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She goes out at night to drink and socialize with various male companions and appears to do very little else.

Yet one of Mrs. In this essay I would like to consider the causes for Mrs. Thinking about Mrs. It became generally acceptable for women to wear much shorter skirts and to socialize much more freely with men.

They drank and smoked, and drove if they pleased. Women enjoyed themselves in new ways and they also earned money in new ways.

Many women joined the workforce for the first time, and it became more acceptable for even a married woman to hold a job.

Women worked in traditional feminine professions like nursing and teaching, in the mills and factories of an increasingly industrialized society, and they also made inroads into the professions such as law and, in the case of Parker, journalism.

Parker was certainly among the most socially adventurous and professionally successful women of her era, and she is remembered as spirited and self-possessed—the quintessential woman of the roaring twenties.

Thus it is interesting to note that Parker chose to reflect some of her most intimate and traumatic personal experiences through the character of Mrs.

Morse, a sad and ineffectual woman whose fading, out-dated style of beauty marks her as a creature of a bygone era. George H. He identifies psychological exhaustion, alcoholism, and illness as the fate of many.

Morse reflects the fact that many women were left behind and consigned to more traditional female roles even as standards for gender-related behavior changed radically.

And, furthermore, while Mrs. Morse might be seen as enjoying the freedoms of a less socially and sexually restricted culture, Parker makes it clear that she must also pay a heavy price.

As the story opens, Mrs. Unbeholden to parents or to earlier social customs, she lives on her own, works as a model, goes out frequently, and is popular with men—all of which seems to fit the image of glamorous s youth culture.

However, the stresses of this lifestyle are apparent in the fact that when Mrs. Morse marries—and thus gives up. And, curiously, she is relieved that she does not have to have fun and that she can finally be sad.

Unfortunately, Mrs. While liberalized standards for socializing and sexuality are often understood as empowering women, Parker shows that it is the men in Mrs.

Another is to say that he stopped supporting her when she stopped doing her job. This social and economic dynamic becomes clearer in Mrs.

The transactions become simpler and clearer. First Ed gives her poker money and in return she offers her attention and lets him squeeze her knee.

After Herbie leaves her, Ed offers her a new status as his mistress, which has greater benefits and also greater demands.

Parker is again offering a new definition, this time critiquing gender relations by inverting a commonly held concept of work.

Morse recognizes that she must give up things she had formerly done—modeling and domestic work. This restriction is most clear in the repeated demands from Mrs.

When Ed has a good year, he treats her to an expensive sealskin coat. He insisted upon gaiety. But because it jeopardizes her desirability, it jeopardizes her basic material security.

Morse first realizes that she is sad, her sympathy encompasses everything. Almost everything could give her the blues. Those old horses she saw on Sixth Avenue—struggling and slipping along the car-tracks, or standing at the curb, their heads dropped level with their worn knees.

The tightly stored tears would squeeze from her eyes as she teetered past on her aching feet in the stubby, champagne-colored slippers. The image of a tired workhorse pulling a heavy load may seem incongruous with that of a woman headed out for a night of drinking, which is nominally a night of leisure and fun.

However, the description of feet suggests a stronger, underlying parallel between Mrs. Morse and the horse.

The fact that Mrs. One of the very first things that readers learn about Mrs. The metaphorical connection between Mrs.

Morse and a beast of burden is extended in the second description Parker offers of a workhorse. Again, there is a parallel established between Mrs.

As she slowly crossed Sixth Avenue, consciously dragging one foot past the other, a big, scarred horse pulling a rickety express-wagon crashed to its knees before her.

The driver swore and screamed and lashed the beast insanely, bringing the whip back over his shoulder for every blow, while the horse struggled to get a footing on the slippery asphalt.

On the modern streets of Manhattan, recently overtaken by the new invention of the automobile, the workhorse is a symbol of a bygone era that nevertheless plods on.

Morse identifies with the horse because, unlike a car, it feels and suffers and yet it is not treated like a sentient being. With her outdated figure and fading beauty, Mrs.

Morse does not conform to the image of the modern woman, yet she struggles within the conflicted social codes of liberated modern womanhood to survive in a world that denies her feeling.

Just as intriguing, however, is the way race is inscribed in a text so overtly marked as a reflection on gender. Arguably her strongest work, it is generally viewed as an unusually affecting tale about feminine vulnerability.

But the connection is probably more subtle. The nasty tongue she cultivated earned her a name as one of the founders of the male-dominated Algonquin.

Round Table, yet the record shows little room at that table for moods not witty or cynical. Her telephone stories, for example, find women always on the short end of the conversation.

Parker invented herself as a bad girl, and she was original in her badness, but often sorry in her girlness. She successfully wisecracked her way to a seat at the table with the boys, but she is frequently remembered more for that status than for her writing.

The film Mrs. Parker and the Vicious Circle does little to disturb the conventional view of Dorothy Parker as a clever but self-aggrandizing and troubled personality.

Not much is made of her literary talent. The film is sprinkled with poems, but they are delivered in a slurred and mumbled undertone that is difficult to decipher and hints at manic depression and drunkenness more than the idea of serious literary endeavor.

In that text, the author produces a narrative about the subjugation of white women in America, using the scaffolding of blacks in America.

The question of gender resonates in another, more suggestive way in the presence of Africanist figures who reveal that such a construction is also informed by views of race.

The proximity of the historically bought black body to the kept white one contaminates and opens the narrative to a wider contemplation of the institutions and practices of slavery.

Her surname reminds us that the dumb blonde, like any stereotype, is human identity reduced to uninflected code.

Her given name records the haziness of the view from inside such a construction. The author uses blondeness to eroticize the character and give her a badge of shallowness.

Morse is a woman whose identity is something others bestow on her. When the story begins, she is a dress model in her twenties. By the end, she is a tired party girl in her mid-thirties, surviving an alcoholic haze, self-destructing before ever building a self.

The author has her materialize out of nowhere. Morse surfaces intact, a big blonde in her mid-twenties, in New York City, in the s, a woman with no history, no future, and only a vague sense of the present.

Parker insistently presses her protagonist into the corsetted role of the party girl. She was instantly undesirable when she was low in spirits.

Morse is quickly and brutally punished for the least deviation. At this juncture, Parker introduces a set of three new characters.

It is no coincidence that they are black. These figures bear the heavy body of the sleeping Morse across the narrative bridge back to speech.

They rescue her, and they do more. They engage the story of the blonde in a deeper dialogue with her keepers. The white figures Morse, the doctor and the black figures Nettie, George, the prostitute emerge in sharp contrast to each other.

Morse herself has become a blank, drooling slab of a body:. Morse lay on her back, one flabby white arm flung up, the wrist against her forehead.

Her stiff hair hung untenderly along her face. The bed covers were pushed down, exposing a deep square of soft neck and a pink nightgown, its fabric worn uneven by many launderings; her great breasts freed from their tight container, sagged beneath her arm-pits.

Now and then she made knotted, snoring sounds, and from the corner of her opened mouth to the blurred turn of her jaw ran a lane of crusted spittle.

Their manner is impulsive, intimate, and indiscreet. The black figures are set apart by their expressiveness, and by other markers as well.

They are portrayed as childlike, their speech is different, and they have no names or first names only.

From the start, then, the text formally establishes a disjuncture between black and white. That structural and figurative separation exposes white as central commanding, and controlled, while black is shown as peripheral, subordinate, and undisciplined.

Parker is clearly implicated in the conventions of representations that place blackness in a sphere inhabited by primitive or childlike others.

From that position, the black figures serve to highlight white stature and authority. The segregating structure, however, also allows blackness to inform whiteness in other, unintended ways.

The answer lies in their function as surrogates, stand-ins for missing registers of experience. In this case, and in keeping with the well-documented history of blackness as a sexualizing trope in Western discourse, the two characters foreground the theme that is implicit throughout the story, starting with the title itself—that of illicit sexuality.

The conspicuous fashion in which two minor black figures raise the subject of sexual commerce and desire contrasts to its muted treatment elsewhere.

Morse and her crowd represent a marketplace where men pay and women are kept, but the commercial nature of the transaction is masked by a logic of social alliances.

She is depicted as sexually indifferent, neutral to the advances, for example, of boyfriend Ed:. It became his custom to kiss her on the mouth when he came in, as well as for farewell, and he gave her little quick kisses of approval all through the evening.

She liked this rather more than she disliked it. She never thought of his kisses when she was not with him.

The expression of sexual awareness, desire and agency is displaced onto the Africanist figures of the elevator attendant and the prostitute.

The dark girl makes transparent the nature of the transaction that commodifies the big blonde in America. She articulates and links the codes of commerce and sex.

By introducing race to the gendered field of sexual commerce, her meaning also spills over into another trade in bodies to connect Morse to the historical text of the black body.

George, too, functions through his blackness. With one quick movement [the doctor] swept the covers down to the foot of the bed. With another he flung her nightgown back and lifted the thick, white legs, cross-hatched with blocks of tiny, iris-colored veins.

He pinched them repeatedly, with long, cruel nips, back of the knees. Although their roles are brief, George and the prostitute draw attention to the function of the racial Other to serve and also to complicate and disturb.

On the one hand she is a serviceable figure. She cooks, cleans, and runs errands for Morse. Yet for all her serviceability and subaltern status, Nettie is pivotal.

She is particularly important to the narrative denouement. Nettie becomes the final enforcer of the social code that imprisons the big blonde. It is Nettie who delivers that last blow.

Parker makes the black figure the embodiment of the bonds of slavery. He persuades Morse to move to an apartment more convenient to him, near the train station:.

She took a little flat in the Forties. Nettie gives coherence to a domain explicitly framed to serve male interests.

Yet, while Nettie allows the author at this point in the text to foreground a paradigm of gender oppression, the regular reminders of racial difference introduce another element to the developing theme of freedom and enslavement.

When Nettie next appears, she is buying liquor for the suicidal alcoholic. Morse has managed to purchase a quantity of veronal tablets, and she addresses the tablets with religious fervor.

She put the little vials in the drawer of her dressing-table and stood looking at them with a dreamy tenderness.

Morse called. When Morse takes the final step and swallows her pills, the maid will be the net that catches her in her fall. Without Nettie, Morse dies in a haze, pleasantly knocked out, herself cheated, and cheating us, of the full spectacle of her misery.

A rescued Morse, on the other hand, is a woman without the blinds, finally and fully alive and aware.

Nettie becomes, in effect, the punishing voice of the social body that creates and destroys Morse. Rather than embrace across the racial divide, the two women mark it.

Nettie is the net that catches, but also traps. Although she nurses Morse back to life, no understanding grows between them. The gender identity that Parker explores through the figure of Morse is inscribed in a hegemonic discourse of racial difference.

Immediately following this exchange is another which Nettie initiates and which effects a fundamental transformation in Morse.

Her voice will split open for the first time and become knowing. She will shed her speechlessness, the vacuum of cliche, and speak for the first time with irony.

This is the first ironic Morse we have seen. Parker ends her story by repeating the epiphany. Morse has persuaded Nettie to pour them both a drink and she proposes a toast:.

She has emerged finally from a verbal world of formula—where small talk is all the talk there is—into the grip of powerful, disabused utterance.

Enforcement of the code of the party girl has fallen to Nettie, its brutal tyranny displaced onto the black figure, whose giggle marks her difference and her indifference.

It is Nettie who is assigned the racial identity that erects a barrier between the two women. He is linked to blackness through George as well.

The two men meet across her body, as well as across the racial boundary where each seeks sexual contact. Blackness releases the doctor from the exacting codes of whiteness.

The Africanist presence alludes to that commerce, but also conceals it. Parker uses the subordinate, othered, inconsequential Nettie to outline the dilemma of captivity.

Certainly, the distance between that group of characters and Morse would be reduced. She would be familiarized, rather than estranged, by the surrounding figures.

She would be more like them, one among them. In the absence of blackness, Morse would be less white, less innocent, less alone. She would be less effective in dramatizing her story of estrangement and alienation, and less able to contain and isolate the germ of another idea: That all American freedom is broadly and historically conditional.

The racial implications of the big blonde are remarked only indirectly. She is regarded above all as an icon of male desire. But blondeness is liminal, not democratic.

Blonde hair on non-white skin is a marker of difference, appropriation, or deviation. Gender displaces race in the consumption of the image of the blonde, yet the ideology that fuels that elision still binds the two together.

Her fiction and poetry are all about them. They are not introspective, not grounded or protected. They are placed in a gendered narrative with the view that ease of circulation is attached to a condition that menaces, entraps, and often dooms.

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For Mrs. Morse marriage is a welcomed alternative to the life she had known. He apparently was attracted to her for the same reasons other men were—because she was fun and indulgent of his drinking and passive in the face of his desires.

When Mrs. In an attempt to save their relationship she begins to drink with him, but to no avail. Despite the fact that the institution of marriage appears superficially to have little in common with the more informal social, sexual, and financial relationships Mrs.

Morse has later, Herbie sees her and treats her in a way that is strikingly similar to the way her later lovers do. Nettie is the black maid whom Ed hires to clean for Mrs.

Morse when she gives up her former domestic life and moves to an apartment near the train station. She is not named until the final section of the story when she becomes pivotal to the plot.

Nettie comes in to clean and discovers Mrs. It is Nettie who summons help and she who tends to Mrs.

Morse in her recovery. While Nettie saves Mrs. Morse on a literal level, her role is more ambiguous when considered symbolically.

Morse looks to Nettie as someone who might understand her suffering, and reaches out to her by asking if she ever thinks of committing suicide.

Nettie declines and echoes the words of so many of Mrs. The story ends with Mrs. The title of the story identifies Mrs.

Morse in terms of her physical appearance and highlights the significance of this issue. The narrator in no place describes her as beautiful.

However, she does meet a certain standard of attractiveness. When she was in her twenties she worked as a model. People, especially men, see her and form expectations of her personality based on her appearance, especially her blonde hair.

While she seems to do very little with her time, her life is occupied with the attempt to meet expectations about the female sex role and, relatedly, of feminine sexuality.

When she works as a model she is relatively independent, though she still reflects social ideals of womanly beauty through her job and behaves in ways that make her popular with men.

After she marries, she becomes absorbed in living out a preconceived notion of domestic life, but her husband still wants her to go out, something that she finds harder and harder to.

When he leaves her, she is not only emotionally but also financially vulnerable. Ed steps in to assume the masculine role and protect her in exchange for her cheerful company and her sexual compliance.

After Ed, she fulfills the same role for a series of different men, all of whom enjoy her company only when she acts the part of a woman who exists only for their pleasure and recreation.

One of the most significant aspects of the feminine sex role that destroys Mrs. Morse is her passivity. She is driven to drink because it helps her feel numb, allowing her to more easily live out the role expected of her.

She is financially dependent on a string of men but, after Herbie, she feels very little affection for any of them. She has no desire for any of the men she sees, despite the fact that she survives by means of their desire for her.

As she gets older, her only desires are passive ones—sleep, drunken oblivion and, eventually, death. Nevertheless, she attempts to the end to comply with the demands of those around her that she act happy and cheerful, despite her deep sadness.

Her suicide attempt is her only active effort to assert who she is over and against the wishes of those around her. Morse is a woman whose identity is determined almost completely by the expectations of those around her and, more significantly, by the cultural codes of femininity that shape such expectations.

It is through her sadness that her alienation is most apparent. The role that she is expected and attempts to fulfill is incompatible with the feelings of exhaustion and despair she persistently experiences.

The story reflects certain conflicts in this moment in cultural history, particularly those concerning sex roles and sexual mores.

The s were an era of growing legal rights for women and loosening strictures against sexuality. Relaxed social strictures against divorce, drinking, socializing, and sex lead to Mrs.

The story does not include very much concrete or detailed description of physical settings, contributing to an atmosphere of haziness, malaise, and passivity that stands in contrast to the idea of s New York as vital and stimulating.

Morse remains inert. The story is told through omniscient third person narration. This means that a narrator who is not a character in the story describes Mrs.

This form of narration is critical to the story, since how Mrs. Morse appears to those around her is so very different from how the omniscient narrator shows her to be internally.

Through this gap or difference, the third person omniscient narration creates the effect of alienation, which is a crucial part of Mrs.

While a view of Mrs. Irony is created through the difference between what readers know and what characters know. In this case, the narration reveals Mrs.

But the narration also allows readers more knowledge about Mrs. The narrator characterizes Mrs. Her ideas, or better, her acceptances, ran right along with those of the other substantially built blondes in whom she had found her friends.

Morse as a socially constructed type who is entrapped in the way of thinking that defines her. Thus the reader sympathizes with Mrs. Morse, but pities her more than identifying with her.

Hazel Morse is entrapped in social codes of gender and sexuality, and her last name, Morse, suggests codes. Her maiden name is never mentioned, and she is referred to throughout as Mrs.

Morse, despite the fact that her marriage is brief. The two parts of her name suggest a divide in Hazel Morse between roles and codes, which are definite, and experiences and feelings, which are hazy.

The use of slang and colloquial language also creates a form of symbolism. Several slang terms and phrases are repeated throughout the story.

Much of her despair is brought on by the unspoken rules of this game. The fact that the term is casual and playful suggests just how subtle Mrs.

Morse makes this toast three times, each in a situation of despair covered over with the facade of good cheer. In the 19th Amendment to the Constitution passed, giving women the right to vote for the first time.

This legal change for the most part ended the first wave of American feminism, which was based on the long, politically organized struggle for Suffrage.

It ushered in a decade that brought about many more subtle changes in cultural attitudes relating to sex and gender. Having gained the legal landmark of the right to vote, women became less politically oriented and made more changes in the social arena.

Men and women mixed freely socially, and sexual banter and premarital sex became far more tolerated. Women drank, smoked, and drove. They entered the workforce in greater numbers than ever before, with a smaller proportion of these working in traditional domestic jobs.

The s are sometimes considered an era dominated by women, as men returned from World War I bitter and disillusioned, while the image of women was young, flamboyant, energetic, and hopeful.

She had long hair and a voluptuous hourglass figure. She wore floor length skirts and had the demure, wholesome, modest manner appropriate to a wife and mother.

But she also wore make-up, flaunting her feminine artifice. In the s women everywhere started wearing much simpler, scantier underwear and skirts to the knee, a length that would have been considered outrageous or even obscene only a decade earlier.

Along with these changes in fashion came changes in conduct. The looser, simpler clothes allowed women to participate in athletic activities and to be more comfortable and at ease when out in public.

The young American woman of the s was celebrated for her youthful flamboyance, her daring, and her knowing demeanor. These idealized qualities represented a precipitous change in standards of femininity.

This was also a period, however, when the sale of alcohol was legally prohibited nationwide. Prohibition began in after ratification of the 18th Amendment.

Prohibition was controversial and difficult to enforce. Despite the fact that alcohol consumption was reduced nationwide, the permissive social climate of the decade made it easy and fashionable for many to keep on drinking.

Bootlegging, or the illegal trade of alcohol, was common all over the country, and speakeasies, where one could buy hard liquor illegally, replaced neighborhood bars and saloons.

Women, who had been a political force behind Prohibition a decade earlier, began to go out and drink alongside their husbands. Because hard alcohol was more profitable, it became much more popular than before, in most cases replacing wine and beer.

Prohibition was not repealed until Parker has been credited with breaking the boundaries that circumscribed earlier generations of women writers in terms of both style and subject matter.

Despite her success as a poet, Parker saw fiction as the true benchmark of literary credibility. Henry competition named it the best short story of Parker strips our society down to its festering bones, rips aside the sheltering curtains of the cruel and respectable.

It is a devastating truth that she has discovered, and a salutary one. Her status as a major writer remains up for grabs.

Madsen Hardy has a doctorate in English literature and is a freelance writer and editor. Her only obligation is to have fun and be fun.

She goes out at night to drink and socialize with various male companions and appears to do very little else. Yet one of Mrs.

In this essay I would like to consider the causes for Mrs. Thinking about Mrs. It became generally acceptable for women to wear much shorter skirts and to socialize much more freely with men.

They drank and smoked, and drove if they pleased. Women enjoyed themselves in new ways and they also earned money in new ways.

Many women joined the workforce for the first time, and it became more acceptable for even a married woman to hold a job.

Women worked in traditional feminine professions like nursing and teaching, in the mills and factories of an increasingly industrialized society, and they also made inroads into the professions such as law and, in the case of Parker, journalism.

Parker was certainly among the most socially adventurous and professionally successful women of her era, and she is remembered as spirited and self-possessed—the quintessential woman of the roaring twenties.

Thus it is interesting to note that Parker chose to reflect some of her most intimate and traumatic personal experiences through the character of Mrs.

Morse, a sad and ineffectual woman whose fading, out-dated style of beauty marks her as a creature of a bygone era. George H.

He identifies psychological exhaustion, alcoholism, and illness as the fate of many. Morse reflects the fact that many women were left behind and consigned to more traditional female roles even as standards for gender-related behavior changed radically.

And, furthermore, while Mrs. Morse might be seen as enjoying the freedoms of a less socially and sexually restricted culture, Parker makes it clear that she must also pay a heavy price.

As the story opens, Mrs. Unbeholden to parents or to earlier social customs, she lives on her own, works as a model, goes out frequently, and is popular with men—all of which seems to fit the image of glamorous s youth culture.

However, the stresses of this lifestyle are apparent in the fact that when Mrs. Morse marries—and thus gives up.

And, curiously, she is relieved that she does not have to have fun and that she can finally be sad. Unfortunately, Mrs.

While liberalized standards for socializing and sexuality are often understood as empowering women, Parker shows that it is the men in Mrs.

Another is to say that he stopped supporting her when she stopped doing her job. This social and economic dynamic becomes clearer in Mrs. The transactions become simpler and clearer.

First Ed gives her poker money and in return she offers her attention and lets him squeeze her knee. After Herbie leaves her, Ed offers her a new status as his mistress, which has greater benefits and also greater demands.

Parker is again offering a new definition, this time critiquing gender relations by inverting a commonly held concept of work.

Morse recognizes that she must give up things she had formerly done—modeling and domestic work. This restriction is most clear in the repeated demands from Mrs.

When Ed has a good year, he treats her to an expensive sealskin coat. He insisted upon gaiety. But because it jeopardizes her desirability, it jeopardizes her basic material security.

Morse first realizes that she is sad, her sympathy encompasses everything. Almost everything could give her the blues.

Those old horses she saw on Sixth Avenue—struggling and slipping along the car-tracks, or standing at the curb, their heads dropped level with their worn knees.

The tightly stored tears would squeeze from her eyes as she teetered past on her aching feet in the stubby, champagne-colored slippers.

The image of a tired workhorse pulling a heavy load may seem incongruous with that of a woman headed out for a night of drinking, which is nominally a night of leisure and fun.

However, the description of feet suggests a stronger, underlying parallel between Mrs. Morse and the horse. The fact that Mrs.

One of the very first things that readers learn about Mrs. The metaphorical connection between Mrs. Morse and a beast of burden is extended in the second description Parker offers of a workhorse.

Again, there is a parallel established between Mrs. As she slowly crossed Sixth Avenue, consciously dragging one foot past the other, a big, scarred horse pulling a rickety express-wagon crashed to its knees before her.

The driver swore and screamed and lashed the beast insanely, bringing the whip back over his shoulder for every blow, while the horse struggled to get a footing on the slippery asphalt.

On the modern streets of Manhattan, recently overtaken by the new invention of the automobile, the workhorse is a symbol of a bygone era that nevertheless plods on.

Morse identifies with the horse because, unlike a car, it feels and suffers and yet it is not treated like a sentient being. With her outdated figure and fading beauty, Mrs.

Morse does not conform to the image of the modern woman, yet she struggles within the conflicted social codes of liberated modern womanhood to survive in a world that denies her feeling.

Just as intriguing, however, is the way race is inscribed in a text so overtly marked as a reflection on gender.

Arguably her strongest work, it is generally viewed as an unusually affecting tale about feminine vulnerability. But the connection is probably more subtle.

The nasty tongue she cultivated earned her a name as one of the founders of the male-dominated Algonquin. Round Table, yet the record shows little room at that table for moods not witty or cynical.

Her telephone stories, for example, find women always on the short end of the conversation. Parker invented herself as a bad girl, and she was original in her badness, but often sorry in her girlness.

She successfully wisecracked her way to a seat at the table with the boys, but she is frequently remembered more for that status than for her writing.

The film Mrs. Parker and the Vicious Circle does little to disturb the conventional view of Dorothy Parker as a clever but self-aggrandizing and troubled personality.

Not much is made of her literary talent. The film is sprinkled with poems, but they are delivered in a slurred and mumbled undertone that is difficult to decipher and hints at manic depression and drunkenness more than the idea of serious literary endeavor.

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