Interview with Anne Elisabeth Stengl
(Part One)

Anne Elisabeth StenglI’m pleased to welcome Anne Elisabeth Stengl, author of Christian fairy tale novels Heartless, Veiled Rose, and the soon-to-release Moonblood. She has much to say on topics that will be of interest to readers and writers of fantasy alike, so I hope you enjoy reading her thoughts!

1. What book (or books) has played the greatest role in shaping your imagination?

As an author of Christian fantasy, how can I possibly give an answer that does not include C.S. Lewis’s beautiful Chronicles of Narnia? I remember the first time I read one of those books (The Horse and His Boy, my favorite to this day) and saw whole new vistas opening before my seven-year-old eyes. At the time, of course, I wasn’t aware of the many layers of allegorical significance contained in that slim volume, but the story sucked me in and demanded rereading after rereading. And with each new visit to Narnia, I saw more of the Big Story Lewis was trying to depict. It was amazing, magical, and utterly unforgettable.

I also love many of the authors who were major influences on Lewis, especially George MacDonald and Edith Nesbit. I just reread MacDonald’s The Princess and the Goblin and was surprised by the many subtle influences his work has had on mine, influences that I had forgotten even existed! George MacDonald and Edith Nesbit both, in very different ways, knew how to awaken a child’s imagination, which is why their work will endure.

2. Did you always love fairy tales? What sparked your interest in these sorts of stories?

Absolutely! My interest in fairy tales began before I was reading. I was entranced when my mother read me the adventures of fairy Queen Crosspatch in Frances Hodgeson Burnett’s The Racketty-Packetty House. Before I was old enough to read it for myself, I would pull down an enticing copy of Lamb’s Tales from Shakespeare simply to gaze at the beautiful illustration of Titania from A Midsummer Night’s Dream. My father would entertain me and my brothers with made-up stories about an inventor prince who created flyamins (vitamins that enabled flight) and talkamins (vitamins that enabled speech for pets) and all the baddies various who wanted to steal them. Fairy Tales and magic surrounded me throughout my young life, and I cannot remember a time when I was not interested.

3. If you had to narrow it down to just one, which fairy tale would you call your favorite?

I so wish I could be completely original, but I have to say I love Beauty and the Beast. Possibly because Robin McKinley’s Beauty is one of my all-time favorite YA fantasies, but I really do just love the story itself. There are many interesting variations on that theme as well, such as The Lady and the Lion, The White Cat, and even the tragic Yellow Dwarf, which left a strong impression on me from the first time I read it. It’s such a timeless theme with so much possibility for embellishment!

4. Your stories have many spiritual parallels. Did you intend from the beginning to create these analogies or did they emerge over time?

Particularly in my first novel, Heartless, the spiritual twist forms the backbone of the plot. Remove the allegory, and all you have left is the story of a petulant pill of a princess whose problems are all solved by marrying a handsome prince. Yick. Not my favorite storyline! But with the spiritual element, it becomes a story of total depravity and undeserved grace, in a context of classic fairy tale archetypes. Much more appealing!

The allegorical elements developed far more gradually in the rest of my stories. While Heartless began with the allegory, my other novels began simply as plots and characters, and the spiritual element developed with the rest of the story. Nevertheless, I believe that each of my books falls to pieces the moment the spiritual element is removed. So while I rarely go into a new project these days with the idea, “I shall now write an allegory about this!” I am always praying for God to reveal to me the message He intends to communicate through each work.

5. How does your relationship with God influence your writing?

My relationship with God is the foundation of my work. As my career has developed, this truth has become more and more apparent. Each book I have written has been significantly harder to write than the one before, driving me constantly back to my knees for guidance and wisdom. I consider time spent in prayer and meditation an essential part of my work day, and I can always tell the difference in a day when I neglect that time with God and try to “do it on my own.”

6. How long have you been developing the Goldstone Wood world?

Funny you should ask that! Just today, while I was cleaning out and (sort of) organizing my studio, I came upon an old notebook from back in 2004. Flipping open to an early page, I found the scribblings of a short story . . . a short story I recognized as the beginnings of the full-length novel I just finished drafting, Book 5 in the Tales of Goldstone Wood. This made me smile, especially considering how drastically the story has grown since then! Yet the heart of the story remains true, and I am very excited to share that novel (currently title-less) with all of you come summer 2013!

All this to say, I have been developing these stories and this world for quite some time. It is a Fairy Tale world rather than Epic Fantasy, so the development is comparatively simple. I consider the genres of Fairy Tale and Fantasy to be distinct, and I definitely fall into the Fairy Tale category. Mine is no Tolkien-esque universe! Nevertheless, a lot of time, thought, work, and prayer has gone into the invention of Goldstone Wood and will continue to, Lord willing, for years to come.

7. When I first read the back cover copy of Veiled Rose and spied the name Rose Red, my mind immediately went to the fairy tale Snow White, Rose Red, yet upon reading the book I found little connection between your Rose Red and the girl of fairy tale fame. So what led you to choose the name Rose Red?

Interesting question! The fact is, while I was pleased with the fairy tale association of the name, I did not choose “Rose Red” as a reference to the classic story.

As hinted at in Veiled Rose, my Rose Red’s real name is Varvare. When I was first developing the character, Varvare was the name I called her. But she needed to have a more “Southlands” appropriate name while living as the veiled goat-girl up in the mountains. Varvare is a name derived from the Armenian word “vard,” which is “rose.” “Rose Red” is a close translation of the name “Varvare,” worked well as a Southlands name, and carried a strong fairy tale connotation. Thus it was chosen.

Roses, as you will soon discover, play a big role in the upcoming novel, Moonblood. We’ve already seen hints of this (both Heartless and Veiled Rose reference the lack of roses in the mortal world), and we will see that storyline developed.

I particularly like how the name in and of itself creates a link between my work and old fairy tales. The story Snow White and Rose Red includes a man enchanted into bear form. Men and women taking animal shapes is a recurring theme in the Goldstone Wood stories, and I enjoy having a subtle nod to the classic tales that inspired those ideas. Part of the fun of writing, for me, is making these “literary nods,” so to speak. A reader with a quick eye might catch references to classic fairy tales, to Shakespeare, to Robert Browning, to Samuel Taylor Coleridge, to Edmund Spenser, to George MacDonald, and so many more! It’s part of how I like to connect myself to the writers of the past.

Come back Wednesday for part two of the interview, in which Anne discusses dragon mythology, faerie knights, her upcoming novel Moonblood, and more.

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Steampunk Insects

I must confess, I’m not a big fan of insects, but these steampunk versions have enough whimsey to appeal to my interest in all things speculative. My imagination quickly started running with ways such automatons could be used, and I thought others might enjoy this bit of Friday fun and inspiration as well.

Tom Hardwidge of Arthrobots creates these gleaming little creatures from assorted bits of metal, including watch gears and discarded ammunition:

Steampunk grasshopper from Arthrobots

Steampunk butterfly from Arthrobots

Steampunk hornet from Arthrobots

Steampunk dragonfly from Arthrobots

And Insect Lab has come up with its own version of steampunk insects, which involves fusing real (dead) insect specimens with steampunk cogs, gears, and other metallic components for intriguing (and slightly creepy) works of art.

Steampunk beetle from Insect Labs

Steampunk butterfly from Insect Labs

Did any of these catch your fancy? Or were they too reminiscent of real world creepy-crawlies to inspire you?

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Christian Fantasy News and Releases, February 2012

Though they say never to judge a book by its cover, I’m intrigued by the design of I Am Ocilla, and the hint of conflict promised by the dragon reflected in the eye of a woman. Based on the description, it sounds like an epic fantasy adventure, and I’m looking forward to reading it. And if you like books that fall closer to the science fiction end of the speculative spectrum, you may want to take a look at The Radiance.

You’re also welcome to share about any other Christian speculative fiction novels releasing this month in the comments, if you want.

I Am Ocilla book coverI Am Ocilla
by Diane M. Graham

Five hundred years ago, five kingdoms were cursed by a dark stranger when he failed in his plot to overtake the world. He vanished, slipping through a rip in time leaving behind devastation that separated the five kingdoms. Rumors spread of his return and a desperate search for the Chosen One begins. For only the Chosen One can fulfill the prophecy and free the world from the evil one’s grasp.

How important is a name? For Ocilla, it’s all she knows of her life. Trapped in a dungeon, she remembers nothing else, and in her darkest hour she believes dying is so much easier than the fight to live. But destiny will soon change everything when the search for the Chosen One brings two strangers to her cell door.

Travel with Ocilla on a fantastical journey to find herself and her true value, as she enters a world where darkness has descended but the bright light of hope shines through for those willing to believe…a world where nothing is quite what you think it is and fantasy is truly reality. In the process, she may find a love so pure and good, she can’t believe she is deserving of such a gift.

Set out on a quest of faith, not common sense.

The Radiance book coverThe Radiance
by John Robinson

Former Army Ranger Travis Walker discovers hope for his shattered life coming from an unexpected source. A force of mysterious origin, dubbed the Radiance, is causing worldwide intelligence, both human and animal, to advance at a horrifying rate. Worse, no one knows when the effect will stop…or if it can be stopped.

A crack team of scientists and military leaders–and headed by Travis’s wealthy industrialist brother Cale–is hastily assembled to combat the phenomenon. Against his better judgment Travis is drafted into this group to give his “everyman” take on things. There he finds himself running on an inside track, battling not only worldwide hopelessness, terrorism, and greed, but his own dark and cynical passions as well.

And it is here, in this strange new battlefield at the brink of Armageddon, the wounded warrior finds his hard-won skills being called upon, one last time.

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Tale as Old as Time: The Art and Making of Beauty and the Beast

Tale As Old As TimeIf you’re interested in fairy tales, you’ll likely want to read Tale as Old as Time, a non-fiction exploration of the creative process that transformed the familiar story of Beauty and the Beast to the Disney film that many of us enjoy.

In eleven chapters, the book captures the progression of bringing a fairy tale to the screen, and the way that the concepts of the writers, artists, and producers changed over time to bring us the film in its final version. The writing style makes for easy reading, and abundant images taken from various stages of the illustration process provide a visual demonstration of the development of the film.

The book explores what started Disney down the path of adapting Beauty and the Beast, and I was surprised to learn how little their initial thoughts resembled the final version of the film. The earliest and most simplistic version had the prince terrorizing small animals in the forests of his kingdom, after which he was turned into a beast himself, so that he might be taught a lesson. A number of other renditions followed this, bouncing between 15th century and 18th century France, changing the plot in various ways, and adding or subtracting a number of cast members. One early version portrayed Belle with two older sisters and three suitors, while another concept gave her a younger sister, a pet cat, and an overbearing aunt who was behind much of the villainy in the film, including the attack on the Beast’s castle at the end.

The primary characters themselves also underwent some significant changes, especially the Beast and Gaston. Initially, Gaston was portrayed as an aristocratic fop, a silly and almost effeminate individual, then as a muscular but rather unattractive lout, and finally as the handsome and proud hunter. His ultimate depiction as outwardly attractive and inwardly ugly was meant to serve as a foil to the Beast, a hideous creature on the outside, but a man of good character on the inside.

It took some time for the artists to settle on the depiction of the Beast, and at points he strongly resembled an ape or a wild boar, before the final design which captured “the beard of the buffalo, as well as the massive head, the mane of a lion, a bearlike body, a gorilla’s brow–the strength of that brow with the eyes hidden beneath it–the tusks of a boar and the tail and hind legs of a wolf” to create the familiar form of the Beast. Considerable time went into fleshing out each character, and one note on the development of the Beast even framed his struggles for self-control in terms of the Scripture that states “That which I would do I don’t do and that which I would not do is the very thing I do.”

Both the Beast and Belle have transformative journeys, and in the final version of the film, Belle became a unique Disney heroine with a distinct pattern of growth that allows her to see the beauty in the Beast. Yet her role also underwent some changes as ideas were tossed around. While her appearance didn’t evolve as drastically as some of the other characters, she went from a tomboy and practical trickster to a bookish, dreamy girl, one protective of her father and strong in character–an excellent compliment to the Beast.

Since all emotion must be portrayed on screen, the artists invested a great deal of time and energy toward capturing the transformation of the characters in their drawings. They added nuances meant to convey meaning, with “every element, right down to the color of a costume” intended to “[tell] the audience something about that character and situation.” These little details became a vital part of conveying emotional progression of the story, and their commitment to excellence–even on a tight budget and a strict timeline–paid off as the film won awards and critical acclaim.

Overall, Tale as Old as Time is a fascinating look at the evolution of a fairy tale as well as the creative process of animated film making. Like books, films must create compelling stories, so writers of novels will find much to identify with in the descriptions of the development of the film and the dedicated efforts of all involved to bring new life to a classic fairy tale.

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The Greatest Adventure

Fantasy worldMy childhood years were a feast for the imagination, and for that I’ll always be thankful. Books were in abundant supply–stories of the best sorts that encouraged thought and creativity–and plenty of time for play and exploration also provided fodder for imagination and story-weaving.

As a child, I found that from the simplest things stories sprung and adventure always awaited. An upturned tree in the woods might have treasures entwined in the lattice of exposed roots. A hidden compartment might exist in the most everyday piece of furniture. A rotting barn might suddenly divulge centuries-old secrets.

Just around the corner, surely, something new and wondrous might be found.

Though I no longer go roaming through wood and field hoping to stumble upon adventure, as a reader of fantasy, I bring the desire to discover something new and wonderful to the books I read. I hope to turn a page and find something that will intrigue or delight, something that will pull me into an enchanting new world. And this desire also inspires me to craft stories and worlds of my own.

Sometimes, I think it’s important to remember the thrill of discovery we had as children and to apply that same delight in creativity and imagination to the reading and writing of our stories. As we do, our tales have the potential to remind readers that life truly is a grand adventure, an epic quest that will culminate in a glorious conclusion, however grim it may seem at times. And that is wondrous indeed.

Image credit: joannastar-stock

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The Tolkien Professor

Fantasy Resources

Tolkien Drawing of TaniquetilWould you be interested in listening to a PhD in medieval literature lecture on Tolkien? Most of us don’t have time (or perhaps finances) to take college classes at will, but The Tolkien Professor website makes it possible to listen to courses taught by professor Corey Olsen.

His goal of bridging the gap between the scholars cloistered in the halls of academia and the general public prompted him to make his work available to readers and Tolkien enthusiasts everywhere, which he has done by recording his lectures and making them available online for free.

Some of his classes include Faeries and Fantasy, which explores the “literature of Faerie,” an undergrad Tolkien course, which covers many of Tolkien’s major works, and The Hobbit, which delves into various aspects of the book. Olsen also has made available dialogues between himself and other Tolkien students and scholars.

In addition, his website contains informal podcasts on such topics as On Wingless Balrogs and Tom Bombadil or Comfort Food: Cookery in the Hobbit and Lord of the Rings. The comfort food podcast intrigues me because I did a series a while back on the role of food in fantasy, and I’m interested in hearing a different perspective on the topic.

As I’ve just discovered the site myself, I haven’t had time to listen to the resources Olsen has made available, but I’m downloading several of them for future reference, and I thought some of you might be interested in doing so also.

And I’m curious–have you listened to Olsen’s lectures or podcasts? If so, are there any you would particularly recommend? If not, are you interested in doing so?

Image credit: JRR Tolkien

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American Folklore and Fantasy

Brer Rabbit and The Tar BabyIf I trace my lineage back, it goes to Wales, Ireland, Scotland, England, Germany, and an assortment of other European countries. No small wonder then, that I identify with the folklore from those regions, which provides the roots for much of today’s fantasy. In a sense, these legends are my legends, and fantasy tales written by British authors or borrowing from Western European lore will always remain among my favorites.

Yet stories steeped in American culture connect to my heritage in a different, more immediate way. I remember my great-grandmother, now in her nineties, telling me stories of growing up in the Great Dismal Swamp, tales I found echoed in The Charlatan’s Boy and the Wilderking series by Jonathan Rogers. In his books, I first glimpsed what American-flavored fantasy novels might look like, and from there I began to explore a bit more the unique folklore of the US.

America certainly has its share of unusual legends–think of Paul Bunyan and Brer Rabbit and all manner of tall tales and native lore. And we have some strange mythic creatures, as I explored in this post on the squonk, the tote-road shagamaw, and other odd beasts birthed in the lumber camps and forests of America. Inspired by the legend of the squonk, fellow fantasy writer Jeff Chapman even penned a short story giving his version of its origin.

And many other fantasy writers are choosing to draw from American history and folklore in their novels.  Though he draws from a wide variety of mythologies, ND Wilson places many of his stories in the modern day mid-West, and the setting presents a nice contrast to the fantastical nature of his books. Similarly Patricia Wrede has a series (which I have not read, so don’t know if they are worth recommending) set in the Wild West…only on this frontier, dragons and mammoths roam. This choice to incorporate elements from American history and folklore adds a unique flair in world awash with European style fantasy.

I don’t think fantasy will ever stop taking inspiration from European lore and settings–at least I hope not–but it’s nice to occasionally see something different.

Are there any fantasy novels incorporating American elements that you would recommend? Or any favorite pieces of American folklore that you’d like to share?

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Upcoming Fairy Tale Films

Over the last few years, a record number of filmmakers have turned toward fairy tales for inspiration, and in 2012 alone, an intriguing assortment of fairy tale films will release, not to mention the continued airing of fairy tale television shows Once Upon a Time and Grimm. Given the choice between a book and a film or television show, I’ll almost always choose the book, yet I’m enthusiastic about this trend, since it has the potential to take fairy tales further into popular culture and offer a different view of well-know stories.

Once Upon a Time has already given a fresh perspective on the legend of Snow White, but two full length film versions of the story will release in 2012. Snow White and the Huntsman will offer a more serious take on the tale, in which the huntsman assigned to kill Snow White becomes her protector and equips her to take down the Evil Queen, while Mirror, Mirror offers a comedic adventure story starring Julia Roberts as an evil enchantress who schemes to take the throne of Snow White.

Sleeping Beauty will also get multiple takes with Maleficent, which tells the tale from the perspective of the evil witch, and Sleeping Beauty, which will focus on the princess’s endeavors to escape the dream world which has entrapped her.

In the realm of television, ABC will start airing a television series based on Beauty and the Beast, imagining the classic fairy tale afresh in a fantasy setting. Beauty and the Beast will also get a film retelling at the hands of Guillermo del Toro. Neither project has many details available so far, but I’m sure we’ll hear more as release dates approach.

Amid all the retellings of popular fairy tales, less explored stores like Jack and the Beanstalk and Hansel and Gretel will also appear on the big screen, with Jack the Giant Killer, which casts Jack as an intrepid young farmer who ventures into the kingdom of the giants in search of a kidnapped princess, and Hansel and Gretel: Witch Killers.

And Pixar has invented its own fairy tale story, Brave, which will come out mid-year. Set in the highlands of Scotland, it incorporates many fairy tale elements–a princess, a kingdom in danger, and a curse–but based on the trailer, it appears to mix up those elements in an interesting fashion.

Some of these seem like they may be too dark for me and there’s no way to tell (yet) about the type of content they’ll include, but I’m hoping at least some of them will be appropriate to watch, because I enjoy fresh takes on the old legends.

What about you? Are you looking forward to any of the upcoming fairy tale films? Do you think this trend of fairy tale films will continue?

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Mythic Creature: The Yale

Name: Yale or eale or centicore

Appearance: Roughly the size of a hippopotamus or a large horse, the yale borrowed features from beasts as diverse as a lion and a wild boar. Depending on the legend, its body predominantly resembled either a horse, lion, goat or antelope–most often some odd fusion of all four, with a bit of wild boar thrown in for good measure. Its coloration varied greatly, but its body was often covered in black or tawny fur. However, in heraldry, it often appeared with multi-colored spots dotting its hide. It might have solid hooves, cloven hooves, or heavy paws, but it always had a tail of some sort, usually either tufted at the end like a lion, or long and flowing, like a horse. Occasionally, images show the yale with short stubby nub on its rear instead of a full tail. From its boar-like snout, large tusks often protruded, and two long horns jutted out of its forehead, sometimes straight, other times curved or serrated.

Unique qualities and traits: In descriptions of these horns, the mythic nature of the yale is most clearly seen. According to legend, the horns of a yale could swivel any direction and in battle, one would face forward, the other backward, so if the first was damaged, the second one could be utilized in defense. In the most heated battles, both horns could be employed to defend against more numerous attackers. Some tales even suggest these horns could be rolled up when not in use. Aside from their practical function in fighting or defense, the yale also used its horns to impale its prey–and according to certain sources, demonstrate its mood. Because of its prowess in battle, the yale came to symbolize “proud defense” in medieval heraldry.

Quick facts:

  • Some suggest the name yale might be derived from the Hebrew yael “mountain goat.”
  • The basilisk was considered the natural enemy of the yale. If it encountered the yale asleep, the basilisk would sting it on the forehead, which caused its eyes to swell and burst, killing the beast.
  • Yale University depicts the yale on the president’s banner, the gateway to Davenport college, and the logo of the campus radio station. It also appears in some British colleges.

Sources from myth and legend: As with so many mythic creatures, the first written references to the yale came from Pliny the Elder. Describing the yale, he said, “among the same people is also found the animal called the yale, the size of a hippopotamus, with an elephant’s tail, of black or dark brown in color, with the jaws of a boar and horns more than a cubit in length capable of being moved and which in a fight are raised alternately and presented to the attack or sloped backward in turn as opportunity requires.”

For two centuries following Pliny’s account, the yale received little mention, but then it began to appear with increasing regularity in bestiaries and other accounts, eventually finding a place in medieval heraldry. It first appeared in the heraldry of Henry IV’s younger son John, and gradually was put to use elsewhere. In the 15th and 16th century, many prominent individuals with ties to the royal family incorporated the yale into their heraldry, after which it passed once more into relative obscurity.

Overview: Creatures cobbled together from elements of real-world beasts, the yale were endowed with several imaginative qualities, which carried them from the supposedly factual narrative of Pliny the Elder into the pages of folklore and heraldry.

Your opinions: Why do some mythic creatures (like the yale) fade into relative obscurity while others maintain a high profile for hundreds or even thousands of years?

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Mere Morality in Fiction

Christianity means more than adhering to a certain set of principles, more than observance of the law, as Jesus made quite clear in his dealings with the Pharisees. Though most of us see this as a very basic truth, one that hardly needs stating, sometimes this recognition doesn’t spill over into our stories. We’re content to let them sit at the “merely moral” level, where they fail to touch the heart.

CS Lewis had this to say on the matter, in an essay on the books of Charles Williams:

The public has a distrust for moral books which is not wholly mistaken. Morality has spoiled literature often enough: we all remember what happened to some nineteenth-century novels. The truth is, it is very bad to reach the stage of thinking deeply and frequently about duty unless you are prepared to go a stage further. The Law, as St Paul first clearly explained, only takes you to the school gates. Morality exists to be transcended. We act from duty in the hope that someday we shall do the same acts freely and delightfully. It is one of the liberating qualities in Williams’s books that we are hardly ever on the merely moral level.

If you read or write Christian fiction, it’s likely you will have witnessed the complaints of certain readers about Christian content or “preachiness” in stories. Of course, there are people who will take offense no matter how Christian elements are presented, but sometimes I wonder if part of the issue comes when stories advance mere morals, instead of giving life and breath to the meaning and reality behind the moral. When morals are presented didactically, as a duty rather than a joy, it gives a sense of forced message rather than demonstrating a spiritual element which bubbles up from the creative well of the story.

As Christians, we don’t want to take the approach Charles Perrault did in his versions of familiar fairy tales. He took stories with rich, multi-layered meanings and distilled them down to a moral rule which he announced at the end of each tale, robbing the stories of natural meaning in his desire that none would mistake his moral purpose. Instead, we need to go a step beyond morality to that which defines morality, revealing the beauty and wonder of God Himself the best way we can. It’s rarely easy and often we’ll fall short, but it’s worth seeking to achieve.

In your opinion, what is the difference between merely moral stories as opposed to stories infused with spiritual truth? Do you agree or disagree with my perspective? I welcome all thoughts.

Image credit: marcos_bh

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