomes a literary experiment in dismantling binary hierarchies and
envisioning a world of shared subjectivity and interdependence.
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