Michael Chabon

Contents

Part 1: A Model World

S Angel: B

Ocean Avenue: C-

A Model World: C

Blumenthal on the Air: A

Smoke: B+

Millionaires: B+

Part 2: The Lost World

The Little Knife: C-

More than Human: B

Admirals: B

The Halloween Party: A

The Lost World: A+

Blumenthal on the Air

    Although all of Chabon’s short stories in A Model World showcase some sort of human drama as the center focus, Blumenthal on the Air for me does the most with the least. Take a fairly intelligent, knowledgeable, artistic, and generally “cool cat” from the United States, stick him together with a butch Iranian woman who may only want to get citizenship from marriage, and then throw them both in the fairly foreign atmosphere of Paris and you have a recipe for all sorts of uncomfortable scenarios. From the very beginning, Brian Blumenthal (the main character of the story)’s personal narration clues us in to the uncertainty of his feelings for Roksana, his Iranian wife. Instead of describing how they interact directly from a third person point of view, Chabon opts to have Brian himself tell us, and through his mixture of reverence and indifference we can tell he’s not quite sure what he thinks of his wife anymore, or whether he was thinking at all to begin with. This uncertainty stays with him, and us, as we follow the two in an ordinary day in their life in France where Brian seems to enjoy a fairly happy and successful career as a disc jockey for a local radio station. Here we get another glimpse into the workings of the man’s mind as he happens to mention one of the perks of the job being that he is often called up by cute single french girls who love music and his jockeying. The stage is well set by the time the pair ends up at a dinner at one of his french friend’s parent’s houses. This is a good time to mention that Roksana doesn’t speak any french at all, something hinted at before but now thrown at us so that we can realize how bad an idea it was for Brian to drag her there at all. There is something eerie and uncomfortable about the way the rest of the story is presented, as Brian seems almost detached from everything going on around him, and particularly detached from his wife, and at the end he is confronted with the question readers may have been asking since page two.

The Little Knife

    The second part of this short story collection is a series of connected narratives starting with The Little Knife. While the previous, unconnected stories were hit and miss for me, these I think held the same level of quality and merely became more enjoyable as the narrative progressed due to familiarity. The Little Knife first introduces us to Nathan Shapiro, an intelligent and curious boy of ten, who serves as the narrator and primary focus. The other primary characters include his mother, his father, and his younger brother Ricky. Taken at face value, the story may seem similar to those from the first section of the book as it showcases a boy coming to grips with the marital strife of his parents while on a routine vacation to the beach, only to gain increases significance once you realize it is the first in a series. While I did not like this one as much as some of the other stories, I think I understand what its purpose was as a writer. The Little Knife’s overall narrative was less important, instead focusing on fleshing out the way young Nathan thinks, what he thinks about, his sensitivity, his relationship with his family, and doing the same to a lesser extent with them as well. While this makes the story a bit more dry and less visceral than some of Chabon’s others, when looked at through the lens of The Lost World stories as a whole, it is a bit easier to come to grips with.

The Lost World

    While The Little Knife is the first of the series and my least favorite, The Lost World is the last and is my favorite by far of all the stories in this collection. By the time you read the story you should be well familiar with Nathan Shapiro, having watched him grow into a young man from ten to sixteen years of age. Whereas The Little Knife was an introduction in which the plot was less relevant and character details were more so, The Lost World is the final chapter that shuts us out of Nathan’s life for good, and so Chabon clearly focuses on the action this time around. Nathan is naked and a little drunk, driving around in a car with three of his friends. It might seem a little strange given what we know of him growing up, but it is clear by the way he continues to narrate that he is still more or less the same Nathan. The final story follows him as he sneaks into the room of a girl who he has known on and off and who his friends say will put out to anyone. Again, something strange for the Nathan we know, but his narration is both endearing to anyone who has been a teenager before and also consistent with his own personality as he mostly fails to get anything done, instead talking to the girl, Chaya, and learning that she is leaving to Jerusalem never to return, ultimately blowing any possibility of a future with her for Nathan. The description of the scenes in this story are Chabon’s best, easily engrossing the reader and playing the scene in the imagination as if it were from a myriad of cheesy romantic comedy movies. The story ultimately ends as Nathan’s heart is broken by a short, heartless letter from Chaya and an equally disappointing sandwich with pickles on it made by his stepfather and one more letter from his father. It is here I came to understand that Nathan’s fate was to be that of his family’s, namely his father’s, before him, and I could not help but feel sorry for the interesting young man I had followed from page to page.

https://www.harpercollins.com/authors/michaelchabon

 http://www.telegraph.co.uk/books/authors/michael-chabon-interview-memories-have-little-relationship-truth/

Michael Knight: Goodnight, Nobody

Michael Knight: Goodnight, Nobody

Contents

Birdland -- C

Feeling Lucky -- D

Killing Stonewall Jackson -- F

The End of Everything -- A+

The Mesmerist -- D+

Keeper of Secrets, Teller of Lies -- C

Mitchell’s Girls -- B-

Ellen’s Book -- C

Blackout -- B

The End of Everything

Michael Knight proves himself worthy to be published with our name. In the course of “The End of Everything”, Knight does not allow the reader to intrude into the character’s exact point of view at all. While, we, as readers, do get a glimpse of memories or desires that the main character, whose identity was never revealed, her exact thoughts were never exposed. The true beauty of “The End of Everything”, I believe lies in the yearning of the characters. Both Jimmy and the dental hygienist yearn for love. When Jimmy left the dental hygienist, she was devastated. The dental hygienist needed another lost cause to save, a dog. She becomes fully immersed in the role of a dog owner. Any little emergency needed the immediate attention of a doctor. Jimmy, her ex-husband, search for love or lust continued even during their marriage. The narrator recounts her life during their marriage. The long nights in which she would wait for Jimmy to come around, only for him to never show up. The nights when he did come home, only to smell like other women. Another feature of the story which I truly appreciated was the plot organization and entrances into the high action. When I first read the story, I almost imagined it similar to a movie. The introduction shot is high in the air while the narrator’s voice erupts from the speakers: “Then there’s the one about the woman who comes home from work and discovers her dog -- sometimes a Doberman, sometimes a Lab -- gasping and gagging and giver her walleyed looks from the phony oriental rug in the foyer. The woman is generally a secretary or a dental hygienist, depending on who is telling the story, but she pitches the dog over her shoulder, like she had been rehearsing for this moment all her life, carries him to the car, and is doing an obstacle course run through the tag end of rush hour on the way to the emergency veterinary clinic. She loves her dog.” By the end of that sentence, Knight has zoomed in into the story enough to give us a clearer image of the mess. The rise to the high action truly was the icing on the cake. It starts with the recounting of how she got her dog in a fatigued tone but as she is finally reaching sleep, she is awakened by the phone call from the doctor. This, only four paragraphs in, is what truly grabbed my attention. As soon as she picks up her phone, she is not received by the usual, happy sounding voice of a doctor, but by yelling. The yelling is urging her to leave the house: “Get out of the house, lady! This is no joke. I already called the police… The dog is fine. I’m telling you we found a human finger in his throat.” At the end of this, we are again met with the narrator. “The story, as it is usually told ends here. The woman is left hanging somewhere between safety and certain death. In this particular version, however, it occurs to her that it has been more than an hour since she found the dog and she wonders, even in the midst of panic, what sort of burglar or rapist or serial killer would lose a finger to a dog and still linger at the scene of his intended crime.” The story continues.

The Mesmerist

The reason for rejection lies within the plot. There seems to be no high action, and there is no yearning from Moody, the main character. As soon as I am introduced to the characters, they are out of my reach and the story is done for. What was done here on behalf of Michael Knight, should be deemed a crime. It followed a simple plot: Moody mesmerized a college student to stay with him, and then mesmerized a private investigator who was searching for said college student. There was hardly any complexity or any true background to become connected to or immersed in the story.

Blackout

Complexity is key in the last short story of Goodnight, Nobody. Maybe it is my lack of observation, but had it not been for the title of the story, I would not have been able to make the connection that there was a blackout. Nonetheless, the main urge or yearning and conflict lies in the subject of babies. Porter and Franny both want kids; it is evident that they have been trying long and hard. To begin, Porter had had a talk with the doctor who suggested he take a leave from cigarettes to help with sperm count but Porter had not quit. In fact, he thinks that “a child ought to be born of something more spontaneous and grand.” There is a certain beauty to having all this commotion going on while everything is dark. Rhonda, Franny’s friend and the couple’s neighbor, had faked an affair as an excuse to move back to Texas. Before the blackout, Rhonda’s husband, Wyatt, was going to search for evidence. The blackout was not going to stop him, he decided to look for his night goggles. Meanwhile, Franny is afraid something has happened to the eighty-something year old woman living nearby and sends her husband, Porter, to check up on her. It’s almost as if in the dark, everything has come to light.
The organization of the story is similar to “Birdland”, one paragraph follows a certain topic and the topic interchange. For example, in “Birdland”, one paragraph would be about Elbow, Alabama or Raymond’s early life while the next would be about The Blond and her relationship with Raymond. Here, one paragraph is told from Franny’s point of view, as a comic or simply a literary relief, while the other is told from Porter’s perspective following the high action.

Tom Franklin: Poachers

 

Tom Franklin

Contents

Introduction: A

Grit: C

Shubuta: C

Triathlon: B

Blue horses: A

The ballad of duane Juarez: B

A tiny history: A

Dinosaurs: C

Instinct: D

Alaska: B

Poachers: A

Blue Horses

Tom Franklin captures his readers from the very first paragraph in this short story as he begins with a mysterious situation of a character who is aware of someone sleeping outside in his truck. He uses the tactic of grabbing his readers right from the start in many of his short stories, as he usually places something strange within the first couple of sentences in order to pull the reader in; not allowing them to put the book down. He continues this style throughout this story; the reader is only given hints as to what is going on, leaving them to make their own assumptions. He will drop these hints throughout the vivid descriptions that he provides, mainly through the setting and the rough characters that he creates. Franklin foreshadows the issues of the story through setting, placing the atmosphere as raining and freezing cold, emphasizing the loneliness of the situation, chilling his characters and his readers to the bone. He describes buildings that are boarded up and abandoned with old rusted box cars. While reading the reader is able to visualize the scenery which provide much more than just a visual image, but the mood, foreshadowing the loneliness of the sickness that Mike is enduring and the situation he feels he needs to escape.   Franklin also provides several hints to the main issue through the dialogue of his characters. For example, Jimmyboy describes how his old lady feels about the situation by saying, “it ain’t right” leaving the reader wondering exactly what “it” is and why is she opposed to it. (72)  The characters that Franklin describes match their surroundings as they are rough and seem very real. The characters have actual real world issues such as not being able to pay their power bill or the heat not working in Earl’s truck. Issues such as these make the characters relatable and authentic, allowing the reader to connect with them, pulling on their emotions as they read. Franklin does not reveal the actual issue that Mike faces until two pages before the story concludes. By this time the reader is invested in the characters and the setting; emotionally attached to the situation and finally being able to connect all of the dots. Even after the conflict is exposed, Franklin continues with the lonely tone of the story. Still including lengthy vivid descriptions, he describes the train that Mike is staring at and its surroundings, his only source of companionship. These long detailed descriptions sometimes seem hard to find the purpose of, but they provide the reader with a lens that allows them to look through the character’s eyes and connect with their emotions, like they are standing right in the room where Mike will possibly take his own life. He ends the story, not completely tying up the loose ends as the last line reads, “’Im freezing to death.’” (79) Again not coming directly out and stating what the next actions will be, but giving enough information that the reader will be able to assume. This short story was full of anticipation and wonder, I thoroughly enjoyed this short read.

Instinct

This story was my least favorite out of Franklin’s Poacher’s. It evoked no sense of urgency or feeling within me as I read. I felt as if the main character had no sense of yearning, what does he really want or desire from his life? It seemed almost aimless at times, I kept waiting for something to actually happen and as soon as suspense would build the scene would change or the narrator would switch to a different part on the stories timeline. Franklin still hooks the reader with his first paragraph, making it extremely intriguing, forcing the reader to continue reading. However, after this I felt nothing else in me that wanted to finish the story, I continually told myself that it would get better, I was hopeful at times such as when Brenda entered the story, but nothing actually happened there either. Franklin continually set up different scenes where something interesting and exciting could occur, but for some reason he never inserts any real action. I felt that this story was very confusing at points, and jumped around too much. Even though the main character remained constant throughout, it was as if there were four different stories that were not related at all; like the narrator was just rambling on about whatever happened to come to mind at that moment. Although the stories structure is consistent with Franklin’s style, containing short fragmented sentences and vivid description of the surroundings, I felt that it did not show the usual elements of suspense and sentiment that show up in his other stories. I found no significance in this short story, nothing that left me wondering; therefore, Instinct is my least favorite out of this collection, resulting in the lowest grade given.

Poachers

Again Franklin begins this short story with an interesting, strange scene; three boys walking through the woods with a skinned dog, a fawn and a bag of dead eels. Providing vivid descriptions, the third person narrator takes the reader along with the boys as they distribute these odd items to their buyers as they receive their payments. Franklin forms his characters in this story in a way that almost forces the reader to connect and feel for them; on their side no matter what. For example, the boys are poaching, they are rough and do not seem kind, however I could not help but feel for them. I was on their side no matter what, even if a punishment would have been justly given to them, I was so closely bonded with the boys and their story while I was reading that I feel I would have seen it as unfair; just wanting them to be left alone. I felt the same for Kirxy when the narrator would speak about his wife or his sickness; wishing for something to happen that would bring him peace or happiness. The boys and Kirxy are almost opposite characters, as Kirxy is kind and caring and the boys are not what so ever, however Franklin manages to attach the reader to all of these characters even though they seem so opposite. This story is full of sentiment which can be felt through the emotions that are evoked throughout the story and the small details and hints that he would give to what was happening in the story; not explicitly stating it. The reader is left to create their own details of the boy’s deaths, we assume that Frank David is responsible, but we do not really make a solid assumption of it until the very end of the short story. Franklin also leaves many cliff hangers throughout this short story, many times right before he would switch scenes, forcing you to continue reading. You just simply could not put down the book until the story was over.  I felt that I knew the characters, when they hurt I hurt, I was completely vulnerable to the story. This was by far my favorite story in Poachers.

Interview: http://louismayeux.typepad.com/southern_bookman/tom-franklin-interview.html

Website: https://www.mswritersandmusicians.com/mississippi-writers/tom-franklin

Purchase Books: https://www.amazon.com/Tom-Franklin/e/B001IXRUHY

                        https://www.harpercollins.com/cr-101034/tom-franklin

Lewis Nordan

The All-Girl Football Team

By Lewis "Buddy" Nordan

Published 1986

Contents

Sugar Among the Chickens – B

The Talker at the Freak-Show – B

Sugar, the Eunuchs, and Big G. B. – C

The Sears and Roebuck Catalog Game – B+

The Farmer’s Daughter – F

Wild Dog – B+

John Thomas Bird – D+

The Attendant –  C

The All-Girl Football Team – B+

The All-Girl Football Team

Nordan's stories are focused in the small town of Arrow Catcher, Mississippi and the majority of stories in this collection follow young people coming of age. Nordan's writing is a mix of down-to-earth, gritty realism and profoundly heightened drama. 

Critics say "The world that Lewis Nordan depicts has not fallen from grace; it has instead collapsed under the weight of it. His stories are ... 'dirty miracles.'" -- Fred Chapell, and it's hard to find a better way to put it. He writes about real people struggling with identity and perseverance in the face of difficulties ranging from insecurity, deep dissatisfaction with life, and pulling shit out of a disabled man. But he doesn't dwell too long on the dark or simply wallow in these difficult ideas; Nordan writes about beauty and optimism and overcoming. He explores the balance between discomfort and personal growth, and I think he finds a powerful balance

"Sugar Among the Chickens"

This may be the most representative story of this collection. It is the first in the book and works as a great introduction to Nordan's fictional town of Arrow Catcher, Mississippi. "I had been fishing for an hour and still hadn't caught anything. I was fishing for chickens," is how it begins; Nordan dives right into the absurdity. 

He writes in first person from the perspective of Sugar Mecklin, a young boy living on a farm with his parents, and he does a great job of capturing the boy's tone and thoughts and bringing him to life. Even the narration is written in a stylized rural diction

Nordan focuses the narrative on a boy's persistent efforts to catch a chicken-- more specifically, the aggressive rooster-- over the course of his childhood, into adolescence, but he lays a backdrop of troubled family life through memories and scenes along the way. He talks about his mother's dissatisfaction and her longing filled dreams of leaving the farm behind as well as his father's alcoholism. Sugar sees all this going on and "thought [he] could never get it worked." 

Nordan brings both conflicts to a head-- the external conflict of fishing for the rooster and the internal conflict of a young boy making sense of his family's dissatisfaction and uncertainty-- masterfully at the end when Sugar is attacked by the rooster. It lands on his head and attacks him, and in this chaos, Nordan does what he does best-- he makes it a beautiful moment.

Sugar wears the rooster like a crown and sees pride on his parents' faces and feels confident that he can make something of his life. He takes a huge, life-changing moment of victory out of this mundane (if not absurd) scene. 

"Wild Dog"

This is one of the few stories that doesn't take place specifically in Arrow Catcher. It does a lot of typical 'Nordan' things, but some other interesting techniques as well.

This story jumps out to third person, which not many of his stories do. It's also about an adult, which isn't very common in this collection. In third person, the story's diction is much more refined and proper than Sugar's point of view, though it still maintains a certain amount of conversationalism; he maintains his rural, colloquial vibes but is less stylized. 

Nordan tries out a technique in this one where there is no quotation marks. There's plenty of dialogue but none of it is within quotes. It reminded me a lot of Cormac McCarthy's "All the Pretty Horses," and I think the technique worked as well here as it did in that book -- though Nordan did it first. It creates a very conversational, down to earth flow of dialogue. It takes away some of the weight of dialogue; it feels grounded and casual, which fits the whole farmer vibe he's going for.

Once again, Nordan uses internal and external conflict in tandem to great effect. The wild dogs parallel this couple's struggle to commit to staying on the farm or leaving, and their loss of hope in each other and strain on their marriage. The dogs being begrudgingly welcome on the farm, the couple coming to name and love the pups, and then watching them die helplessly, until they finally put them down.

The way he ends it-- the wife and husband saying I love you but then the wife asking "Why can't we stop saying this?" was so powerful, and talking about how they can't find the last dog, how they are closing this chapter but can't quite leave it behind... Nordan is a master of weaving internal and external conflict and it's easily my favorite thing about him as an author, and its part of why Wild Dog was one of my favorites.

"Farmer's Daughter"

This story seemed very out of place to me, even from the first line. I was so enjoying Nordan's style on my first read that I skipped this story entirely. It was the first story without Sugar as the narrator which was extremely jarring by itself, but also stylistically it was a break away. At first glance, it's daunting. The first paragraph was four pages, and much more wordy than the rest of the book. I may have enjoyed the story more in its own context, but it disrupted the flow of this collection for me and it wasn't nearly as engrossing as the others.

Here, he seems to be blending his southern style-- characters like Lovie Alice, Barfoot, Dixie Dawn, Uncle Billy, with talk of bears and the Confederacy-- with a little more heightened language and style, 

The others take you in from the first few lines. This one, I had to soldier through it. In all honesty, I don't have many other thoughts on it because I struggled to get through it. It's the only thing in this book that I did not enjoy at all. 

Links!

https://www.youtube.com/watch?v=gzwzzyPguV0

http://bookpage.com/interviews/8809-lewis-nordan#.Wc_E8LKGPIV

http://www.nytimes.com/2012/04/17/books/lewis-nordan-writer-who-spun-lyrical-tales-dies-at-72.html?mcubz=0

http://www.oxfordamerican.org/magazine/item/823-lewis-buddy-nordan

https://www.amazon.com/All-Girl-Football-Team-Lewis-Nordan/dp/0807113417

The Best Seats In The House and Other Stories

               Keith Lee Morris                     

Contents

The Best Seats In The House               B

Objects Past The Shoreline                  A

Geraldine Lovers                                 C

The Silver Valley                                 B

The Children Of Dead State Troopers A

Losing Julia Finch                                C

Minor Injuries                                      A

Mr. Jordan’s Arrival                            B

San Diego Dreams                               A

Astronauts                                            B

The Best Seats In The House

            Keith Lee Morris structures the story in sections that may feel messy but is a creative way to convey the plot. This story is written in first person point of view. Each part of the story reveals a relationship that the narrator has with another character and develops more information about both. It achieves having an important role for each character and the frustrations that the main character expresses are conveyed. Everything matters and every detail is important to the character. The writer recycles what is written and an example is the story of the son. In the first few pages, it is told by the narrator but later, it is told by the wife in dialogue. The setting is never wasted and always brought back into use. Keith Morris keeps the reader envisioning seasons to interpret the passing of time.

            Each scene is detailed enough so that dialogue between the characters can work to enhance conflict. Especially in the part where the narrator fumes over his son’s future with his father. In the flashbacks, the narrator shows positive notes but the present situation is gloomy in relation. It is like the writer was making a before and after story for each scene. This shows that change did not have a positive impact on the main character and he is internally frustrated with his current state.

            The story explores each of the characters well in the first person point of view. In my opinion, it could have conveyed the desires of the narrator better. The structure seemed distracting but it was also interesting as it intertwined most material from each passing scene told. The most thrilling part was the action dialogue that occurred between the narrator and his father. Instead of escalating, the scene dimmed down towards the end. It left me believing that the narrator was not doubting his son in succeeding but was afraid of believing it due to his own failure in the past.

Objects Past The Shoreline

Keith Lee Morris writes this story in first person point of view. The plot progresses with despair as the main character loses his sight. Blindness works as the chronic issue of the story alongside the acute events incorporated to set the mood in continuum. The connection of each acute event and the loss of sight gradually has enhanced the emotional fear from the main character. In the incident where Michael finds the snake and lets it go, he comes to realize that he will never be able to see another one again and therefore holds on to it with awe like that of a child. He fears the blur in his eyes when he looks out at the white church steeple. The strong bond that was once there between Michael and his love is now dying as his eyes are. Eventually the girl will leave him and so will his sight. These incidents succeed in building the main character.

The story stirs the heart and effectively saddens the reader. What is done well is the mention of seasons changing like Michael’s eyes changes as they weaken. Time continues to pass and the seasons show it. The summer times are harsh on Michael, and the writer makes it obvious in how he expresses the familiarity of the pain each time it passes by. The change in the seasons also is likely connected to the change in Michael’s sight. Relationships between friends and family seem to be the only thing comforting the main character through his pain. There is a slight repetition pattern going on with how the eyes weaken, the seasons change, the acute issue creeping over the plot and then the comfort from the relationships secured in the story.

It was heartbreaking to see the narrator go through losing his sight and letting go of his previous life to have another one that disabled him to do what he used to do. The way this story was written made me feel like this character was real, and I was reading his diary or journal. The writer expressed the love from the father well and emphasized it through dialogue. It slowed the pace of the story by allowing a time to accept being blind instead of just simply stating that the narrator was blind. The narrator crying the restroom is just one of the many examples of sensory experience.

Minor Injuries

            This story is written in first person point of view. Keith Lee Morris writes the story in an amusing way, making the tone and attitude fun to read. It was nice to explore the mind of the character in depth and so detailed. Considering how the story progresses into a serious situation, the readers can be a bit confused by the nature of expressions that the main character portrays. The writer effectively makes the character stand out with those highly influenced emotions in each scenario. There is no shift in the style of writing that creates the overall attitude which makes each tensed situation that the character believes he can solve to be appealing.

            Taking advantage of this effect has led to the well use of dialogue. Each scene is set by the emotion of the character and produces a ground for dialogue. Knowing that the main character is aware of Jimmy being a potential problem, three guys enter Drover’s store with the association of being acquaintances of Jimmy. This builds a bigger problem for the main character and dialogue begins with the character trying to assess the situation. The writer compels a rich emphasis to the thoughts and feelings of the main character and his actions that reflect those emotions.

            The way the writer makes the character think and rethink everything grabs my attention. However, the character becomes more annoying and a bit strange after that. This one does the best at making the character because it addresses background information, thoughts and feelings, action, sensory experience, and speech. It only lacks in physical appearance but that does not matter so much for the narrator. The other characters have physical appearance descriptions. The complexity inside of Toby’s mind is flawlessly executed and is the core of the problems that escalate.

Links

Interviews and More:

https://www.bookbrowse.com/biographies/index.cfm/author_number/1630/Keith-L-Morris

http://www.chicagotribune.com/lifestyles/books/ct-prj-travelers-rest-keith-lee-morris-20151231-story.html

https://readtowritestories.com/tag/keith-lee-morris/

http://therumpus.net/2016/03/the-rumpus-interview-with-keith-lee-morris/

Buy books from:

https://www.amazon.com/Keith-Lee-Morris/e/B001JS9AI0

https://www.barnesandnoble.com/s/keith+lee+morris/_/N-8q8?_requestid=100580