abuse & creative expression : page 2......Talent Development Resources --..home page...site map


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For the past two years, I've sung "Me and a Gun" at every concert as a way of healing the place inside myself that has been hurt, enraged, and numbed by violence.

For many years, I shut down that place inside myself that needed to rage, cry, ask questions, and basically just express herself.

I made a conscious choice when I put "Me and a Gun" on the record not to stay a victim anymore.

You see, I was still a victim in my own mind from an experience that had happened a long time ago:

I was torturing myself. Passion, joy, and love were not things I felt I could have or deserved anymore.

I've been encouraged by wise ones, who taught me how to develop inner tools where I can understand these scared places in my being.

Tori Amos

from Tori's Letters To Survivors
[on Dancing In The Darkness site]
written to inform people of the service of RAINN

**Tori Amos - All These Years: The Authorized 
Illustrated Biography by Kalen Rogers
<Amazon.com>  <Powells>  <Amazon.ca>  <Amazon.co.uk>

CD : Tales of a Librarian: A Tori Amos Collection
(includes "Me And A Gun")

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Charles Bukowski's childhood home [was] just a stone's throw from the Santa Monica Freeway at La Brea. 

This is the place where his father would preach the values of the American Dream: Be industrious, make money, buy a house, have a family. 

But while his father was proselytizing, he was also meting out brutal beatings to the sensitive young boy several times a week, from age 6 through his teens. ///

Explaining the title "Ham on Rye" [the novel based on his childhood], Bukowski wrote to a correspondent in 1982: "My parents were the two pieces of bread, and I was the ham that was continually getting bitten into." 

In this home, Bukowski encountered a powerful force that he would spend many years reacting against: He would become a writer, an artist, a common laborer, a bum even -- but he would not be them. 

Out of this early experience came much suffering but also self-reliance, individuality and an incredible strength.

from article The Bukowski tour [LA Times, May 23 2004] 
- By John Dullaghan, maker of documentary 
film "Bukowski: Born Into This"

....Charles Bukowski. Ham on Rye

more Bukowski on:....alcohol & talent development

 
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Artemisia Gentileschi (1593-1652).. was the first female artist to paint large scale history and religious pictures, subjects considered off-limits to women at that time, and she specialized in themes with female protagonists. 

Her depiction of traditional stories of rape and vengeance -- but from the viewpoint of a woman -- marked a breakthrough in the history of art. 

The Judith and Holofernes painted shortly after [her] rape -- which is used in the film as an erotic tableau vivant -- has been interpreted by art historian Mary Garrard as a metaphoric expression of female resistance to masculine sexual dominance.


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> from a critique by Mary Garrard and Gloria Steinem 
of the film Artemisia [dvd] (1998) 

.... book Artemisia Gentileschi - by Mary Garrard

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"If it is to be called revenge at all, it's revenge against tyranny. An artist's feeling is the white-hot core of painting... You've got to use your own emotions and paint with your own blood if need be in order to discover and prove the truth of your vision."

Artemisia - in the novel 
The Passion of Artemisia - by Susan Vreeland

> paintings : Judith Slaying Holofernes, and 
Self Portrait as the Allegory of Painting (c. 1630)


 
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There are too many people out there that die because of the silence, because they feel they are alone and no one else out there has gone through sexual abuse, rape, and other things that cause people to often lose their sense of worth and make people feel they aren't whole and cannot be loved. 

Over my life time, I have met so many other girls and boys who didn't have to tell me. 

I could see it because it is a pain you can see in their lives, in their eyes. The numbers seem to be rising. Within the modeling and entertainment industry, it appears to be rampant.

With the explosion of the Glamour/Porn/pseudo-adult industry and the Internet, I know there are thousands more. 

Some of them are forever locked within the frames of pictures and movies. ///

Don't be afraid to get help, to reach out, to make a phone call. Don't keep running because you can't run from what's inside. 

It is part of you and you can heal. You can have your dreams, hope and love back. You are still you and you are still worth more than anything in the world. You're beautiful. You're one of a kind. You are special. Don't believe the lies. 

So now below are some links, some phone numbers, some books and some words from others. Get the cat out of the bag. It's not much use all locked up.

singer and model Jillian Ann

from her article RaPe And Sexual abuse - ways to start 
getting out/getting help [on her site]

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Elizabeth Vargas, ABC News : These women are linked not only because they survived rape, but because they are able to talk about it. It has been a long journey for both. One suffered from post-traumatic stress disorder, the other was on the brink of suicide. 

And their paths to healing both intersect with music -- the music of Tori Amos. ... She sings about the familiar and the forbidden.

Tori Amos : I'm very interested in chasing a shadow and chasing the dark side. This is what I do.

Elizabeth Vargas : It is her chilling lyrics in the song Me And A Gun that document that dark side, describing an event that happened to her in her early 20s. ... 

Tori had just finished playing a nightclub and offered a fan a ride home. He ended up kidnapping and raping her. After years of struggle, she found her only way to deal with the rape was to write a song about it. 

Tori Amos : It's a song about brutality and invasion on the deepest level. ... To heal the wound, you have to go into the dark night of the soul.


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Elizabeth Vargas : But Tori Amos soon learned that healing can be difficult. So many rape victims suffer severe psychological repercussions. 

They become distracted, depressed, feel like they're going crazy. It can be so overwhelming that many rape victims don't deal with the rape at all. They tuck it away. And for those women, doctors says it takes a trigger to bring the rape back to the surface. 

It can be an emotional event -- a song, a book or a movie. Only then can the women reach out, start talking about the rape and finally deal with the trauma. It was this movie, Thelma and Louise, that was Tori Amos's trigger seven years after her rape. 

Tori Amos : People had to move away from me in the theater, just because I was, you know, sobbing. I was like a little wellspring sitting there. 

Elizabeth Vargas : Tori Amos says hours after seeing the movie, she wrote the song Me And A Gun. What Tori never anticipated was that her own breakthrough would trigger the breakthroughs of so many others.

from Chasing Away the Demons - 20/20 Interview 
with Tori Amos, Feb 15, 1999

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Do you think the movie ["Crossroads"] 
skirts the rape issue by never calling it a rape?

I think that it was very much out there and sometimes you don't need a label in order for you to know what it's about. Sometimes I think we are too caught up with a title, and not caught up with the whole message.

I think it was purposely intended to be that way. Had we set about that it's about rape, I think we would have lost half of its audience.


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 Because certain people just consider not talking about an issue, actually solving the issue. 

It was just a way of like promoting the film in order for people just to see it and not be completely shut off just to know, from the beginning, that we are going to be dealing with the rape issue here.

Zoe Saldana -- romanticmovies.about.com interview
above: Britney Spears, Taryn Manning, Zoe Saldana
in "Crossroads" [dvd]

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In 1962, at the age of 17, Karen Armstrong entered a very rigid, austere, anti-intellectual convent in Sussex, England. ...

At age 60, the amazingly prolific Armstrong returns to her convent experience in "The Spiral Staircase: My Climb Out of Darkness," the third review of the trauma of her early life.

As she says, "We should probably all pause to confront our past from time to time, because it changes its meaning as our circumstances alter."

All three of Armstrong's autobiographical books focus on her seven-year "formation." In religious societies, the term "formation" means the very systematic process of turning ordinary secular people into members of the religious society -- some of us would call it brainwashing.

The humanizing reforms of Vatican II had not yet reached her order, and the work of formation, in Armstrong's case, was extraordinarily rigorous.

Her convent superiors controlled her thoughts, emotions and even movement of her body; this formation went on every minute, every hour, every week, every month, every year.

As Armstrong repeats frequently in all three books, "formation was meant to last for a lifetime and did."

It was during those years that she was made to practice sewing daily on a machine with no thread and scrub stairs with a nailbrush, exercises designed to break her down and destroy her individuality and intellectual coherence.

The three books chronicle her attempts to free herself, to repair the damage that has been done to her. Her successes in repairing herself come only after great, sustained effort and much pain. ///

Armstrong accepts that she cannot change. She accepts the damage that the nuns caused, that she allowed them to cause.

She insists, oddly, that she alone is responsible. She knows that building a new identity will "be a lifelong task, requiring alert attention to the smallest detail, dedication, and unremitting effort."

Her life will be a constant struggle, always resisting the convent formation. She will never be "like anyone else."

This acute sense of always being an outsider pervades the book.

In the last third of "The Spiral Staircase," Armstrong continues the story of her recovery, her "climb out of darkness."

In 1982, while auditioning for a documentary television series, she finds herself freed from the convent diatribes against intellectual pride; she is again able, and with pleasure, to talk about her own ideas.

from review by Nancy Klein Maguire, LA Times, 4/18/04

...The Spiral Staircase: My Climb Out of Darkness - 
by Karen Armstrong

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Songs Related to Domestic Violence and Sexual Assault...and Survival - website page
An annotated list of recorded sources, from traditional ballads to punk.

I'm often asked to suggest songs related to domestic abuse or sexual assault, so I've compiled this annotated list of songs with accessible recorded versions and links to lyrics when I can find them online.

Inclusion on this list is not a personal endorsement. I simply provide a wide sampling of experiences and stories, for analysis and discussion of how these issues are reflected in popular culture...or in some cases how songs brainwash us into thinking unacceptable behavior is "romantic."

musician and historian Gerri Gribi -- also see interview by Douglas Eby

album : The Womansong Collection  "..featuring 24 woman-positive traditional 
and composed songs with historical notes and lyrics.."

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Reeling from a terrifying assault that has left him physically injured and psychologically shattered, nineteen-year-old Brad Land must also contend with unsympathetic local police, parents who can barely discuss "the incident" (as they call it), a brother riddled with guilt but unable to slow down enough for Brad to keep up, and the feeling that he'll never be normal again. 

When Brad's brother enrolls at Clemson University and pledges a fraternity, Brad believes he's being left behind once and for all. 

Desperate to belong, he follows. 

What happens there -- in the name of "brotherhood," and with the supposed goal of forging a scholar and a gentleman from the raw materials of boyhood -- involves torturous late-night hazing, heartbreaking estrangement from his brother, and, finally, the death of a fellow pledge. 

Ultimately, Brad must weigh total alienation from his newfound community against accepting a form of brutality he already knows too well.


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A searing memoir of masculinity, violence, and brotherhood, Goat provides an unprecedented window into the emotional landscape of young men and introduces a writer of uncommon grace and power. 

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Brad Land studied creative writing at the University of North Carolina at Wilmington, where he received his M.F.A., and Western Michigan University, where he served as nonfiction editor of Third Coast. He has been a fellow at the MacDowell Colony and now lives in South Carolina.

from Random House summary of the book
photo from goatthebook.com

...Goat: A Memoir - by Brad Land

*related pages:........nurturing mental health : writing........androgyny / gender

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Patrick Stewart has blasted movies like Quentin Tarantino's Kill Bill - for helping to "stereotype violent attitudes of men to women". 

Speaking at Friday's launch of a new Amnesty International campaign against attacks on women in London, the Star Trek star revealed he witnessed his father beating his mother and claimed movies and TV have helped to perpetuate a nasty new trend. 

He says, "The entertainment industry has been extremely irresponsible in perpetuating and stereotyping the violent attitudes of men to women. I condemn utterly films like Kill Bill. We are told it is about empowering women. All it does is empower a woman to kill another woman."    [imdb.com Mar 9 2004]

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A woman enters a dimly-lit room. She is tall, lithe, with shoulder-length, auburn hair and blue eyes. 

She locks the door behind her, looks about the room, checking dark corners, hiding places. She unbuttons and removes her blouse, then unzips her jeans and lets them drop to her ankles - she is not wearing underwear. 

She reaches into her bag, removes a large jar of Vaseline and rubs its contents over her torso.

Then, she lays down on a large stone, arching her back. She rocks back and forth, then rises and dons her clothes quickly.

What Pamela Underwood was doing, what she did at SDSU for a year or so, was a means of regaining control of her body. Pamela is an artist - paint, mixed media - who has a B.F.A. in lithography. 

SDSU is one of the few places in San Diego where she could find a stone large enough for her "Body Prints," a series of nine lithographic works she completed three years ago.

These efforts at regaining control of her body were the result of an all-too-common childhood trauma: Pamela had been molested from infancy until age 12, by her grandfather. 

Her "Body Prints" were a form of subconscious therapy. 

Another therapeutic work is called,"Dear Grandaddy," a letter Pamela wrote to her grandfather and later developed into a performance piece at Karen Finley's workshop at SDSU three years ago.

from article Body Prints, Memory Bleeds - By Glen Daly

photo from her site Pamela Underwood Studios

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Fitch convincingly portrays Anais Nin (1903-1977) as a complex, neurotic artist, alienated from her own anger and pain, who worked out her neuroses through her art. 

She traces the psychological damage inflicted by Nin's father, who photographed her nude, beat her and seduced her in childhood, then seduced her again in 1933.  ....  [Publishers Weekly]

...Anais: The Erotic Life of Anais Nin - by Noel Riley Fitch

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...Rape: A Love Story  - by Joyce Carol Oates

reader : Eileen Rieback : Joyce Carol Oates [right], the master of tales about hapless women victimized by men, has written a brilliant novella that brings this theme to a terrifying pinnacle in a story about rape, revenge, and love. 

Teena Maguire and her 12-year-old daughter Bethie are assaulted while walking home through a deserted park at night.


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Teena is brutally gang-raped and severely beaten while Bethie hides within hearing range of the violence. 

Bethie is able to identify several of the assailants. At the preliminary hearing, the defense attorney makes a fool of the deputy prosecutor and humiliates Teena on the witness stand. 

John Dromoor, the policeman who first arrived at the scene of the violence, takes a liking to Teena and Bethie and vows to help in any way he can to right the wrongs against them. 

Yes, this book is also a love story, but certainly not in the more conventional sense.

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There was one short story of mine, it was called "Where Are You Going, Where Have You Been," that was made into a movie called "Smooth Talk" some years ago... 

But it was also the debut of a very good actress, Laura Dern.. she was playing a 14-year-old. She's really, really wonderful.

I had nothing to do with that film, and the title "Smooth Talk" of course is not my title. My story had an ending one might call tragic, since the heroine surrenders to death. ....

She looks out from the screen door, and she sees the organic world, which is the world from which we come, and we're composed of, and she's going to go to that world and she's going to die. 

A man has come for her, a rapist, and he's going to kill her. 

But in the movie, somehow she comes home from being with him and she and her sister get out a record and they dance together, and that was the end of the movie.

I thought, well, it's Hollywood, it's a very different movie, but it's probably the only ending that they could film that would be visual. My story had a sort of Hawthornian and allegorical quality to it.

Joyce Carol Oates - from Salon interview

photo: Laura Dern in the movie Smooth Talk (1985)

...Where Are You Going, Where Have You Been?

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I did not want [my rape] to be part of my history -- it was not my choice. It's something that happened, and not talking about it becomes a burden for me. 

I just made a decision that I would not allow myself to be diminished by this... [in writing the novel] I'm attempting to ask questions rather than give answers, because I don't have all the answers. 

Maybe that's a reason I wrote it as fiction. It's really my attempt to participate with the public in a discussion without having to provide a solution. //

Yes, there still is a reluctance for me to go public about this -- it makes me nervous. But I'm going on instinct. 

I'm almost positive I didn't go through this ordeal so that I could suffer in silence. It is a personal risk -- I'm exposing way more about my personal life than I'm comfortable with. 

But talking about it is cathartic, and it's also reminding myself that I didn't do anything wrong. That's a big issue that rape victims have.

Barbara Hall

from article The Truth Behind Producer's Fiction, 
by Greg Braxton, LA Times, Aug 5 2000
about her novel A Summons to New Orleans

Barbara Hall is a writer & executive producer of the series "Joan of Arcadia" and "Judging Amy" - which has included court cases about a prominent athlete accused of rape; teenagers arrested for possession of a date rape drug; a character who was conceived by rape etc.

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I was interested in showing abuse in a lot of my earlier pieces. Now I'm interested in bringing the power of female sensuality and sexuality into my work. 

I want to present female power, while still mourning. I think this is more of a goddess feeling. Sexual energy is a power and that's the reason we're put down so much. I'm just starting with that a little bit.

Karen Finley  - eguide interview by Jeanne Carstensen, The Gate [1997]


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...books by Karen Finley

A Different Kind of Intimacy
The Collected Writings of Karen Finley [photo above]

Aroused : A Collection of Erotic Writing
 

more Karen Finley books

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The idea of "victimhood" comes up frequently in Eve Ensler's conversation. The foundation for "The Vagina Monologues," Ms. Ensler said, lies in her childhood experience as a victim of sexual and physical abuse.

The monologues have been an effort to redeem the experience with humor, to enable others to confront painful truths that have been repressed through fear and shame. 

"When you're dealing with issues that are complicated and sad, the best way people can hear things is through humor." She doesn't like talking about her childhood abuse, she said, out of fear of seeming conquered and destroyed by it.

from article Eve Ensler: Today the Anatomy, Tomorrow the World - by Dinitia Smith [NY Times]

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In the late fall of 1983, professor Harold Bloom did something banal, human, and destructive: He put his hand on a student's inner thigh -- a student whom he was tasked with teaching and grading. 

The student was me, a 20-year-old senior at Yale. ///

Keeping bad secrets hurts. Is a one-time sexual encroachment by Harold Bloom, two decades ago, a major secret or a minor one? Minor, when it comes to a practical effect on my life; I have obviously survived. 

This is the argument often made against accusers in sexual harassment cases: "Look, no big deal, you're fine." 

My career was fine; my soul was not fine. ///


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Is Harold Bloom a bad man? No. Harold Bloom's demons are no more demonic than those of any other complex human being's. Does this complex, brilliant man's one bad choice make him a monster? 

No, of course not; nor does this one experience make me a "victim."

But the current discourse of accused and accuser, aggressor and victim is more damaging than constructive.

from article The Silent Treatment - By Naomi Wolf, 
March 01, 2004 issue of New York Magazine

left: Naomi Wolf as an undergraduate 
(photo for the magazine courtesy of Naomi Wolf)

**Promiscuities : The Secret Struggle for Womanhood

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**Natasha: The Biography of Natalie Wood by Suzanne Finstad

[reader:]  Finstad reveals a number of things of which I was unaware such as Miss Wood's amazing intellect; her repeated attempts to carve out a normal life for herself; the lengths and depths of her mother's willingness to prostitute her own daughter; her ongoing journey of self-exploration; and of course, the rape. //

As for those who say Finstad teases readers with only veiled references as to the identity of her famous attacker [an actor/producer], I think she made it pretty clear.

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After writing the first chapter of Lovely Bones, in which Susie is raped and killed, there was some urging on Susie's part that I get my own business out of the way before writing further into her story... 

I had to unload my story someplace else. It wasn't going to fit into the book I wanted to write for her. ///

I think it was fifteen years [after my rape] by the time I started drafting Lucky. ... I lived in New York for my twenties and early thirties, and I wasn't really living a life that was conducive to reflection. 

So I was writing a lot of other things. I had my East Village novel, things like that. But self-reflection was not part of my makeup then.

When I moved to California, which I guess is a natural geographic switch, I met other people who were about writing in a more serious way and a less faux artistic way, and they all pressed me to write my story -

I think because they realized that if I did that my fiction would be cleaner and better on the other side.

 Alice Sebold    .... [powells.com interview]

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....Lucky: A Memoir by Alice Sebold

When Sebold, the author of the bestseller The Lovely Bones, was a college freshman at Syracuse University, she was attacked and raped on the last night of school....

Sebold launches her memoir headlong into the rape itself, laying out its visceral physical as well as mental violence, and from there spins a narrative of her life before and after the incident... 
[from Publishers Weekly summary]

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We don't usually look to comic strips for insight into teen sexuality, but every parent in America should eavesdrop on the 12-year-old Barry and her friend as they talk over their early experiments while sewing reversible tote bags in home ec.

There are few more lucid accounts of the aftermath of sexual abuse than Barry's. "When your inner life is a place you have to stay out of," she tells us, "having an identity is impossible. Remembering not to remember fractures you."

from review [by Lev Grossman, Time mag., 9.2.02] of book One Hundred Demons by Lynda Barry

 image by Lynda Barry from cover of her illustrated novel about a teen girl: Cruddy

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So why are we so reluctant to talk about sexual violence? Well, first we'd have to be willing to talk about sex, which many of us find uncomfortable. 

"We're certainly not the only group that's silent regarding abuse," says Gail E. Wyatt, Ph.D., author of Stolen Women: Reclaiming Our Sexuality, Taking Back Our Lives. 

"But we're the only group whose experience is compounded by our history of slavery and stereotypes about Black sexuality, and that makes discussion more difficult."

from article Silent No More (coping with sexual abuse) - by Robin D. Stone, Essence, August, 2001

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Most people wouldn't consider the notorious "lesbian serial killer" Aileen Wuornos your typical lyric heroine, but for Bay area composer and librettist Carla Lucero [above], Wuornos' life story has all the elements that make up a great opera.

"It was really something you could pull out of a Greek tragedy ... murder, betrayal, self-sacrificing love, even the traumatic family," says Lucero...


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"Wuornos", Lucero's first full-scale opera, debuted.. in San Francisco...

Breaking the tradition of the "old boys' club" still firmly in place in the opera world, Lucero explores the world of violence and sexual abuse toward women through Wuornos' painful history.

from article: "Killer Opera" By Erin Raber, Curve mag.

above: Charlize Theron as Wuornos in "Monster" (2003)

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One out of every six American women have been the victims of an attempted or completed rape in their lifetime (14.8% completed rape; 2.8% attempted rape). A total of 17.7 million women have been victims of these crimes.

National Institute of Justice and Centers for Disease Control and Prevention, 1998 - 
posted on a RAINN The Rape, Abuse & Incest National Network page

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