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509:"Kabnis" - The piece is primarily a dialogue and has elements of a short play. For example, the dialogue does not use tags ("he said") or describe the thoughts of a speaker. There also seem to be stage directions. In addition, "Kabnis" has some non-dramatic elements; it does not follow the format of a professional play. The language consists of highly poetic descriptions with the narrator commenting on the characters' feelings.
129:
616:." He goes on to say, "the Negro has been libeled rather than depicted accurately in American fiction" because fiction typically portrays African Americans as stereotypes. Cane gave white readers a chance to see a human portrayal of blacks—" were seldom ever presented to white eyes with any other sort of intelligence than that displayed by an idiot child with
375:, meeting ridicule, would be certain to die out. With Negroes also the trend was towards the small town and then towards the city—and industry and commerce and machines. The folk-spirit was walking in to die on the modern desert. That spirit was so beautiful. Its death was so tragic. Just this seemed to sum life for me. And this was the feeling I put into
335:
in the spring of 1923 he had written to the
Associated Negro Press saying he would be pleased to write for the group's black readership on events that concerned them. However, when Toomer read Liveright's letter he was outraged. He responded that his "racial composition" was of no concern to anyone except himself, and asserted that he was not a "
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in 1923 were mostly positive about the novel, praising its new portrayal of
African Americans. John Armstrong wrote: "It can perhaps be safely said that the Southern negro, at least, has found an authentic lyric voice in Jean Toomer…there is nothing of the theatrical coon-strutting high-brown, none
363:
builds from simple to complex forms; regionally, it moves from the South to the North and then back to the South; and spiritually, it begins with "Bona and Paul," grows through the
Georgia narratives, and ends in "Harvest Song." The first section focuses on southern folk culture; the second section
334:
asking for revisions to the bibliographic statement Toomer had submitted for promotions of the book. Liveright requested that Toomer mention his "colored blood," because that was the "real human interest value" of his story. Toomer had a history of complex beliefs about his own racial identity, and
533:
addressed this in his essay "The Negro Artist and the Racial
Mountain" by saying, "'O, be respectable, write about nice people, show how good we are,' say the Negroes. 'Be stereotyped, don't go too far, don't shatter our illusions about you, don't amuse us too seriously. We will pay you,' say the
322:
However, before the book was published, Toomer's initial euphoria began to fade. He wrote, "The book is done but when I look for the beauty I thought I'd caught, they thin out and elude me." He thought that the
Georgia sketches lacked complexity and said they were "too damn simple for me." In a
319:, Toomer's close friend, suggested that Toomer combine the sketches into a book. In order to form a book-length manuscript, Toomer added sketches relating to the black urban experience. When Toomer completed the book, he wrote: "My words had become a book…I had actually finished something."
557:
was not widely read when it was published but was generally praised by both black and white critics. Montgomery
Gregory, an African American, wrote in his 1923 review: "America has waited for its own counterpart of Maran—for that native son who would avoid the pitfalls of
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1450:
588:
painter. Du Bois also wrote that Toomer's writing is deliberately puzzling—"I cannot, for the life of me, for instance, see why Toomer could not have made the tragedy of Carma something that I could understand instead of vaguely guess at."
745:/ NOVELIST FOLKLORIST / ANTHROPOLOGIST / 1901–1960. The line "a genius of the south" is from Toomer's poem "Georgia Dusk", which appears in the novel. Hurston, who could be deceptive about her age, was actually born in 1891, not 1901.
681:
as a measure of the Negro novelist's highest achievement. Jean Toomer belongs to that first rank of writers who use words almost as a plastic medium, shaping new meanings from an original and highly personal style."
546:
failed to be popular among the masses because it did not reinforce white views of
African Americans. It did not fit the model of the "Old Negro" and did not depict the lifestyle of African Americans living in
277:. Though some characters and situations recur in different vignettes, the vignettes are mostly freestanding, tied to the other vignettes thematically and contextually more than through specific plot details.
627:
does not remotely resemble any of the familiar, superficial views of the South on which we have been brought up. On the contrary, Mr. Toomer's view is unfamiliar and bafflingly
562:
and moralizing on the one hand and the snares of a false and hollow race pride on the other hand. One whose soul mirrored the soul of his people, yet whose vision was universal.
288:. Some of the vignettes from the novel have been extracted and included in literary collections, while the poetic passage "Harvest Song" has been featured in multiple
364:
focuses on urban life in
Washington D.C. and Chicago; and the third section is about the racial conflicts experienced by a black Northerner living in the South.
596:
was experimental, a potpourri of poetry and prose, in which the latter element is significant because of the influence it had on the course of Negro fiction."
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The novel's ambitious and unconventional structure, along with its lasting impact on subsequent generations of writers, has contributed to the recognition of
417:"November Cotton Flower" - A sonnet written in couplets with images of death in nature in the octave. These images become "beauty so sudden" in the sestet.
734:
538:. The colored people did not praise it. Although the critics gave it good reviews, the public remained indifferent. Yet (excepting the works of Du Bois)
456:"Blood Burning Moon" - Black man Tom Burwell and white man Bob Stone each pursue the young Louisa, resulting in a violent encounter and a tragic climax.
864:
Lemke, Sieglinde, "Interculturalism in
Literature, the Visual and Performing Arts during the Harlem Renaissance", in Martín Flores and von Son,
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but he does know human beings." Du Bois goes on to say that Toomer does not depict an exact likeness of humans but rather depicts them like an
1502:
959:
Fabre, Geneviève, "Dramatic and
Musical Structures in 'Harvest Song' and 'Kabnis': Toomer's Cane and the Harlem Renaissance", pp. 109–27.
646:
said of the book, "It has been reverberating in me to an astonishing degree. I love it passionately, could not possibly exist without it."
828:, Jean Toomer, and the Critique of Racial Voyeurism", in Hathaway, Heather (ed.); Jarab, Josef (ed. and introd.); Melnick, Jeffrey (ed.);
1757:
1663:
914:
Ickstadt, Heinz, "The (Re)Construction of an American Cultural Identity in Literary Modernism", in Hagenbüchle, Raab, and Messmer,
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contains the finest prose written by a Negro in America. And like the singing of Robeson it is truly racial." Hughes suggests that
1767:
981:
Farebrother, Rachel, "Adventuring through the Pieces of a Still Unorganized Mosaic": Reading Jean Toomer's Collage Aesthetic in
907:
Boutry, Katherine, "Black and Blue: The Female Body of Blues Writing in Jean Toomer, Toni Morrison, and Gayl Jones", in Simawe,
709:(1919), two other thematically related story collections that develop unified and coherent visions of societies. It also echoes
447:"Esther" - A young woman who works in a drug store ages and pines for the wandering preacher Barlo, eventually seeking him out.
1534:
414:"Reapers" - A poem written in couplets about reapers in a field, their "silent swinging," and the stark death of a field rat.
1122:
566:…is the answer to this call." Gregory criticized Toomer for his labored and puzzling style and for Toomer's overuse of the
89:
1772:
1411:
1072:
Da-Luz-Moreira, Paulo, "Macunaíma e Cane: Sociedades Multi-raciais além do Modernismo no Brasil e nos Estados Unidos",
61:
420:"Becky" - Vignette of an ostracized white woman with two black sons who lives in a small stone house with the railway.
265:
in the United States. The vignettes alternate in structure between narrative prose, poetry, and play-like passages of
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Baldanzi, Jessica Hays, "Stillborns, Orphans, and Self-Proclaimed Virgins: Packaging and Policing the Rural Women of
222:
108:
411:"Karintha" - A vignette about a young black woman desired by older men who wish "to ripen a growing thing too soon."
1747:
327:, Toomer wrote that the story-teller style of "Fern" "had too much waste and made too many appeals to the reader."
1406:. The University of Georgia Press Athens & London: University of Georgia Press; Reprint edition. p. 106.
962:
Nadell, Martha Jane, "Race and the Visual Arts in the Works of Jean Toomer and Georgia O'Keeffe", pp. 142–61.
68:
1345:
Within the Circle: An Anthology of African American Literary Criticism from the Harlem Renaissance to the Present
1043:
Edmunds, Susan, "The Race Question and the 'Question of the Home': Revisiting the Lynching Plot in Jean Toomer's
490:"Box Seat" - Dan Moore lusts after a reluctant Muriel, and follows her to a dwarf fight, where he starts a scene.
965:
Soto, Michael, "Jean Toomer and Horace Liveright: Or, A New Negro Gets 'into the Swing of It'", pp. 162–87.
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1646:
46:
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Newark, DE; London, England: University of Delaware Press; Associated University Press; 2001. pp. 44–76.
42:
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717:(1915) ... Toomer surely was familiar with the Joyce and Masters books, and he knew Anderson personally."
339:" and would not "feature" himself as such. Toomer was even willing to cancel the publication of the book.
1220:
346:
Drawing of Jean Toomer by Winold Reiss (c. 1925). Housed at the National Portrait Gallery. Public domain.
1193:
Kodat, Catherine Gunther, "To 'Flash White Light from Ebony': The Problem of Modernism in Jean Toomer's
814:
Petesch, Donald, "Jean Toomer's Cane", pp. 91–96, in Iftekharrudin, Boyden, Longo, and Rohrberger,
950:
Clary, Françoise, "'The Waters of My Heart': Myth and Belonging in Jean Toomer's Cane", pp. 68–83.
57:
1090:
Shigley, Sally Bishop, "Recalcitrant, Revered, and Reviled: Women in Jean Toomer's Short Story Cycle,
1752:
900:
Boelhower, William, "No Free Gifts: Toomer's 'Fern' and the Harlem Renaissance", in Fabre and Feith,
839:'s 'Of the Coming of John,' Toomer's 'Kabnis,' and the Dilemma of Self-Representation", in Hubbard,
315:
By Christmas of 1921, the first draft of those sketches and the short story "Kabnis" were complete.
1192:
438:"Fern" (short story) - A Northern man attempts to woo a southern black woman, with strange results.
662:
628:
466:"Seventh Street" - Brief vignette about a street which is "a bastard of Prohibition and the War."
35:
968:
Williams, Diana I., "Building the New Race: Jean Toomer's Eugenic Aesthetic", pp. 188–201.
953:
Coquet, Cécile, "Feeding the Soul with Words: Preaching and Dreaming in Cane", pp. 84–95.
941:
Sollors, Werner, "Jean Toomer's Cane: Modernism and Race in Interwar America", pp. 18–37.
909:
Black Orpheus: Music in African American Fiction from the Harlem Renaissance to Toni Morrison.
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1555:
1524:
685:
Gerald Strauss points out that despite "critical uncertainty and controversy," he finds that
258:
1234:
922:
934:(Ed. Geneviève Fabre and Michel Feith, New Brunswick, NJ: Rutgers University Press; 2001.)
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song "Cane", in which he sings about two main characters of the novel: Karintha and Becky.
581:
472:"Avey" - A young college student pursues a lazy girl named Avey, but cannot figure out why.
308:
1503:"A Headstone for an Aunt: How Alice Walker Found Zora Neale Hurston - The Urchin Movement"
1003:
Banks, Kimberly, "'Like a Violin for the Wind to Play': Lyrical Approaches to Lynching by
481:"Theater" - A dancer named Dorris seeks the approval and adoration of a patron named John.
8:
738:
429:"Carma" - Vignette about a strong woman whose husband becomes involved in shady business.
292:. The poem begins with the evocative line: "I am a reaper whose muscles set at sundown."
947:
Grandjeat, Yves-Charles, "The Poetics of Passing in Jean Toomer's Cane", pp. 57–67.
82:
1321:
Jean Toomer to Horace Liveright, September 5, 1923, Toomer Collection, Box 1, Folder 6.
1267:
Toomer, "Why I Entered the Gurdjieff Work," Toomer Collection, Box 66, Folder 8, p. 29.
730:
570:. Gregory believed that Toomer was biased towards folk culture and resented city life.
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Hughes, Langston, "The Negro Artist and the Racial Mountain", Angelyn Mitchell (ed.),
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Horace Liveright to Jean Toomer, August 29, 1923, Toomer Collection, Box I, Folder 6.
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324:
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1492:, Revised Edition (2008): 1-4. Literary Reference Center Plus. Web. October 1, 2012.
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As of March 2008, there were more than 100 scholarly articles on the book at the
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Fabre, Geneviève, "Tight-Lipped 'Oracle': Around and Beyond Cane", pp. 1–17.
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312:
270:
1049:
American Literature: A Journal of Literary History, Criticism, and Bibliography,
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American Literature: A Journal of Literary History, Criticism, and Bibliography
781:
605:
809:
The Gothic Other: Racial and Social Constructions in the Literary Imagination.
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1080:
881:
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672:
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368:
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1179:
Scruggs, Charles. "The Reluctant Witness: What Jean Toomer Remembered from
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Whalan, Mark, "'Taking Myself in Hand': Jean Toomer and Physical Culture",
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643:
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303:
Jean Toomer began writing sketches that would become the first section of
1293:. Urbana, Chicago, Springfield: University of Illinois Press. p. 79.
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793:
690:
654:
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148:
1404:
Seizing the Word: History, Art, and Self in the Work of W. E. B. Du Bois
800:, Cambridge, England: Cambridge University Press; 2007. pp. 206–23.
944:
Hutchinson, George, "Identity in Motion: Placing Cane", pp. 38–56.
816:
741:. Walker had it marked with a gray marker stating ZORA NEALE HURSTON /
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559:
372:
236:
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Jean Toomer to Sherwood Anderson, Toomer Collection, Box 1, Folder 1.
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wrote: "By far the most impressive product of the Negro Renaissance,
631:, the vision of a poet far more than the account of things seen by a
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384:
285:
1332:
The Wayward and the Seeking: A Collection of Writings by Jean Toomer
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Callaloo: A Journal of African-American and African Arts and Letters
904:, Bloomington, IN: Indiana University Press; 2001. pp. 193–209.
24:
956:
Michlin, Monica, "'Karintha': A Textual Analysis", pp. 96–108.
632:
617:
266:
971:
Fabre, Michel, "The Reception of Cane in France", pp. 202–14.
843:
Columbia, MO: University of Missouri Press; 2003. pp. 130–60.
832:. Oxford, England: Oxford University Press; 2003. pp. 92–114.
763:(1973), where he put "Karintha" to music, recited by Bill Hasson.
580:
in 1924, saying: "Toomer does not impress me as one who knows his
897:. New York, NY: New York University Press; 2001. pp. 151–70.
893:
Modernization, and the Spectral Folk", in Scandura and Thurston,
128:
1146:
Webb, Jeff, "Literature and Lynching: Identity in Jean Toomer's
853:
Fahy, Thomas, "The Enslaving Power of Folksong in Jean Toomer's
1291:
Brother Mine: The Correspondence of Jean Toomer and Waldo Frank
1279:
Jean Toomer to Waldo Frank, Toomer Collection, Box 1, Folder 3.
807:: Jean Toomer's Gothic Black Modernism", in Anolik and Howard,
548:
1639:
Black chant : Languages of African-American postmodernism
1201:
Twentieth Century Literature: A Scholarly and Critical Journal
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of the conventional dice-throwing, chicken-stealing nigger of
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Toomer spent a great deal of time working on the structure of
1588:
Speak, So You Can Speak Again: The Life of Zora Neale Hurston
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230:
902:
Temples for Tomorrow: Looking Back at the Harlem Renaissance
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In his 1939 review "The New Negro", Sanders Redding wrote: "
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Wardi, Anissa J., "Divergent Paths to the South: Echoes of
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Jean Toomer, Artist: A Study of His Literary Life and Work
1101:
Rand, Lizabeth A., "'I Am I': Jean Toomer's Vision beyond
918:. Tübingen, Germany: Stauffenburg; 2000. pp. 206–28.
1613:"Deep in the Cane: The Southern Soul of Gil Scott-Heron"
1258:. Chapel Hill: University of North Carolina Press, 1984.
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s structure is not without precedent: "it is similar to
868:, Fair Haven, NJ: Nuevo Espacio; 2001. pp. 111–21.
821:
Westport, CT: Praeger; 2003. xi, 156 pp. (book article)
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in his "Georgia" trilogy of jazz albums, especially on
371:, Toomer wrote: "I realized with deep regret, that the
359:. He said that the design was a circle. Aesthetically,
1641:. Cambridge: Cambridge University Press. p. 170.
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The World Has Changed: Conversations with Alice Walker
1373:
Columbus: Charles E. Merrill Publishing Company, 1971.
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Southern Quarterly: A Journal of the Arts in the South
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whites. Both would have told Jean Toomer not to write
1139:: Self as Montage and the Drive toward Integration",
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Battenfeld, Mary, "'Been Shapin Words T Fit M Soul':
861:
Amsterdam, Netherlands: Rodopi; 2002. pp. 47–63.
1688:
1557:
Wrapped in Rainbows: The Life of Zora Neale Hurston
1054:Whalan, Mark, "Jean Toomer, Technology, and Race",
1025:Ramsey, William M., "Jean Toomer's Eternal South",
848:
Biography of American Author Jean Toomer, 1894–1967
49:. Unsourced material may be challenged and removed.
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269:. As a result, the novel has been classified as a
737:discovered a grave they thought was Hurston's in
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1522:
841:The Souls of Black Folk One Hundred Years Later.
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469:"Rhobert" - Brief vignette about a solitary man.
261:revolving around the origins and experiences of
916:Negotiations of America's National Identity, II
811:Jefferson, NC: McFarland; 2004. pp. 54–71.
1032:Hedrick, Tace, "Blood-Lines That Waver South:
798:The Cambridge Companion to the Modernist Novel
623:Robert Littell wrote in his 1923 review that "
499:"Bona and Paul" - A story of indifferent love.
330:In August 1923, Toomer received a letter from
1526:Zora Neale Hurston: A Biography of the Spirit
1347:, Durham: Duke University Press, 1994. 55-59.
1275:
1273:
911:New York, NY: Garland; 2000. pp. 91–118.
850:. Lewiston, NY: The Edwin Mellen Press; 2002.
1529:. Greenwood Publishing Group. pp. 57–.
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1490:Masterplots II: African American Literature
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884:: Strategy and Technique, Magic and Myth.
257:. The novel is structured as a series of
109:Learn how and when to remove this message
341:
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796:' and the Modernist Novel", in Shiach,
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1611:Harold, Claudrena N. (July 12, 2011).
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1163:Journal of American Studies of Turkey,
929:Jean Toomer and the Harlem Renaissance
895:Modernism, Inc.: Body, Memory, Capital
1132:, Fall-Winter 2000, 25 (3-4): 141–60.
1036:, the 'South,' and American Bodies",
513:
1549:
1448:
1402:Byerman, Keith E. (August 1, 2010).
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47:adding citations to reliable sources
18:
1112:Fike, Matthew A., "Jean Toomer and
1079:Scruggs, Charles, "Jean Toomer and
975:
889:Nicholls, David G., "Jean Toomer's
775:Book monographs / articles/chapters
638:
487:"Calling Jesus" - A brief vignette.
13:
1758:Novels set in Georgia (U.S. state)
1590:. New York: Doubleday. p. 5.
1083:and the Persistence of the Past",
866:Double Crossings/EntreCruzamientos
14:
1784:
1684:
1661:
1135:Peckham, Joel B., "Jean Toomer's
1123:In Search of Our Mothers' Gardens
484:"Her Lips are Copper Wire" (poem)
307:in November 1921 on a train from
1691:
1109:, September 2000, 44 (1): 43–64.
1065:, Language, and Social Change",
1058:, December 2002, 36 (3): 459–72.
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1449:Byrd, Rudolph P. (March 2011).
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1427:Cottonmeyer, Tom (March 2011).
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1385:"The Younger Literary Movement"
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1172:, Race, and 'Neither/Norism'",
521:was largely ignored during the
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34:needs additional citations for
1768:Novels set in Washington, D.C.
1561:. New York: Scribner. p.
1479:. Yale University Press, 1965.
1334:. Washington: Howard UP, 1980.
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1176:, Spring 2000, 32 (2): 90–101.
1154:, Spring 2000, 67 (1): 205–28.
989:December 2006; 40 (3): 503–21.
819:Approaches to the Short Story.
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1233:Toomer, Jean (May 10, 2018).
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1087:, Spring 2001, 13 (1): 41–66.
1069:, Fall 2002, 25 (4): 1238–49.
767:Critical studies (since 2000)
453:"'Portrait in Georgia" (poem)
1637:Nielsen, Aldon Lynn (1997).
1203:, Spring 2000, 46 (1): 1–19.
1189:2000 Spring; 28 (1): 77–100.
1187:Studies in American Fiction,
1157:Bus, Heiner, "Jean Toomer's
1143:, June 2000, 72 (2): 275–90.
1098:, Spring 2001, 9 (1): 88–98.
1015:, Fall 2004, 38 (3): 451–65.
987:Journal of American Studies,
835:Fontenot, Chester J., Jr., "
387:. It was a song of an end."
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180:; 101 years ago
7:
1586:Hurston, Lucy Anne (2004).
1383:Du Bois, W.E.B (Feb 1924).
1056:Journal of American Studies
1051:March 2003, 75 (1): 141–68.
1040:, Fall 2003, 42 (1): 39–52.
1029:, Fall 2003, 36 (1): 74–89.
599:White critics who reviewed
551:that whites wanted to see.
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1773:Boni & Liveright books
1477:The Negro Novel in America
1022:2003 Nov; 10 (4): 597–615.
1000:, 2005; 42: 39 paragraphs.
830:Race and the Modern Artist
651:The Negro Novel in America
1523:Deborah G. Plant (2007).
1488:Strauss, Gerald. "Cane."
1174:Southern Literary Journal
1085:American Literary History
1027:Southern Literary Journal
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525:by the average white and
290:Norton poetry anthologies
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846:Griffin, John Chandler,
432:"Song of the Son" (poem)
284:as an important part of
1748:African-American novels
1165:2000 Spring; 11: 21–29.
1013:African American Review
748:The novel inspired the
1507:www.urchinmovement.com
1455:. ReadHowYouWant.com.
1076:, Fall 2001, 5: 75–90.
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1763:Novels set in Chicago
1365:Durham, Frank (ed.),
1289:Jean, Toomer (2010).
761:Geechee Recollections
743:A GENIUS OF THE SOUTH
715:Spoon River Anthology
713:'s poetry collection
496:"Harvest Song" (poem)
478:"Storm Ending" (poem)
444:"Evening Song" (poem)
435:"Georgia Dusk" (poem)
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1743:1923 American novels
1330:Turner, Darwin, ed.
1020:Modernism/Modernity,
859:Literature and Music
792:, Jean Toomer: The '
426:"Cotton Song" (poem)
43:improve this article
1664:"Album of the Week"
755:The novel inspired
739:Ft. Pierce, Florida
450:"Conversion" (poem)
123:
1168:Harmon, Charles. "
927:in the collection
803:Lamothe, Daphne, "
771:as of March 2008:
731:Zora Neale Hurston
523:Harlem Renaissance
514:Critical reception
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251:Harlem Renaissance
167:Boni and Liveright
137:Boni and Liveright
121:
1727:Project Gutenberg
1699:Literature portal
1662:Beven, Mariella.
1536:978-0-275-98751-0
1239:Poetry Foundation
1161:as a Swan Song",
824:Terris, Daniel, "
735:Charlotte D. Hunt
711:Edgar Lee Masters
701:Sherwood Anderson
325:Sherwood Anderson
275:short story cycle
263:African Americans
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639:Modern criticism
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574:W. E. B. Du Bois
527:African American
475:"Beehive" (poem)
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41:Please help
36:verification
33:
1367:Studies in
1107:CLA Journal
1096:Short Story
826:Waldo Frank
729:and fellow
699:(1914) and
691:James Joyce
661:ranks with
564:Jean Toomer
317:Waldo Frank
255:Jean Toomer
149:Jean Toomer
1737:Categories
1668:Medium.com
1648:0521555264
1389:The Crisis
1208:References
817:Postmodern
668:Native Son
560:propaganda
373:spirituals
323:letter to
99:March 2008
69:newspapers
1223:Database.
1034:Hybridity
725:In 1973,
696:Dubliners
610:burlesque
576:reviewed
385:swan-song
351:Structure
286:modernism
259:vignettes
163:Publisher
1553:(2003).
877:Mama Day
733:scholar
633:novelist
618:epilepsy
529:reader.
396:Preamble
391:Contents
296:Writing
273:or as a
267:dialogue
155:Language
1673:May 10,
1622:May 10,
1434:May 10,
1009:Du Bois
998:Genders
582:Georgia
367:In his
309:Georgia
253:author
183: (
158:English
135:(Publ.
83:scholar
1645:
1594:
1569:
1533:
1459:
1429:"Cane"
1410:
1391:: 162.
1005:Hughes
721:Legacy
549:Harlem
383:was a
237:168697
212:239 p.
145:Author
85:
78:
71:
64:
56:
1129:MELUS
1074:Tinta
891:Cane,
687:Cane'
337:Negro
209:Pages
204:Print
122:Cane
90:JSTOR
76:books
1722:Cane
1708:Cane
1675:2018
1643:ISBN
1624:2018
1592:ISBN
1567:ISBN
1531:ISBN
1457:ISBN
1436:2018
1408:ISBN
1369:Cane
1195:Cane
1170:Cane
1159:Cane
1148:Cane
1137:Cane
1103:Cane
1092:Cane
1063:Cane
1045:Cane
994:Cane
983:Cane
925:Cane
873:Cane
855:Cane
805:Cane
671:and
659:Cane
625:Cane
614:Cane
608:and
601:Cane
594:Cane
578:Cane
568:folk
555:Cane
544:Cane
540:Cane
536:Cane
519:Cane
381:Cane
377:Cane
361:Cane
357:Cane
305:Cane
298:Cane
282:Cane
246:Cane
231:OCLC
218:ISBN
185:1923
178:1923
62:news
1725:at
1711:at
1221:MLA
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1152:ELH
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1120:'s
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649:In
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311:to
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106:(
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97:(
87:·
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