item8

an index of the work

Every person the work names, every place it goes, the organizations standing behind it, the works it quotes and hums, and the motifs it keeps returning to — 195 entries, 764 citations, each one linked to its response. Compiled from the transcript itself and machine-checked against it, citation by citation (the method is at the bottom of the page). The writers stand in the people section with their full counts; their pages are on the writers page.

9 · A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y

by kind: people · places · organizations, schools, and shops · works, songs, and bands · motifs

people — the writers, and everyone the work names

Aaron (Hope's son) — Hope's elder son — not the writer Aaron Webb (2 responses): 8:157, 8:203

chris abraham — the editor — founder of the item, and its most frequent voice (60 responses): 8:0, 8:1, 8:2, 8:3, 8:4, 8:5, 8:6, 8:7, 8:8, 8:10, 8:12, 8:15, 8:19, 8:21, 8:24, 8:27, 8:28, 8:30, 8:33, 8:34, 8:35, 8:40, 8:48, 8:49, 8:50, 8:54, 8:63, 8:78, 8:81, 8:86, 8:97, 8:102, 8:105, 8:108, 8:109, 8:112, 8:116, 8:118, 8:123, 8:127, 8:129, 8:130, 8:151, 8:155, 8:158, 8:159, 8:161, 8:162, 8:164, 8:168, 8:169, 8:171, 8:173, 8:174, 8:177, 8:180, 8:186, 8:233, 8:236, 8:240

Alex — Red's busmate, of the long hair and the Walkman (1 response): 8:85

April — Red's friend, co-namer of Pretty Boy (1 response): 8:85

Benny — the lawyer neighbour in Hope's yard-sale story (1 response): 8:185

King Billy — in Dirk's roll of the Irish dead (1 response): 8:95

Katherine Blanke (KAT) — writer — signs herself @!KAT (15 responses): 8:36, 8:38, 8:42, 8:53, 8:64, 8:76, 8:83, 8:132, 8:136, 8:160, 8:200, 8:205, 8:208, 8:221, 8:230

Barry Bluestein — writer (1 response): 8:234

Bob — Chris's friend, gone before the work opens; his death day falls inside it (3 responses): 8:63, 8:86, 8:233

Boris — the young Frenchman new at the World Bank, who finishes the Rambo joke (1 response): 8:129

Brian Boru — in Dirk's roll of the Irish dead (1 response): 8:95

Bret — a roommate in the Kaimuki house (1 response): 8:233

Lonnie Brooks — who plays his blue guitar with his tongue, in Ginny's balcony (1 response): 8:103

Bryan — a friend in the Kaimuki house (1 response): 8:233

Netiva Caftori — writer (4 responses): 8:204, 8:223, 8:227, 8:231

Collins, Michael — in Dirk's roll of the Irish dead (1 response): 8:95

Cromwell, Oliver — “Black Cromwell,” in Dirk's roll of the Irish dead (1 response): 8:95

Cuchulainn — the Hound of Ulster; Dirk retells his death at length (1 response): 8:99

de Valera, Éamon — in Dirk's roll of the Irish dead (1 response): 8:95

Dedalus, Stephen — Joyce's Stephen, whose shade sings to Dirk from the screen (1 response): 8:31

DiCaprio, Leonardo — whose first film supplies the Rambo caption (1 response): 8:127

Ed — Hope's brother, quickest of the siblings to the baby race (1 response): 8:203

Elvis — the King — and, at Gretna Green, a Scottish one (2 responses): 8:106, 8:108

Fitzgerald, F. Scott — named among the portable-typewriter hobblers (1 response): 8:33

Dirk Flinthart — writer — printed also, joking, as Dirt Flinkhart (8:217) and Firth Drinkhart (8:226), his own plays on his own name (18 responses): 8:31, 8:46, 8:62, 8:71, 8:73, 8:84, 8:89, 8:95, 8:99, 8:100, 8:106, 8:113, 8:122, 8:124, 8:152, 8:207, 8:217, 8:226

Freud, Sigmund — summoned for Dora and the madness of the womb (1 response): 8:81

Susan Galleymore — writer (1 response): 8:16

Hemingway, Ernest — his complete poems ordered; his Paris eaten in gulps (2 responses): 8:33, 8:164

Holly — Justin's friend, of the dug elbow; later, the girl in Saint Petersburg (2 responses): 8:13, 8:97

Jeffrey — Hope's younger son, the chosen baby (1 response): 8:203

Jesus — named in a shriek and in a director's devotion (2 responses): 8:88, 8:97

Joyce, James — whose Ulysses haunts the work's margins (2 responses): 8:33, 8:97

Kinnell, Galway — named for Galway, as Chris's copy of Ulysses was signed there (1 response): 8:97

Kira — re-met in Sorrento; a prom date two weeks later (2 responses): 8:172, 8:188

Laeg — Cuchulainn's charioteer, the king of charioteers (1 response): 8:99

Langello, Patrick Martin Thomas — Hope's son, three days old in the work's last week (1 response): 8:237

Leigh — “leigh words, not chris words” — the massage account is hers (1 response): 8:159

Ginny Little — writer — whose constellation arrived with the new year (31 responses): 8:32, 8:39, 8:41, 8:43, 8:45, 8:51, 8:67, 8:69, 8:74, 8:80, 8:90, 8:93, 8:98, 8:101, 8:103, 8:104, 8:110, 8:120, 8:126, 8:128, 8:131, 8:134, 8:135, 8:143, 8:154, 8:163, 8:170, 8:181, 8:184, 8:216, 8:218

Elizabeth Lower-Basch — writer (2 responses): 8:214, 8:222

Kathy Madden — writer (1 response): 8:44

Maeve, Queen — whose host comes for the Hound of Ulster (1 response): 8:99

Mario — a dog — the wrong dog, at Red's feet, in her grief (1 response): 8:88

Mark — Chris's friend — “mark suggested i kiss her mouth”; the kayaking partner; a salesman at the estate sale. Indexed only where the man is plain; the word ‘mark’ itself is everywhere and is not indexed (3 responses): 8:155, 8:158, 8:186

Marlise — who gives the Galoises, and cooks (1 response): 8:54

Mary — a friend of Bob's, making images of Willow (1 response): 8:233

Maso, Carole — whose Aureole lies dog-eared on the night stand (1 response): 8:116

Gladys McLaughlin — Hope's grandmother — her ashes, her gravestone, her wishing rock (2 responses): 8:11, 8:72

McLaughlin, John — Hope's grandfather — and, thirty years on, a neighbour of the same name (3 responses): 8:11, 8:96, 8:185

MDN — Michelle Diane Nolan — the writer Michelle Nolan (8:212) — named by her initials in the text; the Easter phone call, barracks and linoleum (1 response): 8:164

Mercury, Freddy — of Queen, “the late Freddy Mercury” as printed (1 response): 8:85

Sarah Neyaz — writer (6 responses): 8:138, 8:141, 8:144, 8:150, 8:202, 8:215

Shawn Nicolen — writer (8 responses): 8:117, 8:133, 8:137, 8:140, 8:149, 8:192, 8:219, 8:225

Michelle Nolan — writer (1 response): 8:212

Noraa — “my name is not noraa” — the refrain of 8:30 (1 response): 8:30

Hope O'Keeffe — writer — printed also as Hope O`Keeffe, the backtick form, from 8:185 (32 responses): 8:9, 8:11, 8:14, 8:18, 8:20, 8:23, 8:29, 8:55, 8:58, 8:68, 8:72, 8:79, 8:87, 8:92, 8:96, 8:115, 8:139, 8:142, 8:148, 8:153, 8:157, 8:166, 8:175, 8:179, 8:182, 8:183, 8:185, 8:203, 8:211, 8:224, 8:228, 8:237

Pearse, Patrick — in Dirk's roll of the Irish dead (1 response): 8:95

Pretty Boy — Alex's nickname on Red's bus (2 responses): 8:85, 8:86

Proust, Marcel — named among the portable-typewriter hobblers (1 response): 8:33

Red — writer — a nom de plume; it stands as printed (15 responses): 8:52, 8:59, 8:75, 8:82, 8:85, 8:88, 8:94, 8:111, 8:165, 8:178, 8:189, 8:206, 8:213, 8:220, 8:232

Phillip J. Rhoades — writer (6 responses): 8:47, 8:56, 8:77, 8:107, 8:114, 8:125

Roth, Philip — “mr. philip roth” — of The Breast (1 response): 8:34

Rufus — Red's dog, a 45-pound red whippet; his death runs under the winter (2 responses): 8:82, 8:88

Ruth — Hope's sister — of the dating litany and the yard sale (2 responses): 8:185, 8:203

Justin Sacks (Pell) — writer (3 responses): 8:13, 8:17, 8:156

Seth — the Seth books, which Chris is reading (1 response): 8:97

Michelle Shocked — cast, with Kiefer Sutherland, in the movie planned on the verandah (1 response): 8:106

Simpson, Bart — the cartoon, in decline as a souvenir (1 response): 8:10

Smith, Kevin — “director smith,” who is “really into jesus” (1 response): 8:97

spaceboy — writer — a nom de plume; it stands as printed. Two responses, both 18-JAN-98 (2 responses): 8:65, 8:66

Sue — a dog to come, in the underground house (1 response): 8:236

Sutherland, Kiefer — cast in the movie planned on the verandah (1 response): 8:106

Suzi — the editor's and Michelle Nolan's dog, at their Capitol Hill house, 14th & A SE, Washington (1 response): 8:233

Tom (Hope's brother) — of the litany of names — “HopeRuthTom” (1 response): 8:203

Tomas — collecting fistfuls of dollars at the estate sale (2 responses): 8:112, 8:186

Walker, Mr. — the bus driver, who must not see Red change seats (1 response): 8:85

Aaron Webb — writer (5 responses): 8:91, 8:121, 8:172, 8:188, 8:235

Lavinia Weissman — writer (1 response): 8:22

Whitman, Walt — present as a rest stop on I-95 (1 response): 8:10

Willow — the model in the Honolulu sitting for Bob (1 response): 8:233

Wizard Calatin, sons of the — who bear the bright-bladed spear (1 response): 8:99

Yoho, Tom — the dive-boat captain of Chris's boyhood — “if Tom was there, it didn't matter” (1 response): 8:12

places

Addington Road (Boston) — 41 Addington Road — the house that is always home in Hope's dreams (3 responses): 8:11, 8:182, 8:185

South Africa — Susan's rural east, twenty miles each way by bus (1 response): 8:16

Aliamanu (Honolulu) — where the elementary school stands, across from the first house (1 response): 8:15

Arlington Cemetery — glimpsed from the kayak, lit (1 response): 8:158

Boston — the family, the accents, the grave (3 responses): 8:9, 8:10, 8:182

Capitol Hill (Seattle) — where a good cup of coffee at 4am is wanted (1 response): 8:8

Dublin — whose girls are so pretty; whose bullet holes Ginny remembers (2 responses): 8:97, 8:98

Eastern Market (Washington) — where the low sun paints the children's faces gold (1 response): 8:35

Emain — Emain Macha — the Hound's fief, whose grey horse dies first (1 response): 8:99

Galway — where a trinket salesman signed a copy of Ulysses (1 response): 8:97

Georgetown — pushed away from, toward the Lincoln (1 response): 8:158

Grand Rapids — an hour from Kira; where the prom ends (2 responses): 8:172, 8:188

Gretna Green — the Vegas of Britain, where the wedding nearly happened (1 response): 8:108

Hawaii — the home water; left, and returned to, and left (10 responses): 8:0, 8:12, 8:15, 8:63, 8:158, 8:161, 8:173, 8:212, 8:233, 8:240

Helsinki–Stockholm (the ferry) — the Silja ferry — printed “sija” — where the corridors hid two lovers (1 response): 8:105

Honolulu — the dive boats, the lights like lava, TheBUS (5 responses): 8:0, 8:12, 8:13, 8:15, 8:233

Ireland — the pipes, the grudges, the dead carried home (6 responses): 8:94, 8:95, 8:96, 8:97, 8:98, 8:183

Italy and Sorrento — the Junior Classical League's spring; where Aaron re-met Kira (5 responses): 8:156, 8:172, 8:173, 8:188, 8:235

St. Joseph's Cemetery — where the stone, filled in at last, reads 1903–1997 (1 response): 8:11

Kaimuki (Honolulu) — the smallish ramshackle wooden house (1 response): 8:233

Kalamazoo — “what a zoo, what a trap” — and, in a storm, the Kalamazoo Building (2 responses): 8:36, 8:149

the Lincoln (Washington) — lit, its stairway into the Potomac brilliant (1 response): 8:158

the lost worlds — Barsoom, Shangri-La, Hy-Brasil, Lyonesse, Tir na n'Og, Atlantis, Avalon — abolished, in Dirk's litany (1 response): 8:124

Manoa Valley — where lava seems to roll; where the estate was sold in quarter bins (2 responses): 8:12, 8:186

County Mayo and County Cork — “dunn, judge. county mayo, county cork.” (1 response): 8:97

McPherson Square (Washington) — the rainbow's destination, up 15th Street (1 response): 8:48

Michigan — the classroom's state; the Upper Peninsula's Turtle Island (3 responses): 8:104, 8:156, 8:172

Mill Valley — Lavinia's dream corner, above the bay (1 response): 8:22

New York — the prom queen, forever more popular (4 responses): 8:1, 8:4, 8:28, 8:183

Norwich and Norfolk — the small campus by a lake in farmland, remembered in the last response (1 response): 8:240

Ogden, Utah — where Lavinia's retreat is to land (1 response): 8:22

Omaha — where the van to take the kids is cancelled; where injustice sits (2 responses): 8:67, 8:74

Parchment — whose track-and-field shirt Red wears warm (1 response): 8:232

Paris — prepped for, like a tour guide for a partner not yet there (3 responses): 8:27, 8:103, 8:164

Pennsylvania Avenue (Washington) — the intermediate school, the low morning sun (1 response): 8:35

Saint Petersburg — where the babushkas warn Holly off the cold cement (1 response): 8:97

the Potomac — the river under the kayaks, taking the oars in (3 responses): 8:27, 8:158, 8:162

Punchbowl (Honolulu) — down the slope, before the eternal flame (1 response): 8:15

Queens — the way home from the Smithsonian, the Walt Whitman rest stop (1 response): 8:10

Rosslyn — whose affront fronts the indigo sky (1 response): 8:158

Salt Lake (Honolulu) — where the bus drove straight, and the school is (1 response): 8:15

Scotland — nearby enough, for a wedding (1 response): 8:108

Seattle — which just is — Camel town, romper room of Generation X (6 responses): 8:1, 8:2, 8:4, 8:5, 8:7, 8:110

the Seine — wanted, with the flights to Paris; spied for lovers (3 responses): 8:27, 8:158, 8:164

Mt. Shasta — Gladys's call, a pinch of ash set aside for it (1 response): 8:11

the Shenandoah — whose quiet rapids count, at dawn, beside the canoes (1 response): 8:18

Ulster — the Hound's fief, Maeve's target (1 response): 8:99

Vesuvius — whose twinkling lights ring the balcony conversation (1 response): 8:172

Waikiki — the midnight blue sea that took the ashes (3 responses): 8:10, 8:11, 8:12

Washington — the studious, insecure sister; the swampy city; the dyad that opens the work (12 responses): 8:1, 8:3, 8:4, 8:9, 8:10, 8:27, 8:35, 8:50, 8:108, 8:116, 8:158, 8:233

White Horse Beach — a thimbleful of Gladys, scattered (1 response): 8:11

organizations, schools, and shops

99.1 FM — the station whose live broadcast Chris transcribes, laughing alone (1 response): 8:35

Aliamanu Elementary — Chris's school, guarded by the JPO (1 response): 8:15

Ben & Jerry's — “an ice cream store. they sell ice cream to women” (1 response): 8:86

the Discovery Channel — or the Learning Channel — where the monkey people were seen (1 response): 8:120

Hardings — the deli where Red's boyfriend washes dishes (1 response): 8:206

Johns Hopkins — whose letter of intent is the work's longest-avoided two pages (3 responses): 8:27, 8:33, 8:34

JPO (Junior Police Officers) — the crossing-guard corps of 8:15 — see the glossary (1 response): 8:15

KAMSC — “the top floor of Vine Alternative, Called KAMSC by some” — Justin's school (1 response): 8:13

Merchant Ivory — whose actresses infect Chris's memory of a face (1 response): 8:112

the Michigan Junior Classical League — whose colleagues re-meet in Spartacus's amphitheatre (1 response): 8:172

the New York Times — present as “a nyt review” of Chasing Amy (1 response): 8:97

PADI — through whom he and his father took their course in 1985 (1 response): 8:12

Shakespeare & Co. — the Paris bookshop, shown to a partner in advance (1 response): 8:164

the Sheriff's Department — whose phone call ends Ginny's storm night (1 response): 8:218

the Smithsonian — source of the freeze-dried ice cream, eaten before leaving (1 response): 8:10

Sunny's Surplus — on the walk the rainbow reroutes (1 response): 8:48

Victoria's Secret — fleshpots spieled on ET; a catalog of possible faces (2 responses): 8:112, 8:127

the World Bank — Boris's new face there (1 response): 8:129

works, songs, and bands — as named in the text

Amazing Grace — sung around a long-dead fire, with The First Noel (1 response): 8:17

Angela's Ashes — which gives Hope the definition of Irish Alzheimer's (1 response): 8:96

Aureole (Carole Maso) — dog-eared, on the night stand (1 response): 8:116

The Bends (Radiohead) — the album playing at every epiphany — and the diver's sickness feared in the same response (1 response): 8:35

Bonnie and Clyde — watched in the balcony theater, first time out (1 response): 8:103

The Breast (Philip Roth) — “thank you mr. philip roth” (1 response): 8:34

Breathless — the film that isn't feeding from the VCR, on the blue screen (2 responses): 8:27, 8:28

Chasing Amy — in which divine grace came to Amy, per a review (1 response): 8:97

“Get Down, Make Love” — Queen's song in Nine Inch Nails' remake, in Red's headphones (1 response): 8:85

“Handsome, Winsome Johnny” — the song Dirk sings, of the one that he will marry (1 response): 8:100

Harry Met Sally — the scene, the tuxedo, the lbd — wanted (1 response): 8:27

“High and Dry” (Radiohead) — transcribed live until the lyrics outrun the transcriber (1 response): 8:34

ICP — guessed at, wrongly, on the bus (1 response): 8:85

Jerry Springer — the show at number one in the daytime ratings, watched from home (1 response): 8:135

Les Misérables — the film after prom — “nothing stood out” (1 response): 8:188

Manson — guessed at, wrongly, on the bus (1 response): 8:85

The New Yorker — of the trite Paris editorials (1 response): 8:164

Nine Inch Nails — whose intro betrays the Walkman's contents (1 response): 8:85

Ozzy — “not a good thing to be listening to right now” (1 response): 8:232

Queen — Freddy Mercury's band, named in the remake's credit (1 response): 8:85

Radiohead — the epiphany band; see also The Bends, “High and Dry” (3 responses): 8:33, 8:34, 8:35

Romeo and Juliet — watched in the balcony theater, first time out (1 response): 8:103

Star Wars — Han Solo hunts for Luke on Hoth, in the background of 8:29 (1 response): 8:29

Titanic — the film Ginny vicariously lives, chapeaus and all (1 response): 8:69

Ulysses — which loses Chris at young Stephen every time, and is signed in Galway (2 responses): 8:33, 8:97

The X-Files — reruns beside the dead fire (1 response): 8:63

motifs — the threads the river keeps returning to

ashes — two families' ashes, traded across the first week; the work's founding exchange (8 responses): 8:4, 8:9, 8:10, 8:12, 8:17, 8:50, 8:96, 8:152

the bus — the yellow bus between worlds, TheBUS before dawn, Red's seat that is always hers (5 responses): 8:14, 8:15, 8:16, 8:75, 8:85

coffee — wanted at 4am on Capitol Hill; pulled as shots; sipped over the porch rail (7 responses): 8:5, 8:7, 8:8, 8:48, 8:68, 8:105, 8:148

crying and tears — the work's longest running argument — whether to, and how, and who may watch (21 responses): 8:76, 8:77, 8:78, 8:79, 8:80, 8:81, 8:82, 8:83, 8:84, 8:86, 8:90, 8:94, 8:99, 8:111, 8:121, 8:132, 8:135, 8:136, 8:150, 8:185, 8:232

dancing — in living rooms, on ice, in the wind of trees; demanded of those who feel the desire (32 responses): 8:7, 8:13, 8:20, 8:22, 8:23, 8:30, 8:31, 8:32, 8:35, 8:42, 8:44, 8:45, 8:46, 8:47, 8:53, 8:67, 8:81, 8:94, 8:95, 8:98, 8:102, 8:104, 8:105, 8:130, 8:131, 8:133, 8:142, 8:162, 8:164, 8:216, 8:218, 8:235

dogs — Rufus and Mario, the goldfish's betters, a dog named Sue to come (15 responses): 8:24, 8:27, 8:67, 8:82, 8:86, 8:88, 8:90, 8:91, 8:92, 8:108, 8:116, 8:149, 8:161, 8:233, 8:236

dreams — the attic garret, the borrowed dreams, the artist's mind that never stills (17 responses): 8:11, 8:22, 8:23, 8:38, 8:42, 8:51, 8:58, 8:77, 8:81, 8:101, 8:110, 8:121, 8:133, 8:135, 8:156, 8:188, 8:228

eyes — windows into the soul — the work's most-returned-to organ (38 responses): 8:13, 8:24, 8:31, 8:32, 8:33, 8:38, 8:66, 8:74, 8:75, 8:83, 8:85, 8:96, 8:98, 8:99, 8:103, 8:104, 8:105, 8:112, 8:121, 8:138, 8:139, 8:141, 8:142, 8:149, 8:150, 8:165, 8:166, 8:168, 8:169, 8:170, 8:173, 8:216, 8:217, 8:221, 8:223, 8:224, 8:233, 8:235

fathers and grandfathers — scattered off Waikiki, sold in quarter bins, sung home (17 responses): 8:10, 8:11, 8:52, 8:72, 8:82, 8:88, 8:90, 8:105, 8:121, 8:128, 8:163, 8:182, 8:183, 8:185, 8:186, 8:189, 8:228

home — elusive, safe haven, finally come to — and not to be moved from again (29 responses): 8:10, 8:11, 8:16, 8:38, 8:40, 8:68, 8:72, 8:74, 8:76, 8:95, 8:98, 8:99, 8:103, 8:104, 8:110, 8:123, 8:135, 8:153, 8:154, 8:158, 8:173, 8:183, 8:185, 8:186, 8:188, 8:189, 8:200, 8:228, 8:235

kayaks, canoes, and rowing — blue plastic percussion; the Potomac in the evening; the singles like knives (7 responses): 8:18, 8:19, 8:20, 8:63, 8:116, 8:158, 8:162

love — the word that has lost its meaning, replaced, refused, and insisted on (43 responses): 8:27, 8:30, 8:34, 8:35, 8:50, 8:53, 8:56, 8:58, 8:69, 8:72, 8:81, 8:85, 8:97, 8:98, 8:108, 8:112, 8:118, 8:122, 8:123, 8:130, 8:133, 8:141, 8:143, 8:144, 8:153, 8:157, 8:158, 8:163, 8:171, 8:173, 8:188, 8:203, 8:208, 8:212, 8:213, 8:214, 8:215, 8:220, 8:223, 8:227, 8:232, 8:233, 8:235

the mirror — Washington's, the cruel face's, the flip-sides of alone and together (6 responses): 8:1, 8:3, 8:24, 8:33, 8:42, 8:216

mothers and grandmothers — turned into, telephoned, defied, and missed (23 responses): 8:12, 8:30, 8:52, 8:68, 8:78, 8:87, 8:88, 8:90, 8:94, 8:96, 8:98, 8:120, 8:154, 8:163, 8:177, 8:178, 8:182, 8:183, 8:184, 8:185, 8:188, 8:189, 8:206

the octopus — one breath, eight tentacles, welts like tattoos — the opening's tall tale, told straight (2 responses): 8:6, 8:7

the river — danced with, raced on, mesmerized by — the work's own figure for itself (8 responses): 8:19, 8:20, 8:21, 8:86, 8:148, 8:152, 8:158, 8:162

smoking — Camels and Marlboros, Galoises and clove; the chest it constricts (13 responses): 8:4, 8:12, 8:31, 8:54, 8:55, 8:67, 8:97, 8:105, 8:123, 8:126, 8:183, 8:185, 8:233

turtles — the green sea turtle that lures a freediver; Turtle Island, who carries her home on her back (3 responses): 8:12, 8:102, 8:104

walls — run into as a baby, scrawled with signatures, leaned with oils, torn down to dimes (16 responses): 8:22, 8:23, 8:30, 8:49, 8:83, 8:87, 8:95, 8:98, 8:109, 8:150, 8:151, 8:152, 8:153, 8:154, 8:182, 8:212