The Souls of Black Folk: Original Classic Edition

The Souls of Black Folk: Original Classic Edition

by W. E. B. Du Bois

Narrated by Raymond Hearn

Unabridged — 7 hours, 36 minutes

The Souls of Black Folk: Original Classic Edition

The Souls of Black Folk: Original Classic Edition

by W. E. B. Du Bois

Narrated by Raymond Hearn

Unabridged — 7 hours, 36 minutes

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Overview

Raymond Hearn, the narrator of this edition, did an incredible rendition similar to what he did for The Narrative of the Life of Frederick Douglas

"EITHER AMERICA WILL DESTROY IGNORANCE OR IGNORANCE WILL DESTROY THE UNITED STATES." -W.E.B. Du Bois


This classic groundbreaking work of American literature first published in 1903 is a cornerstone of African-American literary history and a seminal work in the field of sociology.

W.E.B. Du Bois, who drew from his own experiences as an African-American living in American society, explores the concept of "double-consciousness"-a term he uses to describe living as an African-American and having a "sense of always looking at one's self through the eyes of others."

With Du Bois' examination of Black life in post-Civil War America, his explanation of the meaning of emancipation and its effect, and his views on the roles of the black leaders of his time, The Souls of Black Folk is one of the important early works in the field of sociology. His fourteen essays have had a lasting impact on civil rights and the discussion of race in the United States. The essays include these topics:
  • "OUR" SPIRITUAL STRIVINGS
  • THE DAWN OF FREEDOM
  • MEANING OF PROGRESS
  • TRAINING OF BLACK MEN
  • THE SONS OF MASTER AND MAN
  • FAITH OF THE FATHERS
  • SORROW SONGS
  • AND MORE
WILLIAM EDWARD BURGHARDT DU BOIS (1868-1963) was an American sociologist, historian, civil rights activist, Pan-Africanist, author, writer and editor. Born in Massachusetts, Du Bois grew up in a relatively tolerant and integrated community, and after completing graduate work at the University of Berlin and Harvard, (where he was the first African-American to earn a doctorate), he became a professor of history, sociology and economics at Atlanta University. Du Bois was one of the founders of the NAACP.

Editorial Reviews

Sacred Fire

Herein lie buried many things, which if read with patience may show the strange meaning of being black here in the dawning of the Twentieth Century.

Born in Massachusetts in 1868, William Edward Burghardt Du Bois was the foremost black intellectual of his time—and mind you, his time stretched all the way from Reconstruction to the civil rights movement of the 1960s. A man of staggering intellect and drive, he was the first black to hold a doctorate from Harvard University. Du Bois wrote three historical works, two novels, two autobiographies, and sixteen pioneering books on sociology, history, politics, and race relations. He was a founder of the NAACP, pioneering Pan-Africanist, spirited advocate for world peace, and tireless fighter for civil rights during the darkest days of Jim Crow.

Du Bois was also a prophet: At the turn of the century, he wrote in the "forethought" of this seminal collection of essays that "the problem of the Twentieth Century is the problem of the color line." That statement has resonated throughout this turbulent century and remains just as fresh today as in 1903. The Souls of Black Folk, a collection of fourteen powerfully written essays that are by turn testimony and autobiography, stands as a monumental achievement and quite possibly his most influential work. The book is both a vivid portrait of the conditions facing freshly emancipated black folk at the turn of the century and a still-relevant discussion of the dilemma of race in the United States. It was here that Du Bois introduced his influential concept of "double-consciousness": the struggle of black people trying to define themselves as both black and American.

What makes these unflinching, luminous, and troublesome essays so powerful is that each builds upon the other to try to answer questions about race that have perplexed, enraged, and divided America for over a century. Written in part to counter Booker T. Washington's prevailing strategy of accommodation, The Souls of Black Folk created a fresh way of looking at and protesting the multifaceted oppression of black people.

New York Times Book Review

The Souls of Black Folk throws much light upon the complexities of the negro problem, for it shows that the key note of at least some negro aspiration is still the abolition of the social color line. -- New York Times review, April 1903; Books of the Century

Library Journal

Du Bois's 1903 classic is one of many large-print standards being released by Transaction. Other new titles in the series include Sir Walter Scott's Rob Roy (ISBN 1-56000-523-8), Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde (ISBN 1-56000-517-3), H.G. Wells's The Island of Dr. Moreau (ISBN 1-56000-515-7), Jane Austen's Northanger Abbey (ISBN 1-56000-507-8), E.M. Forster's A Passage to India (ISBN 1-56000-507-6), and Scott Fitzgerald's The Ice Palace and Other Stories (ISBN 1-56000-511-4). These are available in a mixture of paperback and hardcovers, with prices ranging from $17.95 to $24.95.

From the Publisher

Praise for the Restless Classics Edition:

“With a striking new introduction written by Atlantic journalist Vann R. Newkirk II and riveting artwork from printmaker Steve Prince, Restless Classics' new edition of The Souls of Black Folk is presented—in all its relevancy—as a crucial work of sociology that is applicable to the current political, economic and social climate more than a century later. To understand the driving force behind today’s current Black liberation movement, to recognize the historic pattern and large scope of state violence against communities of color, to dissect the most recent wave of white nationalism surging through the nation is to know the duality of African-American life presented by W.E.B Du Bois in The Souls of Black Folk. Hailed as the bedrock of any examination on Blackness in America—from literature to front-line resistance—the century-old exploration of 'the color line' stands unblemished by time, its wholeness applying fully to the era of Barack Obama, Black Lives Matter and Donald Trump. Presented by Restless Classics, with a pointed introduction by journalist Vann R. Newkirk II, the newest edition of Du Bois’ work presents itself through the lens of today’s political and social climate, highlighting the ugly truth that white supremacy’s roots still grip America and serving as an introduction to a generation fighting a familiar battle for liberation, one that our elders have already witnessed . . . Newkirk’s introduction . . . examines the immortality of what can be considered the most important piece of literature to date.”

—Christina Coleman, Essence


“W.E.B. Du Bois’s The Souls of Black Folk, a fundamental American work of both sociology and literature, remains relevant, influential, and uncomfortably alive 114 years after its first publication in 1903. My first exposure to the book, however, has been this new edition from Restless Books. As a well-read, liberal-arts-educated white Jewish American, I finished its final chapter feeling my own soul had been expanded, my perspective widened, my mind enlightened and even amazed.… All these years later I’ve discovered that The Souls of Black Folk is a remarkable book of multiple dimensions, a literary masterpiece of commentary and sociology. In style it reflects its author’s classical education, but in other ways it is sui generis, and its importance can scarcely be overestimated.… Reflecting on my own reading of [Ta-Nehisi] Coates over the past few years, I now see a literary kinship between the old socialist and the modern-day advocate for reparations.… Dead for over half a century now, William Edward Burghardt Du Bois still walks down the world through his thought and his prose. The new, well-produced, relatively inexpensive trade paperback edition from Restless Books offers an excellent opportunity to broaden our perspective on questions of race in America by increasing our understanding of racism’s history and sociology, enlightened by one of the country’s most creative minds. There’s creativity beyond Du Bois here too, with illustrations that are alone almost worth the price of the book. A series of linoleum block prints by Steve Prince illustrates the book’s history and themes with swirling scenes of struggle and defiance, portraits, and iconography.”

—Jon Sobel, Blogcritics


“The first book anyone seeking to understand black American life ought to read, and a basic requirement of civic literacy, 114 years after the fact. The richness of W. E. B. Du Bois’s prose, scholarship, and memoir needs no amplification from me, nor does its sadly continuing relevance.… Aside from Vann R. Newkirk II’s of-the-moment introduction, what sets the current volume apart are the illustrations between Du Bois’s essays by Steve Prince. The stark detail of his black-and-white linoleum cuts highlight the universal aspects of Du Bois’s assertions, and further connect what is essentially a collection of fourteen disparate essays held together initially by Du Bois’s references to black spirituals.… Newkirk’s introduction makes the connections clear, and Prince’s art makes them palpable. If there’s a young reader or student who’s yet to encounter this seminal text, start them off with this new, vital version.… As the new version of The Souls of Black Folk suggests, the potential for the visual storytelling of black life is almost as vast as black life itself.”

—Mark Reynolds, PopMatters


“First published in 1903, The Souls of Black Folk remains an iconic text that conceptualizes what it means to be black in America. Written as a collection of essays, a short story, songs and poems, Souls traces a psychological and philosophical narrative on race unlike any text before it, and quite frankly, after it…. The book’s purpose could be seen as formulating an early critique to white hegemony, which increasingly saw blackness, both culturally and politically, as problematic. To say that we have found a solution to America’s racial divergence would be misleading when one considers our current political and social climates. Indeed, the continuity bridging the moment of Souls’ first appearance to the time of this newly reprinted volume from Vann R. Newkirk II and Steve Prince (Restless Books, 2017) illustrates the tumultuous road we are yet traveling….

In what operates as both a critical and personal introduction to this new edition of Souls, Newkirk takes into consideration the prominence of the book when it was first published as well as his own story of how he came to admire the work…. For Newkirk, Souls is a primer for young activists who adamantly oppose white supremacy in the twenty-first century. But it is also—he insists—fundamental to any non-black person who seeks to better understanding the warring dualities of African American self-perception within current racial and political issues….

Working with Newkirk, Steve Prince includes ten art pieces within the volume, thereby bridging “current black art and cultural criticism” wonderfully. It should be mentioned that one of Du Bois’ aims in Souls is to show the importance of black art and cultural productions, so it was refreshing to see how well Newkirk and Prince collaborated to bring this aspect to the page. The art, which Prince creates from the imagery of Du Bois’s seminal text, draws upon the storied form of block printing—from German Expressionism to revolutionary Mexican print to the Black Arts and Black Power movements. Prince’s artwork showcases the power of resistance in the “face of hegemony”....The images are in black and white, expressive of the color line, and are each majestically drawn to cover two pages. They are grand, beautiful, and fulfilling within the context of Du Bois’s words. The inclusion of Prince’s artwork alone makes this new edition worth picking up. Readers will be amazed at the complexity of these pieces and how they pair visually with Du Bois’s critique of America.

Souls is required reading. Just as it was important then and is important now, a text such as this will be even more important as the future unfolds…. Newkirk’s introduction is worth reading, as well…. In short, Du Bois captures the essence of black life in post-Reconstruction America more vividly and creatively than any other writer. And Newkirk and Prince, in keeping with Du Bois’s own goal—“to make a name in science, to make a name in art and thus to raise my race”—recapitulate this essence in this new edition of The Souls of Black Folk.”

—Don Holmes, The Carolina Quarterly


Praise for Previous Editions:

“Dr. Du Bois was not only an intellectual giant exploring the frontiers of knowledge, he was in the first place a teacher. He would have wanted his life to teach us something about our tasks of emancipation. One idea he insistently taught was that black people have been kept in oppression and deprivation by a poisonous fog of lies that depicted them as inferior, born deficient and deservedly doomed to servitude to the grave . . . Dr. Du Bois recognized that the keystone in the arch of oppression was the myth of inferiority and he dedicated his brilliant talents to demolish it.”

—Martin Luther King, Jr.


"Du Bois . . . wrote knowing full well that what he said was neither palatable nor negotiable, that a large portion of the country would not be swayed, and that the truth, in and of itself, must be enough. It is often said that this space lacks for hope. Here is your bone for the day: In the academy, Du Bois was victorious. He did not live to see that victory, but it is his view on the centrality of white supremacy that now carries the day.”

—Ta-Nehisi Coates


“What Dr. Du Bois showed is that he had enormous courage. I would encourage young men and women, black and white and Asian and Spanish speaking and all, all to look at Dr. Du Bois and realize that courage is the most important of all the virtues, because without courage you can’t practice any other virtue consistently. You can’t be consistently fair or kind or generous or forgiving any of those without courage.”

—Maya Angelou


"Du Bois's most important gift to the black literary tradition is, without question, the concept of the duality of the African-American, expressed metaphorically in his elated metaphors of ‘double-consciousness’ and the ‘veil.’”

—Henry Louis Gates, Jr.


“The impact of The Souls of Black Folk on black American writing, and on writing about black America, is all the clearer. The descent of the imaginative treatments of two-ness, invisibility, and the magic behind the veil, from Ellison to Baldwin to Morrison, has by now become a stock theme in accounts of modern American literature. But the book’s radicalism, its astonishing precocity, hardly ends there. It would take more than fifty years for mainstream American historical writing to catch up with Du Bois’ insight about the resilience and spiritual depth of the slaves’ culture, and about the benefits of Reconstruction and the ex-slaves’ role in achieving those benefits . . . And historians have only begun to comprehend and amplify Du Bois’ claim that American culture has been marked, indeed defined, by black people’s presence.”

—Sean Wilentz


“Du Bois is the brook of fire through which we all must pass in order to gain access to the intellectual and political weaponry needed to sustain the radical democratic tradition in our time.”

—Cornel West


“I never emulated white men and brown men whose fates didn’t speak to my own. It was into my father’s image, the black man, son of Africa, that I’d packed all the attributes I sought in myself, the attributes of Martin and Malcolm, Du Bois and Mandela.”

—Barack Obama

Library Journal - Audio

03/01/2017
The Souls of Black Folk is not a mere book; it is a text. The African American intellectual/civic leader/activist's classic 1903 work is a compendium of genres: autobiography, biography, philosophy, literary fiction, cultural criticism, political analysis, sociological study, and historiography. The title captures the essence but not the sweep of the author's project. Du Bois's (1868...1963) illuminations of American souls, black and white, are penetrating, even lacerating, and endure more than a century after his writing. Rodney Gardiner speaks Du Bois's 19th-century words and syntax clearly and naturally. His tone tends to be slightly more formal than conversational but not studied or professorial. He reads fluidly, not dramatically. This might make the history-dense sections--for example, on the trajectory of the Bureau of Refugees, Freedmen, and Abandoned Lands, or the formation of black colleges in the South--slow going for some. Still, to encounter Souls aurally, through Gardiner, is truly to hear the beauty of Du Bois's descriptive prose, such as the two summers he spent as a young man teaching in rural Tennessee. VERDICT Not always easy listening, but a fine way to experience Du Bois as a polymathic thinker and masterful writer.--Brian Palmer, Richmond

Product Details

BN ID: 2940160185842
Publisher: G&D Media
Publication date: 11/14/2023
Edition description: Unabridged

Read an Excerpt

Between me and the other world there is ever an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter round it. They approach me in a half-hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or, I fought at Mechanicsville; or, Do not these Southern outrages make your blood boil? At these I smile, or am interested, or reduce the boiling to a simmer, as the occasion may require. To the real question, How does it feel to be a problem? I answer seldom a word.

And yet, being a problem is a strange experience--peculiar even for one who has never been anything else, save perhaps in babyhood and in Europe. It is in the early days of rollicking boyhood that the revelation first bursts upon one, all in a day, as it were. I remember well when the shadow swept across me. I was a little thing, away up in the hills of New England, where the dark Housatonic winds between Hoosac and Taghkanic to the sea. In a wee wooden schoolhouse, something put it into the boys' and girls' heads to buy gorgeous visiting-cards--ten cents a package--and exchange. The exchange was merry, till one girl, a tall newcomer, refused my card,--refused it peremptorily, with a glance. Then it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their world by a vast veil. I had thereafter no desire to tear down that veil, to creep through; I held all beyond it in common contempt, and lived above it in aregion of blue sky and great wandering shadows. That sky was bluest when I could beat my mates at examination time, or beat them at a foot-race, or even beat their stringy heads. Alas, with the years all this fine contempt began to fade; for the worlds I longed for, and all their dazzling opportunities, were theirs, not mine. But they should not keep these prizes, I said; some, all, I would wrest from them. Just how I would do it I could never decide: by reading law, by healing the sick, by telling the wonderful tales that swam in my head,--some way. With other black boys the strife was not so fiercely sunny: their youth shrunk into tasteless sycophancy, or into silent hatred of the pale world about them and mocking distrust of everything white; or wasted itself in a bitter cry, Why did God make me an outcast and a stranger in mine own house? The shades of the prison-house closed round about us all: walls strait and stubborn to the whitest, but relentlessly narrow, tall, and unscalable to sons of night who must plod darkly on in resignation, or beat unavailing palms against the stone, or steadily, half hopelessly, watch the streak of blue above.

After the Egyptian and Indian, the Greek and Roman, the Teuton and Mongolian, the Negro is a sort of seventh son, born with a veil, and gifted with second sight in this American world--a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one&rsquos self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity. One ever feels his twoness,--an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.

The history of the American Negro is the history of this strife,--this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face.

This, then, is the end of his striving: to be a co-worker in the kingdom of culture, to escape both death and isolation, to husband and use his best powers and his latent genius. These powers of body and mind have in the past been strangely wasted, dispersed, or forgotten. The shadow of a mighty Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Throughout history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness. Here in America, in the few days since Emancipation, the black man's turning hither and thither in hesitant and doubtful striving has often made his very strength to lose effectiveness, to seem like absence of power, like weakness. And yet it is not weakness,--it is the contradiction of double aims. The double-aimed struggle of the black artisan--on the one hand to escape white contempt for a nation of mere hewers of wood and drawers of water, and on the other hand to plough and nail and dig for a poverty-stricken horde--could only result in making him a poor craftsman, for he had but half a heart in either cause. By the poverty and ignorance of his people, the Negro minister or doctor was tempted toward quackery and demagogy; and by the criticism of the other world, toward ideals that made him ashamed of his lowly tasks. The would-be black savant was confronted by the paradox that the knowledge his people needed was a twice-told tale to his white neighbors, while the knowledge which would teach the white world was Greek to his own flesh and blood. The innate love of harmony and beauty that set the ruder souls of his people a-dancing and a-singing raised but confusion and doubt in the soul of the black artist; for the beauty revealed to him was the soul-beauty of a race which his larger audience despised, and he could not articulate the message of another people. This waste of double aims, this seeking to satisfy two unreconciled ideals, has wrought sad havoc with the courage and faith and deeds of ten thousand thousand people,--has sent them often wooing false gods and invoking false means of salvation, and at times has even seemed about to make them ashamed of themselves.

Away back in the days of bondage they thought to see in one divine event the end of all doubt and disappointment; few men ever worshipped Freedom with half such unquestioning faith as did the American Negro for two centuries. To him, so far as he thought and dreamed, slavery was indeed the sum of all villainies, the cause of all sorrow, the root of all prejudice; Emancipation was the key to a promised land of sweeter beauty than ever stretched before the eyes of wearied Israelites. In song and exhortation swelled one refrain--Liberty; in his tears and curses, the God he implored had Freedom in his right hand. At last it came,&mdashsuddenly, fearfully, like a dream. With one wild carnival of blood and passion came the message in his own plaintive cadences:--

'Shout, O children!
Shout, you're free!
For God has bought your liberty!'

Years have passed away since then,--ten, twenty, forty; forty years of national life, forty years of renewal and development, and yet the swarthy spectre sits in its accustomed seat at the Nation's feast. In vain do we cry to this our vastest social problem:--

'Take any shape but that, and my firm nerves
Shall never tremble!'

The Nation has not yet found peace from its sins; the freedman has not yet found in freedom his promised land. Whatever of good may have come in these years of change, the shadow of a deep disappointment rests upon the Negro people,--a disappointment all the more bitter because the unattained ideal was unbounded save by the simple ignorance of a lowly people.

The first decade was merely a prolongation of the vain search for freedom, the boon that seemed ever barely to elude their grasp,--like a tantalizing will-o'-the-wisp, maddening and misleading the headless host. The holocaust of war, the terrors of the Ku-Klux Klan, the lies of carpetbaggers, the disorganization of industry, and the contradictory advice of friends and foes, left the bewildered serf with no new watchword beyond the old cry for freedom. As the time flew, however, he began to grasp a new idea. The ideal of liberty demanded for its attainment powerful means, and these the Fifteenth Amendment gave him. The ballot, which before he had looked upon as a visible sign of freedom, he now regarded as the chief means of gaining and perfecting the liberty with which war had partially endowed him. And why not? Had not votes made war and emancipated millions? Had not votes enfranchised the freedmen? Was anything impossible to a power that had done all this? A million black men started with renewed zeal to vote themselves into the kingdom. So the decade flew away, the revolution of 1876 came, and left the half-free serf weary, wondering, but still inspired. Slowly but steadily, in the following years, a new vision began gradually to replace the dream of political power,--a powerful movement, the rise of another ideal to guide the unguided, another pillar of fire by night after a clouded day. It was the ideal of 'book-learning'; the curiosity, born of compulsory ignorance, to know and test the power of the cabalistic letters of the white man, the longing to know. Here at last seemed to have been discovered the mountain path to Canaan; longer than the highway of Emancipation and law, steep and rugged, but straight, leading to heights high enough to overlook life.

Up the new path the advance guard toiled, slowly, heavily, doggedly; only those who have watched and guided the faltering feet, the misty minds, the dull understandings of the dark pupils of these schools know how faithfully, how piteously, this people strove to learn. It was weary work. The cold statistician wrote down the inches of progress here and there, noted also where here and there a foot had slipped or some one had fallen. To the tired climbers, the horizon was ever dark, the mists were often cold, the Canaan was always dim and far away. If, however, the vistas disclosed as yet no goal, no resting-place, little but flattery and criticism, the journey at least gave leisure for reflection and self-examination; it changed the child of Emancipation to the youth with dawning self-consciousness, self-realization, self-respect. In those sombre forests of his striving his own soul rose before him, and he saw himself,--darkly as through a veil; and yet he saw in himself some faint revelation of his power, of his mission. He began to have a dim feeling that, to attain his place in the world, he must be himself, and not another. For the first time he sought to analyze the burden he bore upon his back, that dead-weight of social degradation partially masked behind a half-named Negro problem. He felt his poverty; without a cent, without a home, without land, tools, or savings, he had entered into competition with rich, landed, skilled neighbors. To be a poor man is hard, but to be a poor race in a land of dollars is the very bottom of hardships. He felt the weight of his ignorance,--not simply of letters, but of life, of business, of the humanities; the accumulated sloth and shirking and awkwardness of decades and centuries shackled his hands and feet. Nor was his burden all poverty and ignorance. The red stain of bastardy, which two centuries of systematic legal defilement of Negro women had stamped upon his race, meant not only the loss of ancient African chastity, but also the hereditary weight of a mass of corruption from white adulterers, threatening almost the obliteration of the Negro home.
A people thus handicapped ought not to be asked to race with the world, but rather allowed to give all its time and thought to its own social problems. But alas! while sociologists gleefully count his bastards and his prostitutes, the very soul of the toiling, sweating black man is darkened by the shadow of a vast despair. Men call the shadow prejudice, and learnedly explain it as the natural defence of culture against barbarism, learning against ignorance, purity against crime, the 'higher' against the 'lower' races. To which the Negro cries Amen! and swears that to so much of this strange prejudice as is founded on just homage to civilization, culture, righteousness, and progress, he humbly bows and meekly does obeisance. But before that nameless prejudice that leaps beyond all this he stands helpless, dismayed, and well-nigh speechless; before that personal disrespect and mockery, the ridicule and systematic humiliation, the distortion of fact and wanton license of fancy, the cynical ignoring of the better and the boisterous welcoming of the worse, the all-pervading desire to inculcate disdain for everything black, from Toussaint to the devil,--before this there rises a sickening despair that would disarm and discourage any nation save that black host to whom 'discouragement' is an unwritten word.

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