A mournful funeral procession made its way to St. Patrick’s Catholic Cemetery in Leytonstone on Nov. 19th, 1888. Thousands lined the streets to say farewell to the woman in the coffin, some of them weeping.
“God forgive her,” some called out as the procession lumbered past.
Forgive her for what?
The tragedy began the morning of Nov. 9th, ten days before. James Whitehead, a 54-year-old merchant who’d made a successful second career in politics, was the star of the Lord Mayor’s Show, a London tradition that was always held on this date.
As the city’s new mayor, Whitehead, a champion of reform, had desired a more stately event than the circus-like Mayor’s parade, famous since the 16th century. But, heedless of Whitehead’s embarrassment, crowds gathered along the Gresham Street to Guildhall route, with many police called upon to patrol and control.
It was perhaps a welcome distraction from the horror.
For the past six months, London had been transfixed and terrorized by the murders of a series of women in the Whitechapel District of the East End. The last of the horrific slayings — dubbed the “Double Event” as two prostitutes, Elizabeth Stride and Catherine Eddowes, had their throats cut within two hours of each other — was on Sunday, September 30th.
The stereotypical image of Jack the Ripper. In reality, to blend in on Dorset Street and the rest of Spitalfields, the murderer would have had to appear much less posh
Although the police had interviewed at least 2,000 people, they had not zeroed in on the man responsible, the same one who may or may not have written taunting letters to the newspapers signed “Jack the Ripper.” There was some hope that the killing spree was over, since more than a month had passed. The Lord Mayor’s Show was an occasion to set aside fear and celebrate.
One person not hurrying to the parade was Jack McCarthy, landlord of many properties in Whitechapel occupied by the destitute, ranging from the respectable working poor to thieves, gamblers, hopeless alcoholics, and “Unfortunates,” the Victorian euphemism for prostitutes. As always, McCarthy had money on his mind. Around 10:30 am, McCarthy told his assistant, Thomas Bowyer, to try to collect the rent in arrears at №13 Miller’s Court, a ground-floor room on a narrow 20-foot-long cul-de-sac of Dorset Street.
Even within Spitalfields, an overcrowded East End parish infamous for its poverty, crime, and filth, Dorset Street was in a class all its own. Part of the “wicked quarter mile,” it was a 130-yard-long street almost entirely occupied by common lodging houses and pubs. In 1901, the Daily Mail, under the headline “The Worst Street in London,” would publish an article saying, “…The lodging houses of Dorset Street and of the district around are the head centers of the shifting criminal population of London… the common thief, the pickpocket, the area meak, the man who robs with violence, the unconvicted murderer…”
As grim as these lodgings were, the alternative — “sleeping rough” — was worse. Many of the poor struggled daily to pay for their “doss house” bed. The September 8th victim of Jack the Ripper, 47-year-old Annie Chapman, was murdered while trying to earn enough money on the streets to pay the nightly charge at her common lodging house at 35 Dorset Street.
(To learn more about the "canonical five" victims of Jack the Ripper and how their lives are far more complex than that of the stereotypical East End prostitute, I highly recommend The Five, written by Hallie Rubenhold.)
Dorset Street, dubbed “the worst street in London”
At 10:45 a.m., Thomas Bowyer knocked on the door of 13 Miller’s Court. In April of that year, a Billingsgate Market fish porter, Joseph Barnett, and his young companion, Mary Jane Kelly, had moved into the room, costing 4s/6d a week. It was 10-foot-square with two small windows, a bed, two tables, and a fireplace. In Spitalfields, this was a home better than the average.
But Barnett lost his job. He moved out after quarreling with Mary on October 30. She was living there alone, a common sight in the neighboring pubs, drinking with friends. Although she told those friends she was afraid of Jack the Ripper, Mary had turned to prostitution to support herself. It was not her first time earning her living as an “Unfortunate.”
Pre-Raphaelite artist Dante Gabriel Rossetti’s painting “Found”
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No one answered the knock on the door. The small window next to the door had been broken weeks earlier by Barnett or Mary and was blocked by a heavy material hanging from the inside. Bowyer pushed aside the material to see inside. Seconds later, sickened and horrified, he ran to fetch landlord McCarthy.
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The series Ripper Street centers on the ingenuity of the late 19th-century East End police. The reality was different. An inspector joined the men at the Miller’s Court window but did not provide initiative. The group summoned a doctor. The doctor had the presence of mind to call for a photographer. But the door was locked — McCarthy had no key — and the group waited outside, first for trail-sniffing bloodhounds that never showed up and then for someone to make the decision on how to enter the room. At 1:30 pm, McCarthy finally broke through the door with a pickax. This delay made it even harder to set the time of death, which is hotly debated to this day. Some put it as early as 1 a.m., others say it was as late as 8 a.m., with the murderer taking advantage of police being preoccupied with the Lord Mayor’s Show. Two days later, Mary Jane Kelly was formally identified at the mortuary by Joseph Barnett, who was questioned and cleared of suspicion. As the city responded with panic and revulsion, doctors performed their post-mortem and police gathered what information they could. It had been a cold, drizzly night. No one had seen or heard anything suspicious besides a soft female cry of “Oh, murder” at about 3:30 am. That cry was ignored. It seemed incredible — even supernatural — that she’d been killed in such a crowded area. Despite the presence of hundreds of people nearby, sleeping fitfully, coming and going all night, men in and out of pubs and prostitutes returning to their rooms to warm up before going back on the streets, no man was seen leaving Mary’s room, covered with blood or otherwise. However, Miller’s Court was just a little over a yard wide and lit by a gas lamp. Mary herself was seen and heard by neighbors throughout the preceding day and sporadically that night as she looked for business. Just before midnight, a neighbor saw Mary lead a man with a “blotchy” face and a thick “carrot” mustache to her room. At 2 a.m., an acquaintance spotted Mary with a man on Commercial Street, five foot seven inches or so, in his 30s, “respectable appearance.” After sharing a laugh and a kiss, they walked together to Dorset Street and toward her home. Was either of these men her killer? Although an elaborate mythology has developed surrounding dark involvement by the Royal Family — particularly Prince Albert Victor — nothing in these theories has any connection to fact. Far from being indifferent to the Whitechapel murders, Queen Victoria was upset and concerned.
Queen Victoria in 1885
On November 10th, the day after the murder, she sent a telegram to Prime Minister Lord Salisbury: “This new, most ghastly murder shows the absolute necessity for some very decided action. All these courts must be lit, & our detectives improved. They are not what they should be. You promised, when the 1st murders took place, to consult with your colleagues about it.” Three days later, Her Majesty sent her ideas to the Home Secretary of what the detectives should focus on, including “The murderer’s clothes must be saturated with blood and must be kept somewhere!”
As for the persistent association of Queen Victoria’s grandson, Prince Albert Victor Christian Edward, the Duke of Clarence, to the public and Prince Eddy to friends, with the crimes, the prince was unquestionably not prowling the East End at the time of the murders. Documentation has placed him far away from London. On the night of the “double event,” Prince Eddy was at Balmoral. To account for this inconvenient fact, subsequent theories have his doctor or trusted aide killing off prostitutes to cover up a secret marriage or as vengeance for syphilis. These are fantasies.
Although he was not a man fond of learning, Prince Eddy’s reputation for depravity is undeserved. A new theory is that some people in the 20th century confused the reputation of Eddy, who died of influenza at age 28, with another royal heir, Rudolf, Crown Prince of Austria, who died in a murder-suicide with his teenage mistress in 1889. Shy, insecure, and partially deaf, Eddy, during his short life, is known to have hurt no one. His greatest crime was possibly boring people.
So where did all of this come from? In 1970, a retired British physician, Dr. Thomas Stowell, published an article in The Criminologist, suggesting that Prince Eddy was involved, based on documents he claimed to have seen (and which no one else has since unearthed). Dr. Stowell, rather eerily, died days after the controversial article was published. His son burned his papers shortly afterward. The hook, however, was baited. All sorts of feverish theories followed, including the one outlined in the 1979 film Murder By Decree: That Prince Eddy’s doctor and friends slaughtered the five prostitutes because they knew he had secretly married an East End woman named Annie Crook. The case is solved by Sherlock Holmes!
Prince Eddy One of the reasons there was so much fascination with Mary Kelly, then and now, is that she was young and attractive. She was “fair as a lily” and had “blue eyes and a very fine head of hair which reached nearly to her waist.” She “was on pleasant terms with everybody,” one contemporary said. Her landlord McCarthy said she was “a very quiet woman when sober but noisy when in drink.”
Heather Graham as Mary Jane Kelly Barnett testified as to his dead lover’s background:
“She said she was born in Limerick and went when very young to Wales. She did not say how long she lived there, but that she came to London about four years ago. Her Father’s name was John Kelly, a gaffer or a foreman in an ironworks in Carnarvonshire or Carmarthen. She said she had one sister, who was respectable, who traveled from market place to market place. This sister was very fond of her. There were six brothers in London and one in the Army. One of them was named Henry. I never saw her brothers. She said she was married when very young to a collier in Wales. I think the name was Davis or Davies. She said she lived with him until he was killed in an explosion.
After her husband’s death she went to Cardiff to a cousin. She was following a bad life with her cousin, who, as I often told her, was her downfall. She was in a gay house [brothel] in the West End, but in what part she did not say. A gentleman came there to her and asked her if she would like to go to France… She did not remain long…”
A friend confirmed that Mary said she was originally from Ireland. She talked of receiving letters from a beloved mother and hoping to reunite with her and live there.
Nonetheless, in the 137 years since her death, no fact about Mary Jane Kelly’s background has been verified. Despite the efforts of many Ripper scholars, there are no records of her birth, marriage, or residency in Ireland, Wales, or France. No member of her family attended her funeral or came forward after her murder; no one could find evidence of the young husband’s life or death. There is not a trace of her to be found before she came to London. This was not the case for the other four women, who were thought to have been killed by the Ripper. Researchers have records of birth and marriage, employment, and even a wedding photo of one woman.
It is possible that Mary Jane Kelly used a false name the entire time Barnett and their friends knew her and invented all the details and names of family and husband. If so, will anyone ever discover her real identity? Because she was the last agreed-upon victim of Jack the Ripper, the youngest, the most horribly murdered and the most mysterious, she maintains an inescapable grip on the imagination of those obsessed with the crimes, unsolved to this day.
On Monday, November 19th, 1888, the woman known as Mary Jane Kelly was buried at St. Patrick’s Catholic Cemetery in Leytonstone. Barnett and her friends could not pay for her funeral; the expenses were met by a sexton of Shoreditch. Thousands attended the six-mile-long procession, some straining to touch her coffin. Men removed their hats; women called out, “God forgive her.” Two mourning carriages followed, carrying Barnett and five women friends. The coffin was carried to an open grave listed as №16, Row 67.
The entrance to St. Patrick’s Catholic Cemetery. On the night of her murder, neighbors on Miller’s Court had heard Mary Jane Kelly singing in her room one of her favorite songs, over and over, for about half an hour between midnight and 1 a.m.. The song was “A Violet From Mother’s Grave,” written circa 1881.
Scenes of my childhood arise before my gaze
Bringing recollections of bygone happy days.
When down in the meadows in childhood I would roam,
No one’s left to cheer me now within that good old home,
Father and Mother, they’d have pass’d away;
Sister and brother, now lay beneath the clay.
But while life does remain to cheer me, I’ll retain
This small violet I pluck’d from mother’s grave.
Only a violet I pluck’d when but a boy,
And oft’ time when I’m sad at heart this flow’r has giv’n me joy;
So whole life does remain in memoriam I’ll retain,
This small violet I pluck’d from mother’s grave.
Well I remember my dear old mother’s smile,
As she used to free me when I returned from toil,
Always knitting in the old arm chair,
Father used to sit and read for all us children there,
But now all is silent around the good old home;
They all have left me in sorrow here to roam,
But while life does remain, in memoriam I’ll retain
I was intrigued to hear about the new novel by Jillian Forsberg, titled The Porcelain Menagerie, and even more so to learn it is set in the eighteenth century! In researching and writing The Blue, I delved into the tumultuous--even violent--history of porcelain creation in Europe, once inventors had "broken" the secret of the Chinese formulas.
I was lucky enough to read an advance copy of Jillian's novel and loved it. Here's a plot description: In a world where ambition is as fragile as porcelain, two lives are shaped by a king's dangerous obsessions. In 18th-century Dresden, the dangerous whims of King Augustus the Strong shape the court and the lives of those held captive, both people and animals.
Now the novel is out and winning rave reviews everywhere. I caught up with Jillian to ask her a few questions:
Nancy Bilyeau: You and I are both drawn to the history of porcelain when creating historical fiction. Why does it fascinate you?
Jillian Forsberg: Art history has always been interesting to me, but the creation of porcelain is truly an intriguing story — I love secrets, drama, and beauty, and porcelain encompasses all of those things. From the Chinese makers who perfected it to the Europeans who tried and failed and tried again to copy it, there’s such humanity in the process. In China, from one step to the next is the product of community, and in Europe, it always inspires me to find stories of reliance when the early makers failed so many times and just kept at it. It’s amazing, too, to see the differences in art that are considered wildly successful from different parts of the world: some look amazing, and some look downright grotesque.
NB: What makes the 18th century an exciting setting for a narrative?
JF: Well, I think I’m biased! My master’s thesis is set in the 18th century, and therefore, a lot of my mental energy was spent in that time period. Those 100 years for me have always been delicious because of the Age of Enlightenment, the expansion of curiosity, and then, toward the end of the century, upheavals and revolutions all over the world. One of my favorite things is a good museum gallery, and the 18th century produced some of the finest artifacts and collections of any time period. The ultra-wealthy sought out collections of all kinds of things, and it really was a testament to how the 1% lived. But below the shimmering surface of fine goods, the middle class was finding its footing… the thread through the 18th century is change, beauty, and endings. That makes for quite an exciting historical fiction setting!
NB: I find Augustus the Strong pretty mind-blowing as monarchs go. What were the most surprising things you learned about him?
JF: He truly is. I think I was truly surprised that even with my formal education, I had never heard of him. He would have been sorely disappointed in that! The man was almost a caricature as far as kings go — over the top, outlandish, boisterous, and relentless. But he didn’t really DO anything. The latest biography published about him, just last fall, is literally called Augustus the Strong: A Study in Artistic Greatness and Political Fiasco. He tried his best to be memorable, but unfortunately, what was most recorded was his rumored 300+ bastard children, terrible addiction to blood sport, chaining artists to the floors of their studios, and, my personal favorite, ripping horseshoes in half in front of a crowd. The man was unbelievable. A perfect fictional subject, a quite imperfect king.
To learn more about Jillian Forsberg, go to her website.
Muse Books, the publisher of my next novel, is offering a special giveaway of The Heiress of Northanger Abbey.
This is a softcover special edition! To enter the giveaway, go here. It will be open until September 1st.
Plot description:
"Twenty-two years after her fateful first visit to Northanger Abbey, Catherine Tilney is happily married to Henry Tilney and raising their daughters, Phoebe and Susan. Life seems idyllic until a disturbing letter arrives. Now, with the prospect of Phoebe inheriting Northanger Abbey, Catherine fears fortune hunters are circling. It all feels eerily like the plot of the latest Gothic sensation, The Vampyre— but is Catherine again letting her imagination run wild or is a deadly threat closing in?"
The Heiress of Northanger Abbey is part of "Once Upon a Gothic," a four-book set: The other classics with sequels or retellings will be Frankenstein, Phantom of the Opera, and Dracula.
My novel can be ordered individually or as part of the quartet. This is all an initiative happening on Kickstarter. Fiction sold on Kickstarter is a new path to publishing fiction that's gaining in popularity. Because of its newness, people have a lot of questions. I figured my website blog would be a good place to answer the questions I'm fielding.
Why is this novel available on Kickstarter?
Because it could very well be the future of fiction—or at least one type of future. When you back this book on Kickstarter, you’re purchasing the book directly from the authors and publisher, instead of through a retailer—Kickstarter allows authors to sell our books without splitting profits with retailers, who can take up to 70% or more of a book’s sticker price. This enables us to produce special edition publications that wouldn’t be financially feasible otherwise. In exchange, readers get exclusive, high-quality books and unique swag not available elsewhere. We envisioned these books being read by candlelight during a storm!
What format is the book going to be available in?
The Heiress of Northanger Abbey is part of the Once Upon a Gothic book series, which consists of four beautifully designed special edition books in Tête-Bêche format, meaning they are two books in one, with the classic novel and the retelling bound together. All of the books will be available in softcover and hardcover formats individually and as a four-book set. Because these are special editions that won’t be sold through retailers, there are no ISBN barcodes or sales text on the books, which are required by retailers. An e-book omnibus will also be available of all four novels.
Is this a fundraiser for the publisher or authors?
No, this isn’t a fundraiser. All Kickstarter funds go to printing books, fulfilling orders, and author royalties. The books are already written, edited, designed, and ready to go on press upon conclusion of the Kickstarter campaign. We already have sample books printed! Again, Kickstarter is an alternative way to purchase books.
What kinds of extras or swag are planned for the Once Upon a Gothic books?
Every reader who purchases books during our Kickstarter campaign will receive a bundle of exclusive extras. Some are digital—these include a short story by Paulette Kennedy, Nancy Bilyeau's playlist for writing, a never-before-shared alternate ending to Kris Waldherr’s “Unnatural Creatures”, and an invitation to an exclusive AMA Zoom event with all four authors. (The event will be recorded for those who can't make it.) Other extras are physical, such as signed bookplates, custom-designed bookmarks, and more. In addition, special gift packages and add-ons will be available for purchase through Kickstarter, which will offer books bundled with candles, tarot readings, custom-designed book boxes, virtual experiences, and other goodies.
Will The Heiress of Northanger Abbey be on Goodreads or Netgalley?
No, it won’t be on Netgalley. This is a Kickstarter exclusive that won’t be released to the general public because it is a special edition. However, the book may be posted on Goodreads, if people want to review it.
Can I purchase The Heiress of Northanger Abbey as an ebook?
Yes. Although the print version is how the special book design features can best be enjoyed, there will be an ebook omnibus of all four novels available through Kickstarter and from the publisher. However, the ebook will only be available for a limited time after the Kickstarter ends.
Can I get the extras and add-ons after the Kickstarter is finished?
No, those are exclusives for people who purchase books during the Kickstarter campaign. One of the joys of Kickstarter is that we can bundle special edition books this way.
How do I ask my librarian to order it?
When the Kickstarter is finished, you can ask your librarian to order it. However, these special editions will only be available directly through the publisher for a limited time.
Please follow this campaign on Kickstarter. Signing up to follow it does not obligate you to buy anything! If you are curious about this publishing journey, following the campaign is the best way to gain information. And if you are a reader, we hope very much you will want to support our breaking free from traditional paths to do something different and creative. Thank you so much!
I was fortunate enough to win endorsements for THE BLUE from some wonderful authors:
'Definitely a winner!' -- Kate Quinn, bestselling historical novelist
'Fascinating' -- Ian Rankin, author of the top-selling Rebus mystery series
'Bilyeau is an impressive talent who brings to life a heart-stopping story of adventure, art and espionage.' - Stephanie Dray, author of My Dear Hamilton.
‘...transports the reader into the heart of the 18th-century porcelain trade—where the price of beauty was death.’ - E.M. Powell, author of the Stanton & Barling medieval mystery series.
'With rich writing, surprising twists, and a riveting sense of 'you are there,' The Blue is spine-tingling entertainment.' – Gayle Lynds, New York Times bestselling author of The Assassins
The Versailles Formula, my eighth historical novel, is available in paperback and ebook format in North America, the United Kingdom, and Australia. I've created a suspenseful story rich with atmospheric detail that I hope will plunge you deep into mid-18th-century England and France.
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Here's the story:
May 1766: Genevieve Sturbridge lives a quiet life in the countryside with her husband and son. But an invitation to dine at Sir Horace Walpole's eerie Gothic estate pulls her back into a deadly world of espionage. Genevieve uncovers a shocking secret - a rare pigment of pure blue is being produced again. Coveted by royalty, chemists, and spies, the formula is priceless . . . and lethal. Only Genevieve can recognise the formula and discover the truth before time runs out, because this time the price of failure will cost more than just her own life.
Reviews:
‘[A] compelling adventure replete with spies, political intrigue, gorgeous Gothic manor houses, romance, impeccably researched history.’ Susan Elia MacNeal, New York Times bestselling author of the Maggie Hope series
With one day left before the official publication of The Versailles Formula, I would love to share the early reviews and endorsements from other novelists. Some are historical novelists, some are thriller writers, and some are historical mystery scribes. I deeply appreciate the time they took to read it and wanted to share the response to the book from my peers.
--Susan Elia MacNeal, New York Times bestselling author of the Maggie Hope series
"A plucky heroine, intriguing mystery, and rich, well-researched historical background. Nancy Bilyeau has found the winning formula!"
--Eva Stachniak, author of The School of Mirrors
"Nancy Bilyeau has done it again. It is a masterful work which weaves great characters not to mention a plot that Poe himself would love. The story unfolds through the eyes of the protagonist and we see a treacherous world where nothing is as it seems. When we enter the Gothic world of Sir Horace Walpole then the reader treads a thrilling path which keeps you on the edge of your seat."
--Griff Hosker. author of An Officer and a Gentleman
"The excitement and action ramp up steadily, and Bilyeau's exquisite pacing will have you wanting to binge the novel in one sitting. Part espionage novel, part intriguing look at the historical importance of art and the porcelain industry to 18th-century diplomacy, The Versailles Formula is a riveting and deftly written tale that will keep you up much too late at night, for all the right reasons."
-- Paulette Kennedy, author of The Artist of Blackberry Grange
"Bilyeau gives the reader a fabulous tour of 18th-century Paris from its convents and opera houses to the louche masked balls of the aristocracy. Genevieve is a complicated, highly intelligent character who never falls into the dull predictability of the "spirited woman ahead of her time" tropes. The ending leaves the possibility open for another Genevieve Planche novel, and I very much look forward!"
--Kate Braithwaite, author of The Scandalous Life of Nancy Randolph
"An indomitable artist turned spy heroine on a near impossible mission. A color of blue so seductive that men will kill for it and countries will go to the brink of war. A star-crossed love, as delicious as it is forbidden. Thoroughly researched and exquisitely wrought, The Versailles Formula has all the ingredients of a rollicking, riveting historical mystery must-read!"
-- Hope C. Tarr, author of Irish Eyes and Stardust
"What impressed me the most is her gift for detailed description. When Genevieve lands in Paris to begin her dangerous mission, we can see the narrow streets with their buildings that 'sagged towards each other, nearly touching.' Inside the Comedie Française, we smell the 'thick, intoxicating swirl of perfume, a hothouse of human flowers blooming all at once.' And we can laugh at the absurdity of the nobility in their white silk socks, jeweled shoes, and heads covered in wigs that 'resemble sparkling beehives.' The Versailles Formula is a master class in the lost art of description, and I loved it for that."
--Jodi Daynard, author of A Transcontinental Affair
"Thanks to the depth of Bilyeau’s craft, readers will share Genevieve’s tension and fear as she races through settings from rough, working-class Southwark to glittering Versailles. As Genevieve’s heart races, so will yours. If you like your mystery with twisty, dark history, The Versailles Formula is for you."
-- Sophie Perinot, author of Medicis Daughter
"Sumptuous and deeply engaging, Nancy Bilyeau's Versailles Formula is a gorgeously written adventure . . . brimming with mystery, beauty, romance, and history's most fascinating luminaries."
--Emilya Naymark, author of Behind the Lie
"The action takes place in England and France, castles and cemeteries and chateaux, grand ballrooms, sinister prisons, and cloistered convents. Historical figures flit through, from Horace Walpole, the father of the Gothic novel, to the Marquis de Sade, who lived one. The Versailles Formula is Bilyeau at her best, a classic tale of mystery and intrigue that only lacks a cameo from a dueling D'Artagnan to make my life complete. If you've read the first two books in the series, this is one you've been eagerly awaiting. If you haven't, this is a hellacious introduction."
--Timothy Miller, author of The Strange Case of the Pharaoh's Heart.
"The Versailles Formula takes readers on a fascinating journey to eighteenth-century England and France, where vicious aristocrats play a deadly game of forgery and espionage . . . Nancy Bilyeau treats us to another tale full of intrigue and delightful historical details."
-- Mark Alpert, bestselling author of The Doomsday Show
After I turned in my final edits on The Versailles Formula, I felt a tug of excitement over seeing what cover design my publisher's designer had created for the novel. Both The Blue and The Fugitive Colours displayed lovely covers, and I was curious to see the plan for the third in the series.
To my surprise, my editor emailed me that the team at Joffe Books had come up with a bold new idea: to redesign the covers of the first two novels along with the cover of the third. The series would take a fresh approach, emphasizing that these were suspenseful historical novels with a woman protagonist at the center who was facing obstacles and searching for answers. (Once I think about it, the covers of the first two, while striking, did not convey that.)
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