ࡱ> lnk Xlbjbj 4xxXduxxxCEEEEEE(JExxxxxEZx CxC`t+9i /p0rr&rLxxxxxxxEExxxxxxxrxxxxxxxxx : Gretchen Moran Laskas Interview with David O. Hoffman, Megan Shelton, Tim Leonard HSL: Henry James has much to say about the donne of a story. Talk about how the seed for a story idea comes to you. Do most of your stories evolve from family legends, something you read, a story passed down from family members, or some other source? GML: At the core, my stories begin from a story someone else has told me. Usually this has been a family member (Im blessed by many storytellers in my family) but not always. Of course, the word story is a complicated word, especially when used by an Appalachian. We use the word story often when we mean the word lie. One of the worst insults we say to someone is, Youre a liar so we often say, Youre telling stories. So a story might simply be something that I heard as a child that I realize as an adult wasnt, shall we say, the full truth, and that has actually lead to many a written story as I try and settle past a present in my own head. My greatest asset as a writer is memory, which doesnt have to be accurate (just as stories dont have to be true, but it does have to contain something rather than nothing from which to start. They dont even have to be my own memories memories shared by someone else will work just fine as long as they are interesting enough! HSL: You have spoken about the many drafts of The Midwifes Tale. Youve also talked about how the story originally was to be the tale of a faith healer and that your narrator, a midwife, began to dominate the conversation in your mind and eventually took over the story. Once you have the idea, what is your writing process and how do you allow your characters to unfold a story? GML: Probably the most overlooked aspect of my writing process is the research and reading. Before I do any writing at all, I will absorb a time period until I reach a moment where I look up from my reading and am not really sure which world Im actually living in. For me, at least, this is necessary for making historical novels seem real to the reader they have to be real to me first. I have to hear the characters voices in my ears. I have to taste the food. I have to smell that world (which is actually a sense that is very unusual to find in novels today) and, of course, see what they see. Because of this, Im not as prolific as other writers are, perhaps. But my whole real world disappears when Im really inside the first draft. For both novels, I had a general idea where things were going for the first half, and not much idea after that. Then about two thirds through, I wrote the final chapters and was able to write towards them. The hardest chapters for me to write are the next to last two. I freeze up and thats where my big hand wringing/crisis of confidence/writers block/ insert clich here come in. My husband was sympathetic the first time, but on The Miners Daughter, he just rolled his eyes and said, Oh no, not the Im almost at the end of the book again! But I wouldnt be much of a writer if I didnt have some sort of neurosis! HSL: Do you have regular writing hours, a creative schedule that you follow. We know that you now have two children. How are you able to balance family and writing? How do you keep yourself on a creative track? GML: To be honest, I dont always. I wish I were more disciplined as a writer. Part of that is due to health issues Im the type of person that when Im healthy, I get a lot done in a very short period of time. But when Im not well, everything takes a back seat until Im better. The downside for me is that there have been years of my life where I have not been well, including the last few. The upside is that during those less fruitful years, Im able to read and prepared for more productive ones. When I am able to work, I often work late a night. As I mentioned, its important to me that the real world fall away when I work. Ive almost always written with young children in the house, and nothing brings the real world to you quicker than the needs of a small child! I like to work from 10-2 in the morning which are also the hours I feel most alert and creative. I like to edit in the afternoons. I didnt used to like editing, but after doing so many edits on both novels, Ive learned to see the process not as antagonistic but as truly making the work better. HSL: George Brosi tells that wonderful story, the turning point in your artistic life, when you were discussing with your husband in the Burger King parking lot what you wanted to do with your life, and he tells you to go for it: Whats stopping you? What was it in your personal background and life that made you want to become a writer, that made you think storytelling could become your lifes work? GML: My maternal grandmother was a wonderful storyteller. No one who ever met her ever forgot her she made a trip on the bus into town something like The Odyssey with seven trials that had to fended off through feats of great strength of tests of character and endurance. Growing up, my sisters and I would beg her to tell us stories of her childhood and marriage. We have a few of her letters, a small journal she did when she realized her stories might be lost and she wrote a few down. I think that had she grown up in a different time and place and social setting, she would have been a writer. She died not long after the Burger King incident. I promised her on her death bed that I would tell her stories. It doesnt get any more serious than that. HSL: You are a good deal like Robert Morgan, Bobbie Ann Mason, and Jayne Anne Phillips, who had to leave Appalachia in order to begin to tell the stories that come from the region. You were actually in West Virginia for only five or six years before your parents moved to Pittsburgh, Pennsylvania. What is it about West Virginia in particular that has inspired your story telling? GML: Two things were very crucial. First, West Virginia continued to play a strong cultural role in my life even after the move. My best friend growing up was from a West Virginia family (our fathers actually graduated from the same high school.) I spent almost as much time in her home as I did my own, so the family stories, the food, the accent, etc, were very familiar. Also, we went to a church that was made up of most former West Virginians who had settled in Western Pennsylvania. This meant that in terms of music, sermon topics and style, religious cultural mores and traditions such as memorizing scripture, I was still raised a West Virginian, even if I grew up in Pennsylvania. Second was my extended family still lived in West Virginia. My parents followed the very Appalachian traditional of sending children to stay with family during the summers, and I spent several weeks every year with family on my own, as well as many weekends with the entire family, and on family land. Both sides of the family own land that they have lived on for decades. We still all get together on the family farm for Thanksgiving four generations worth. Its one of the things Im happy to have been able to pass on to my own children. So I grew up with real ties to the land that even people who live in West Virginia may not always have. HSL: The advice to write what you know is one of the best and most misunderstood suggestions to young writers, ever. Author Nathan Englander explains that it often paralyzes aspiring authors into thinking that authenticity in fiction means thinly veiled autobiography. . . . Write what you know isnt about events, says Englander. Its about emotions. Youve lived all over the east coast and in a variety of settings, so how do you write what you know? Do you think more about place, time, emotions, or what? GML: One of the most important pieces of writing advice I had was from my Spanish literature teacher at the University of Pittsburgh who told me that if you took 10 writers and put them in a room with ten objects, the order of those objects would be completely different because each writer would see them differently. Then we would talk about how we felt in the room, and that would depend upon who we were as people, not the room itself. I get frustrated when I hear words like authenticity and originality because Im not sure that I believe these types of writing actually exist, and yet we make young writers chase after them like dogs after their own tails. Knowing that my order would be different because of the way I see the world is not the same way that another writers sees is one of the most liberating thoughts I know. Only I see the world through my eyes. No one else will ever feel the way I do in that room, on that day, at that moment. I think writing what you know also means learning your own strengths. My strengths are characters, setting and blocking using paragraphs to metaphorically get across a big idea. I also have to know that Im not that great a writer in other areas dialogue and pacing are hard for me. I trust my strengths while I work on my weaknesses. HSL: Youre not of the generation of young women who consider themselves feminists, and yet there are many feminist themes and gender sentiments in your stories, particularly in The Midwifes Tale and The Miners Daughter. How do you view the gender issues in your workdo they emanate from personal experience, the characters that you create, or the time period that you set them in? Or do you have strong feelings about gender equality and discrimination? GML: I was actually thinking about this the other day how differently the women of my novels thought about their careers from women today. On the one hand, the women in my novels all work. I think this is because most of the women in my family have worked not always for money, but if you lived on a farm, and you were a woman, your labor was just as a important to the economy of the family as the farmers, so Im including that. But the women in my novels dont choose their careers in the way women do today. Meribeth Whitely doesnt become a midwife because she wants to be a midwife (I think she would have rather have been a doctor or a scientist) but because she is a single mother who actually had a skill that could support herself and her daughter. Elizabeth, we know, doesnt really want to be a midwife at all, but she does it because of circumstances, mostly. Willa Lowell, in The Miners Daughter, has more choice over what she will do, but not in the way that I had a choice in becoming a writer. Shell go into journalism because it is a way to make a living. Having come through the Great Depression, I doubt that Willa will ever think that writing novels, as much as she loves them, is a real choice for her, not unlike my own grandmother, as wonderful as a storyteller as she is. This is so different from the second-wave feminist movement, and very different from the Generation X movement I grew up in, and WORLDS away from the young people I talk to today. Please dont misunderstand there isnt anything approaching general equality on many issues (more men win literary awards than women, and more mens novels are reviewed in high prestige places such as the New York Times, just to name two things off of the top of my head), but there is no comparison between the way I see the world and the way my grandmothers saw it. I wouldnt be where I am without the women who pushed those boundaries every generation, and Ill keep pushing them for my own toddler daughter. HSL: Your novels come from a very interesting period in West Virginian and in the countrys historythe early 1930s. What is it about this time period that especially interests you? What do you think it is about this time period still intrigues your readers? GML: The world before WWII was the world of my grandmothers childhoods it was the world that they told of their lives and always very vivid to me growing up. My paternal grandmother was very much a coal mine girl and my maternal grandmother actually makes a cameo appearance in The Miners Daughter. Fairmont, the town my maternal grandmother brought so much to life for me in her stories, is part of both novels, although in a small way. HSL: The subject matter of The Midwifes Tale deals with a hot-button issue and oft-debated topic. We dont believe that weve ever read a piece of fiction that delves so realistically into the tradition of midwifery, with all the complex moral issues that historically were associated with this practice and with the lives of women in general. Why did you select such a trepidatious subject, which by the way we think you managed wonderfully? GML: Thank you. One of the advantages of writing historical fiction is that you can sometimes take a contemporary subject and put it into a place where it is safer to talk about. We often think that our hot button discussions are recent in origin, but most of them are ancient questions that we, as human beings, will have to grapple with over and over because we are human beings. There is also similar hot button issue regarding immigration in The Miners Daughter. HSL: Meredith Sue Willis has written an interesting essay about your work called Examining the Truth about Womens Lives in Appalachia: the Fiction of Gretchen Moran Laskas, in which she posits an idea that she calls your moral relativism in The Midwifes Tale. How do you respond to her terminology and this idea? GML: On the one hand, I grew up in a devoutly religious world where being a moral relativist was about the lowest insult someone could throw at you. On the other hand, I have a degree in philosophy from the University of Pittsburgh, a secular program where being a moral relativist is about the highest compliment a person could pay you! I am very influenced by both schools of thought. I will say that when you grow up going to church three times a week and youre a naturally bookish child, you sit in the pew and actually READ the Bible. If you do that and I mean really read it, you might end up less easily shocked or forced into black/white thinking than people might think. HSL: The details about the region, the time period, and the practice of midwifery in The Midwifes Tale are very vivid and accurate. Likewise, the details in The Miners Daughter are historically accurate. How do you generally research and prepare for a book before you began to write it? GML: More than writing, I love to read. When I was much younger, I used to keep notebooks full of information. I also would go around with a laptop and interview relatives about things such as folk remedies and family stories. I own a considerable collection of Appalachian history, culture and folklore. As Ive gotten older, I trust my long term memory more not about a detail per se, but in my ability to remember where a detail is located. Its a great asset having had a librarian for a father! And since I never know what will be useful, its a good excuse to read anything, and it might be years before something is useful. Twice Ive heard a story where Ive said to the person, I dont know when, and I dont know how, but Ill put that in a book. HSL: Another interesting and historically complex topic youve selected for a book is the New Deal town settlement town, like Arthurdale, West Virginia, one of the towns created through the Homestead Act during the Roosevelt administration. From historical hindsight, such townsand there were more than a hundred of them created across the countrywere the product of both altruism and some bigotry. You handle the moral complexity of such towns very gingerly and with no small amount of finesse. What was it that you were trying to address by choosing this topic, other than to write a portion of your own family history? In our overly politically correct society today, did you feel the need to offer a little revisionist historical perspective? What were you aiming for through the book in terms of selecting this particular historical event? GML: My husband is Croatian a third generation American all of his grandparents came to the United States from other countries. The name of Laskas (which is my legal name) is a made up name, chosen because people couldnt pronounce the original Croatian name, which was Laskac (pronounced Las-Kotch rhymes with Butterscotch.) When I was growing up, it was not unusual for me to hear ethnic slurs about people like my husband because they were not WASPs. I knew from the beginning that Willa, my main character, could not, would not, be able to accept the Arthurdale (and nearly all of the other towns only three permitted African-Americans) that actually existed. That wouldnt be fair to my own children, who are just as much their fathers children as they are mine. They might not have been welcomed in Arthurdale. On the other hand, if you read the documents from that time, it was like an unceasing bell that towns like Arthurdale were a total failure. Failure, failure, failure. From both sides of the political aisle. I remember driving past Arthurdale as a child and seeing the Community Hall nearly in ruins. But for the people it did help, it literally changed their lives. That story never was told, and I thought it was important to tell it. Probably the best way to tell it is through a story: When I first set out to do this, I was thinking to do an article a quick way to earn a few dollars after the birth of my son. I lived then, as I do now, outside of Washington DC, and had planned to go in and talk to some of the original settlers who were still living. I asked my grandmother who they might be. At first, no one was interested. Turns out, no one was interested in talking to the woman from Washington. But when they found out that I was Colleens granddaughter and Carms niece well, that was different! Suddenly I was welcomed into their homes just fine. One woman called me in when she was bedridden, eager to talk not only about Arthurdale, but about how despair had filled her life like the coal dust. She showed me the last quilt she would ever make the zodiac quilt that appears in The Miners Daughter. HSL: While your work covers a variety of topics, it is evident that you are passionate about telling those stories of people following their own American Dreams. Interestingly, a recent magazine cover story is entitled The History of the American Dream: Is It Still Real? questions the American Dream. What are your thoughts about the American Dream? Is the American Dream still alive and well? GML: Im a cynical optimist, which means that I think it probably wont turn out well, but I still think the best option is to act and behave in such a way as to try and achieve the best possible outcome. What does that have to do with the American Dream? Well, I come from very, VERY working class worlds. The town where I grew up in Western Pennsylvania actually has a lower per capital income today than it did when I was growing up in it (and that is in real dollar terms people actually made more money in 1980 than they do today, NOT adjusted for inflation). So when I write a novel like The Miners Daughter, Im in many ways writing a novel for young adults who might not have older adults in their lives who can point the way forward for them but a character in a novel might show them the way forward to where they want to go. Novels are always about individuals, and readers are always individuals. I get letters from readers saying that my novel was the first one they ever finished. One young West Virginia reader told me Willa was the first character she ever related to and now she found that reading was actually fun. Another West Virginia reader told me that she struggled to read until she found my novel, but afterwards she was able to gain the confidence to stay in school and graduate. That may not be how other people define the American Dream, but that, to me, is a pretty good place to start. HSL: Your characters have lived, worked and played in the beautiful mountains of West Virginia. What are your thoughts regarding West Virginias environmental problems, particularly mountaintop removal and fracking, and do your stories provide any message about preserving the landscape that makes West Virginia special? GML: My own familys farm was stripped, and fracking is occurring on the next farm over. Ive seen first hand the devastation that this causes. This is where the cynical optimist comes out to be honest, Im not sure that anything is likely to be done. Coal has always owned the state how little has changed since the last deadly Massey mine disaster is a grim reminder of that, not only in West Virginia but even at the Federal level. But we have to keep working and acting to achieve the best possible result which includes clean water, clean air, keeping mountains where they ARE! I dont have an immediate project on the horizon that deals with this, but fortunately, many excellent writers have taken this on. HSL: Specific to the Appalachian region, there tends to be a lot of negative stereotyping about the life and culture of the area. Did you have this idea in mind as you wrote The Midwifes Tale and The Miners Daughter, and what insights to those outside the region do you think these stories will provide? GML: I always like to point out that I have family that have handled snaked, who speak in tongues, I shot a rifle for the first time when I was four (the Europeans LOVE that one!) that my father went to a one room school house, that I have tapes of me as a child where I talk funny and that I am (drum roll please) not only my own eighth cousin, Im my own seventh cousin as well! That usually shuts everyone up when it comes to stereotypes. I think that stereotypes exist for a reason, and that you have to acknowledge them as a writer before you can move on. They are a lazy mans picture of the region, and that means youll have to work twice as hard to get rid of them. But Id rather have a stereotype to defeat than have someone not think about the region at all. Its easier to sell a novel about West Virginia than it is a novel about Pittsburgh, because there isnt the same imagery, however negative, about Pittsburgh, in New Yorkers mind. Even negative imagery will sell novels (think of all that local color at the turn of the century) but no imagery at all means that no one cares, and that means there isnt any market. HSL: What would be the most important idea that you want your readers to take away from The Midwifes Tale or The Miners Daughter, and why? GML: I want people to know that West Virginians lead epic and important lives. Our greatest works of fictions come from the most human of people living, dying, failing, thriving. I knew from the time I was a child that taking a bus to Fairmont could be just as exciting as sailing around the Aegean Sea and tying yourself to the mast of the boat so you could hear the Siren Song, or fighting your way through the Scylla and the Chryrbdis. I knew this because my Grandmothers telling made it so. It was all about the extraordinary storytelling, and Im stilling trying to live up to it. HSL: Weve found your stories sprinkled here and there among journals and magazines; they are wonderful, fictional gems. Do you have plans for a collection of short stories? GML: Im glad youve enjoyed the stories. I actually struggled more writing stories than novels. When I would workshop stories, the most common comment I would receive would be, This is an excellent first chapter of a novel. I really had to LEARN how to write a story, whereas the novel is a more natural form for me. At this time, there isnt a collection in the works, mostly because the stories are too varied to fall under a common theme. HSL: What are the writing projects that you have in mind for the future or your current project? Do you have another novel in the making? GML: Im currently working on a novel about post partum depression that will have ties to the old West State Hospital. Im very drawn to the history of mental health in this country and in women in particular. It still remains true, for instance, that if a man goes to a doctor with a list of symptoms, it will be treated physically, but if a woman goes with the exact same symptoms, it is likely to be treated emotionally. Its been a fascinating topic to research, and Im really exciting about where its going to take me. Theres also a ghost story involved. And yes, this is based upon a family story I heard growing up from my grandmother! HSL: As a successful writer, what advice that helped you along the way can you share with young writers? GML: I always recommend keeping a journal. For two reasons first, because someday you will read it and there will be that feeling of experiencing something for the first time that you can never really recapture when youre older, but is such a great thing for a writer to be able to have. Also, if a writers best gift if her memory, theres no better tool to memory keeping that writing it down. (Plus, writing involves WRITING, and keeping a journal is writing!) And second, someday, when you insist that something happened and someone tells you that youre wrong, you can always whip out your journal and show them!  Q n 㿴㿀rdrVrK׀h\hp:WOJQJh\h9+ 5OJQJ^Jh\h(45OJQJ^Jh\hp:W5OJQJ^Jh>hhI6OJQJh>hh}m6OJQJ^Jh>hhH6OJQJ^Jh>hhc OJQJ^Jh>hhc OJQJh>hhc 6OJQJh>hhN 6OJQJh>hhv6OJQJh>hh}m6OJQJh>hh}m6CJ OJQJaJ  ]73$',-568N:*<k=@CACDGPQBW$a$gdC$a$gd}m *0 "?Glm暎wlwlwlw\lwNh9+ hZ$M5OJQJ^Jh9+ h9+ 56OJQJ^Jh9+ 5OJQJ^Jh9+ h(45OJQJ^Jh(46OJQJh>hhI6OJQJh>hhIOJQJ^Jh>hh6gNOJQJ^Jh>hhDmOJQJ^Jh>hhH6OJQJ^Jh>#%OJQJ^Jh>hhc 6OJQJ^Jh>hhc OJQJ^Jh>ڪϴ89卉߱hhH6OJQJ^Jh>hhYOJQJ^Jh>hhY6OJQJh9+ hY5OJQJ^Jh kd5OJQJ^Jh9+ hZ$M5OJQJ^JhZ$Mh>hh}m6OJQJh>hhIOJQJ^Jh>hhDmOJQJ^Jh>hh6gNOJQJ^Jh>hhc OJQJ^Jh>hhc 6OJQJh>hhv6OJQJh>hhI6OJQJh9+ hI5OJQJ^J*5j79;<23678ܶseWK?Kh>#%hv6OJQJh>#%hI6OJQJh9+ hI5OJQJ^Jh9+ h'5OJQJ^Jh9+ hZ$M56OJQJ^Jh9+ h9+ 56OJQJ^Jh9+ hZ$M5OJQJ^JhZ$M6OJQJh>#%hY6OJQJh>hhY6OJQJh>hh[OJQJ^Jh>hhH6OJQJ^Jh>hhYOJQJ^Jh>#%OJQJ^Jh>hh6gNOJQJ^J8:]^$$$$%t%u%&&''̲vj]S]F]jh>#%hZOJQJ^Jh9OJQJ^Jh>#%h?JOJQJ^Jh>#%h6OJQJh9+ hI5OJQJ^Jh95OJQJ^Jh9+ hH:5OJQJ^Jh9+ 6OJQJh>#%hI6OJQJh>#%hIOJQJ^Jh>#%h/XOJQJ^Jh>#%h[OJQJ^Jh>#%hDmOJQJ^Jh>#%hOJQJ^Jh>#%h6OJQJ' ' 'D(()):*R*S****++,, ,!,",$,,,,,,,,8-=--ѶѨwj]wOwOwjwh>#%h(N6OJQJ^Jh>#%h6gNOJQJ^Jh>#%hDmOJQJ^Jh>#%h(NOJQJ^Jh>#%h(N6OJQJh>#%hv6OJQJh>#%hI6OJQJh9h>h5OJQJ^Jh9hN%5>*OJQJ^Jh95OJQJ^Jh9hN%5OJQJ^Jh9hH:5OJQJ^Jh96OJQJhH:6OJQJ-----R/q///0141D1E1p11 3 303Q3s33444454555555̾zoaaUh>#%hv6OJQJh9hd5OJQJ^Jh2?5OJQJ^Jh2?hN%56OJQJ^Jh9ho5OJQJ^Jh kd5OJQJ^Jh9h956OJQJ^Jh95OJQJ^Jh9hN%5OJQJ^Jh9hI5OJQJ^Jh>#%hI6OJQJh>#%hIOJQJ^Jh>#%h6gNOJQJ^J555 6 6 6*6W6^6c6n6}66666%7D777;8[88888888ٿٿ沥pbVJh>#%hDm6OJQJh>#%hv6OJQJh2?hI5OJQJ^Jh2?h2?56OJQJ^Jh2?5OJQJ^Jh2?hN 5OJQJ^Jh>#%I6Oϴ>#%Iϴ>#%/ϴ>#%6ϴ>#%ϴ>#%(ϴ>#%ڪϴ>#%(6Oϴ88888'9599999999999:::::;;<&<'<)<*<,<-<.<׽װrdXh>#%v6Oϴ2?I5Oϴ2?2?56Oϴ2?5Oϴ2?o5Oϴ2?6Oϴ>#%I6Oϴ>#%Iϴ>#%>#%ϴ>#%;ϴ>#%ϴ>#%6ϴ>#%6Oϴ.<0<<<<!=3=6=[=j=k=o=p=q==>>Y>>@@!@"@#@پxj_jxQE9h>#%h;6OJQJh>#%hv6OJQJh2?hI5OJQJ^Jh2?5OJQJ^Jh2?ho5OJQJ^Jh2?hN 5OJQJ^Jh2?6OJQJhN 6OJQJh>#%hI6OJQJh>#%hIOJQJ^Jh>#%h6gNOJQJ^Jh>#%hH6OJQJ^Jh>#%h;6OJQJ^Jh>#%h;OJQJ^Jh>#%hDmOJQJ^Jh>#%hDm6OJQJ#@$@t@@@@@A@ABACAGAIA>CBDCDEDFDIDDD=E_EEE|FFFF澱󥗉{ocoVIVIVIVIh>#%h>#%OJQJ^Jh>#%hiOJQJ^Jh>#%hv6OJQJh>#%hi6OJQJh2?hI5OJQJ^Jh2?h%5OJQJ^Jh2?hN 5OJQJ^Jh>#%h;6OJQJh>#%hIOJQJ^Jh>#%h[OJQJ^Jh>#%hH6OJQJ^Jh>#%h;6OJQJ^Jh>#%h;OJQJ^Jh>#%hI6OJQJFFF`G{GGGGGGGGGHHgIiI>JJNPPPPPPĶvfVJh>#%hv6OJQJhBOhI56OJQJ^JhBOhBO56OJQJ^JhBOh=o5OJQJ^Jh kd5OJQJ^JhBOh$45OJQJ^JhBOhQ85OJQJ^JhBO5OJQJ^JhBOh%5OJQJ^JhBO6OJQJh>#%hI6OJQJh>#%h6gNOJQJ^Jh>#%hVjOJQJ^Jh>#%hiOJQJ^JPPPPP QHQJQgQyQQQQQQR RRSTTT_TeTTTUVW@WAW۷yiy[hBOh>45OJQJ^JhBOhBO56OJQJ^JhBOh7r5OJQJ^JhBO5OJQJ^JhBOh05OJQJ^Jh=o h>#%hih>#%hI6OJQJh>#%hIOJQJ^JhBOOJQJ^Jh>#%h>#%OJQJ^Jh>#%h*OJQJ^Jh>#%h*OJQJh>#%h*6OJQJAWBWHWX#X)X0XKXZXXXXXXXXXXYYYZ$Z][^[b[c[d[[ؿsg^gSh>#%hZOJQJhC6OJQJh>#%hZ6OJQJhChI5OJQJ^JhCh\|5OJQJ^JhCh_ r5OJQJ^JhC5OJQJ^JhCh(N5OJQJ^Jh>46OJQJh>#%hi6OJQJh>#%h>hOJQJ^Jh>#%hvOJQJ^Jh>#%hv6OJQJhBOhi5OJQJ^JBWX^[\aacdcff{iiXl$a$gdC [[\!\%\9\?\\\\\\]]P^Q^G`I`aaaha{a}aaaaaaRcҌ~~tg^PhCh>45OJQJ^Jh>46OJQJh>4h>4OJQJ^Jh>4OJQJ^Jh>#%hZ6OJQJ^Jh>#%hZOJQJ^JhChZ5OJQJ^JhC5OJQJ^JhCh{(5OJQJ^Jh{(6OJQJhC6OJQJh>#%hZ6OJQJh>#%hZ6OJQJh>#%hZOJQJh>#%h>#%OJQJRc~ccccccccccccYdZd[dddddddbfcfefffgfhf̴sj\PPDh>#%hDm6OJQJh>#%hI6OJQJhCh 5OJQJ^Jh 6OJQJh>#%hiOJQJ^Jh>#%hc@OJQJ^Jh>#%h>#%OJQJ^Jh>#%h[OJQJ^Jh>#%hVjOJQJ^Jh>#%hVj6OJQJh>#%hv6OJQJh>#%hi6OJQJhChZ5OJQJ^JhC5OJQJ^JhCh6{5OJQJ^Jhfffffgg2izi{iiiiiiiiikkXløêzzqfh kd5OJQJ^Jh/36OJQJh>#%h>#%OJQJh>#%hZOJQJh>#%hZ6OJQJhCh}m5OJQJ^JhCh/35OJQJ^JhC5OJQJ^JhCh 5OJQJ^Jh 6OJQJh>#%hI6OJQJh>#%hIOJQJ^Jh>#%hDmOJQJ^J21h:pq/ =!"#$% j 666666666vvvvvvvvv666666>6666666666666666666666666666666666666666666666666hH6666666666666666666666666666666666666666666666666666666666666666662 0@P`p2( 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p8XV~ OJPJQJ_HmH nH sH tH J`J qNormal dCJ_HaJmH sH tH DA D Default Paragraph FontRiR 0 Table Normal4 l4a (k ( 0No List PK![Content_Types].xmlj0Eжr(΢Iw},-j4 wP-t#bΙ{UTU^hd}㨫)*1P' ^W0)T9<l#$yi};~@(Hu* Dנz/0ǰ $ X3aZ,D0j~3߶b~i>3\`?/[G\!-Rk.sԻ..a濭?PK!֧6 _rels/.relsj0 }Q%v/C/}(h"O = C?hv=Ʌ%[xp{۵_Pѣ<1H0ORBdJE4b$q_6LR7`0̞O,En7Lib/SeеPK!kytheme/theme/themeManager.xml M @}w7c(EbˮCAǠҟ7՛K Y, e.|,H,lxɴIsQ}#Ր ֵ+!,^$j=GW)E+& 8PK!Ptheme/theme/theme1.xmlYOo6w toc'vuر-MniP@I}úama[إ4:lЯGRX^6؊>$ !)O^rC$y@/yH*񄴽)޵߻UDb`}"qۋJחX^)I`nEp)liV[]1M<OP6r=zgbIguSebORD۫qu gZo~ٺlAplxpT0+[}`jzAV2Fi@qv֬5\|ʜ̭NleXdsjcs7f W+Ն7`g ȘJj|h(KD- dXiJ؇(x$( :;˹! I_TS 1?E??ZBΪmU/?~xY'y5g&΋/ɋ>GMGeD3Vq%'#q$8K)fw9:ĵ x}rxwr:\TZaG*y8IjbRc|XŻǿI u3KGnD1NIBs RuK>V.EL+M2#'fi ~V vl{u8zH *:(W☕ ~JTe\O*tHGHY}KNP*ݾ˦TѼ9/#A7qZ$*c?qUnwN%Oi4 =3ڗP 1Pm \\9Mؓ2aD];Yt\[x]}Wr|]g- eW )6-rCSj id DЇAΜIqbJ#x꺃 6k#ASh&ʌt(Q%p%m&]caSl=X\P1Mh9MVdDAaVB[݈fJíP|8 քAV^f Hn- "d>znNJ ة>b&2vKyϼD:,AGm\nziÙ.uχYC6OMf3or$5NHT[XF64T,ќM0E)`#5XY`פ;%1U٥m;R>QD DcpU'&LE/pm%]8firS4d 7y\`JnίI R3U~7+׸#m qBiDi*L69mY&iHE=(K&N!V.KeLDĕ{D vEꦚdeNƟe(MN9ߜR6&3(a/DUz<{ˊYȳV)9Z[4^n5!J?Q3eBoCM m<.vpIYfZY_p[=al-Y}Nc͙ŋ4vfavl'SA8|*u{-ߟ0%M07%<ҍPK! ѐ'theme/theme/_rels/themeManager.xml.relsM 0wooӺ&݈Э5 6?$Q ,.aic21h:qm@RN;d`o7gK(M&$R(.1r'JЊT8V"AȻHu}|$b{P8g/]QAsم(#L[PK-![Content_Types].xmlPK-!֧6 +_rels/.relsPK-!kytheme/theme/themeManager.xmlPK-!Ptheme/theme/theme1.xmlPK-! ѐ' theme/theme/_rels/themeManager.xml.relsPK] Xd) 8'-58.<#@FPAW[RchfXl79:;<=>?@ABCDEGHIBWXl8FL# @0( JI~ B S  ?ZdZdZ\ + +X6Y6i6i666????@@gAiABBHH+IHIJ JLL_LeLMMMNPPPPPP$R$RbScSTTUUPVQVGXIX~[[[[[[__ccWdWdZd\ ^`OJQJo( 8^8`OJQJo(^`OJQJ^Jo(o  p^ `OJQJo(  @ ^ `OJQJo( x^x`OJQJo(H^H`OJQJ^Jo(o ^`OJQJo( ^`OJQJo(1hhM/);N (%9+ a#>#%N%{($4(4>4Q82?c@?J KZ$M(N(N6gNBOoXUp:W/X kdpf:h>hDm}m&o*Pq_ r7r(v6{se}Cc Z8FY92 0dH6r[*q kvJgo\|a`Is~/3H:\J.o Zm=oYiN 'VjXdZd@XdH@UnknownG*Ax Times New Roman5Symbol3. *Cx Arial9  Elephant7.{ @Calibri?= *Cx Courier New;WingdingsA BCambria Math"hjGjGk^U3^U3!r0%d%d3QKX  $Pa`2!xxSSHURBUTSSHURBUT Oh+'04x  $, SSHURBUTNormal SSHURBUT2Microsoft Office Word@F#@a@i@i^U՜.+,0 hp  ϳԹUniversity3%d  Title  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJLMNOPQRSTUVWXYZ\]^_`abdefghijmRoot Entry F.9io1TableKWordDocument4SummaryInformation([DocumentSummaryInformation8cCompObjy  F'Microsoft Office Word 97-2003 Document MSWordDocWord.Document.89q