AMERICAN RESEARCH THOUGHTS Volume 1 │ Issue 9 │ July 2015 ISSN: 2392 – 876X Impact Factor: 2.0178 (UIF) Available online at: www.researchthoughts.us http://dx.doi.org/10.6084/m9.figshare.1496622 FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK Tanmoy Baghira Research Scholar, Department of English, University of Kalyaniǯ & Assistant Professor in English, BCARE Institute of Management and Technologyǯ DZȱȱȱȱȱȱȱȱȱǯȱȱȱȱȱȱȱȱȱȱȱ ȱǯȱȱȱȱȱȱȱȱȱȱȱȁȂȱȱ ȱǰȱȱȱȱ£ȱȱȱȱ¢ȱȱȱȱȱȱ ȱ ȱ ȱ ȱ ȁ¡Ȃȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ǯȱ ¢ȱȱȱȱȱȱȱ£ȱȱȱ¢ǰȱǰȱȱ ¢ȱ ¢ȱ ȱ ȱ ¡ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȃȱȄȱȱȃ¡ȬȬȄǯȱȱȱ¡ȱȱȱȱȱǰȱȱȱ¢ȱ ȱ ȬȬȱ ȱ ¢ȱ ǯȱ ǰȱ ȱ Ȃȱ ¡¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ £ȱ ǯȱ ǰȱ ȱ ȱ ǰȱ ȱ ¡ȱ ȱ ¢ȱ ȱȱǯǯȱ¡ȱȱȃ ¢ȱ¢ȱȄǯȱǰȱȱȱȱȃȱ¡Ȉȱȱ¢ȱ ȃȄǯȱ ǰȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¡ȱ ǰȱȱȱȱǰȱȱȱȱȱ¢ȱȱ ȱȱȱ¡ȱȱȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ¡ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ £ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ £ȱ ȱ ȱ £ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱǰȱȱȱȱȱ¢ȱȱȱȱȃȄȱȱȱȱȱȱ¢ȱ ȱȱȃ¢Ȅȱȱȱǯȱ KeyȱWords:ȱȱerformance,ȱgenderȱrole,ȱfluidity,ȱsex-gender-desire,ȱtransgendered, hegemonyǯ The identity of Prufrock in the poem The Love Song of J. Alfred Prufrock has long been seen through the lens of split personality of modern men, but ha hardly been attempted to find out the cause of it. Recent development in the queer theories and 2258 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK gender studies has widened the scope of interpretation in the ‘performance of gender roles’ and ‘identities’ in Eliot’s works. It is hard to believe that Eliot’s The Love Song which is considered as one of the groundbreaking works in modern poetry has hardly been read through the fluidity of the character’s identity. Researchers ha read theȱ character of Prufrock through the construction of gender role, but their constant categorization in determining ȱidentity of the character ha led them discriminating itȱor ‘fixing’ it in particular gender identity rather accepting its fluidity. ȱ ȱ Ȃȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱȂȱ¢ȱȱ ȱȱȱȱȱȱȱŗşśŘǯȱIn this essay, Peter tries to give an alternative reading of The Waste Land considering it an elegy for a dead male lover. Though Peter has never mentioned the word “homosexual” in his essay, Eliot actively suppressed the public discussion of this issue legally and demanded the destruction of the issues that appeared in Essays in Criticism. But four years after Eliot’s death peter reprinted his article along with a postscript which identifies the ‘male friend’ or ‘dead male lover’ ȱ Jean Verdenalȱ and tries to defend his by citing Eliot’s poems and plays. In the postscript,ȱPeter’s assertion becomes more explicit while commenting on the friendship between the poet and his friend Jean Verdenal: ȱȱ¢ȱȱȱȱȱȱȱ¢ȱǻǼȱȱȱȱȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ¢ȱȱȱ ȱȱȱ ȱ ǯȱ(Peter’s Postscript) It is this Jean Verdenal to whom Eliot dedicates his first volume of poetry Prufrock and Other Observations in 1917. But it is not my intention to deal with the sexuality or sexual orientation of the poet; on the contrary, this paper tries to focus on those neglected identities of the subject of the poem The Love Song of J. Alfred Prufrock that had hardly been done before. It is quite evident from the thematic elements of th poem that the poem in question is unlike a traditional love song. The language of the poem has been structured in such a way that it raises a series of questions rather giving answer to any; it seems that the subject of this poem is deliberately attempting to use vague or evasive language to dismiss the readers from the “overwhelming question”. The very first line of this poem introduces two personal pronouns “you” and “I”; if we assume that the pronoun AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 2259 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK “I” stands for Prufrock then the other pronoun might denote a series of identities. Considering the poem as a dramatic monologue ‘you’ can perhaps be identified as the silent listener or the reader of the poem; but interestingly “you” does not constitute any second person in this poem, it seems that Prufrock is speaking to him than to anyone else. Looking from this perspective it would be better to look into the poem as an ‘interior monologue’ because rather than focusing on a particular dramatic situation, there is an emphasis on what Alan Sinfield identifies as ‘intense apprehension’. Sinfield in his book Dramatic Monologue elucidates modernist monologue thus: ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢Dzȱȱȱȱȱ ¢dzȱȱȱȱȱȇȱȇȱȱȱ ȱǯȱȱȇȱǻŗşŗŝǼǯȱȱȱȱȱȱ¢ȱȱȱȱȱȱ¢ȱȱ ¢ȱ ȱ ȱ ȱ ȱ ȇȱ ȱ ȇǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȇȱ ȱȱȱȦȱȱȱȇdzǯȱȱȱȱȱȱȱȱ ȱ ȱ ¢ȱ ȱ ȱ ǵȱ ȱ ȱ ǵȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ȱȱȱȱȱ¢ȱǯȱ ȱ ȱ ȱ (Sinfield, 65-66) Now, as I have already mentioned before, Prufrock, in this poem, is trying to have a conversationǰ either with his other self or with the reader but the cardinal meaning of the message is somehow left unanswered, leaving the language of the poem superfluous and periphrastic. But why the persona of Prufrock is acting in such a way? Whyȱ characterȱ being constituted in ȱfear and inaction? It is interesting to note that very few of Eliot’s characters are stereotypically masculine. In this poem, we find Prufrock caught in conflict between the social demand and his internalized feeling about his own identity. We found hi reluctanc in performing certain stereotypical gender roles set by the society and this inability in his ‘performance’ casts him outside the society. Prufrock hardly ever begins any conversation in the whole poem, and if there is any probability or possibility to start ȱ conversation, he is delaying it furtherDZ “There will be time, there will be time / To prepare aȱ faceȱ toȱ meetȱ the ȱfaces thatȱ you meet;”(Love Song ȱLines- 26-27) ȱhe ȱis ȱalso ȱsufferingȱ ȱ AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 2260 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK indecisions before any social or private gathering: Time for you and time for me, / And time yet for a hundred indecisions, / And for a hundred visions and revisions, / Before the taking of a toast and tea. (Lines- 31-34) It is worth noticing that Prufrock is very self-conscious of his physical appearance: With a bald spot in the middle of my hair (They will say: "How his hair is growing thin!") My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin (They will say: "But how his arms and legs are thin!") (Love song, Lines- 40-44) and is suffering from a certain type of inferiority concerning his age and ‘thwarted masculinity’ or perhaps he dislikes the societal stereotyping of gender roles. He is too much concerned about fashion and the social trends but himself is very indecisive whether he should accept or not: I grow old . . . I grow old… I shall wear the bottoms of my trowsers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trowsers and walk upon the beach. (Love song, L- 118-122) It is often very obvious to understand that the character of Prufrock is caught between identities; one which he is obliged by the society to perform; other he wishes to perform, and these conflicting ideas are making him paralyzed. As pointed out by Suzanne Churchill in her essay Outing T.S. Eliot “Eliot emerges in his letters as a psychosexually conflicted man, torn and tormented by conventional demands of masculinity...” therefore it is ȱ ȱ in his writings his characters areȱ failing to perform conventional needs/demands of masculinity. It is also observed Eliot’s writings that he is extremely interested in the interaction and intersection of male and female, even the blurring between them; the identity of Tiresias, the blind prophet in The Waste Land is thus caught between both masculine and feminine identity, even in this poem The Love Song of J. Alfred Prufrock the 2261 AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK pronoun “you” can also be read as a ‘queer’ identity of Prufrock and the “overwhelming question” that Prufrock is trying to dismiss is none but the question of his gender and identity. Throughout the whole poem it is quite evident that Prufrock is afraid of all the ‘eyes’ of the society; The eyes that fix you in a formulated phrase And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin (Love song, Lines- 56-59) the society that always tries to determine one’s sexuality, society that tries to ‘fix’ one’s identity from the gender roles they performǰ and tolerate any ‘fluidity’ inȱ gendered performances. It seems that the character wants to enjoy fluidity in his gender and rejects to pinpoint his sexuality. Throughout the whole poem it might seem to the readers that Prufrock is inclined towards women and desires them sexually but it has never been implicitly or explicitly expressed anywhere in the poem. On the contrary, on looking Prufrock as a transgendered identity, it can be ascertained that Prufrock on mentioning the women in “Arms that are braceleted and white and bare” and “…the mermaids singing each to each” is not desiring them sexually; perhaps he, to a certain extent is desiring their sexuality. Therefore, the pronoun “you” and “I” might mean two gender identities within him, the female and the male. This argument can further be stretched by referring to the line: “There will be time to murder and create,” because it is observed that the transgendered individuals are often found torn between two identities and the individual has to suppress or “murder” one identity to subscribe or to “create” another. Likewise, transgendered individuals have to go through tremendous social pressure to ‘come out’ and perform their desired sexuality because the normative society hardly allows any fluidity in the performance of gender role; it tries to link the ‘gender performances’ with ‘sexed body’. In respect of ‘sexed body’ and ‘gendered performances’ Judith Butler in her book Gender Trouble: Feminism and the Subversion of Identity has observed: ȱȱȱȱ¢ȱȱȱȱ ȱȱ¢ȱȱȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ 2262 AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK ȱ ȱ ȱ ȱ ¢DZȱ ȱ ¡ǰȱ ȱ ¢ǰȱ ȱ ȱǯȱȱȱ¢ȱȱȱȱȱ¢ȱȱȱȱȱ ȱȱǰȱȱȱȱȱȱȱȱȱȱȱȱǰȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¡ȱ ȱ ǰȱ ȱ ¡ȱ ȱ ǰȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȃ Ȅȱǻ ȱȱȱȱǼǰȱȱȱȱȱȱȱȱȱȱ ȱ ¡ȱ ȱ ȱ ¢ȱ £ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ȱ ȱ ¡ȱ dzǯǯ ȱ ȱ ¡ȱ ȱ ȱ £ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ £ȱ ȱ ȱ ȱ ȱ ȱȱ¢ǯȱȱ ȱ ȱ ȱ ȱ ȱ ǻǰȱŗŞŝȬŗŞŞǼȱ Another recurrent characteristic which makes the character of Prufrock worth noticing is its fear from the society. The phrases like “"Do I dare?" and, "Do I dare?"”, “(They will say: "How his hair is growing thin!")”, “(They will say: "But how his arms and legs are thin!")”, “Do I dare / Disturb the universe?”, “Have the strength to force the moment to its crisis?” makes it clear that he is afraid of society. But what is the cause of this fear? Is it because Prufrock is certain that he cannot carry forward the stereotyped gendered role that he is supposed to perform? And society is becoming harsher and punitive because it will not allow any individual to break this ‘naturalized’ ‘fundamentalist fable’ of gender performances with sex. ȱButler in h book: dzȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ¢ȱȱǯȱȱȱȱȱȱ ȱȃ£Ȅȱȱ ȱ ¢ȱ Dzȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱǯȱȱȱȱȱȱȃȄȱȱȱ¡ȱȱ¡£ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱȱȱȱȱȱȱȱǰȱȱ ȱȱǰȱȱ ȱȱȱ ȱ ȱ ǯȱ ȱ ǰȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱȱȱȱ¢ȱȱ¢ȱȱȱȯȱȱȱȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ȱ ȱ ȃȄȱ ȱ ȱ ȱ ȱ ¢ȱȱǯȱȱ ȱ ǻǰȱŗşŖǼ Cyrena Pondrom in her article Ȉǯȱ ǯȱ DZȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱȈȱputs forth the social construction of gender thus: ȃȱȱȱȱ 2263 AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK ȱȱȱȱȱ¢ȱȱ ȇȱȱ ȱȱȱ ȱȱȱȱȱȱ¢ȱȄǯȱ An alternative interpretation of Prufrock’s identity might be the fact that perhaps his sexual orientation is the cause of his discomfort as society is not going to accept his sexuality if he come out to be a homosexual. As Colleen Lamos in h article Ȉȱȱ ȱ ȱ ǯȱ ǯȱ DZȱ ȱ ȱ ȱ ȱ ¢ȱ ¢Ȉ has observed: ȃȂȱ ¢ȱ ¡ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȃ¡ȱ Ȅȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¡ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ȱ ǯȄȱ Therefore, thisȱpoem undeniably possesses a homo-elegiac tone in it. Though Eliot ȱ tried to suppress the homoerotic interpretation of the poem and he debates concerningȱ it; a sort of homophobia is noticeable in him. This fear is something that Sedgwick calls “homosexual panic” and with the increasing division between heterosexuality and homosexualityǰ love become a pathological question. Therefore, this homophobia orȱ “homosexual panic” made Eliot to suppress Peter’s essay. But after Eliot’s death, a burst of homoerotic interpretation of Eliot’s poetry comes into public. Thus, reading Prufrock as a homosexual in the poem Love Song has nothing unusual or absurd in it. It is evident from the very beginning of the poem that language is used in the poem to hide the emotions rather to show them. The fear of society and the fear of reputation becomes the key in reading this poem. Even the epigraph of the poem suffers from the fear of losing reputations. The epigraph of this poem has been taken from Dante’s Inferno XXVII 61-66 which can be translated thus: “If l thought my answer were to one who could ever return to the world, this flame should shake no more; but since, if what I hear be true, none did ever return above from this depth, without fear of infamy I answer thee.” These are the words of Guido da Montefeltro, spoken to Dante. Montefeltro who was trapped for fraudulent counsel is now in hellǰ captured within a living flame that trembles when he speaks. Similarly, Prufrock through his evasive and vague language tries to dismiss every possibility of interpretation and thus we find him utter: “That is not what I meant at all; / That is not it, at all. There are a number of references in this poem where the “homosexual panic” can be identified. The repetition of the phrase “In the room the women come and go / Talking of Michelangelo” isȱ veryȱsymbolicȱȱin thisȱȱregard; notȱbecause ofȱ itsȱ referenceȱ to ‘women’ AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 2264 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK but for reference to ‘Michelangelo’. The phrase “Talking ofȱ Michelangelo” is metonymic and can be analyzed in several ways. The phrase might mean the sculptures of Michelangelo or even his sexuality. As it has been observed by Rictor Norton in his essay The Passions of Michelangelo that his sculptures are primarily “human rather than divine or demonic: for the most part they are naked.” He further added that “His twenty nude youths — or ignudi — in the Sistine Chapel outraged several pontiffs, for they were clearly more Greek than Christian and played no role in the Church's narrative.” According to Rictor: “Michelangelo had a reputation for homosexuality among his contemporaries.” Thus the phrase “Talking of Michelangelo” might also mean his sexuality and Prufrock is suffering from the panic of him being identified by the society as a person who desires same sex love. Even the reference to the lonely man in the poem depicts a fear of Prufrock: Shall I say, I have gone at dusk through narrow streets, / And watched the smoke that rises from the pipes / Of lonely men in shirtsleeves, leaning out of windows? (Love song, Lines- 70-72) Either he likes those ‘men in shirtsleeves’ and desires to have them physically or is afraid of the fact that if he tells anyone about this then his identity will be determined accordingly, that he does not want. Then the question remains, what is the real identity of Prufrock? Is he a straight? A gay? Or a transgendered individual? Or does he even have to have any of such identities at all? The society tries to ‘naturalize’ the gender role and thus it stabilizes the identity of individuals. By differentiating the gender of individuals, it tries to create a binary through which the hegemony can function. Thus, it becomes a matter of life and death for the society to assign such identities to the individual because fluidity of gender is a continuous threat to the power structure. Therefore, to maintain the social equality we should not try to stabilize the identity of Prufrock by fixing it “in a formulated phrase” or any particular identity and should accept it as a ‘queer’ so that it can destabilize the politics and brings forth social equality through its fluidity ofȱ gender performances. 2265 AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK BILIOGRAPHYDZ 1. Ackerley, Chris. T.S. Eliot The Love Song of J. Alfred Prufrock and The Waste Land. Penrith: Humanities-Ebooks, 2007. Print. 2. Adams, Rachel, and David Savran. The Masculinity Studies Reader. Malden, Mass: Blackwell, 2002. Print. 3. Butler, Judith. Bodies that Matter on the Discursive Limits of Sex. Abingdon, Oxon New York, NY: Routledge, 2011. Print. 4. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 2006. Print. 5. Byron, Glennis. Dramatic Monologue. London New York: Routledge, 2003. Print. 6. Churchill, Suzanne W. Outing T. S. Eliot in Criticism, Vol. 47, No. 1 (Winter 2005), pp. 7-30 7. Connell, Raewyn. Masculinities. Berkeley, Calif: University of California Press, 2005. Print. 8. Dwivedi, A. N. T.S. Eliot: A Critical Study. New Delhi: Atlantic Publishers & Distributors, 2002. Print. 9. Jain, Manju. A Critical Reading of the Selected Poems of T.S. Eliot. New Delhi New York: Oxford University Press, 2001. Print. 10. Laity, Cassandra, and Nancy K. Gish. Gender, Desire, and Sexuality in T.S. Eliot. New York: Cambridge University Press, 2004. Print. 11. Moody, Anthony D. The Cambridge Companion to T.S. Eliot. Cambridge England New York: Cambridge University Press, 1994. Print. 12. Murphy, Russell E. Critical Companion to T.S. Eliot: A Literary Reference to His Life and Work. New York: Facts on File, 2007. Print. 13. Peter John, “A New Interpretation of the Waste Land,” in Essays in Criticism, 2 (1952). Print. 14. Pondrom, Cyrena N. T. S. Eliot: The Performativity of Gender in The Waste Land. Johns Hopkins UP, Apr. 2011. Web. 9 Nov. 2011. 15. Reeser, Todd W. Masculinities in theory: An Introduction. Chichester Malden, MA: Wiley-Blackwell, 2010. Print. 16. Rictor Norton, "The Passions of Michelangelo", Gay History and Literature, updated 14 June 2008 <http://rictornorton.co.uk/michela.htm>. 2266 AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015 Tanmoy Baghira- FLUIDITY OF GENDER AND IDENTITY IN ELIOT’S THE LOVE SONG OF J. ALFRED PRUFROCK 17. Sedgwick Eve Kosofsky, Epistemology of the Closet: Updated with a New Preface London California: University of California Press, 2008. Print 18. Sinfield, Alan. Dramatic Monologue. Oxfordshire, England New York, New York: Routledge, 2013. Print. 2267 AMERICAN RESEARCH THOUGHTS- Volume 1 │ Issue 9 │2015
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