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My Latest Grievance

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My Latest Grievance stars the beguiling teenager Frederica Hatch, the "Eloise of Dewing College." Born and raised in the dormitory of this small women's college and chafing under the care of "the most annoyingly evenhanded parental team in the history of civilization," Frederica is starting to feel that her life is stiflingly snug. That all changes with the arrival on campus of a new dorm mother, the glamorous Laura Lee French, the frenetic center of her own universe.
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Overview


My Latest Grievance stars the beguiling teenager Frederica Hatch, the "Eloise of Dewing College." Born and raised in the dormitory of this small women's college and chafing under the care of "the most annoyingly evenhanded parental team in the history of civilization," Frederica is starting to feel that her life is stiflingly snug. That all changes with the arrival on campus of a new dorm mother, the glamorous Laura Lee French, the frenetic center of her own universe.
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Editorial Reviews

From the Publisher
Completely irresistible. Expect high demand for this novel and renewed interest in Lipman's previous seven. Highly recommended.
Library Journal Starred

A novel of warmth, wisdom, love, and redemption that is funny and fun to read.
Booklist, ALA

Up there at the top is where this enchanting, infinitely witty yet serious, exceptionally intelligent, wholly original and Austen-like stylist belongs.
The Washington Post

Lovable, psychologically intricate... Bittersweet farce.
The New York Times Book Review

May be Lipman's best work so far... Every page offers laugh-out-loud dialogue...So entertaining you're sorry to see it end.
The Seattle Times

This is not-to-be-missed reading.
Bookpage

Fay Weldon
It does not matter if I've told you how the book ends; the delights of the journey are everything. Elinor Lipman seems to find difficulty in taking herself seriously, but I think this is superstition -- the better to turn away the wrath of the Gods of Literature, who might strike her down in envy if she catches their eye.
— The Washington Post
Publishers Weekly
Frederica Hatch-the articulate, curious, and na ve narrator of Lipman's eighth novel-proves the perfect vehicle for this satiric yet compassionate family portrait. It's 1976, and psych professors David and Aviva Hatch are honest with their daughter to the point of anatomically correcting Frederica's Barbie dolls. In all their years as a dorm family at a small women's college outside Boston, though, no one mentioned Laura Lee French, David's first wife (and distant cousin). Frederica, now 15 and ready for rebellion, delights in Laura's arrival on campus as a new dorm mother; David and Aviva look on nervously as the two become fast friends. In contrast with Frederica's right-thinking, '60s radical parents, Laura Lee becomes the delicious embodiment of all the moral and psychological complexities of a flawed world beyond campus. Meanwhile, campus itself looks very little like an ivory tower as major scandal brews amid petty gossip. As in previous novels, Lipman addresses sensitive issues (anti-Semitism, adultery, dementia) with delicacy and acerbity. She also nails the shifts and moods of an angry teenager, a grandmother in denial, a philanderer in hiding and a campus in shock. By the end, a smart young girl learns compassion for a world that can be grotesquely, hilariously, disturbingly unfair. (Apr.) Copyright 2006 Reed Business Information.
Library Journal
In the late 1970s, Frederica Hatch is the enchantingly outspoken daughter of brilliant college professors at a minor all-girls college in Massachusetts. Her temperate, mildly eccentric, and lovely parents, also union activists for the faculty of Dewing College, serve as houseparents at one of the dorms, where Frederica has lived her whole life. Wise beyond her years, Frederica takes it in stride when she discovers that her father was married once before and that Laura Lee French, the smashingly solipsistic first wife of Dr. David Hatch, has just been hired as housemother of one of the other dorms. Within hours of her arrival, French seduces the new president of Dewing in a flagrant affair that provides rich fuel for Frederica's hilariously dry wit and searing analysis of adult foibles. Lipman (The Pursuit of Alice Thrift) creates that rare blend of no-nonsense compassion and believable, offbeat innocence that is completely irresistible. Expect demand for this novel and renewed interest in Lipman's previous seven. Highly recommended. [See Prepub Alert, LJ 12/05.]-Beth E. Andersen, Ann Arbor District Lib., MI Copyright 2006 Reed Business Information.
Kirkus Reviews
All hell breaks loose when a new dorm mother arrives at a second-rate New England girl's college in Lipman's eighth romantic comedy (The Pursuit of Alice Thrift, 2003, etc). In 1977, 16-year-old narrator Frederica Hatch lives on the campus of Dewing College with her mother and father, David and Aviva, who serve as houseparents as well as professors of psychology and sociology. Frederica's only friend on campus, sort of, is Marietta Woodbury, daughter of Dewing's new president; the girls have formed an uneasy relationship encouraged by Mrs. Woodbury, who gives Frederica rides to the public high school they both attend. David and Aviva are stereotypical academics: dowdy, painstakingly rational, and committed to liberal causes, particularly those related to employee-management relations on campus. So their daughter is shocked to discover that David was previously married to his distant cousin, Laura Lee French, whom he left for Aviva, his soulmate. Thanks to Frederica's conveniently (if unconvincingly) interfering grandmother, Laura Lee takes a job at Dewing as a dorm mother. Frederica, already chafing at being raised as a kind of college mascot, is initially enchanted by the new arrival's flamboyant style, but Laura Lee is clearly a troublemaker, if not a sociopath. She enjoys making David and especially Aviva uncomfortable. After Frederica introduces her to the college president (in the cafeteria, where the Hatches eat all their meals), Laura Lee and Dr. Woodbury carry on a brazenly open affair, which so humiliates his wife that she attempts suicide by carbon-monoxide poisoning. She survives, but with brain damage-a decidedly unfunny situation for a supposedly comic novel. Lipman ties upthe rest of the plot in typical sprightly fashion: David becomes college president; Laura Lee has a baby who grows up to be a delight; Frederica returns to work at Dewing as an adult. It's as though Mrs. Woodbury's ruined life is just a minor contrivance. Not one of this popular author's best.
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Product Details

  • ISBN-13: 9780618644650
  • Publisher: Houghton Mifflin Harcourt
  • Publication date: 4/10/2006
  • Edition description: None
  • Pages: 256
  • Product dimensions: 5.50 (w) x 8.25 (h) x 0.63 (d)

Meet the Author

Elinor Lipman

ELINOR LIPMAN is the author of eight previous novels, including The Inn at Lake Devine, and My Latest Grievance, winner of the Paterson Fiction Prize. In 2001 she won the New England Book Award for Fiction. The film Then She Found Me, directed by and starring Helen Hunt, is based on her first novel.

Biography

Elinor Lipman began writing fiction in her late 20s, when she enrolled in a creative writing workshop. Since then, she has written a string of bestselling novels, as well as short stories and book reviews. Her books are more than just romantic comedies; Lipman writes entertaining characters who enlighten the plot with their human idiosyncrasies.

Her first release was a collection of short stories, titled Into Love and Out Again (1986). This charismatic collection of stories contains early elements of the thing that would make Lipman a loved novelist: finely drawn characters and page-turning plot twists. The theme of these sixteen stories is the stuff of modern domestic life -- marriage, pregnancy, weight gain and true love.

When Lipman released Then She Found Me (1990), Publisher's Weekly called the debut "...an enchanting tale of love in assorted forms ... a first novel full of charm, humor and unsentimental wisdom." When 36-year-old April Epner suffers the death of both of her adoptive parents, she seeks solace in her quiet, academic life as a Latin teacher in a Boston high school. Bernice Graverman is April's opposite. She's a brash, gossipy talk show host who lives her life with all the tranquility of a stampede. She's also April's birth mother. Lipman's story of their mother and child reunion is unforgettable.

In The Way Men Act (1993), Melinda LeBlanc returns home to Massachusetts to work in the family business. She finds a friend in neighboring shop owner, Libby, and has a one-sided love infatuation with Dennis Vaughan, another small town shop owner. Lipman takes on small town values by portraying the story's interracial relationship with wit and intelligence.

Filled with surprising friendships, Isabel's Bed (1995) tells the story of Harriet Mahoney, a writer at the end of her rope. When Harriet's long-term lover leaves unexpectedly, she moves from Manhattan to Cape Cod for an unusual writing assignment. Harriet has agreed to write the life story of tabloid darling Isabel Krug, a vivacious woman who earned her fifteen minutes of fame for her role as the other woman in a high-profile murder case. Their unusual partnership is the basis for this twisting, hilarious comedy of friendship and trust.

The Inn at Lake Devine (1998) is loosely based on a true story. The serious issue of anti-Semitism is treated with humor -- something Lipman is able to do so wonderfully in all her novels. When Natalie Marx's family is denied entry into the Inn at Lake Devine in Vermont, she plans revenge. But her plans are complicated by a friendship with Robin, fiancé to the son of the Inn's owners. Lipman's deft treatment of the play between discrimination and friendship creates a novel whose characters and setting may as well walk straight off the pages; and readers will find themselves laughing at the most serious of issues.

A committed spinster, Adele Dobbin is reunited with the man who left her at the altar thirty years earlier in The Ladies' Man (1999). Nash Harvey arrives, unannounced of course, on Adele's doorstep, and brings chaos into the lives of Adele and her sisters (also single, aging baby-boomers). In a rousing game of sexual politics, Nash unintentionally forces the sisters, particularly Adele, to examine their desires. Five distinct plot lines weave together seamlessly around Nash and his haphazard, womanizing lifestyle.

Sunny's homecoming in The Dearly Departed (2001) is equally life-altering. When her well-loved mother passes away, an entire small town mourns her departure. Back at the scene of her unhappy teenage years, Sunny dreads facing her former classmates, employers and so-called friends. What she finds is unsettling, but in a healthy way: the small town and its citizens are not nearly as malicious or clueless as she mythologized. Likewise, she realizes, neither was her mother. In a touching blend of social commentary, family drama and romantic impulses, Sunny learns that you can go home again.

The Pursuit of Alice Thrift (2003) is classic Lipman. Serious and shy, Alice aspires to be a philanthropic surgeon, using her skills for charity more than personal gain. That is, if she can make it through the rest of her medical internship. Alice is shaken (and confused) when she falls in love with an eccentric, foul-mouthed fudge salesman. But don't expect too much sentimentality here: Lipman gives away the ending in the first chapter, telling readers that the relationship was kaput, but the fun in reading this book is discovering why the two characters even glanced at each other in the first place. It's a great read -- Lipman places Alice on an unthinkable, yet totally believable path and we get to watch her find her way through.

Good To Know

In our interview with Lipman, she shared some fun facts about herself with us:

"I was nearly fired from my second job, which was writing press releases for Boston's public television station. I couldn't do anything right in the eyes of my newly promoted and therefore nervous boss. I quit after three months, one step ahead of the axe, feeling like an utter failure."

"Tom Hanks and his production company have optioned my fifth novel, The Ladies' Man. Robert Benton (Bonnie and Clyde, Kramer vs. Kramer, Nobody's Fool, Places in the Heart, Billy Bathgate, The Human Stain) is signed on as director and screenwriter."

"I was runner-up for the Best Actress award at Lowell High School in Lowell, Massachusetts, class of '68, after playing Gabrielle (the Bette Davis role) in The Petrified Forest and Elaine (the ingénue/niece) in Arsenic and Old Lace. And I was grievance chairman for the staff union when I worked for the Massachusetts Teachers Association in the late 1970s. Both of these inclinations come in handy to this day."

"I knit all the time."

"I wear a pedometer, aiming for five miles a day -- don't be too impressed; that includes walking around my house and food shopping. Sometimes I walk no farther than my own driveway because I can hear the phone ring -- 12 round-trips equals one mile."

"I cook quite seriously, which I think is an antidote to the writing -- i.e., I finish the project in an hour or two and get feedback immediately."

"I watch golf on television, although I don't golf -- except for visits to the driving range in spurts."

"I wake up at 6:00 a.m. no matter what time I go to bed."

"I was a roving guard on the Lowell Hebrew Community Center's girls' basketball team all through high school. My specialty was stealing the ball, but my only shot was a lay-up."

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    1. Hometown:
      Northampton, Massachusetts, and New York, New York
    1. Date of Birth:
      October 16, 1950
    2. Place of Birth:
      Lowell, Massachusetts
    1. Education:
      A.B., Simmons College, 1972; Honorary Doctor of Letters, Simmons College, 2000

Read an Excerpt

The Perfect Child

I was raised in a brick dormitory at Dewing College, formerly the Mary-Ruth Dewing Academy, a finishing school best known for turning out attractive secretaries who married up.
In the late 1950s, Dewing began granting baccalaureate degrees to the second-rate students it continued to attract despite its expansion into intellectual terrain beyond typing and shorthand. The social arts metamorphosed into sociology and psychology, nicely fitting the respective fields of job seekers Aviva Ginsburg Hatch, Ph.D., my mother, and David Hatch, Ph.D., my father. Twin appointments had been unavailable at the hundred more prestigious institutions they aspired and applied to. They arrived in Brookline, Massachusetts, in 1960, not thrilled with the Dewing wages or benefits, but ever hopeful and prone to negotiation—two bleeding hearts that beat as one, conjoined since their first date in 1955 upon viewing a Movietone newsreel of Rosa Parks’s arrest.
Were they types, my parents-to-be? From a distance, and even to me for a long time, it appeared to be so. Over coffee in grad school they’d found that each had watched every black-and-white televised moment of the Army-McCarthy hearings, had both written passionately on The Grapes of Wrath in high school; both held Samuel Gompers and Pete Seeger in high esteem; both owned albums by the Weavers. Their wedding invitations, stamped with a union bug, asked that guests make donations in lieu of gifts to the presidential campaign of Adlai Stevenson.
It was my father who proposed that their stable marriage and professional sensitivities would lend themselves to the rentfree benefit known as houseparenting. The dean of residential life said she was sorry, but a married couple was out of the question: Parents would not like a man living among their nubile daughters.
“What about a man with a baby?” my father replied coyly. It was a premature announcement. My mother’s period must have been no more than a week late at the time of that spring interview, but they both felt ethically bound to share the details of her menstrual calendar. He posited further: Weren’t two responsible, vibrant parents with relevant Ph.D.s better than their no doubt competent but often elderly predecessors, who—with all due respect—weren’t such a great help with homework and tended to die on the job? David and Aviva inaugurated their long line of labor-management imbroglios by defending my right to live and wail within the 3.5 rooms of their would-be apartment. If given the chance, they’d handle everything; they’d address potential doubts and fears head-on in a letter they’d send to parents and guardians of incoming Mary-Ruths, as we called the students, introducing themselves, offering their phone number, their curricula vitae, their open door, and their projected vision of nuclear familyhood.
The nervous dean gave the professors Hatch a one-year trial; after all, an infant in a dorm might disrupt residential life in ways no one could even project, prepartum. And consider the mumps, measles, and chicken pox a child would spread to the still susceptible and nonimmunized.
On the first day of freshman orientation, three months’ pregnant, my mother greeted parents wearing maternity clothes over her fl at abdomen, an unspoken announcement that most greeted with pats and coos of delight. Mothers testified to their daughters’ babysitting talents. My father demurred nobly. “We’d never want to take any one of our girls away from their studies,” he said.
When I was born in February 1961, it was to instant campus celebrity. It didn’t matter that I was bald and scaly, quite homely if the earliest Polaroids tell the story. Photo album number one opens not with baby Frederica in the delivery room or in the arms of a relative, but with me—age ten days—in a group photo of the entire 1960–61 population of Griggs Hall. A competent girl with a dark flip and a wide headband, most likely a senior, is holding me up to the camera. My eyes are closed and I seem to be in the windup for a howl. My mother stands in the back row, a little apart from the girls, but smiling so fondly at the camera that I know my father was behind it.
David Hatch would be a role model before the phrase was on the tip of every talk show hostess’s tongue. He paraded me in the big English perambulator, a joint gift from the psych. and soc. departments, along the ribbons of sidewalk that crisscrossed the smallish residential campus, or carried me against his chest in a homemade sling, which my mother modeled on cloths observed during her fieldwork in a primitive agrarian society. In public, at the dining hall, he spooned me baby food from jars, switching off withh my mother—she nursed, he fed—causing quite the stir those many decades ago. He was a man ahead of his time, and the adolescents—hhhhhis grad school concentration—noticed. My mother predicted that Dewing grads, especially Griggs alums, would blame us when their future husbands didn’t stack up to Professor-Housefather Hatch, the most equal of partners.

We lived our fishbowl lives in three and a half wallpapered rooms furnished with overstuffed chairs and antique Persian rugs, the legacy of a predecessor who had died intestate. We had a beige half kitchen with a two-burner stove, a pink-tiled bathroom, a fake fireplace, and a baby grand piano, which the college tuned annually at its own expense, presumably in the name of sing- alongs and caroling. The nursery was a converted utility closet with a crib, later a cot. When I was seven, my parents petitioned the college to enlarge our quarters by incorporating a portion of Griggs Hall’s living room into our apartment. Noting my birth date, they asked the college to consider fashioning Miss Frederica Hatch, the unofficial mascot of Griggs Hall, a real bedroom; it was, after all, her sabbatical year.
The board of trustees said yes to the renovation. Griggs Hall had become the most popular dorm on campus, despite its architectural blandness and its broken dryers. The Hatch family had worked out beautifully; more married couples had become dorm parents. Some had babies, surely for their own reasons, but also after I was a proven draw. When I went to college in the late 1970s, to a bucolic campus where dogs attended classes with their professor- masters, I noted that these chocolate labs and golden retrievers were the objects of great student affection, supplying something that was missing for the homesick and the lovesick. The dogs reminded me of me.
I was a reasonable and polite child, if not one thoroughly conscious of her own model-childness. Because I needed to be the center of attention—the only state I’d ever known—I developed modest tricks that put me in the spotlight without having to sing or tap-dance or raise my voice: I ate beets, Brussels sprouts, and calf ’s liver. I drank white milk, spurning the chocolate that was offered. I carried a book at all times, usually something recognized by these C-plus students as hard, literary, advanced for my years. I drew quietly with colored pencils during dorm meetings. I mastered the poker face when it came to tasting oddball salad-bar combinations (cottage cheese and ketchup, peanut butter on romaine) favored by adolescent girls so that I’d appear worldly and adventurous.
Over the years, certain objects and rituals became synonymous with me: the wicker basket with its gingham lining in which the infant me attended classes; a ragged blanket that my psychologically astute parents let me drag everywhere until it dissolved; the lone swing that my father hung from the sturdiest red maple on campus; first a pink tricycle, then a pink two- wheeler, its handlebars sprouting streamers, which I garaged on the porch of Griggs Hall, no lock needed.
I didn’t exactly raise myself, especially with five floors of honorary sisters living above me at all times. But there was the omnipresent ID card around my neck granting me entrance to all buildings and all meals, with or without a parent. Aviva and David were busy with their classes, their advisees, and increasingly their causes. Assassinations at home and wars abroad necessitated their boarding buses for marches in capital cities, but babysitters were plentiful. I was safe at Dewing, always, and good with strangers. Tall, spiked wrought-iron fencing surrounded our sixteen acres, a relic from the days of curfews and virginity.
Between seventh and eighth grade, I grew tall; incoming freshmen took me for a baby-faced classmate, which was to me a distressing development. I had no intention of blending in. I wanted to be who I’d become, the Eloise of Dewing College, an institution that others, transients, occupied only fleetingly.
Looking back today from adulthood, it’s too easy to idealize my childhood in an exurban Brigadoon, Boston skyline in the distance and, for the most part, kind girls in every chair. We hoped Dewing could get better, its standards higher, its students brighter, its admission competitive, but it wasn’t to be. Smart candidates would soon attend schools that accepted men and boasted hockey rinks. Housemothers came and went throughout my Dewing years. There was less intra-houseparent socializing than one would expect, given the geography of our lives. The older ladies, some carryovers from the secretarial training days, wore—or so it seemed to me—perpetual scowls. They couldn’t hide their disapproval of modern Mary- Ruths in blue jeans, of their unstockinged legs, their gentlemen callers, their birth control prescriptions. Where were the debutantes of old? The girls who wore fraternity pins on their pastel sweaters and foundation garments beneath them?
My outside friends saw my home as the whole of Griggs Hall and beyond, its acres of campus lawn and flowering trees, vending machines on every floor, cool and pretty girls whose perfumed copies of Glamour, Mademoiselle, and Vogue beckoned from open mailboxes for hours before they were retrieved. They envied my long reign as the charter mascot. Often I came to school with my hair braided and adorned in intricate ways, courtesy of a team of boarders who preferred hairdressing to homework.
Eventually everyone, even my unconventional and high-profile mother (union grievance chairperson, agitator, perennial professor of the year, and public breast-feeder), faded to gray in the archives of Dewing houseparenting. When I was sixteen, the college hired the enthralling and once glamorous Laura Lee French, most recently of Manhattan, maybe forty, maybe more, to pilot Ada Tibbets Hall, the artistic and wayward girls’ dorm next to Griggs. The timing was excellent: I was growing invisible by then, a teenager rather than a pet, despite the darling Halloween photos of me in every yearbook printed since my birth. Just as I was craving more attention, along came Laura Lee, dorm mother without a day job, single, childless, and ultimately famous within our gates.
We overlapped for two years. It was awkward even for my parents, unembarrassable progressives though they were. Fearing scandal and campus glee, we four kept our secret: that Laura Lee French, in the distant past, had been married to my father.

Copyright © 2006 by Elinor Lipman. Reprinted by permission of Houghton Mifflin Company.

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Sort by: Showing all of 8 Customer Reviews
  • Posted February 9, 2012

    almost titilating!!!

    Highly reccommended by Roman Polanski and other like minded gent sonn to be arrested for the sexual abuse of a 12 to 13-year-old girls or other charges of unlawful sex with a minor. Hey, if you can't get out of the house because of that whole 'registered sex offender' thing, at least you can have some 'alone time' with these book written for teens, tweens, and confused 34 year music teachers.

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  • Anonymous

    Posted May 16, 2007

    My Latest Grievance

    If you cross the satirical characters of P.J. Wodehouse and the sparkling wit of Jane Austen's novels, you'll have something approaching the delight that is Elinor Lipman's latest novel, i My Latest Grievances /i . Narrator Frederica Hatch, 16, is the daughter of maddeningly politically-correct professor parents who live on campus. Raised on college meals and a philosophy of fighting for the 'depressed and dishevelled', she wishes for cooler, and more conventional parents whos dress stylishly and travel by car instead of bicycle. One day, she finds out that her kindly but dowdy father had a glamorous first wife - shock! - and the woman had landed a job at the college. The novel then skips along at a breezy, lighter-than-air pace. Helped by witty and snappy dialogue, each turn of the page brings new and hilarious revelations. First wife Laura Lee, a self-absorbed drama queen, starts a string of messy scandals, with the poor Hatches having to clean up after her. Frederica's smart-alecky, mordant voice is a triumph. Her parody of her parents' educated and socially conscious speech patterns - hence the title - is sharp and often very, very funny. For example, when Frederica suggests a visit to Grandma, her parents embrace her 'in a group hug as a reward for my outreach'. But underneath the effortless polish, this is an optimistic and wise tale about a daughter coming to love her embarrassing parents. Pity it is so short.

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  • Anonymous

    Posted August 13, 2006

    Elinor's at it again!

    I liked this one. It's Elinor at her best. I started reading it this morning and couldn't stop until I'd finished it. She has such a great ear for dialogue. Loved the way she can crawl inside the vernacular of a 16 year old girl!

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  • Anonymous

    Posted June 8, 2006

    Not my favorite

    I finished the book, but more out of curiousity to see how it ended than out of enjoyment. I didn't find any of the characters likable, and Fredericka was close to being insufferable. I warmed up to her when she showed compassion towards Grace, and I was glad that it wasn't out of an ulterior motive. However, the whole story was depressing, and the ending was rushed and unsatisfying. I expected more from Ms. Lipman, whose other books I've thoroughly enjoyed. I hope the next one is a little lighter.

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    Posted October 29, 2014

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    Posted October 19, 2012

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    Posted September 28, 2010

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    Posted May 8, 2011

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