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Carrell, a regular contributor to Smithsonian Magazine, tells the story of Lady Mary Montgau and Dr. Zabdiel Boylston, two iconoclastic figures who flouted 18th-century medicine by borrowing folk knowledge from African slaves and Eastern women in an effort to save their children from smallpox. Their efforts helped give birth to the modern science of immunology. B&w historical illustrations are included. There is no subject index. Annotation © 2004 Book News, Inc., Portland, OR
Two persons, one in England and one in Boston, were, each in their own way, key movers in increasing the acceptability of inoculation against smallpox. Epidemics raged in their respective countries during 1721 and a few years following, and people coped as they usually did. They avoided each other, nursed the sick, called what doctors existed, tried to find someone or something to blame, and buried their dead. Lady Mary Whortley Montagu, a smallpox survivor, accompanied her husband to Constantinople, where he was Great Britain's ambassador to the Porte. There she met large numbers of women, none of whom bore the disfiguring scars. Why? They showed her scars on their arms where small amounts of the pus from pox victims had been placed by old women at parties. They were sick for a while, they said, then never got the real disease. Back in England, Lady Mary encouraged her surgeon to inoculate her son and others. Smallpox survivor Zabdiel Boylston, a Boston apothecary, at the suggestion of the Reverend Cotton Mather (of fire and brimstone fame), visited slaves from Africa who had had the same experience as the Turkish women. Boylston inoculated his own son and his slave and then many others, including Mather's son. Moving back and forth from one country to the other, Carrell tells of the abuse Lady Mary and Boylston suffered when mobs physically attacked them as spreaders of the disease. The mobs had a point because it was possible to catch smallpox from freshly inoculated persons, and some died from the inoculation. Also, some medical persons of the day feared the diminution of their lucrative practices, and there were some religious leaders who believed that smallpox was the punishment ofa just God for sins committed. Newspapers of the day published scurrilous attacks. Gradually, the idea of inoculation took hold, but immunization against smallpox did not become generally accepted until the milder vaccination using cowpox virus was identified by Edward Jenner in the 1860s. This riveting read is hard to label. Carrell is clearly a scholarly researcher, but her main goal was to tell a good story that readers will enjoy, making it as accurate as possible in its main story but being less rigid in its minor details. She tells what it was like to live in a world in which smallpox and other epidemic diseases made periodic visitswhich was most of the world for most of human historyand how very difficult it was to bring about smallpox's ultimate defeat. The author rambles at times, but the basic story is good. Carrell makes accessible a complex story that has resonance today. KLIATT Codes: SARecommended for senior high school students, advanced students, and adults. 2003, Penguin Plume, 474p. illus. notes. bibliog. index., Ages 15 to adult.
More Reviews and RecommendationsUpon the release of her first book, The Speckled Monster -- a fascinating historical examination of the smallpox epidemic -- Jennifer Lee Carrell was named a writer to watch by our Discover Great New Writers program in the summer of 2003.
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September 28, 2008: This was a very interesting book. I was afraid it was going to be all facts and no good fiction but was pleasantly surprised to find it was a page turner. As a health professional and an avid reader I highly recommend it
Name:
Jennifer Lee Carrell
Current Home:
Tucson, Arizona
Date of Birth:
March 25, 1962
Place of Birth:
Washington, D.C.
Education:
B.A., Stanford University, 1984; B.A., Oxford,1988; M.A., Harvard, 1990; M.A., Oxford, 1992; Ph.D., Harvard, 1994
In our interview, Carrell shared some interesting facts about her life with us:
"Writing should be an adventure, not just the stringing-together of other people's adventures. On the trail of stories, I have: rappelled from a six-story tower using an emergency hand-tied halter (while writing about the training of firefighters); tracked mountain lions on mule-back through the mountain range Geronimo used as home base and hideout; held Yo-Yo Ma's cello; ridden the roller-coaster ride of a professional cutting horse (herding cattle); and posed for David Hockney on a BBC set while stuffed into a medieval gown originally made for Star Trek with a red-velvet turban improvised from a set of men's pants perched on my head. From the sublime to the ridiculous -- and all of it wondrous."
"Paradise is:
Because summer's a great time to go back to childhood:
Because summer's a great time to go back to someone else's extraordinary childhood:
When else is there enough time to laze through long books of adventure, passion, and laugh-out-loud humor?:
Instant vacation -- other places, other times:
Because summer's perfect for strange magic:
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In the fall of 2003, Jennifer Lee Carrell took some time to talk with us about some of her favorite books, authors, and interests.
What was the book that most influenced your life or your career as a writer -- and why?
by J.R.R. Tolkien. The fine detail and vast scope of his world are astounding, but the greatest lesson The Lord of the Rings taught me is the paradoxical necessity of frayed threads, mysterious gaps, and unfinished edges. Like the real world, Middle-earth is deliberately, teasingly, seductively incomplete -- unknowable and therefore seemingly infinitely rich in its history, languages, geography, zoology, culture. The story at hand gives the sense of being no more than a brief exploration through a world whose horizons are endless: "All experience is an arch where through gleams that untravelled world whose margin fades for ever and for ever when I move," as Tennyson put it. Shakespeare teaches a similar lesson: Even his minor characters seem to have rich back-stories. The sense of full stories roiling in the shadows makes the plot at center stage shine all the brighter.
What are your ten favorite books, and what makes them special to you?
What are some of your favorite films, and what makes them unforgettable to you?
To my mind, the best films use every aspect of the medium -- acting, all the visuals (set, costume, lighting, props), camera work and shot framing, soundtrack and music, editing, and writing -- to build superbly crafted, enthralling and emotionally rich stories. In other words, I admire filmmakers who harness the capabilities of film to serve the art of story, rather than the other way around. I'm partial to epics -- scope for big passions played against big backgrounds, and time enough for luxuriant storytelling:
Two epic romances aimed at the heartstrings of writers -- Shakespeare in Love and Out of Africa.
Because I find certain stars riveting:
And finally, because I adore the surprises of magic realism, done with a light touch:
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
Classical: whatever fits the mood or period of my writing at hand. Mozart, Beethoven, Tchaikovsky, Chopin, Vaughan Williams, Elgar, Bach, Brahms, Prokofiev, and Stravinsky are among my favorites. However, sometimes, they demand attention: They engage the mind as well the mood. When that's distracting, I go to:
Film soundtracks, which are written as mood-enhancing background music -- and the best of it is brilliant. Again, whatever fits the mood I'm working on: suspenseful, triumphant, romantic, or mysterious.
If you had a book club, what would it be reading -- and why?
I like books -- both fiction and nonfiction -- that bring a historical place and time alive in the thoughts and deeds of remarkable people. You get intriguing, quirky, heroic characters battling through huge events, or slipping quietly through small ones: which serves up a lot to talk about. Best among these are those that are also of exquisite literary value, especially when set against very fine films. Then you can talk about the difference between what makes a novel or history great vs. what makes a film great, with reference to the same basic story (Cunningham, Ondaatje). A list that fits this bill:
What are your favorite kinds of books to give -- and get -- as gifts?
Books that surprise me because I would never have thought to give them a chance. Beautifully illustrated books, especially children's classics.
Do you have any special writing rituals? For example, what do you have on your desk when you're writing?
I write best in the morning, before the clutter of the day muddies my thinking. On my desk, I keep a silver-toned photograph of my great-grandmother as a young woman, in a heavy Mexican silver frame. She came west in a covered wagon, grew up in Montana and Arizona, and lived to see men circle the moon in spaceships -- and she lived a life adventurous enough to bridge that gap. Needless to say, she is my idol.
I usually begin by listening to music, staring at the mountains, and toying with the cat: until something stirs. I start writing longhand -- I think most creatively with pen and paper in hand: I feel connected, somehow, to the words.
Only later do I transfer my writing to the computer: when it already seems to have some life and soul.
Many writers in the Discover program are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
Hmmm. Forty-one years? I went to graduate school in English literature, so that being a professor could finance my writing habit. I loved the scholarship and the teaching, but hated academic politics. As it became clear that a quest for tenure would feed my life whole to academic research, writing, and teaching, and postpone writing of a more creative kind for at least a decade, I decided it was time to jump ship. While I was home in Arizona and doing some backpacking in old Chiricahua Apache territory, I came across David Roberts's book Once They Moved like the Wind. I noticed from the book jacket that he lived in Cambridge, Massachusetts -- and found him in the phone book when I returned there. For the first (and so far, the last) time, I wrote a piece of fan mail: just to say I had loved his book, which had made me see the place I grew up in a very different light. David answered -- and we eventually became friends. He helped me sell my first non-academic piece of writing to Smithsonian magazine: and so an escape route opened up.
I took it.
If you could choose one new writer to be "discovered," who would it be -- and why?
I don't know too many new unknowns. I would like to jump-start the rediscovery of a little-known but superb genre written mostly by "anonymous" -- the Icelandic sagas. Spare prose, intense drama.
What tips or advice do you have for writers still looking to be discovered?
Keep writing. Try all different kinds of writing: if you are driven to write the next great American novel, don't limit yourself to novels, or even to fiction. Storytelling has many different branches, all of which teach you different aspects of the art. Try drama, screenwriting, article writing, review writing, poetry, epigrams, songs -- anything and everything.
The Speckled Monster tells the dramatic story of two parents who dared to fight back against smallpox. After barely surviving the agony of smallpox themselves, they flouted eighteenth-century medicine by borrowing folk knowledge from African slaves and Eastern women in frantic bids to protect their children. From their heroic struggles stems the modern science of immunology as well as the vaccinations that remain our only hope should the disease ever be unleashed again.
Jennifer Lee Carrell transports readers back to the early eighteenth century to tell the tales of Lady Mary Wortley Montagu and Dr. Zabdiel Boylston, two iconoclastic figures who helped save London and Boston from the deadliest disease mankind has known.
Two persons, one in England and one in Boston, were, each in their own way, key movers in increasing the acceptability of inoculation against smallpox. Epidemics raged in their respective countries during 1721 and a few years following, and people coped as they usually did. They avoided each other, nursed the sick, called what doctors existed, tried to find someone or something to blame, and buried their dead. Lady Mary Whortley Montagu, a smallpox survivor, accompanied her husband to Constantinople, where he was Great Britain's ambassador to the Porte. There she met large numbers of women, none of whom bore the disfiguring scars. Why? They showed her scars on their arms where small amounts of the pus from pox victims had been placed by old women at parties. They were sick for a while, they said, then never got the real disease. Back in England, Lady Mary encouraged her surgeon to inoculate her son and others. Smallpox survivor Zabdiel Boylston, a Boston apothecary, at the suggestion of the Reverend Cotton Mather (of fire and brimstone fame), visited slaves from Africa who had had the same experience as the Turkish women. Boylston inoculated his own son and his slave and then many others, including Mather's son. Moving back and forth from one country to the other, Carrell tells of the abuse Lady Mary and Boylston suffered when mobs physically attacked them as spreaders of the disease. The mobs had a point because it was possible to catch smallpox from freshly inoculated persons, and some died from the inoculation. Also, some medical persons of the day feared the diminution of their lucrative practices, and there were some religious leaders who believed that smallpox was the punishment ofa just God for sins committed. Newspapers of the day published scurrilous attacks. Gradually, the idea of inoculation took hold, but immunization against smallpox did not become generally accepted until the milder vaccination using cowpox virus was identified by Edward Jenner in the 1860s. This riveting read is hard to label. Carrell is clearly a scholarly researcher, but her main goal was to tell a good story that readers will enjoy, making it as accurate as possible in its main story but being less rigid in its minor details. She tells what it was like to live in a world in which smallpox and other epidemic diseases made periodic visitswhich was most of the world for most of human historyand how very difficult it was to bring about smallpox's ultimate defeat. The author rambles at times, but the basic story is good. Carrell makes accessible a complex story that has resonance today. KLIATT Codes: SARecommended for senior high school students, advanced students, and adults. 2003, Penguin Plume, 474p. illus. notes. bibliog. index., Ages 15 to adult.
Loading...| Acknowledgments | ix | |
| Introduction | xi | |
| Part 1. | London | |
| 1. | Two Marys | 3 |
| 2. | Three Rebellions | 15 |
| 3. | A Destroying Angel | 39 |
| 4. | Bidding the World Adieu | 56 |
| 5. | My Dear Little Son | 72 |
| 6. | Rosebuds in Lily Skin | 86 |
| Part 2. | Boston | |
| 1. | Zabdiel and Jerusha | 99 |
| 2. | Curiosities of the Smallpox | 108 |
| 3. | The Beauty of the Sea | 120 |
| 4. | Caging the Monster | 142 |
| 5. | Demonic Wings | 156 |
| 6. | Fathers and Sons | 170 |
| Part 3. | Hell Upon Earth | |
| 1. | Salutation Alley | 193 |
| 2. | Prying Multitudes | 213 |
| 3. | An Infusion of Malignant Filth | 222 |
| 4. | The Castle of Misery | 241 |
| 5. | Signs and Wonders | 247 |
| 6. | Newgate | 264 |
| 7. | An Hour of Mourning | 278 |
| 8. | The King's Pardon | 296 |
| 9. | Raw Head and Bloody Bones | 305 |
| 10. | Just Retribution | 326 |
| 11. | In Royal Fashion | 338 |
| Aftermath | ||
| 1. | Meetings and Partings | 363 |
| 2. | The Practice | 389 |
| 3. | The People | 395 |
| Notes | 401 | |
| Abbreviations | 447 | |
| Sources | 449 | |
| Bibliography | 465 |
Just as the door closes on the safe haven of her coach, a servant in silver livery hands her a tray of carefully stacked notes: even as some mothers teach their children to taunt her, others send footmen day and night to beg for her presence. When they find her away from home, they fan out through the winding lanes of London to track down hercarriage, wherever she may be.
In colonial Boston, Zabdiel Boylston rides down a muddy street; his black slave Jack follows on a mule, packing a satchel full of the tools of Boylston's trade: he's a general surgeon and an apothecary, or pharmacist. He's never been to college, but the townspeople call him "doctor" anyway, in honor of his skill. After years of practice, and before that, years of apprenticeship with his father, he's the most trusted medical man in town. A recent arrival from Scotland, William Douglass, is beginning to protest, however: Dr. Douglass may be eleven years younger than Boylston, but after studying at no fewer than four European universities, he has earned a proper medical degree. His peacock pride is infuriated by the mere presence of this untrained competitor for his fees, and even more so by the trust the provincial fools of Boston put in him.
So far, Boylston has paid no mind to Douglass's sneers: he cares little for tradition or titles. What he cares about are honest hard work and results.
That was before the recent outbreak of smallpox, however. Now, like Lady Mary, Boylston is hooted at and splattered intentionally with filth whenever he steps into the street. For fear of lynch mobs, his wife and friends beg him not to go out after dusk, but the stealthy knocks keep coming, followed by urgently whispered requests: Will you come now, before it's too late?
Always, he gives Jack the nod, puts on his coat, and goes out.
This is a tale of two smallpox-haunted cities and the two unlikely heroes, both outsiders to the elite ranks of the medical profession, who began the fight against that terrible disease in the Western world in the 1720s. Lady Mary Wortley Montagu and Zabdiel Boylston were not scientists; their struggles against smallpox were not systematic or even logical, according to the medical knowledge of the day. Their crusades against the "speckled monster" of smallpox were deeply personal.
Beyond speaking English, Lady Mary and Boylston had almost nothing in common. Lady Mary was the daughter of one of the British Empire's wealthiest and most powerful dukes, and the wife of one of its wealthiest private subjects. Shuttling between palatial London town-homes and grandiose country estates, she had been surrounded by opulence almost since birth.
She was a study in contrasts: celebrated since childhood as a small, black-haired beauty, she cared more for rapier duels in the world of the mind than fame in the world of fashion. She spent hours reading romances and travel adventures in her father's plush library, and she loved biting word-play and wild flights of the imagination. Very early, she began scribbling her own stories.
She was a Georgian Scheherazade who had the habit of telling her life's story as a fairy tale, but her heroines, like herself, were not docile princesses meekly awaiting rescue-though in the age's spirit of mockery, she christened one of them Princess Docile. Lady Mary's heroines were rebels who got themselves into trouble.
She was also one of the greatest letter writers to grace the English language. Even in hurried or teasing notes, she tells stories, deftly sketching scenes and dialogue and catching quirks of character. Thankfully, many of her correspondents recognized masterpieces when they saw them and saved her letters. She herself edited the letters she wrote home during her travels to Turkey, arranging for their publication after her death.
Her diary has a more frustrating history. Begun when she was young, it grew to many volumes: if it had survived, it would offer a woman's early eighteenth-century rival to the chatter of Samuel Pepys, whose diary remains one of the most entertaining and encyclopedic descriptions of late seventeenth-century life in London. Unfortunately, Lady Mary's diary, like a great deal of women's writing from that period, was burned by her loving family, for the sake of preserving reputations, hers included. All that remains of her journals are the memories that her granddaughter, Lady Louisa Stuart, retained of having read a few of the volumes many years before, set down in writing in 1837 as "Biographical Anecdotes of Lady M. W. Montagu."
In high contrast, Zabdiel Boylston wrote only when necessary. Boylston was a third-generation colonist who had grown up hunting, fishing, farming, and doctoring on the fringes of a vast wilderness half the world away, in the western hamlet of Muddy River, Massachusetts. Now known as Brookline, his birthplace was tiny and provincial even by the standards of the booming frontier port where he would eventually make his home: Boston, then sandwiched between the sea and the seemingly endless American forest.
To Boylston, words were tools to be used sparingly. He had learned his profession not from books but from long practical apprenticeship with his physician father. In 1726, certainly at the behest of the Royal Society and possibly at the request of the Princess of Wales, he told his side of the story in An Historical Account of the Small-Pox Inoculated in New England, including his case notes for inoculations performed in Boston in 1721 and 1722. It is a deliberately dry format, careful and concise; even so, a wry wit shines through. Though capable of humor, he was for the most part laconic, stubbornly upright and independent-an early incarnation of the American frontier hero.
Boylston and Lady Mary shared one crucial experience, as even a fleeting glance at their scarred faces could have told: they had both won vicious battles against smallpox. They knew firsthand the horror of a disease that could turn people into grossly swollen, groaning monsters barely recognizable as human, bubbling with pus and reeking with the sickly-sweet smell of rotting flesh. They knew the agony of skin that felt sheeted in flame, and a mouth and throat so full of sores that some victims died of thirst rather than endure the pain of swallowing. That lone shared struggle turned out to be enough to make them change the world-at the same time and in the same way, though unknown to each other.
In telling this tale, I have tried to remain faithful to its two heroes, not only as historical figures but as storytellers. In honor of Lady Mary's love of a well-told story, I have done my best to lift dry, briefly outlined scenes back into drama, relying on evidence from elsewhere to add details of sight, smell, and sound; food, clothing, and furniture; medical beliefs and scientific facts; music and poetry; even weather. Where history reports dialogue indirectly or leaves it merely suggested, I have returned it to full conversational life-while keeping as close to what was actually said as possible, often by borrowing known words from similar situations. I have drawn connections left implied by timing or juxtaposition. At times, the narrator speaks with the words and phrases of Lady Mary, Boylston, and their cohorts-not always set apart in quotation marks-to allow the reader to look at the world through their eyes, as well as to look at them, like marvelous butterflies pinned beneath museum glass.
The notes, in the form of short essays at the back of the book, are in honor of Boylston-and all those who like their certainties sharply demarcated from surmise, or who just enjoy the tension and spring between history and story.
For all our current fears, we are inestimably lucky to live in a world in which the threat of smallpox has shifted from ordinary to extraordinary. Paradoxically, in the absence of smallpox as an everyday enemy, it is hard to realize just how lucky we are. Sheer numbers may help. By the time the disease was vanquished in 1977, it had become far and away the most voracious killer ever to stalk the human species. With a victim count in the hundreds of millions, smallpox has killed more people than the Black Death and all the bloody wars of the twentieth century put together.
The eradication of smallpox from nature remains one of the greatest victories of modern medicine. Across the 1960s and '70s, doctors and health workers by the hundreds of thousands hunted the disease down in its last hiding places in Asia and Africa, driving it relentlessly toward extinction by a "scourged earth" policy. By lure, education, bribery, and finally by force, they vaccinated everyone within reach of the variola virus that causes smallpox.
In essence, doctors destroyed smallpox by destroying its habitat. Like vampires, variola quickly dies in the glare of sunlight; it cannot, under normal circumstances, survive long outside the human body. Using vaccination to turn every vulnerable member of the species into uninhabitable territory, doctors eventually exterminated variola from nature. In April 1978, a World Health Organization field office declared victory in a brief telegram sent winging from Nairobi to headquarters in Geneva: "Search complete. No cases discovered. Ali Maow Maalin is the world's last known smallpox case." Maalin had sickened and recovered in Somalia in the fall of 1977, though it would take until May 1980 for the World Health Organization to certify the proclamation of its Kenyan field office. Whichever endpoint you choose, the long war was over.
As Jonathan Tucker has described in Scourge: The Once and Future Threat of Smallpox, only two samples of the virus are known to survive, deep-frozen in maximum-security prisons in Russia and the United States-prisons that threaten to become Pandora's boxes.
Amid celebrations of victory and growing fears of a future breakout, whether accidental or deliberate, the equally dramatic origins of the long fight against smallpox have lingered in the shadows. Edward Jenner, who developed and propounded vaccination in the 1790s, is often credited as the founding father of immunology. But Jenner, more accurately, forced a quantum leap in the fight against smallpox; he did not start it.
Jenner's vaccination introduced the cowpox virus (called "vaccinia," from vacca, Latin for "cow") into the body through small pricks in the skin, the body's first and best shield against disease. Though related to smallpox, cowpox is a minor ailment, one most healthy human bodies (as well as healthy bovine bodies) can easily conquer. In mustering troops against vaccinia, however, the body also goes on high alert against its lethal cousin variola, the smallpox virus (whose name derives from the Latin adjective varius, meaning "spotted"). When and if variola tries to sneak into a vaccinated body, it's killed off before it can establish any strong footing, much less a stranglehold.
Jenner's contribution was to find a virus related to, but far less dangerous than smallpox with which to put the body's immune system on alert. Introducing virus into the skin in order to produce smallpox immunity, though, had already been in practice in the British Empire for seventy-five years: but the old form of inoculation-then called "engrafting" and now called "variolation"-used live smallpox virus. The danger in doing so, of course, was that it could produce full-blown smallpox; patients undergoing inoculation could also spread the disease, triggering an epidemic.
When variolation worked, it produced no more than a mild case of the disease in a patient kept safely quarantined. Except at the point where the virus had been force-fed into the body, it left no scars. Even this relatively gentle encounter with the disease, though, granted the one great gift of surviving smallpox: complete and permanent immunity.
Vaccination, on the other hand, put the patient at far less risk of serious complications, and removed altogether the risk of spreading smallpox. It also, however, delivered a lesser gift: temporary and, in some cases, only partial immunity. It was less absolute, but vaccination's shield would prove to be more than strong enough.
Before 1798, when Jenner published his first vaccination paper, however, variolation for all its risks was not merely the best, but the only means of protection against smallpox. In the throes of epidemics that could kill as many as one in three victims, and leave many others grotesquely scarred or blinded, the roughly one-in-a-hundred odds of dying from variolation often looked very good.
Neither Lady Mary nor Boylston invented inoculation; they were crucial catalysts rather than inventors. At the beginning of the eighteenth century, European medicine was helpless against the disease, but loath to admit it. Recognizing that failure, Lady Mary and Boylston were willing to look elsewhere for relief.
The paradox of using smallpox to fight smallpox was not a product of methodical Western science. Its discovery and development lie hidden in the unrecorded history of the folk medicine of the Middle East, the Caucasus, and Africa. Many people around Lady Mary and Boylston sneered not only at their lack of training, but at their willingness to pay serious attention to rumors coming from even more absurdly "ignorant" sources: Ottoman women and African slaves.
In the 1720s, Louis Pasteur's germ theory lay another 140 years in the future, and the mechanisms of disease were as yet little understood. No one knew why inoculation might work; they only gradually became certain that it did work. Observers did know two important facts about smallpox, however. They knew that the disease was virulently contagious, and suspected that it was passed by breathing "bad" air somehow infected by victims, or by the presence of victims' clothing and bedding. Secondly, it was already common knowledge that those who had survived smallpox were forever after immune: with smallpox, there was no double jeopardy.
Continues...
Excerpted from The Speckled Monster by Jennifer Lee Carrell Copyright © 2004 by Jennifer Lee Carrell. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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