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<?xml-stylesheet type="text/xsl" href="http://thephoenix.com/BLOGS/utility/FeedStylesheets/rss.xsl" media="screen"?><rss version="2.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" xmlns:wfw="http://wellformedweb.org/CommentAPI/"><channel><title>Flashbacks: A pen with the “genetic essence” of Abe Lincoln, eloquent words for a Red Sox legend, and Daniel Pearl on earthquake etiquette</title><link>http://thephoenix.com/BLOGS/phlog/archive/2008/04/10/flashbacks-a-pen-with-the-genetic-essence-of-abe-lincoln-eloquent-words-for-a-red-sox-legend-and-daniel-pearl-on-earthquake-etiquette.aspx</link><description>THE WRITING IS ON THE WALL AND IT’S BEEN PENNED IN FLOURESCENT HUES 5 years ago April 11, 2003 | Camille Dodero looked at how city surfaces were providing &amp;quot;a canvas for public expression&amp;quot; concerning the Iraq War . “In the cavernous front lobby</description><dc:language>en</dc:language><generator>CommunityServer 2007.1 (Build: 20917.1142)</generator></channel></rss>