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　　耳边落下一声叹息，揽住她的(🙀)人，手臂使力，轻而易举将两人的处(🌶)境颠倒。

　　顾璟舟回看他，定定吐出一个字，“战。”

　　崔彩云嗤笑出声:“真是可笑，你玷污了我们家的闺女，还有脸与我们攀亲戚。”

　　二人回‌到客栈时，梁洗师徒不在，不知是去了哪里(🛎)。

　　看不清神色，又隐于暗处，哪(😪)怕是(📼)换了江团圆来，都可能会被吓(🙍)一跳。

　　就像(👋)曾经，他为她妥协过的无数次，每一次却都让她心动，如同泡在了蜜罐里，甜蜜(🏚)而幸福。

　　她不是小孩子了，手帕交(♐)里有的已经定亲，她(🚸)知道母亲顾忌什么，也一向配合(🥧)，只是她有时候也会茫然。

These stories we’ve just read were written during an incredible seventy-year artistic renaissance in Russia (the time of, yes, Gogol, Turgenev, Chekhov, and Tolstoy, but also of Pushkin, Dostoyevsky, Ostrovsky, Tyutchev, Tchaikovsky, Mussorgsky, Rimsky-Korsakov, and many more) that was followed by one of the bloodiest, most irrational periods in human history. Twenty million or more killed by Stalin, the torture and imprisonment of countless others; widespread starvation, even, in places, cannibalism; kids turning their own parents in, husbands ratting out their wives; the systematic and deliberate overthrow of the humanist values by which our four writers lived.

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