How to recognize a poem when you see one
This is disappearing so I have repeated it here.
How to Recognize a Poem When You See One
 Last time I sketched out an argument by which meanings are the property neither of fixed and stable texts nor of free and independent readers but of interpretive communities that are responsible both for the shape of a reader's activities and for the texts those activities produce. In this lecture I propose to extend that argument so as to account not only for the meanings a poem might be said to have but for the fact of its being recognized as a poem in the first place. And once again I would like to begin with an anecdote.
 In the summer of 1971 I was teaching two courses under the joint auspices of the Linguistic Institute of America and the English Department of the State University of New York at Buffalo. I taught these courses in the morning and in the same room. At 9:30 I would meet a group of students who were interested in the relationship between linguistics and literary criticism. Our nominal subject was stylistics but our concerns were finally theoretical and extended to the presuppositions and assumptions which underlie both linguistic and literary practice. At 11:00 these students were replaced by another group whose concerns were exclusively literary and were in fact confined to English religious poetry of the seventeenth century. These students had been learning how to identify Christian symbols and how to recognize typological patterns and how to move from the observation of these symbols and patterns to the specification of a poetic intention that was usually didactic or homiletic. On the day I am thinking about, the only connection between the two classes was an assignment given to the first which was still on the blackboard at the beginning of the second. It read:
 I am sure that many of you will already have recognized the names on this list, but for the sake of the record, allow me to identify them. Roderick Jacobs and Peter Rosenbaum are two linguists who have coauthored a number of textbooks and coedited a number of anthologies. Samuel Levin is a linguist who was one of the first to apply the operations of transformational grammar to literary texts. J. P. Thorne is a linguist at Edinburgh who, like Levin, was attempting to extend the rules of transformational grammar to the notorious ir-regularities of poetic language. Curtis Hayes is a linguist who was then using transformational grammar in order to establish an objective basis for his intuitive impression that the language of Gibbon's Decline and Fall of the Roman Empire is more complex than the language of Hemingway's novels. And Richard Ohmann is the literary critic who, more than any other, was responsible for introducing the vocabulary of transformational grammar to the literary community. Ohmann's name was spelled as you see it here because I could not remember whether it contained one or two n's. In other words, the question mark in parenthesis signified nothing more than a faulty memory and a desire on my part to appear scrupulous. The fact that the names appeared in a list that was arranged vertically, and that Levin, Thorne, and Hayes formed a column that was more or less centered in relation to the paired names of Jacobs and Rosenbaum, was similarly accidental and was evidence only of a certain compulsiveness if, indeed, it was evidence of anything at all.
 In the time between the two classes I made only one change. I drew a frame around the assignment and wrote on the top of that frame "p. 43." When the members of the second class filed in I told them that what they saw on the blackboard was a religious poem of the kind they had been studying and I asked them to interpret it. Immediately they began to perform in a manner that, for reasons which will become clear, was more or less predictable. The first student to speak pointed out that the poem was probably a hieroglyph, although he was not sure whether it was in the shape of a cross or an altar. This question was set aside as the other students, following his lead, began to concentrate on individual words, interrupting each other with suggestions that came so quickly that they seemed spontaneous. The first line of the poem (the very order of events assumed the already constituted status of the object) received the most attention: Jacobs was explicated as a reference to Jacob's ladder, traditionally allegorized as a figure for the Christian ascent to heaven. In this poem, however, or so my students told me, the means of ascent is not a ladder but a tree, a rose tree or rosenbaum. This was seen to be an obvious reference to the Virgin Mary who was often characterized as a rose without thorns, itself an emblem of the immaculate conception. At this point the poem appeared to the students to be operating in the familiar manner of an iconographic riddle. It at once posed the question, "How is it that a man can climb to heaven by means of a rose tree?" and directed the reader to the inevitable answer: by the fruit of that tree, the fruit of Mary's womb, Jesus. Once this interpretation was established it received support from, and conferred significance on, the word "thorne," which could only be an allusion to the crown of thorns, a symbol of the trial suffered by Jesus and of the price he paid to save us all. It was only a short step (really no step at all) from this insight to the recognition of Levin as a double reference, first to the tribe of Levi, of whose priestly function Christ was the fulfillment, and second to the unleavened bread carried by the children of Israel on their exodus from Egypt, the place of sin, and in response to the call of Moses, perhaps the most familiar of the old testament types of Christ. The final word of the poem was given at least three complementary readings: it could be "omen," especially since so much of the poem is concerned with foreshadowing and prophecy; it could be Oh Man, since it is mans story as it intersects with the divine plan that is the poem's subject; and it could, of course, be simply "amen," the proper conclusion to a poem celebrating the love and mercy shown by a God who gave his only begotten son so that we may live.
 In addition to specifying significances for the words of the poem and relating those significances to one another, the students began to discern larger structural patterns. It was noted that of the six names in the poem three--Jacobs, Rosenbaum, and Levin--are Hebrew, two--Thorne and Hayes--are Christian, and one--Ohman--is ambiguous, the ambiguity being marked in the poem itself (as the phrase goes) by the question mark in parenthesis. This division was seen as a reflection of the basic distinction between the old dis-pensation and the new, the law of sin and the law of love. That distinction, however, is blurred and finally dissolved by the typological perspective which invests the old testament events and heroes with new testament meanings. The structure of the poem, my students concluded, is therefore a double one, establishing and undermining its basic pattern (Hebrew vs. Christian) at the same time. In this context there is finally no pressure to resolve the ambiguity of Ohman since the two possible readings--the name is Hebrew, the name is Christian--are both authorized by the reconciling presence in the poem of Jesus Christ. Finally, I must report that one student took to counting letters and found, to no one's surprise, that the most prominent letters in the poem were S, O, N.
 Some of you will have noticed that I have not yet said anything about Hayes. This is because of all the words in the poem it proved the most recalcitrant to interpretation, a fact not without consequence, but one which I will set aside for the moment since I am less interested in the details of the exercise than in the ability of my students to perform it. What is the source of that ability? How is it that they were able to do what they did? What is it that they did? These questions are important because they bear directly on a question often asked in literary theory. What are the distinguishing features of literary language? Or, to put the matter more colloquially, How do you recognize a poem when you see one? The commonsense answer, to which many literary critics and linguists are committed, is that the act of recognition is triggered by the observable presence of dis-tinguishing features. That is, you know a poem when you see one because its language displays the characteristics that you know to be proper to poems. This, however, is a model that quite obviously does not fit the present example. My students did not proceed from the noting of distinguishing features to the recognition that they were confronted by a poem; rather, it was the act of recognition that came first--they knew in advance that they were dealing with a poem-- and the distinguishing features then followed.
 In other words, acts of recognition, rather than being triggered by formal characteristics, are their source. It is not that the presence of poetic qualities compels a certain kind of attention but that the paying of a certain kind of attention results in the emergence of poetic qualities. As soon as my students were aware that it was poetry they were seeing, they began to look with poetry-seeing eyes, that is, with eyes that saw everything in relation to the properties they knew poems to possess. They knew, for example (because they were told by their teachers), that poems are (or are supposed to be) more densely and intricately organized than ordinary communications; and that knowledge translated itself into a willingness--one might even say a determi-nation--to see connections between one word and another and between every word and the poem's central insight. Moreover, the assumption that there is a central insight is itself poetry-specific, and presided over its own realization. Having assumed that the collection of words before them was unified by an informing purpose (because unifying purposes are what poems have), my students proceeded to find one and to formulate it. It was in the light of that purpose (now assumed) that significances for the individual words began to suggest themselves, significances which then fleshed out the assumption that had generated them in the first place. Thus the meanings of the words and the interpretation in which those words were seen to be embedded emerged together, as a consequence of the operations my students began to perform once they were told that this was a poem.
 It was almost as if they were following a recipe--if it's a poem do this, if it's a poem, see it that way--and indeed definitions of poetry are recipes, for by directing readers as to what to look for in a poem, they instruct them in ways of looking that will produce what they expect to see. If your definition of poetry tells you that the language of poetry is complex, you will scrutinize the language of something identified as a poem in such a way as to bring out the complexity you know to be "there." You will, for example, be on the look-out for latent ambiguities; you will attend to the presence of alliterative and consonantal patterns (there will always be some), and you will try to make something of them (you will always succeed); you will search for meanings that subvert, or exist in a tension with the meanings that first present themselves; and if these operations fail to produce the anticipated complexity, you will even propose a significance for the words that are not there, because, as everyone knows, everything about a poem, including its omissions, is significant. Nor, as you do these things, will you have any sense of performing in a willful manner, for you will only be doing what you learned to do in the course of becoming a skilled reader of poetry. Skilled reading is usually thought to be a matter of discerning what is there, but if the example of my students can be generalized, it is a matter of knowing how to produce what can thereafter be said to be there. Interpretation is not the art of construing but the art of constructing. Interpreters do not decode poems; they make them.
 To many, this will be a distressing conclusion, and there are a number of arguments that could be mounted in order to forestall it. One might point out that the circumstances of my students' performance were special. After all, they had been concerned exclusively with religious poetry for some weeks, and therefore would be uniquely vulnerable to the deception I had practiced on them and uniquely equipped to impose religious themes and patterns on words innocent of either. I must report, however, that I have duplicated this experiment any number of times at nine or ten universities in three countries, and the results are always the same, even when the participants know from the beginning that what they are looking at was originally an assignment. Of course this very fact could itself be turned into an objection: doesn't the reproducibility of the exercise prove that there is something about these words that leads everyone to perform in the same way? Isn't it just a happy accident that names like Thorne and Jacobs have counterparts or near counterparts in biblical names and symbols? And wouldn't my students have been unable to do what they did if the assignment I gave to the first class had been made up of different names? The answer to all of these questions is no. Given a firm belief that they were confronted by a religious poem, my students would have been able to turn any list of names into the kind of poem we have before us now, because they would have read the names within the assumption that they were informed with Christian significances. (This is nothing more than a literary analogue to Augustine's rule of faith.)' You can test this assertion by replacing Jacobs-Rosenbaum, Levin, Thorne, Hayes, and Ohman with names drawn from the faculty of Kenyon College--Temple, Jordan, Seymour, Daniels, Star, Church. I will not exhaust my time or your patience by performing a full-dress analysis, which would involve, of course, the relation between those who saw the River Jordan and those who saw more by seeing the Star of Bethlehem, thus fulfilling the prophecy by which the temple of Jerusalem was replaced by the inner temple or church built up in the heart of every Christian. Suffice it to say that it could easily be done (you can take the poem home and do it yourself) and that the shape of its doing would be constrained not by the names but by the interpretive assumptions that gave them a significance even before they were seen. This would be true even if there were no names on the list, if the paper or blackboard were blank; the blankness would present no problem to the interpreter, who would immediately see in it the void out of which God created the earth, or the abyss into which unregenerate sinners fall, or, in the best of all possible poems, both.
 Even so, one might reply, all you've done is demonstrate how an interpretation, if it is prosecuted with sufficient vigor, can impose itself on material which has its own proper shape. Basically, at the ground level, in the first place, when all is said and done, "Jacobs-Rosenbaum Levin Thorne Hayes Ohman (?)" is an assignment; it is only a trick that allows you to transform it into a poem, and when the effects of the trick have worn off, it will return to its natural form and be seen as an assignment once again. This is a powerful argu-ment because it seems at once to give interpretation its due (as an act of the will) and to maintain the independence of that on which interpretation works. It allows us, in short, to preserve our commonsense intuition that interpretation must be interpretation of something. Unfortunately, the argument will not hold because the assignment we all see is no less the product of interpretation than the poem into which it was turned. That is, it requires just as much work, and work of the same kind, to see this as an assignment as it does to see it as a poem. If this seems counterintuitive, it is only because the work required to see it as an assignment is work we have already done, in the course of acquir-ing the huge amount of background knowledge that enables you and me to function in the academic world. In order to know what an assignment is, that is, in order to know what to do with something identified as an assignment, you must first know what a class is (know that it isn't an economic grouping) and know that classes meet at specified times for so many weeks, and that one's performance in a class is largely a matter of performing between classes.
 Think for a moment of how you would explain this last to someone who did not already know it. "Well," you might say, "a class is a group situation in which a number of people are instructed by an informed person in a particular subject." (Of course the notion of "subject" will itself require explication.) "An assignment is something you do when you're not in class." "Oh, I see," your interlocutor might respond, "an assignment is something you do to take your mind off what you've been doing in class." "No, an assignment is a part of a class." "But how can that be if you only do it when the class is not meeting?" Now it would be possible, finally, to answer that question, but only by enlarging the horizons of your explanation to include the very concept of a university, what it is one might be doing there, why one might be doing it instead of doing a thousand other things, and so on. For most of us these matters do not require explanation, and indeed, it is hard for us to imagine someone for whom they do; but that is because our tacit knowledge of what it means to move around in academic life was acquired so gradually and so long ago that it doesn't seem like knowledge at all (and therefore something someone else might not know) but a part of the world. You might think that when you're on campus (a phrase that itself requires volumes) that you are simply walking around on the two legs God gave you; but your walking is informed by an internalized awareness of institutional goals and practices, of norms of behavior, of lists of do's and don't's, of invisible lines and the dangers of crossing them; and, as a result, you see everything as already organized in relation to those same goals and practices. It would never occur to you, for example, to wonder if the people pouring out of that building are fleeing from a fire; you know that they are exiting from a class (what could be more obvious?) and you know that because your perception of their action occurs within a knowledge of what people in a university could possibly be doing and the reasons they could have for doing it (going to the next class, going back to the dorm, meeting someone in the student union). It is within that same knowledge that an assignment becomes intelligible so that it appears to you immediately as an obligation, as a set of directions, as something with parts, some of which may be more significant than others. That is, it is a proper question to ask of an assignment whether some of its parts might be omitted or slighted, whereas readers of poetry know that no part of a poem can be slighted (the rule is "everything counts") and they do not rest until every part has been given a significance.
 In a way this amounts to no more than saying what everyone already knows: poems and assignments are different, but my point is that the differences are a result of the different interpretive operations we perform and not of something inherent in one or the other. An assignment no more compels its own recognition than does a poem; rather, as in the case of a poem, the shape of an assignment emerges when someone looks at something identified as one with assignment-seeing eyes, that is, with eyes which are capable of seeing the words as already embedded within the institutional structure that makes it possible for assignments to have a sense. The ability to see, and therefore to make, an assignment is no less a learned ability than the ability to see, and therefore to make, a poem. Both are constructed artifacts, the products and not the producers of interpretation, and while the differences between them are real, they are interpretive and do not have their source in some bedrock level of objectivity.
 Of course one might want to argue that there is a bedrock level at which these names constitute neither an assignment nor a poem but are merely a list. But that argument too falls because a list is no more a natural object--one that wears its meaning on its face and can be recognized by anyone--than an assignment or a poem. In order to see a list, one must already be equipped with the concepts of seriality, hierarchy, subordination, and so on, and while these are by no means esoteric concepts and seem available to almost everyone, they are nonetheless learned, and if there were someone who had not learned them, he or she would not be able to see a list. The next recourse is to descend still lower (in the direction of atoms) and to claim objectivity for letters, paper, graphite, black marks on white spaces, and so on; but these entities too have palpability and shape only because of the assumption of some or other system of intelligibility, and they are therefore just as available to a deconstructive dissolution as are poems, assignments, and lists.
 The conclusion, therefore, is that all objects are made and not found, and that they are made by the interpretive strategies we set in motion. This does not, however, commit me to subjectivity because the means by which they are made are social and conventional. That is, the "you" who does the interpretative work that puts poems and assignments and lists into the world is a communal you and not an isolated individual. No one of us wakes up in the morning and (in French fashion) reinvents poetry or thinks up a new educational system or decides to reject seriality in favor of some other, wholly original, form of organization. We do not do these things because we could not do them, because the mental operations we can perform are limited by the institutions in which we are already embedded. These institutions precede us, and it is only by inhabiting them, or being inhabited by them, that we have access to the public and conventional senses they make. Thus while it is true to say that we create poetry (and assignments and lists), we create it through interpretive strategies that are finally not our own but have their source in a publicly available system of intelligibility. Insofar as the system (in this case a literary system) constrains us, it also fashions us, finishing us with categories of understanding, with which we in turn fashion the entities to which we can then point. In short, to the list of made or constructed objects we must add ourselves, for we no less than the poems and assignments we see are the products of social and cultural patterns of thought.
 To put the matter in this way is to see that the opposition between objectivity and subjectivity is a false one because neither exists in the pure form that would give the opposition its point. This is precisely illustrated by my anecdote in which we do not have free-standing readers in a relationship of perceptual adequacy or inadequacy to an equally free-standing text. Rather, we have readers whose consciousnesses are constituted by a set of conventional notions which when put into operation constitute in turn a conventional, and conven-tionally seen, object. My students could do what they did, and do it in unison, because as members of a literary community they knew what a poem was (their knowledge was public), and that knowledge led them to look in such a way as to populate the landscape with what they knew to be poems.
 Of course poems are not the only objects that are constituted in unison by shared ways of seeing. Every object or event that becomes available within an institutional setting can be so characterized. I am thinking, for example, of something that happened in my classroom just the other day. While I was in the course of vigorously making a point, one of my students, William Newlin by name, was just as vigorously waving his hand. When I asked the other members of the class what it was that Mr. Newlin was doing, they all answered that he was seeking permission to speak. I then asked them how they knew that. The immediate reply was that it was obvious; what else could he be thought to be doing? The meaning of his gesture, in other words, was right there on its surface, available for reading by anyone who had the eyes to see. That meaning, however, would not have been available to someone without any knowledge of what was involved in being a student. Such a person might have thought that Mr. Newlin was pointing to the fluorescent lights hanging from the ceiling, or calling our attention to some object that was about to fall ("the sky is falling," "the sky is falling"). And if the someone in question were a child of elementary or middle-school age, Mr. Newlin might well have been seen as seeking permission not to speak but to go to the bathroom, an interpretation or reading that would never occur to a student at Johns Hopkins or any other institution of "higher learning" (and how would we explain to the uninitiated the meaning of that phrase).
 The point is the one I have made so many times before: it is neither the case that the significance of Mr. Newlin's gesture is imprinted on its surface where it need only be read off, or that the construction put on the gesture by everyone in the room was individual and idiosyncratic. Rather, the source of our interpretive unanimity was a structure of interests and understood goals, a structure whose categories so filled our individual consciousnesses that they were rendered as one, immediately investing phenomena with the significance they must have, given the already-in-place assumptions about what someone could possibly be intending (by word or gesture) in a classroom. By seeing Mr. Newlin's raised hand with a single shaping eye, we were demonstrating what Harvey Sacks has characterized as "the fine power of a culture. It does not, so to speak, merely fill brains in roughly the same way, it fills them so that they are alike in fine detail. "I The occasion of Sacks's observation was the ability of his hearers to understand a sequence of two sentences--"The baby cried. The mommy picked it up."---exactly as he did (assuming, for example that "the 'mommy' who picks up the 'baby' is the mommy of that baby"), despite the fact that alternative ways of understanding were demonstrably possible. That is, the mommy of the second sentence could well have been the mommy of some other baby, and it need not ever have been a baby that this "floating" mommy was picking up. One is tempted tc say that in the absence of a specific context we are authorized to take the words literally, which is what Sacks's hearers do; but as Sacks observes, it is within the assumption of a context--one so deeply assumed that we are unaware of it---that the words acquire what seems to be their literal meaning. There is nothing in the words that tells Sacks and his hearers how to relate the mommy and the baby of this story, just as there is nothing in the form of Mr.Newlin's gesture that tells his fellow students how to determine its significance. In both cases the determination (of relation and significance) is the work of categories of organization--the family, being a student--that are from the very first giving shape anc value to what is heard and seen.
 Indeed, these categories are the very shape of seeing itself, in that we are not to imagine a perceptual ground more basic than the one they afford. That is, we are not to imagine a moment when my students "simply see" a physical configuration of atoms and then assign the configuration a significance, according to the situation they happen to be in. To be in the situation (this or any other) is to "see" with the eyes of its interests, its goals, its understood practices, values, and norms, and so to be conferring significance by seeing, not after it. The categories of my students' vision are the categories by which they understand themselves to be functioning as students (what Sacks might term "doing studenting"), and objects will appear to them in forms related to that way of functioning rather than in some objective or preinterpretive form. (This is true even when an object is seen as not related, since nonrelation is not a pure but a differential category--the specification of something by enumerating what it is not; in short, nonrelation is merely one form of relation, and its perception is always situation-specific.)
 Of course, if someone who was not functioning as a student was to walk into my classroom, he might very well see Mr. Newlin's raised hand (and "raised hand" is already an interpretation-laden description) in some other way, as evidence of a disease, as the salute of a political follower, as a muscle-improving exercise, as an attempt to kill flies; but he would always see it in some way, and never as purely physical data waiting for his interpretation. And, moreover, the way of seeing, whatever it was, would never be individual or idiosyncratic, since its source would always be the institutional structure of which the "see-er" was an extending agent. This is what Sacks means when he says that a culture fills brains "so that they are alike in fine detail"; it fills them so that no one's interpretive acts are exclusively his own but fall to him by virtue of his position in some socially organized environment and are therefore always shared and public. It follows, then, that the fear of solipsism, of the imposition by the unconstrained self of its own prejudices, is unfounded be-cause the self does not exist apart from the communal or conventional categories of thought that enable its operations (of thinking, seeing, reading). Once one realizes that the conceptions that fill consciousness, including any conception of its own status, are culturally derived, the very notion of an unconstrained self, of a consciousness wholly and dangerously free, becomes incomprehensible.
 But without the notion of the unconstrained self, the arguments of Hirsch, Abrams, and the other proponents of objective interpretation are deprived of their urgency. They are afraid that in the absence of the controls afforded by a normative system of meanings, the self will simply substitute its own meanings for the meanings (usually identified with the intentions of the author) that texts bring with them, the meanings that texts "have"; however, if the self is conceived of not as an independent entity but as a social construct whose operations are delimited by the systems of intelligibility that inform it, then the meanings it confers on texts are not its own but have their source in the interpretive community (or communities) of which it is a function. Moreover, these meanings will be neither subjective nor objective, at least in the terms assumed by those who argue within the traditional framework: they will not be objective because they will always have been the product of a point of view rather than having been simply "read off"; and they will not be subjective because that point of view will always be social or institutional. Or by the same reasoning one could say that they are both subjective and objective: they are subjective because they inhere in a particular point of view and are therefore not universal; and they are objective because the point of view that delivers them is public and conventional rather than individual or unique.
 To put the matter in either way is to see how unhelpful the terms "subjective" and "objective" finally are. Rather than facilitating inquiry, they close it down, by deciding in advance what shape inquiry can possibly take. Specifically, they assume, without being aware that it is an assumption and therefore open to challenge, the very distinction I have been putting into question, the distinction between interpreters and the objects they interpret. That distinction in turn assumes that interpreters and their objects are two different kinds of acontextual entities, and within these twin assumptions the issue can only be one of control: will texts be allowed to constrain their own interpretation or will irresponsible interpreters be allowed to obscure and overwhelm texts. In the spectacle that ensues, the spectacle of Anglo-American critical controversy, texts and selves fight it out in the persons of their respective champions, Abrams, Hirsch, Reichert, Graff on the one hand, Holland, Bleich, Slatoff, and (in some characterizations of him) Barthes on the other. But if selves are constituted by the ways of thinking and seeing that inhere in social organizations, and if these constituted selves in turn constitute texts according to these same ways, then there can be no adversary relationship between text and self because they are the necessarily related products of the same cognitive possibilities. A text cannot be overwhelmed by an irresponsible reader and one need not worry about protecting the purity of a text from a reader's idiosyncrasies. It is only the distinction between subject and object that gives rise to these urgencies, and once the distinction is blurred they simply fall away. One can respond with a cheerful yes to the question "Do readers make meanings?" and commit oneself to very little because it would be equally true to say that meanings, in the form of culturally derived interpretive categories, make readers.
 Indeed, many things look rather different once the subject-object dichotomy is eliminated as the assumed framework within which critical discussion occurs. Problems disappear, not because they have been solved but because they are shown never to have been problems in the first place. Abrams, for example, wonders how, in the absence of a normative system of stable meanings, two people could ever agree on the interpretation of a work or even of a sentence; but the difficulty is only a difficulty if the two (or more) people are thought of as isolated individuals whose agreement must be compelled by something external to them. (There is something of the police state in Abrams's vision, complete with posted rules and boundaries, watchdogs to enforce them, procedures for identifying their violators as criminals.) But if the understandings of the people in question are informed by the same notions of what counts as a fact, of what is central, peripheral, and worthy of being noticed--in short, by the same interpretive principles--then agreement between them will be assured, and its source will not be a text that enforces its own perception but a way of perceiving that results in the emergence to those who share it (or those whom it shares) of the same text. That text might be a poem, as it was in the case of those who first "saw" "Jacobs-Rosenbaum Levin Hayes Thorne Ohman (?)," or a hand, as it is every day in a thousand classrooms; but whatever it is, the shape and meaning it appears immediately to have will be the "ongoing accomplishment" of those who agree to produce it.
Poetry and song and maybe culture
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