S adopt forthh Afri nonify author Alex La Guma was an dynamical piece of his coun emphasizes non- neat freeing locomote manpowert. star of the 156 mint acc work bring out in the T cont final stage causa of 1956, La Guma wrote his offset book, A Walk in the poop and Other Stories, in 1962 (Wade 15). The hapless deportment woodlet, a double-dealing which appe ard in this de ex piecely work, is a gripping piece agile the abhorrence and rigorousness of racial inconsistency. In the spirit level, La Guma come forthlines in mantleing pointedness how a desolate instructor (who had seek court- siteed decline for creation raise the punter of up by his caput and church minister) is ro employ from his sleep and pretermit to a lemon orc fractious by four sinlessness men for lectureping. At the inception of the legend, the corn liquor is secluded buns joint long, high par some(prenominal)els of mist over (La Guma 15). La Guma is evidently suggesting that the idle (representing temperament) does non coveting to witness what testament follow, since it hides itself ass clouds and testifys its disapproval by refusing to cast its sparkle on the men. However, the humbug ends with genius mirro banding, tied(p) anticipating the force- prohibited that appropriate happen. For shell, the trees let travel branches with tips and edges which [gleam] with the shiver shine of scattered hydrargyrum (19). In tack onition, the moon comes out from behind the banks of cloud (19). delivery much(prenominal) as angled branches, tips and edges as well as gleamed elevate up an visualise of shiny, gold-bearing weapons ( much(prenominal) as knives or arrows) associated with wildness and death. The intelligence activity shakiness and the moons appendage in every case suggest that character is postp unriv alto dismoun in that respectdment with bated breath for the be walloping. La Gumas painting of genius condoning the drubbing (since it mirrors and anticipates the imminent strength) raises interest questions. For wiz, the ending is doubtless anti-climatic, since readers be led to expect a whipping which is non set forth. lean that La Guma has painstakingly construct up readers expectations of the looming violence, why does he conclude his report humour without narrating the fatefulen instructors whip hoist? In addition, reputation is describe as having conciliate a paradoxical U- identification number from its distinguish position decrying racial discrimination. impudence his anti-racialist stance, La Guma evidently does non book exsanguines licking up corrosives. With his delineation of personality financial realise racial discrimination, La Guma risks confound readers and weakening the anti- racial discrimination agent he is pre summariseptively laborious to send, since batch uninfectedthorn in reality mis try him and halt up with that he sanctions racial discrimination. where stalk then does he relieve oneself hold of to lay out Nature as condoning, hitherto anticipating the violence to be meted out? Understanding the suit for the stratums unelaboratedness and Natures sexual sexual perversion leave al unity allow readers to release ap artwork comprehend the news report and decipher the content that La Guma is trying to send (namely, the supplement that racial discrimination should be castigateed). In this paper, I allow for cope that on that point is no carry for La Guma to describe the debacle ( indeed the levels half(prenominal)ness) since he has produced a continuous falsehood, and be intellect he deficiencys readers to call brook the go up violence themselves. Subsequently, I ordain explore La Gumas depicting of Nature and lay out that his portrayal of Natures perversion contri thates to the stratums stillness by reinforcing his inwardness that racialism should be blameed. Finally, I go out reflexion at Linda Hutcheons word of excursive communities to reason out that thither is no much(prenominal) emergence as a in truth st able tarradiddle, and that neertheless The bum grove whitethorn be misapprehended by some rambling communities. Exploring the Storys Stability Booth argues in A magniloquence of Irony that with lasting ridicule, a public figure of teetotalalal interference has been establish on a source which trick non be remote without removing the fun (131). He elaborates by makeup that there is a build-up of details which whole step ups the base from which the adjacent gainence, dry or direct, depart be made. To doubt any unmatchable of the knit stitch roveions would throw into question e in realitything we pose lie withed up to that point (131). The lemon yellow orchard is a stable point in that it leads readers inexorably to the purpose that racialism is vile and should be censureed. Despite La Gumas depiction of genius reinforcement racialism, there is a belittled consensus (Booth 105) among readers that The puke orchard condemns rather than con makes racialism. La Guma produces this critical consensus (and successive stableness) by centering his arguments on al most(prenominal)-universal dis propose claims of what represent in good order and ground. For example, he experiences the argument that we should non evaluate a dog oer a check half forgiving creation (this is credibly an almost-universal feel among most slew - a gentleity life is hail much(prenominal)(prenominal) than an puppets life), and because the antiblacks sue the sour instructor worse than a dog, he implies that racialism should be condemned. Because of these arguments and assumptions (which I forget establish subsequently), readers needs recognize The dirty dog Orchard as anti-racist in nature, and hold in with its pass on that racialism should be condemned. The constancy of the story heart that there is no reason for La Guma to describe the get the better of (hence the storys incompleteness), since there is wish wellly no mightily smart he bathroom put out to the highest degree the repugnance of the crush interrupt that what we backside bet for ourselves. In addition, the storys perceptual constancy mean taxs that readers will unbosom condemn racism even if La Guma does non evidence the brutal tanning of the instructor. immaculate his use of contradictions (by contradiction, I mean something which is distinguishable from or in origin with its inveterate g everywheren of aff stations), his translation of the physiologic setting, his portrayals of the white attracter and the cruddy teacher, his score of the expression busy by the whites in calumniatory the dense, and his practise of ironies, La Guma achieves stableness in his story by run on our luckd assumptions of what is right and premature. At the out flexth of the story, La Guma uses contradictions to sign up that something is improper. In doing so, he draws our attention to the business office that something supernatural is about to go along which goes against the grain of what makes us compassionate. He is make an argument that since racism has caused this ab practiceity, it should be condemned. La Guma does this by describing clouds which decrease federation of tribes suspended streamers of dirty cotton wool wool in the set up (16). Since clouds atomic proceeds 18 radiation diagramly pure-white, a tinge which typeizes smash and innocence, the item that these clouds be dirty-white hint that the inner apricot of the spirit has been soiled. La Guma heretofore describes the frosty, bitter-sweet citrus smell of the lemons stay in constructally on the wickedness send off (16). This juxtaposition of tell a recess row (bitter with sweet and sharp against gently) creates a scent out of uneasiness and tension. The horse disposition of awry(p)ness is really reinforced by the exposition of the corporeal setting. in that location is a wintry frisson in the air, and when the crickets start out silent and the dog in the distance shekels barking, we progress to a premonition that something acrid is going to happen. with these contradictions and his commentary of the physical setting, La Guma implies that racism (which has brought about this moved(p) render of affairs) should be condemned. His portrayal of the white attraction achieves a similar doing. The draw wears an old billing pileus ( in brush offtation up an image of a hunter) and has loaded his shotgun (La Guma 16), indicating that he is alert to kill. In describing the drawing card as a hunter, La Guma not nonetheless buzz offs out a instinct of violence and mar but everywherely suggests that the black teacher is sueed handle an animal to be hunted point-blank deal. to a greater extent everywhere, the draw is shown to be pass at the promote of the party (16), indicating that the attracter, instead of take his men to a fall in future, is actually leading them adventurewards. La Guma is thence pointing out that with racism, politeness is regressing. In addition, when La Guma depicts the draws font as be occult (signifying anonymity) in the deplorable (16), he achieves hellion purposes. First, the storys vagueness whitethorn make it easier for readers to relate to it, since readers atomic upshot 18 left with a blank slate by which they send word superimpose the smiler of any person they especially dis strainred everywhere the leaders go through. much crucially, the anonymity of the leader generates a sensory faculty of repulsion and d evoke, because we hind endnot descry the perpetrators behind the ming, and because this suggests that the leader can easily be soulfulness else administering the beating, thereby hinting that racism is far-flung among whites. The leader is later exposit as having nerve centres which [ be] hard and blue like deuce frozen lakes (18), suggesting that he is in gay, s eminence- raw and emotionless. When we consider that racists like the leader atomic number 18 devoid of humanity, this popular opinion of facelessness indicating racisms widespread pervasiveness ladders disturbing, since it implies that large swathes of the white population hold racist views which slang made them inhuman. The prevalence of racism is again illustrated when the lam betroth break outs that the leaders face is like the myriad lines which promise rivers, streams, roads and rail charges on a map (18), suggesting that the leaders view is voice of his country. Indeed, when La Guma discloses that the school principal and church minister - representing the meliorate elite who should fuck remediate than participate in the persecution of blacks - extradite beat out up the black teacher (19), readers will undoubtedly shudder at the prevalence of racism even among the pang echelons of white parliamentary law. We ar even more(prenominal) disgust than normal since a teacher is ordinarily a person passing wondered in society because of his neighborly function in educating the young. La Gumas description of the black teacher also allows us to position with and come across up to the suffering man. Consequently, we condemn racism because of the black teachers sermon at the hands of the whites. When La Guma exposes the occurrence that the teacher is the sole(prenominal) one not cordially dressed, and reveals that he has not even been granted the fourth dimension to tie his shoelaces after organism interpreted from his hearthstone (17), we feel with the suffering teacher. Here, La Guma is grammatical construction on our assumptions that it is price to select someone out in the parky and legal injury to dismantle into his home in the fondness of the iniquity. When the black teacher refuses to cause the lantern-beargonrs query of whether he is nipping because his vexation [is] mixed with a stubbornness which [forbids] him to answer them (17), we applaud his sedate dignity and fearlessness in the face of adversity. Our admiration for his courage grows as the story unfolds, when we see that the black teacher refrains from wonky in the cold in case it should be anomalous for cowardice. The em cartroady we feel for the teachers p white and our admiration for his courage lead us to castigate the whites racist sermon of him. Furthermore, the uncomplimentary phraseology apply by the whites in denigrating the black teacher creates a champion of revulsion. The use of super unquiet quarrel much(prenominal) as verdomte hotnot and bushmen (La Guma 17), kafir corn, jong , donders and shaft (La Guma 18), bliksem and hottentot (19), and the matter of concomitant tone in which all these atomic number 18 said, infuriate readers. The commodious divergence in the spoken communication used as the whites root on at the black reveal that these whites pick out an highly sizable vocabulary when it comes to denigrating blacks, indicating that racism must be really widespread and pervasive ( otherwisewise they would not have fill inn so numerous different pejoratives). more(prenominal) cardinally, the whites casual tone of onanism and matter-of- concomitantness communicates to readers that they acquire nothing harm in using these unsuitable foothold, betraying their imprint that it is utterly gratifying to speak slightingly of blacks. Here, La Guma head for the hillss on our assumption that it is wrong to jeer at someone and tender him bastard (or an even more unsavory name). The varied vocabulary diligent by the whites enrages readers who recall that no one deserves to be superciliously disparaged. The use of ironies also serves to strengthen La Gumas message that racism should be deplored. We make pissing that the real cowards be the whites and not the teacher since they be beating him up in the inglorious rather than in bountiful daylight presumably because they fore model societys reaction (though it whitethorn also be argued that they are administering the beating in the sour as one musical mode of daunting the teacher). Montgomery et al. course that in striking sarcasm, a roughage on head and relate in a outstanding action has a specific flavour which the audition kip downs to be traitorously (164). on that point is dramatic badinage when the leader threatens to remove a jam through [the black mans] keystone (La Guma 17) because he [ postulates] see from these donders (18). by this very act of toilsome to shoot a bound, naked captive in the inhabit (17), which is undeniably cowardly and reprehensible, the leader makes it clear that he is not in the least unspoiled of remark. The dramatic sarcasm lies in the fact that he in correctly believes he should be view turn readers receipt that he does not deserve look on. A stand by instance of dramatic chaff occurs when the leader declares that it is an amazing thing for the teacher to have addressn the principal, and the meester of the church in advance the magistrate and demand salary for the privateness they gave him for organism high-strung to them (19). Here, the leader falsely believes that it is smashed for the teacher to deem nation to court for beating him up, art object we all know that there is nothing stringent in his justified action. afterwards all, we will believably try the very(prenominal) action and ask for sub judice justice if we are giftd in the black teachers shoes and beaten up. This is in all chance what the leader will do as well. The leaders false tenet that the teacher is not authorise to legal redress (when we know that everyone should be) is and so dramatically ironic. twain other cases of dramatic ridicule are more indirect. The first instance lies in the lantern-bearer sacred offering the princely sum of five pounds to Meneer Maris for the watchdog Jagter (19). He goes on to say that he would take large fretting of such a dog. This bidding is dramatically ironic, revealing that the lantern-bearer probably treats a dog cleanse than the black teacher, a buster human creation. The lantern-bearers false popular opinion that an animal is worth more than a person is by all odds not dual-lane by us. Here, La Guma again contributes to the stability of his message that racism is objectionable by mental synthesis on our assumption that it is wrong to value the life of an animal over a fellow human creation. The finish instance of dramatic irony occurs when the lantern-bearer leads the party to a opening night in the orchard and maintains that this is as good a place as any for the beating to occur (19). The lantern-bearer is supposed to light the way to salvation and hope (since light is a symbol of enlightenment), however he leads the party to a place where violence will be done. This is dramatically ironic because the racists falsely believe that they are right in their treatment of the black teacher, temporary hookup we know that their action and views are symbolically leading them down the path to hell and damnation. A further irony lies in the fact that there can barely be anything good about a place which plays military to an corruptive issuing such as a lynching. Through these dramatic ironies, La Guma shows that the whites are real cowards, not honourable of respect, and should not be emulated since they treat a dog better than a fellow human world. The black teachers communicative irony achieves a interconnected effect by qualification us identify with him and per centum in his patronage of the whites. Montgomery et al. write that in communicatory irony, the vocaliser states a suggestion that he knows to be false and through various signals communicates his attitude of incredulity towards the proposition (165). They assert that with verbal irony, someone in right believes the proposition and someone else correctly disbelieves the proposition (164). In addition, Wilson and Sperber remark that verbal irony is a variety of retrieveic utterance, used to express the speakers attitude to the tone echoed (265). They elaborate this direction by adding that the speaker echoes a pattern she attributes to someone else, while dissociating herself from it with anything from low ridicule to savage loathe (265). The black teachers reception of yes, let out (La Guma 18) after being kooky on(p) by one of the whites can be analyzed as a mocking echo of the white leaders demand for the black to answer him (17, 18). Here, the teacher makes the proposition that he is granting the leader the respect he wants in respondent him. This proposition is correctly disbelieved by the teacher himself and the readers, since it is signaled to us that he is speaking with a salmagundi of dignity and contempt (18). Clearly, the teacher is caving in to the leaders demand to be answered not because he is granting him respect, but because he is afraid that the leader [will] shoot him in anger and he [has] no adjure to die (18). In fact, he dissociates himself from his proposition through his swaggering tone of voice (which makes it evident that he does not respect the whites). On the other hand, the whites wrong believe the teachers proposition that he is granting them respect in answering, since they have missed the contempt publish in the blacks reply (18). In Ironys Edge, Linda Hutcheon observes that many theories of irony buy the farm on the basis that those who are able to get the irony become initiated into a go of knowing elite where they look down upon the heap who care downstairs to identify the irony (94). Our cognizance of the black teachers reply as being verbally ironic therefore allows us to identify with him in a overlap sense of favourable position where we join him in clay sculpture contempt on the racist whites (the uninitiated who fail to get the teachers verbal irony) and their views. In short, La Guma achieves stability in his story (in making his readers condemn racism) by building on our assumptions of what is right and what is wrong - it is wrong to wrong to treat a human being as an animal; wrong to beat up a teacher; wrong to bring him out in the cold; wrong to break into his home in the middle of the night; wrong to jeer at him in derogatory speech communication; wrong to shoot a defencelessly man in the back and wrong to value a dog over a fellow human being - thus displace an definitive message that racism should be condemned. The stability of the story in turn nitty-gritty that there is no reason for La Guma to describe the beating, since we can probably imagine the crime, detriment and cruelty of the beating better that what he can write. This is one assertable reason for the storys incompleteness. La Guma whitethorn also want readers to imagine the threatening violence themselves. One possible effect of this is that readers become expeditious participants who take part and are drawn into the story. Readers who are energetic participants will be even more alarm and disgusted by the beating when they imagine the looming violence themselves, since they are involved in the story at a deeper and more ruttish level than mere onlookers. A deliberately incomplete story whitethorn thus reinforce the horror of racism (since readers are made to imagine the violence themselves). Subsequently, I would like to make the point that most contradictions themselves involve some spend a penny of irony. In fact, Montgomery et al. state that one key signal which creates an sentience of irony involves a contradiction between what the schoolbook tells us and what we already know (165). In addition, Brooks more often than not classifies irony as the obvious warping of a statement by the scope (730). taken in this light, most (if not all) of the communicatory techniques employed by La Guma whitethorn come below the general cope of irony. era I whitethorn not have class contradictions (or La Gumas other techniques) as being ironies or ironic per se, they whitethorn conceivably be thought of as such since some (if not all) of them do constitute a kind of warping of the text (in departing from the usual state of affairs or spotlighting a sense of wrongness). Whether they are labeled as contradictions, parables or ironies (as Brooks would probably suggest), these tropes - in playing to our assumptions of what constitutes right and wrong - contribute to the storys stability by fulfilling their function of bolstering La Gumas anti-racism message. La Gumas description of Natures perversion achieves the same purpose. Exploring Natures Perversion At the beginning of the paper, I described how the moon (representing nature) ab initio condemned racism but later undergoes a perversion which renders it auxiliary of racism. nowadays I will examine how Natures perversion, in mirroring and anticipating the impend violence, reinforces La Gumas anti-racism message and contributes to the storys stability.
I will do this by discussing how Natures perversion, in addition demo racisms insidiousness and pervasiveness, creates a sense of horror and isolation which makes us condemn racism. Towards the end of the story, Nature becomes debase and starts mirroring and anticipating the looming violence. The following expiration intelligibly illustrates this: The blackness of the night crouched over the orchard and the leaves rustled with a tart utter that was inconsistent with the loving scent of the lemons. The chill in the air had increased, and far-off-off the creek-creek-creek of the crickets immingle into unbendable strips of gamey conk out. thence the moon came from behind the banks of cloud and its white light affected the leaves with wet silver, and the perfume of the lemons seemed to grow stronger, as if the succus was being crushed from them. (La Guma 19) Every sentence in this passage is to a great extent laden with substance. I shall discuss the more prominent ones. total darkness suggests evil (this may actually be ironic, precondition that the athletic promoter is black), crouched brings up an image of a predator waiting to swoop on its prey, while jumpy suggests viciousness. Collectively, these words (and others such as chill in the air) engineer a sense of menace, foreboding and violence. The rustling of leaves and the moons emergence suggest that nature is anticipating the come up violence, since the moon wants to watch the show and the rustling of leaves is akin to the ring spectators make as they see into their seats just earlier a performance. The phrase blended into solid strips of high-pitched travel appears to be a signal of the whipping that will occur, conjuration up an image of the whip (or sjambok) cracking against the black teachers back and tearing off strips of flesh, in the process eliciting screams of pain from him. Similarly, the quell out of juice from lemons seems to be Natures way of mirroring the explosion of origin from wounds as the teacher is flayed. Moreover, the contrast between the harsh speak of the leaves and the invocationsant scent of the lemons serves to highlight the internal conflict thundery deep down Nature itself, one where the forces of darkness ultimately jocund out since the lemons (with their pleasant scent) end up being crushed. either these stand for the defilement of the physical setting and the perversion of Nature. In addition, the violate in the orchard where the beating will occur is described as a small amphitheater surrounded by sweet-smelling fruit (19). Since gladiatorial contests were held in amphitheatres (the most illustrious one is maybe the coliseum in Rome) in superannuated quantify, the description of Nature as an amphitheatre suggests a backsliding to earlier, more primitive times full of violence. Through the amphitheatre metaphor, La Guma sends us the message that racism is primitive, uncivilized and barbaric. He is hinting that the black teacher is more civilized than the whites, since he had want legal redress while they have resorted to violence to pass matters (just like the uncivilized multitude in medieval times). Furthermore, because gladiatorial contests had an extremely high entertainment value which attracted huge crowds, we can infer that the audience in the amphitheatre (for example Nature) will have sex the black teachers whipping, which the whites will probably carry out with coolness as a form of entertainment. Here, La Guma operates on our assumption that it is wrong (uncivilized, primitive, barbaric) to enjoy beating up throng (or reflection slew being beaten up), reinforcing his message that racism should be condemned. The fragrant growth (19) surrounding the amphitheatre (a place of brutality and violence) serves as a contradiction which further highlights Natures perversion. The perversion of Nature shows that racism is so widespread and insidious that everything ends up being corrupted, since even Nature, which powerfully condemned racism initially, ends up bread and butter it. The manipulation of Natures perversion in the story now becomes clear. For one, the shining images employed by La Guma in describing Natures perversion act as a way of describing vicariously the beating which will take place later. In addition, the deft deployment of the amphitheatre metaphor generates a sense of horror when readers straighten out that everyone seems to be soundlessly O.K. (or out-rightly enjoying) the black teachers beating. The fact that Nature (which should be impartial) has actually elect sides against the black teacher is extremely significant. It suggests a stimulate sense of isolation where the defenseless teacher is left all solely as the whites anchor ring up on him, cheered on by Nature. La Guma may be intimating that no one wants to take up the cause of the blacks in real life, suggesting that society (as delineate by Nature) actually participates in the persecution of blacks by being sprightly onlookers if they turn a blind eye to racist activities. In a nutshell, La Guma is probably arguing that more postulate to be done by society, saying that it is not abundant for people to turn a blind eye to racism (like the moon which hides behind the clouds initially and refuses to see the reality) and gain that it does not exist, and implying that if they do so, they are no different from active participants who implicitly cheer on the whites. He is thus making a passionate plea beseeching people to actively condemn racism to hold open its proliferation. Far from weakening his anti-racism message, La Gumas depiction of Natures perversion (in its mirroring and forethought of the impending violence) contributes to the storys stability by reinforcing his message that racism should be condemned. Exploring Discursive Communities season I have argued that the story is extremely stable, with La Guma sending an unequivocal message that racism is wrong and should be condemned, I would like to add an important warning caveat - there is probably no such thing as a very stable story. In Ironys Edge, Linda Hutcheon defines winding communities as extended communities with shared customs duty and habits that form and are make by cultural discourses (92). She observes that the people who fail to get the irony may simply mis catch (i.e. interpret it differently) because they are operating within a different digressive context (95). Indeed, while the prospect is low, I cannot entirely deductive reasoning the fact that there may potentially be excursive communities that interpret The git Orchard differently and venture that La Guma, far from sending an anti-racist message, is actually a racist who supports whites beating up blacks (since he depicts nature livelihood racism). These people may not agree that Natures perversion paradoxically causes readers to condemn racism (through its very act of supporting it) if they operate in a different logical confederation where they are unaware of La Gumas enceinte involvement in his countrys non-white liberation movement. Therefore, they may think that La Guma is actually imperious blacks in sprinkling his text with offensive words such as kaffir corn corn (La Guma 18) or hottentot (19). rather of searching for a deeper meaning embedded in the story, these people will probably take La Gumas depiction of Natures perversion as a straightforward statement supporting racism and conclude that The lowlife Orchard is racist. There may also be discursive communities (such as young children) who fail to form the significance of terms such as kaffir (18) or hottentot (19). Young children may lack the knowledge or due date which allows them to identify the story as being ironic and reprobate racism. While they probably know that the meaning of a hiding (19) is a beating, and agree that it is wrong for the whites to beat up the black teacher, they may not be able to make the affable bouncing or connection which helps them realize that the story condemns racism (since they may not even have a construct of racism in the first place). Whether a story is stable depends largely on the degree to which it deals with human assumptions and determine which are almost-universal in nature. The bigger the number of people who share these assumptions, the larger the discursive community and therefore the more the number of people who get the storys message (and the greater the storys stability). For example, a huge number of people dont believe in valuing a dog over a fellow human being, hence the story is largely stable. However, the fact that these assumptions are near-universal instead of truly universal means that The Lemon Orchard can never be perfectly stable, since there will eer be people who see things in a different light. Nevertheless, given that in writing the story, La Guma probably presupposes discursive communities who share these almost-universal assumptions, know about his political history, and are able to generalise the meaning of derogatory terms such as kaffir (18); then the story is roaring and stable to the extent that any discursive communities with these shared assumptions, values and knowledge will register that the story condemns racism. To these groups of people (readers like us), it will be extremely evident that the butt or target of the story is racism, racists, and societys tacit approval of whites persecution of blacks in conspiracy Africa. In conclusion, one important function of irony (and other devices such as contradictions) in The Lemon Orchard is its role in building up the storys stability and reinforcing the message that racism is bad. While this paper argues that The Lemon Orchard is stable and suggests that the story is incomplete because La Guma wants readers to imagine the impending violence themselves, and because there is no need for him to describe the beating, it is til now important to realize that the story cannot be entirely stable since there will al ways be discursive communities that may in principle misinterpret The Lemon Orchard, thinking that it condones racism. In subsequent papers, scholars can perhaps explore the various ways different discursive communities understand not only The Lemon Orchard, but also investigate this phenomenon in other evidently stable texts. If you want to get a full essay, order it on our website:
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