Sunday, August 13, 2017


Galatea Resurrects is accepting engagements with poetry projects such as reviews, book introductions (or forewords prefaces or afterwords) not currently online, coverage of poetry events, and other engagements in any form (e.g. letters, poems, art, etc. in response to poetry).

You can review any poetry project. Book and chapbook review copies are available HERE. Reviews are not limited to recent releases as we believe Poetry is eternal. You can even review some beloved book that's long stayed on one of your bookshelves!

Email for queries and sending reviews: galateaten at gmail dot com

Eileen Tabios
Editor, Galatea Resurrects


Click on title-links to be directed to the review or article

Selected Poems & Series by Thomas Fink
Engaged by Margaret H. Johnson (8/12)


Oxygen by Julia Fiedorczuk, Translated by Bill Johnston
Engaged by Eileen Tabios (8/10)

“Romeo and Romeo” by Ahmet Güntan
Engaged by Peter Valente (8/9)

"A Simple Word" by Marc Gaba
Engaged by Eileen Tabios (8/8)

Cat Poems: Wompus Tales & a Play of Despair by Christopher Shipman
Reviewed by Ariel Gratch (8/7)

Taropoetics by Anna McKerrow
Reviewed by Nikki Dudley (8/6)

A Poetry of Elephants, anthology compiled by Rebecca Gethin
Engaged by Eileen Tabios (8/5)

November Odds: Anger Fear and Horror After November 8, 2016 by Gary Hardaway
Reviewed by M. Earl Smith (8/4)

SANS by G.L. Ford
Reviewed by Katie Hibner (7/31)

What It Is Like: New and Selected Poems by Charles North
Reviewed by Neil Leadbeater (7/30)


Dear Almost by Matthew Thorburn
Engaged by Eileen Tabios (7/28)

Ekstasis with photographs by Peter Valente and poetry by Kevin Killian
Engaged by Eileen Tabios (7/27)

THE HEART'S TRAFFIC: A Novel in Poems by Ching-In Chen
Reviewed by Kyle Henrichs (7/26)

Days and Works by Rachel Blau DuPlessis
Engaged by Eileen Tabios (7/25)

Dead Ringer by Charles Borkhuis and AMINA BARAKA & THE RED MICROPHONE by Amina Baraka & the Red Microphone
Reviewed by Steve Dalachinsky (7/24)

RAYFISH by Mary Hickman
Engaged by Eileen Tabios (7/23)

Contest Results from the Festival de l'Ail de Ste-Anne Garlic Festival
Engaged by Eileen Tabios (7/8)

FACE-POEMS by Aaron Flores
Engaged by Márton Koppány (7/7)

If We Were Birds by Janine Harrison
Reviewed by M. Earl Smith (7/6)

ALPHABET NOIR by Nico Vassilakis
Engaged by Jim Leftwich (7/5)

Small Ceremonies by Cynthia Snow
Engaged by Eileen Tabios (7/4)
Engaged by Jim McCrary (7/3)

the gag reel by Tom Bamford Blake
Reviewed by M. Earl Smith (7/2)
Engaged by Eileen Tabios (7/1)

Engaged by Eileen Tabios (6/27)

Wild Horses, Wild Dreams: New and Selected Poems 1971-2010 by Lindy Hough
Reviewed by Dana Wilde (6/26)

REVOLUTIONS: a Collaboration by John Matthias, Jean Dibble and Robert Archambeau
Reviewed by Ralph La Charity (6/25)

Codify by Irene Koronas
Engaged by Eileen Tabios (6/24)

Questions of Poetics: Language Writing and Consequences by Barrett Watten
Reviewed by T.C. Marshall (6/23)

Reviewed by M. Earl Smith (6/22)

FUTURES TRADING, Anthology Four, Edited by Caleb Puckett
Engaged by Eileen Tabios (6/21)


Engaged by Eileen Tabios (6/19)

They Went to the Beach to Play by Wendy Taylor Carlisle
Reviewed by M. Earl Smith (6/18)

Back to the Garden by Clara Hume
Reviewed by Tom Hibbard (6/17)

God got a dog with poems by Cynthia Rylant and illustrations by Marla Frazee
Engaged by Eileen Tabios (6/16)

FEATURE: Poetry In Response to Alex Tizon's article, "My Family Slave" as regards Eudocia Tomas PulidoThe Atlantic, June 2017. Poems by Jonel Abellanosa, Jim Pascual Agustin, Kimberly Alidio, Michelle Bautista, Aileen Cassinetto, Melinda Luisa de Jesús, Elaine Dolalas, Rose Linda Gonzales, Maileen Hamto, Luisa A. Igloria, Sean Labrador Y Manzano, Agnes Marton, D Hideo Maruyama, Amy Ray Pabalan, Aloysiusi Lionel Polintan, Barbara Jane Reyes, Tony Robles, Irene Suico Soriano, Leny Mendoza Strobel, Eileen R. Tabios, Jean Vengua, and Alfred A. Yuson

"Broken Verse" by Darrell Nettles
Engaged by Eileen Tabios (5/28)

Explanation model for 'Virus' by Freke Räihä
Engaged by Thérèse Bachand (5/27)

Love Song to a Blue God by Sophie Strand
Reviewed by Tamas Panitz (5/26)

Weathered Reports: Trump Surrogate Quotes From the Underground by Amy Bassin and Mark Blickley
Reviewed by M. Earl Smith (5/25)

The Fair Parts of Shadows by Dhiman Chakraborty
Engaged by Runa Bandyopadhyay (5/24)

Stop Armageddon by Howard Yosha
Reviewed by M. Earl Smith (5/23)

“I’m Nobody! Who are you? The Life and Poetry of Emily Dickinson” Exhibition at The Morgan Library & Museum (organized with Amherst College), New York City, Jan. 20-May 28, 2017
Reviewed by Adam DeGraff (5/8)

Driftwood Monster: Haiku for Troubled Times by Kath Abela Wilson
Reviewed by M. Earl Smith (5/8)

B & O Blues by Aileen Cassinetto
Reviewed by M. Earl Smith (5/7)

Ghazals 1-59 And Other Poems by Sheila E. Murphy and Michelle Greenblatt 
Engaged by Eileen Tabios (5/7)

Manifesto of the Moment by mIKEAL aND (1)
Reviewed by Matt Hill (5/6)

Manifesto of the Moment by mIKEAL aND (2)
Reviewed by M. Earl Smith (5/6)

HIDING IN PLAIN SIGHT by Olivia Stiffler
Engaged by Eileen Tabios (5/5)

Check & Balance by Luisa A. Igloria
Reviewed by M. Earl Smith (5/5)

FANTASTIC CARYATIDS: A Conversation with Art by Anne Waldman & Vincent Katz
Engaged by Eileen Tabios (5/4)

La Police by Bill Lavender
Reviewed by M. Earl Smith (5/4)

A CAPacious Act by Charles A. Perrone
Reviewed by M. Earl Smith (5/3)

Afterword by Nick Piombino to Text Loses Time by Nico Vassilakis

Reviewed by M. Earl Smith (5/1)

The Owl Still Asking: Tanka for Troubled Times by Kath Abela Wilson
Reviewed by M. Earl Smith (5/1)

daughterrarium by Sheila McMullin
Reviewed by Katie Hibner (4/28)

Engaged by Eileen Tabios (4/27)

We Denizens by Jen Coleman
Engaged by Sam Lohmann (4/26)

Harpoon by Michael Cavendish
Reviewed by M. Earl Smith (4/25)

Claiming Breath by Diane Glancy

Engaged by Eileen Tabios (4/24)


If They Hadn't Worn White Hoods, 8 Million Would Have Shown Up in the Photographs by John Bloomberg-Rissman and Eileen R. Tabios
Reviewed by M. Earl Smith (4/22)

Introduction by Michael Boughn and Kent Johnson to RESIST MUCH / OBEY LITTLE: Inaugural Poems to the Resistance edited by Michael Boughn, John Bradley, Brenda Cárdenas, Lynne DeSilva-Johnson, Kass Fleisher, Roberto Harrison, Kent Johnson, Andrew Levy, Nathaniel Mackey, Rubén Medina, Philip Metres, Nita Noveno, Julie Patton, Margaret Randall, Michael Rothenberg, Chris Stroffolino,
 Anne Waldman, Marjorie Welish, Tyrone Williams

Egghead, or: You Can't Survive on Ideas Alone by Bo Burnham, with drawings by Chance Bone
Reviewed by M. Earl Smith (4/20)

On Poems On by Sandra Liu
Reviewed by Genevieve Kaplan (4/19)

Madison Hatta's Book of Unrelenting Rhymes, or: Madisonnets, Volume 2 by April Lynn James
Reviewed by M. Earl Smith (4/18)

FEATURED POET: Aileen Cassinetto

A Continuum of Force by Francesco Levato
How to Zing the Government by Travis Macdonald
Reviewed by Andrew Rihn (4/12)

Port Light by William Allegrezza
Reviewed by Sheri Reda (4/10)

Stone by Naomi Buck Palagi
Engaged by Eileen Tabios (4/9)

The Marriage of Heaven and Hell: An Election Cycle by Andrew and Donora A. Rihn
Reviewed by Steve Klepetar (4/8)

HISTORY NOW by Basil King
Engaged by Eileen Tabios (4/7)

Stubborn by Sheri Reda
Reviewed by Naomi Buck Palagi (4/6) 

If We Were Birds by Janine Harrison
Reviewed by Steve Klepetar (4/5)

RICKSHAW CHASM with poems by David Giannini and collages by John Digby
Engaged by Eileen Tabios (4/3)

To Be An Empire is To Burn! by Eileen R. Tabios
The Prometheus Collage by Mary Kasimor
Reviewed by Freke Räihä (4/2)

INTERVIEW: Anne Gorrick interviews John Bloomberg-Rissman

OTREDAD / OTHERNESS by Claribel Alegria, Edited by Fred Whitehead
Engaged by Eileen Tabios (3/30)

Step Below: Selected Poems 2000-2015 by William Allegrezza
Reviewed by Sheri Reda (3/29)

WRITTEN IN THE DARK: FIVE POETS IN THE SIEGE OF LENINGRAD by Gennady Gor, Dmitry Maksimov, Sergey Rudakov, Vladimir Sterligov and Pavel Zaltsman, Edited by Polina Barskova with translations by Anand Dibble, Ben Felker-Quinn, Ainsley Morse, Eugene Ostashevsky, Rebekah Smith, Charles Swank, Jason Wagner and Matvei Yankelevich 
Reviewed by M. Earl Smith (3/28)

We All Saw It Coming by Bill Yarrow
Reviewed by Steve Klepetar (3/28)

A Winged Horse in a Plane by Salah Faik, translated by Maged Zaher
Reviewed by Genevieve Kaplan (3/27)

Let the Games Begin: Five Roman Writers by Peter Valente
Reviewed by Christopher Sawyer-Lauçanno (3/27)

Apocalypse Mix by Jane Satterfield
Reviewed by Neal Leadbeater (3/26)

Engaged by Eileen Tabios (3/25)


Imagine Renaissance by Naomi Buck Palagi
Reviewed by Sheri Reda (3/23)

NINE DRAGON ISLAND by Eleanor Goodman
Engaged by Eileen Tabios (3/22)

Data Primer by Marthe Reed
Reviewed by Steve Klepetar (3/22)

THE GILLES POEM: Winter 2006 Collection by Sabrina Calle
Reviewed by M. Earl Smith (3/21)

Humpty Drumpfty and Other Poems by Melinda Luisa de 
Reviewed by Steve Klepetar (3/21)

Moria Books' locofo chap series edited by William Allegrezza
Engaged by Eileen R. Tabios 3/14)
Reviewed by Jim McCrary (3/13)

THE OLFACTIONS: Poems on Perfume by Anne Gorrick
Engaged by Eileen R. Tabios (3/12)

Ice Cream...With a Smile by Swapan Ray
Engaged by Runa Bandyopadhyay (3/11)

WHAT IS POETRY? (JUST KIDDING, I KNOW YOU KNOW): Interviews From the Poetry Project Newsletters (1983-2009) edited by Anselm Berrigan 

Engaged by Eileen R. Tabios (3/10) 

Nevertheless, #She Persisted edited by Barbara Jane Reyes and RESIST MUCH / OBEY LITTLE: Inaugural Poems to the Resistance edited by Michael Boughn, John Bradley, Brenda Cárdenas, Lynne DeSilva-Johnson, Kass Fleisher, Roberto Harrison, Kent Johnson, Andrew Levy, Nathaniel Mackey, Rubén Medina, Philip Metres, Nita Noveno, Julie Patton, Margaret Randall, Michael Rothenberg, Chris Stroffolino, 
Anne Waldman, Marjorie Welish, Tyrone Williams
Engaged by Eileen Tabios (3/5)

Men, Death, Lies by Roy Bentley
Reviewed by Martha Deed (3/4)

FEATURE ESSAY: "Holiness and Jewish Rebellion: 'Questions of Accent,' Twenty Years Afterwards" by Murat Nemet-Nejat (3/4) 

THE SEER by Márton Ko
Engaged by Eileen Tabios (3/3)

Don't Say His Name by Donna Kuhn
Reviewed by Mary Kasimor (3/2)

Pier by Janine Oshiro
Reviewed by Neal Leadbeater (3/1)


Only More So by Millicent Borges Accardi
Reviewed by Jessica Gonzalez (2/27)

The Poetry Deal by Diane Di Prima
Engaged by Eileen Tabios (2/27)

Animals of Dawn by Murat Nemet-Nejat
Reviewed by Runa Bandyopadhyay (2/26)

THE CRITIC WRITES POEMS (2/26): Murat Nemet-Nejat

A CAPacious Act by Charles A. Perrone

Engaged by Francesco Levato (2/25)

The Music Child & The Mahjong Queen by Alfred A. Yuson
Engaged by Eileen Tabios (2/25)

Madison Hatta's Book of Unreasonable Rhymes, or: Madisonnets, Volume 1 by April Lynn James
Reviewed by M. Earl Smith (2/24)

Goat In The Snow by Emily Pettit
Reviewed by Neil Leadbeater (2/20)

The Happy End / All Welcome by Monica de la Torre
Engaged by Eileen R. Tabios (2/19)

Reviewed by E.E. Nobbs (2/19)

Humpty Drumpfty and Other Poems by Melinda Luisa de Jesús
Engaged by Eileen R. Tabios (2/18)

Clairvoyance by Carlomar Arcangel Daoana
Reviewed by Aloysiusi Lionel Polintan (2/17)

Mayan Letters and Call Me Ishmael, both by Charles Olson
Engaged by Murat Nemet-Nejat (2/16)

Song of the Yukon by Trisha Sugarek
Engaged by Eileen R. Tabios (2/15)


Reviewed by Ralph La Charity (1/31)

Then Go On by Mary Burger
Engaged by Eileen R. Tabios (1/30)

Reviewed by Dana Wilde (1/29)

Heisenberg’s Salon by Susan Lewis
Engaged by Eileen R. Tabios (1/28)

A Continuum of Force by Francesco Levato
Engaged by Joel Chace (1/28)

breakup/breakdown by Charles Jensen
Engaged by Eileen R. Tabios (1/27)

Expect Delays by Bill Berkson
Reviewed by Neal Leadbeater (1/18)

America's Tin by Joel Chace
Engaged by Eileen Tabios (1/18)

THE CRITIC WRITES POEMS (1/17): Judith Roitman

We Used to Be Generals by Sarah Campbell
Engaged by Eileen Tabios (1/17)

I Am Going To Fly Through Glass: Selected Poems of Harold Norse, ed. Todd Swindell
Reviewed by Neal Leadbeater (1/16)

AN AUTOBIOGRAPHY by Panagiotis A. Tsonis
Engaged by Eileen Tabios (1/16)

BOOKER'S POINT by Megan Grumbling
Reviewed by Dana Wilde (1/4)

REALMS OF THE MOTHERS: The First Decade of Dos Madres Pressedited by Richard Hague
Engaged by Eileen Tabios (1/4)

Dollyland by Claire Hero and Trism by Rebecca Loudon
Engaged by Judith Roitman (1/3)

Reconsolidation: Or, it's the ghosts who will answer you by Janice Lee
Engaged by Eileen Tabios (1/3)

Waters Of by Billie Chernicoff
Reviewed by Michael Boughn (1/2)

Galatea Resurrects' 2016 Poetry Recommendations (1/1)

Galatea Resurrects' 2016 Recommended Publishers  (1/1)

Saturday, August 12, 2017



(Marsh Hawk Press, New York, 2016)

Convention and Desire: Decoding the Jigsaw Hubbubs, 1 through 23

            Selected Poems & Poetic Series proves words defy gravity in the hands of Thomas Fink. In the Jigsaw Hubbub series 1 through 23, he offers insights into modern-day machinations, targeting areas of familiarity in unfamiliar ways and alluding to a society and culture bereft of emotional consequences. Particularly notable is the manner in which the poet chooses to expose aspects of living in a disengaged, fragmented society which somehow is held together by tradition and vestiges of hope.
            In the Jigsaw Hubbubs, each of the 23 poems takes shape as a helix swirling beyond the familiar into spaces unknown. While holding to poetics of past and present, we peer into spaces we only thought we knew. We observe movement inside cubicles and detect interactions which offer points of reference but no easy access to meaning. Entrapment comes to mind, yet nothing seems permanent.
            The language used in Jigsaw Hubbubs 1 through 23 creates a puzzle or kaleidoscope of thoughts and experiences that offer new perspectives based on images of life being lived without emotional commitment, populated by inhabitants extracting substance from intangible moments for the sake of achieving oneness with the rest of the world. Interactions between words and phrases in the Hubbubs invoke interpretations that defy logic, deny calibration and repel conciliation. Yet, beyond a world of untoward situations and circumstances where time zones seem to collide, there is a sense of tenacity. Despite threatening to disengage past from present in their impact, words take refuge in reflections of history and traces of humanity so inhabitants remain grounded in cultural context and human experience.
             Decoding the Jigsaw Hubbubs is a process. At first, words seem resistant, offering no frame of reference, only allusions, juxtapositions and discordant images. Slowly, meaning is offered up. Cacophonies settle into synchrony, colloquialisms emerge, and the poems begin to unveil undisputed truths concealed within a fragmented universe in which the familiar is deconstructed into remnants from which new concepts and fresh poetics are formed. The following descriptions highlight observations which at first resist conceptualization but somehow find a mood of acceptance:

  • A woman's face:  "Habitual facial mode of just been punched" (22);
  • After cosmetic surgery: "The torn rose of a face...Nervous narcissus rhapsody" (18);
  • Movement: "Progress is trying to speak in hiccups" (12);
  • Workspace: "In the minimum security of a rabbit hutch" (7);
  • Employees: "'Lubricated gnats in necktie tourniquets" (7).

Poetic form and juxtaposed images, familiar and absurd, create new realities that require suspension of disbelief and gradual acceptance of the unimaginable.
            Yet, with the Jigsaw Hubbub series, we are not left to decipher meaning on our own. Gravity based on shared knowledge takes command as memories are beckoned to bridge gaps between what we know and what we must come to accept. The poems are hinged on cultural sanctity, notions of familiarity, and traces of hope:

            1) "who peers               there? & now
            we'll see her all the livelong night." (6)

            2) Reason to Boycott
            Despair." (20)

            3) "...primal jones: glid     ing from Point
            D to point Q to point N." (9)

            4) "Plaid neighborhood." (4)

            5)                                 "Dead,
            Death, &                     Beyond.
            Guess who         was supposed
            to be captain? Grace..." (4)

            In the example Jigsaw Hubbubs, juxtapositions create new associations attached to familiar words, concepts and colloquialisms:

  • Example 1) especially the phrase, "livelong night," beckons memories of song lyrics, "I'll be working on the railroad all the livelong day";
  • Example 2) evokes memories of a time in U.S. history when boycotts and despair dominated culture and politics;
  • Example 3) evokes memories of public transit, especially riding the subway in New York City; 
  • Example 4) is reminiscent of a time of hopefulness when achieving the American dream-- identical houses in nicely appointed neighborhoods separated by similar white picket fences-- signified social aspirations and communal connectivity;
  • Example 5) suggests the paradoxical nature of reality which consists of human experience and desire for sublimation or reconciliation. In example 5, an arsenal of words allude to contrasting or commingled realities. Contrasts like arrogance and humility or life and death are accepted as conventional and familiar. New associations and meanings are forged when a series of words are presented in rapid succession: “Dead, Death and Beyond/Guess who was supposed to be captain Grace.” Notions of Death are sublimated by desire and hopefulness which extend beyond the present moment – shopping at Bed Bath and Beyond or at Guess, but The Guess Who, a successful rock band, also comes to mind and two words juxtaposed, “captain Grace,” invoke images of heroism, hope and redemption based on common knowledge of “Captain America” and “Amazing Grace.”

      Without warning, the poet plumbs our psyches for shared memories and cultural experiences that ground and connect us, even inspire us, despite challenges of living in a fast-paced, fragmented society.
            The Hubbub series is not for the fainthearted nor meant for shrugging off, more akin to a galaxy of ruminations presented in twists and turns with threats of blowing apart. The Hubbub poems rely on the familiar to explore the unknown, dispersing glimmers of humor and traces of hope along the way. Notions of apathy and fragmentation are invoked but balance is achieved in satirical rifts that reveal positive moments in serendipitous ways:

                                    "Get me
            anything they don't have" (17).
            "They     gave me
            all the              money
            back--              every fuck
            in' dime" (21).

            The Hubbub poems are reflective, satiric, playful, demeaning, bemoaning, hopeful and they reveal vestiges of life amid the sway of opportunistic chatter which dissipates once uttered, leaving only traces of attitude or what might be mistaken as such. The poems remind us that we can't take it with us and in fact, why try? It's the way life is lived in "minimum security rabbit hutches" (7). We get glimpses into cubicles where the dress code requirement is "sunglasses and a laptop (14) and "the epiphany is that one is supposed to supply content" (14). No solutions or saviors in this reality: "Plaid neighborhood     I don't     have pants" (4). So be content with what's available: "No eros without the unsure"(11). Yet, in reality, Eros has left the building.
            This series of Hubbub poems cleverly crafted by Thomas Fink can be stark and unsettling, but there is refuge in conventions of the familiar and there is hope in traces of humor and aspects of desire. Jigsaw Hubbubs 16 and 22 seem to depict the language and general mood of the Jigsaw Hubbubs:

            She feels like a
            permanent extra, as
            though lodged, an
            afterthought, in a rusty
            Clapboard af  fair squatting
            in gray tulips, where sunshine
             doesn't shine, & the
            cat is bigger than the child...(16)


                   Complacency is rotten
           for  the per                  petually com
  placent &,                                   more so, for
          the ones                         who suffer
            them. Yet                those whose
  habitual facial                             mode is “just
 been punched”                     could use a
          Touch of that.           Dried flood...(22)

Reading Thomas Fink's Selected Poems and Poetic Series, specifically Jigsaw Hubbubs 1 through 23, is an exploration, a delightful experience of witnessing a new universe unfold.  After some decoding, we gain access and are catapulted into spaces in which concepts and images appear to defy the pull of gravity. Trepidation looms, yet we never leave the ground.
            Holding to what we know, we scramble through a jigsaw of experiences that appear fragmented, disconnected and bereft of meaning. At the outset, common knowledge only leads to misconceptions and questions. Threats of a harsh reality predominate. Finally, with little to go on except traces of culture and humanity, we begin to accept the unnatural formation of stark realities. Unfamiliar concepts and images begin to merge with pieces of reality that we know and recognize, and access to this destabilizing, unfamiliar world of people, places and concepts is granted. Discordant images become reflections of truth, and this new world makes all the sense in the world.
            Reading Thomas Fink's Selected Poems and Poetic Series, Hubbubs 1 through 23, we are guided by a sense of familiarity based on conventions, what we already know and accept. We witness detachment as well as notions of hope reflected in experiences of people we may or may not recognize but who share common bonds of cultural experience and humanity. After traces of history and culture are unveiled, a desire to know more incites imagination, and new concepts and relationships are ascertained. To navigate this world created in the Jigsaw Hubbub series, we rely on the balance between what we know and what we hope to find out. The usual controls are clearly not in working order and the power button is found outside a conventional body of knowledge. Known concepts threaten to disengage; yet we remain grounded. An “invisible trap door” stays unlocked throughout the entire experience and anyone can escape at any time. But why would we?


Margaret H. Johnson's desire to explore interests in poetry, photography and curriculum design led to an early retirement from her position as Lecturer of English at the City University of New York. Her publications include scholarly articles, selected poems, and poetry reviews. Nonfiction works on writing for self-mastery are in progress. Her book of poems is scheduled for publication in the fall, 2017 and she plans to publish a children's book also in 2017.  She coordinates a poetry/performance collaborative which promotes poets and poetry in her local community and she develops workshops for writing and emotional mastery. Beyond interests in writing and poetry, she is a freelance photographer and sustainable living advocate.