Contemporary Thriller Friendship

This story contains themes or mentions of physical violence, gore, or abuse.

The scent of dead leaves filled Marji’s nose as she climbed from her bedroom window. A crescent moon carved away the blackness of the night sky with a yellow sliver of light. Marji felt in her core it was a solid sight to see. There only ever seemed to be a fraction of light in the face of overwhelming darkness. 


The soil sucked at her shoes with hungry tugs as she dropped from the window. The recent rains had left mud where there was once solid ground. The October air clawed at her bare arms whispering rumors of a winter yet to come. She shivered against its cool voice, but there wasn’t any turning back. 


Her pale auburn hair disappeared beneath the oak trees behind her house. Their star-shaped leaves welcomed her in as one of their own dressed in different shades of orange and red. She greeted them back with silence as she slid in amongst the trunks of wood. The dark and damp solitude of the trail underneath the cover of woods allowed her a place to breathe. 


He will be fine tonight, like all the other nights. 


Her face scrunched with worry against her thoughts. The ones she had in her mind wanting to convince her of different and darker things. She picked up her pace and her steps sank her deeper into the woods. Owls sang with their enchanting voices through the crackling of dying tree limbs. Nature belonged to the animals. Any intruder who dared to enter knew it was so. She plunged deeper in all the same. 


Marji had learned something taught only through experience. A lesson which kept her moving in the night despite the lingering fear she tasted as she moved her body forward. It was something tip toed around in fairy tale books with hushed voices when she was a child. Or it was hinted at with words so light in sing-song fashions no child could see the darkness below their surface. 


It lived at the edges of unruly behavior in not-quite-right kids when teachers looked the other way. Grownups hid it behind artificial smiles with eyes void of empathy. It flashed on the news before protective parents flicked the channel to cartoons. Most adults could no longer deny its presence. If it touched a child, it was always a secret until it was too late. 


Evil existed in the world.


It was a terrible truth. Yet, she determined early on she wouldn’t let the fear of it keep her from moving forward. Her backpack bumped against the small of her back as she reached a clearing in the trees. The opening in the woods led to a small pond. It appeared as an inky black pool of liquid. Only a small portion of light from the moon reflected on its blackened surface. A large rock rested at the right edge of the water. On the rock sat a dark figure. Relief escaped her lips in a soft breath as she eyed it. 


"I worried you wouldn't be here, Samuel." 


Marji rushed to the figures’ side with quick steps. Samuel sat hunched on the rock with his face angled away from her. He said nothing as she ran a small hand over his shoulders. It didn't look like he registered her next to him at all. His hands remained clasped tight in his lap, an unmoving statue in the dark. 


She took slim fingers and pulled at his chin with a gentle tug. A pair of dark eyes drifted from the water until they met with her own. Marji couldn't help the tightness at the back of her throat at the sight of him. His face was handsome even though it was marked with cuts and bruises. Tangles of black hair curled around the planes of his cheekbones. A tear slipped down her cheek like a single rain drop falling from a darkened sky. He watched it wet her skin and his lips slipped into a practiced smile. 


"You came," his words cracked against his throat with a hollow sound belonging only to deep sadness. "You always come... Marjoram." 


"Of course, where else would I be if not with you?”


Her hands dipped into his and she looked down at them in surprise when they met the gritty texture of dirt. Samuel was already pulling her into himself when she noticed the smell of rust. The heavy metallic smell filled her nose and she steadied herself against him. A moment of unnatural silence passed between the two before she pulled away from him as much as he would let her. The front of her white night shirt felt damp after they interlocked. Fear pricked at Marji’s neck when she looked down and noticed her top stained red. 


"Sam, what happened... are you hurt? I brought a first aid kit. Let me bandage your wounds." 


A small shake escaped from his shoulders in what Marji thought was a cry. Alarmed, she rested her hands against him. His body swallowed hers through the gaps in his legs until there wasn't an escape between the two of them. Heat poured through his clothes, yet she felt a chill inside her chest she hadn't felt with him before. Another shake escaped his body, and she realized he wasn't crying at all. He was laughing. 


"Are you okay?" 


Sam's fingers sank into her arms until it hurt. She let out a yelp, she wasn't used to anything from her friend but gentleness. He buried his head into her chest as more laughter escaped from him. Marji felt uneasiness settle over her at the foreignness of his actions. 


"Why do you always say the right things?" 


He looked up at her after he spoke. The diminished moonlight cast shadows over his face. His eyes twisted with agony, rage, and a fraction of delight. For the first time, Samuel frightened her. 


"What happened to you?" 


She edged her fingers along the broad space of Sam's back. It was strange to touch someone who seemed so far away. As if it didn't matter how tight she pulled at his frame, he existed in a place she couldn't reach.


Owls continued to croon from a safe distance. The wind haunted the leaves above them. The foliage, without anywhere else to go, fell from their branches to their final deaths on the ground below. Despite all the sounds around them, Marji had trouble finding any sound from herself at all. Her voice abandoned her in the presence of such a familiar stranger. 


"I did a terrible thing, and I can't take it back." 


Sam said his words without apology. They came out of his chest, flat, like the last line of an electrocardiogram for the recently deceased. His eyes slid to hers drinking in her reaction. She met him with a steadiness he hadn't known anywhere else in his life except for her. 


"What kind of monster I must have been in my past life... to deserve such misery in this one," he mused. 


Marji took in his tall frame and remembered the first time she met him. She ran away from home and decided to live out her life as a self-proclaimed orphan in the woods. It was a trivial thing, the reason she ran away. Did her father love her sister and not her? In her eight-year-old mind she had convinced herself so. She didn't know at that age what it actually looked like when a father held no love for their child.


Samuel was quite a bit smaller back then. He was an eleven-year-old kid running away from his own troubles. He had a mop of curly black hair and large dark eyes. His shirt hung on his wiry frame in tatters and his feet were bare. His left ankle was swollen in an angry storm of red and purple. She did her best to treat him and discovered underneath his rib cage he had another storm to match. A broken boy with a broken smile.


It wouldn't be the first time they met in their special place. Even so, it was the first time Marji went home and looked at her father with gratitude. He fed her, clothed her, and kindled strength inside her. Her father's discipline wasn't a cruel thing born from an enduring evil in the world. He corrected her path with a fair and caring sternness. It was a father’s love which allowed him to see his child wandering away and then guide them back to safety.


Her new friend's relationship with his father was a sinister shadow of the one she held with her own. He hadn't known a father's compassion. In its stead, a dark relationship between rage and fear existed. She could see it in the pain behind his smile. She could feel it in the way he flinched when they touched. 


It didn't take long for his physical wounds to heal or for them to become fast friends. She began to sneak all kinds of things to the woods. First it was food, then clothes, books, and games. So much so, her family thought they had a thieving gnome with a knack for grabbing things unseen. She couldn't be his father. Still, she could show him what love looked like. 


Later that same year, they took the most climbable tree near the water and worked to build their castle in the woods. She declared him Fairy King and her Fairy Queen of the Far Away Forest. Their magic would grow as they grew. One day, when they were big and strong, they would erase all sad things from the world. He fought off imaginary monsters for her. She decorated his head with flower crowns fit for royalty. In a small cut away from the trees, at the edge of a pond, they made a kingdom where peace existed, and fear did not. 


"You're no monster," Marji observed the older Sam in front of her all while seeing the boy he used to be. "Let’s get these wounds bandaged." 


"You can't," he told her.


She responded with stubbornness and tugged at his shirt to look for the wounds underneath. All she found was his muscled stomach and although covered in blood, there were no wounds for her to find. 


"It isn't my blood, Marji." 


He gave her a twisted smile. Her fingers hesitated at his bare skin when she noticed the large amount of blood covering him. Ice tapped on her spine like fingernails as she realized the weight of his words. 


If it wasn't his, who's was it?


 "He didn't leave me a choice." 


Fear curled around her beating heart with sharp fingers as Sam tightened his grip around her. Marji didn't resist. She stood, unmoving, caught by her friend as he made the most frightening sound she had ever heard. The sound a human makes when it collapses in on itself. It wasn't a loud sound. No, it was a sound so quiet it could only be felt, and not heard. 


"He didn't leave you a choice." 


Marji repeated his words aloud. Like they were the only possible correct answer to a multiple-choice question. Her voice wasn't any different from the coo a mother used to hush their unsettled infant. She felt the tension between them as her friend voiced to her the kind of poison that seeped from his body. It permeated his skin, soaking into hers, and infected them both.


"He would have killed her," he told her.


“He would have killed her,” she echoed.


"I couldn't let him continue. I did what I had too..." His eyes told her he didn't believe his own words. "Marji, you believe me. Don’t you?" 


Marji didn't respond right away. She looked around their peaceful kingdom as it became infiltrated. The outside world had snuck in and brought all the terrible things inhabiting it. Before long, Marji's eyes landed on something near them that didn't belong. It was a shovel. 


It stood against a tree across from them and glared at her with sharp yellow skin. Beneath the tools metal smile, an offensive heap of dirt defiled its surroundings. At the edge of the heap, a shallow grave cratered the ground. Even in the dim lighting she could tell something filled the hole. The fear gripping her heart gave a tight squeeze. 


"What have you done, Sammy?" 


"He would have killed my little sister,” the strange man replied to Marji while he gripped her tight.


Marji wondered how a human could fracture into pieces and still look whole from the outside. This was a thought that occurred to her as she unraveled the meaning behind her friends’ words. As she did, she found she had become many different versions of herself all at once. One of them, a sweet pig tailed girl who pulled at Sam's hand as they splashed in the water. He only laughed for her. Oh, how she loved to hear his laugh. She was an eight-year-old Marji.


After that, she splintered inside of herself again. This time, an older fourteen-year-old version. This Marji felt heat in her cheeks when Sam gripped her fingers in his own. Too afraid to lose her best friend from the risk of unrequited feelings, she hid her face from him behind her hair. He made her heart speed up and climb out of its regular rhythm. The time between them seemed to pass both slow and fast simultaneously.


Next, another piece of her cracked open. It was the Marji she had been before she left the house that night. One who hadn't considered the heaviness every October carried with it. A month where living things met their inevitable deaths. A seventeen-year-old Marji who promised her dad this past year to apply to colleges close to home. She received an acceptance to one of them with a thick letter in her mailbox before breakfast. 


Last of all, she found a version of herself she had never met before. She stood in Sam's arms, a pale white figure in the dark night that surrounded them both. It overwhelmed her. She questioned if it would swallow her whole. She shivered against the chill inside her as it inhaled and exhaled against her organs. 


"You can run," he whispered. "I'll let you go. I'll never look for you again." 


The words came out sick with self-disgust. As if he knew there was nothing, nothing she could do to save him. He let go of her arms leaving behind crescent shaped indentions from where his fingernails bit into her skin. The Sam she knew disappeared from his eyes while she watched. He was severing ties with her like it was the last comfort he could provide for himself. She was the final drag of a cigarette from a man who vowed never to smoke again. 


"I did a terrible thing, and I can't take it back," he said, in a voice devoid of humanity.


Marji untangled herself from him and started to walk away. She heard the catch in his breath at the sight of her back. She considered the stranger he had become to her. Moreover, she couldn't overlook the stranger she had become to herself. Her steps pulled her further away from him until she reached her destination. She grabbed the shovel resting against the tree and began to fill the shallow grave with loose dirt. The shovel bit into the ground a few more times before she spoke.


"We all do terrible things sometimes." 


Posted Sep 01, 2023
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10 likes 7 comments

Ken Cartisano
14:34 Oct 30, 2023

You have done a remarkable job of camouflaging the real plot in this story, so much so that only the ending conveys the sinister nature of the characters and their machinations. Not sure if I like so much obfuscation, but your talent for story-telling is fairly obvious.

Oh yes, and then there's the title.

Reply

Danie Nikole
14:52 Oct 30, 2023

Hello there again, Ken! Nice to see you today. Please elaborate what you mean by camouflaging the plot. I’m very curious to hear more of your thoughts.

Danie

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Ken Cartisano
15:01 Oct 31, 2023

Since you asked me to elaborate on my comments, Danie,

I hope you don't feel like I'm being rude or mean, I absolutely love some of your stories. (When can we get another installment of ‘The Knights of Castle Grievance.’ ?)

This is an excellent story because of the subject matter. Child abuse. However, the first time I read it through, I did not understand what had happened, or what Samuel had done. This, despite the fact that my best friend suffered a very similar fate when he was a kid. He was so desperate to escape his father’s violence that I almost adopted him. (He was five years younger than me and my mother talked me out of it. Some other good Samaritan adopted him, he survived, and we’re still good friends to this day. But he spent many a night sleeping on the roof of my girlfriends carport.)

A second quick read informed me that Samuel had evidently killed someone, because he was covered with blood, but not his own blood. And the act he committed, though terrible, was done for a noble reason, for the sake of his younger sister.

Your request for clarity presented a third, and fourth opportunity to read the story, and I came away with two things: a much clearer understanding about what the story is about, what happens in this story, and some straight-forward observations about how you steeped and saturated the plot with indistinct but flowery prose.

The first paragraph is fine. The second and third are not. If you take each sentence and read it alone, it is either obvious, or contradictory, or worst of all, nonsensical.

You wrote:
The soil sucked at her shoes with hungry tugs as she dropped from the window. The recent rains had left mud where there was once solid ground. The October air clawed at her bare arms whispering rumors of a winter yet to come. She shivered against its cool voice, but there wasn’t any turning back.

(Hungry tugs? ‘the air clawed at her bare arms…’ I don’t think so. ‘…whispering rumors of a winter yet to come.’ That’s a nice phrase, but you ruin it with: ‘She shivered against its cool voice…’)

(She dropped silently from her bedroom window, the cold night air stinging her face.) That's all you needed. I mean, you can put as much as you want, but that's all you needed.

In the third paragraph you wrote:
Her pale auburn hair disappeared beneath the oak trees behind her house. Their star-shaped leaves welcomed her in as one of their own dressed in different shades of orange and red. She greeted them back with silence as she slid in amongst the trunks of wood. The dark and damp solitude of the trail underneath the cover of woods allowed her a place to breathe.

(Everything in this preceding paragraph would infuriate an English teacher, okay? Her hair disappeared beneath the oak trees? What about the rest of her? The leaves welcomed her. She greeted them with silence as she slid amongst the TRUNKS of WOOD.' You mean tree trunks? Trunks of wood is glaringly redundant. You're being deliberately artsy and poetic and it aggravates me. This is a short story, not a poem.

I should point out that there is one great sentence in this section here. 'The dark and damp solitude of the trail underneath the cover of woods... allowed her a place to breath.'
That sentence is good. So—I would condense the second and third paragraphs into three sentences.

Skipping over: 'He will be fine tonight. Like all the other nights.' This makes sense.

The next two paragraphs are mostly unnecessary as well, but the last one is ‘money.’

You wrote:
Her face scrunched with worry against her thoughts. The ones she had in her mind wanting to convince her of different and darker things. She picked up her pace and her steps sank her deeper into the woods. Owls sang with their enchanting voices through the crackling of dying tree limbs. Nature belonged to the animals. Any intruder who dared to enter knew it was so. She plunged deeper in all the same.

Marji had learned something taught only through experience. A lesson which kept her moving in the night despite the lingering fear she tasted as she moved her body forward. It was something tip toed around in fairy tale books with hushed voices when she was a child. Or it was hinted at with words so light in sing-song fashions no child could see the darkness below their surface.

It lived at the edges of unruly behavior in not-quite-right kids when teachers looked the other way. Grownups hid it behind artificial smiles with eyes (de)void of empathy. It flashed on the news before protective parents flicked the channel to cartoons. Most adults could no longer deny its presence. If it touched a child, it was always a secret until it was too late.

Evil existed in the world.

(Her face was pinched with worry, her mind wanting to convince her of different and darker things. She picked up her pace as a pair of owls hooted a mournful warning of her passing. Experience had taught Marji an important lesson. It was something tip-toed around in fairy tales or mentioned with hushed voices when she was a child. An awful truth only hinted at with words so light in sing-song fashion, that no child could see the darkness beneath their innocent sounding surface.)

The sixth paragraph is perfect.
‘It lived at the edges of unruly behavior…’ and ends with, ‘If it touched a child, it was always a secret until it was too late.’

The unavoidable conclusion is perfect too. ‘Evil existed in the world.’

But the story is rife with odd and jarring phrases.
Such as:
A shovel had 'sharp yellow skin.' (Not in the moonlight it doesn’t. The shovel's sharpened edge glinted in the moonlight, that same light turned the bright yellow handle a faded gray.)

At the edge of the heap, a shallow grave cratered the ground. (At the edge of the heap, a shallow grave.)

'...the crackling of dying tree limbs.' (Dying tree limbs don’t crackle. They’re a visual thing. Perhaps you might say the ‘the crunch of dead limbs underfoot.’

'Ice tapped on her spine like fingernails as she realized the weight of his words.' While the phrase, 'a chill ran up her spine' is as olde as tyme, at least most people know what it means. 'Ice tapped on her spine like fingernails' does not make sense. What ice? Whose fingernails?

‘The wind haunted the leaves above them. The foliage, without anywhere else to go, fell from their branches to their final deaths on the ground below.’
(A stagnant breeze rattled the dead leaves in the trees above her like so many bleached bones.)

You're using way too many words that you don't need, and stringing them together for affect, rather than meaning. (You betta slow that Mustang down, Sally.)

My point, is that most of these maladjusted phrases do not need to even be in the story. They are, in effect, trying to add drama to scenes already steeped in mystery and suspense. You are over-writing in this piece. And my other point is that when you come to the real point of the story, you totally underplay the language, which is why I didn't realize what this story was about the first time I read it.

I'll find it. Here, you wrote:
Her new friend's relationship with his father was a sinister shadow of the one she held with her own. He hadn't known a father's compassion. In its stead, a dark relationship between rage and fear existed. She could see it in the pain behind his smile. She could feel it in the way he flinched when they touched.

This is a beautiful paragraph, crucial to the story, but it's so subtle and understated, I totally missed its significance. I’m thinking it is because it was half buried and surrounded by all of that other writing. And then you minimize that paragraph’s significance with this line:
‘It didn't take long for his physical wounds to heal or for them to become fast friends.’
So I guess it wasn’t so bad after all? Wrong conclusion. It was bad. It was awful.

That's what I meant when I said you camouflaged the plot. Does that make sense?

The last sentence and preceding paragraph are great. An excellent ending to the story.

Reply

Danie Nikole
10:50 Nov 01, 2023

KEN.

Thank you so much for going into such great detail. This is very helpful feedback. I do not think you are being mean or rude. I think you're being the type of friend that tells their pal, "Hey, you have spinach in your teeth." When no one else points it out OR even worse, they tell them that they have a nice smile. Perhaps they do have a nice smile... what, with their perfect white teeth but if there is spinach in them it takes away from the whole smile. Am I picking up what you are laying down?

Aside from that, I do have a tendency to be a bit poetic in my writing. All of it. Every single story I write. You say this is a short story and not a poem, and I agree with you. Even so, a lot of literary devices that go into prose also go into poetry so there is a grey area with overlap and I think this is what you refer to as "artistic license."

I don't think I could take all of my poetic tendencies out of my style of writing if I wanted to, if I am being honest with you. A lot of it is honestly how I see things and compare and contrast things in my mind. I have a very vivid inner eye. I hate to hear that it aggravates you but I think it's more my inexperience with writing that is bothering you so much. I believe this because some of the same "poetry" I use in other stories you still said the stories were well done and yet in a few others you say they weren't. I think really in the end it's about balance? If flowery language detracts from the point of the story than it needs to be addressed. If it's too much it needs to be toned down and if the imagery isn't clear, it needs to be sharpened. Is this what you are trying to teach me right now? I think If done properly It can enhance a story which I obviously struggled with in this one and a few others.

In my later story that was shortlisted, "Monster with Two Faces." I use repetition throughout and it is still very poetic writing. But I think I managed it in that story in the way I mean to in all my stories, to strengthen it, and convey a deep sense of emotion to anyone who is reading.

The break downs you have for me in this critique are wonderful. I see exactly what you are doing. You are taking convoluted sentences and breaking them down into their clearer and sharper counterparts. You are very talented with this. This is a skill myself that I need to sharpen and hone. Please tell me your secrets. How did you hone yours? Is it experience? Lots of writing? Lots of reading? Classes? Anyway, I'll admit, a lot of these stories suffer because they don't get a second or third revision. Deadline is here and you have to turn in what you got. I envy and admire the writers who are able to polish their writing in that short amount of time. I do think with each story I turn in, I improve in some ways. I have a ways to go. Many writers are here for the competition but I am here for the classroom.

Again, I am very thankful for you taking the time to deep dive into all of my shenanigans. I don't think you would be picking on me if you didn't see something worth improving in my writing and to that, I am very grateful. It isn't easy to look at your weaknesses or have them pointed out by others, but if you turn a blind eye to them you can never turn them into strengths.

- Danie

Reply

Ken Cartisano
03:32 Nov 02, 2023

Danie,

I read your response to my comments, and I agree with every single point you made.

You wrote:
I have a very vivid inner eye. I hate to hear that it aggravates you but I think it's more my inexperience with writing that is bothering you so much. I believe this because some of the same "poetry" I use in other stories you still said the stories were well done and yet in a few others you say they weren't. I think really in the end it's about balance? If flowery language detracts from the point of the story than it needs to be addressed. If it's too much it needs to be toned down and if the imagery isn't clear, it needs to be sharpened.

My response:
Yes, exactly so. ‘Balance.’ This is a wonderful description of the writing process. I regret using the word aggravating in regards to your writing. That was unfair, and unrealistic. I enjoy your stories and yes, I think your literary ‘shenanigans’ are most enjoyable, especially when they work. I even enjoyed dissecting this story. It gave me the opportunity to see exactly what you were doing, and how you were doing it. (For better or worse.)

This morning, before I received your response, I decided I was being unfair about your poetic flair. My rejection of poetry is pathological and certainly not yours or anyone else’s problem and should not be an issue of contention unless it really hurts a story. (Which we all agree, it does not. Even I agree.) And you cannot take it out of your writing, it is how you express yourself. I appreciate your honesty and the gentle manner you used in pushing back on an unrealistic suggestion.

Language, and writing, is such a complex and sophisticated process, that there is no formula, no template, no clear, concise, tried-and-true means to teach it or learn it. But there is one common mantra. To be a writer you have to write a lot.

You wrote:
Anyway, I'll admit, a lot of these stories suffer because they don't get a second or third revision. Deadline is here and you have to turn in what you got. I envy and admire the writers who are able to polish their writing in that short amount of time. I do think with each story I turn in, I improve in some ways. I have a ways to go. Many writers are here for the competition but I am here for the classroom.

My response to that is, Amen. You have elegantly expressed what I persistently whine about. I hate it. The short deadline. We all do the best we can in the time allotted. And well, most of my stories certainly suffer for it. I feel like I need at least ten days to write and finish a story properly, and I’ve been several seconds too late on four different occasions.

I’m really sorry for lecturing you about things you already know.

A fellow writer, Michal Pryzwal, I think, said he starts right away, even with a lousy idea, and he just adjusts it as time allows. (That’s not verbatim, but that’s what I got out of it.) Anyway, I’m grateful for your kind and confident response to my critique. It leaves me more intrigued with you as a person, and more curious about your next story.

For the record, I really enjoy reading and writing, and like you, discussing stories and the writing process. I would be mortified if I learned that I discouraged anyone from writing, with one or two exceptions. And you are not one of those exceptions.

You know, I don’t tell many people this, (trust me, nobody’ll read this far down), but I once made a bet with God, I bet him that I could remember a name within five minutes, and if I didn’t, I’d let him write my next story. It was an infamous biblical name, that’s why God got involved. Well, I have a great memory, but for some reason I couldn’t remember the name. I lost the bet, so I said, ‘Okay, I’ll be the fingers, you do the telling.’ And you know what happened? The story came in third! God came in third place! Can you believe it?

Jesus. I thought. (Figuratively.) How embarrassing. But he was cool with it. He said, “It's just a stupid story, uh, what was your name again?” He was reminding me of the bet, I guess. The good news is, he didn’t take offense. I don’t think.

True story.

I’ll be happy to take a look at your horror story, and let you know how I 'feel' about it. It’ll probably give me nightmares! (Great, just what I need. More nightmares.)

Seriously,
Ken.

Reply

Helen A Howard
16:40 Sep 07, 2023

Beautifully written. You have a talent for immersive storytelling.
Marji recognises she has become another version of herself. She has also become a stranger to herself in some way as she loses herself in her friend.
I love your descriptions as the Mc moves further into the night. She seems to be escaping the bad in the world, but even in the forest, things are not what they seem and she has to make a choice.

Reply

Danie Nikole
16:51 Sep 07, 2023

Thank you so much for reading and sharing your thoughts!

Reply

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