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. . . The great power of "Portrait in Georgia" resides in the relations between Petrarchan enumeration of parts ("Hair . . . / Eyes . . . / . . . / Breath . . . / body) and their transformation in death. The "clear-cut" images of the poem not only create a "mystery" of identity within the poem but point to the larger mystery of miscegenation within the text itself. "Portrait in Georgia" becomes a microcosm of the collage structure of Cane, the narrative technique which, by taking away the connectives, compels the reader to look for "the evidence of things not seen." As something unseen, miscegenation was a sin condemned in public but practiced in private.