Customer Reviews (6)

Exactly what you want
This is a beautiful fairy tale-esque novel that crosses centuries and temperments while writing a new history of France.The main character is Cidrolin, a Frenchman in the 20th century who spends his lackadaisical days giving directions to tourists, painting over graffiti on his fence, and dreaming of the Duke d'Auge.The more charismatic Duke comes galloping into his dreams atop his loquacious well-read horse, starting in the 13th century before running into Cidrolin in our century.In fact the Duke rams his way through history 175 years at a time.In the meantime, he argues religion with the clergy, slaughters herds of bourgeois, and bludgeons anyone who happens to disagree with him.After all, he is a Duke.

It does not get any funnier than this.Whether you want 3 stooges physical comedy or satire concerning religion and class, it will be provided.This is a novel in which Don Quixote himself would not be out of place.The fantastic clashes with the mundane, but always to the readers utmost delight.Never before has so much essence of fennel been drunk.Raymond Queneau has added another delightful novel to the ouvroir of Oulipo.Blue Flowers fits in perfectly next to Calvino and other members works.

lovers of word-plays, puns, jokes & anachronisms, read on:
Raymond Queneau (1903-1976) provided a summary of his novel "The Blue Flowers" (1965): "...'I dream that I am a butterfly and pray there is a butterfly dreaming he is me.' The same can be said of the characters in my novel...". The plot wigwags between the bedlam-inducing Duke of Auge (clobbering his way through History at 200 year clips) and the perennially-dozy Cidrolin (fixed to the '60s and his barge on the Seine).

Is one dreaming the other? That is the basic conceit of this lavishly surreal and philosophically-rich novel.

I espeially recommend this title to readers who enjoy books by Italo Calvino, Umberto Eco & Georges Perec.

Did I mention the talking horses?

The ultimate in literary 'vice versa'.
'The Blue Flowers' is the most lovable of all Raymond Queneau's novels, one of those rare books you never want to end (for me, the only others I can think of are 'Huckleberry Finn' and 'Dance to the music of time'). It relates two paralell narratives (or rather - and Queneau is the great mathematical novelist! - base and perpendicular narratives): the historical narrative of the endearingly aggressive Duc d'Auge, nay-sayer to royal authority and public opinion, friend of Gilles de Rais and the Marquis de Sade, and debunker of religion to the extent of daubing on caves in the Perigord region to 'prove' the existence of humanity before Adam; his three daughters, including the defective, bleating Phelise, and their small-minded spouses; his squire Mouscaillot and their talking horses, philosophical Demosthenes and taciturn Stef; and his clerical foils, the abbes Biroton and Riphinte. We meet the Duke at 175 year historical intervals - refusing to rejoin the barbarous crusades in 1264, and forced to slaughter disapproving bourgeoisie; investing in new weaponry, most notably the cannon, in defence of his castle in 1439; dabbling in alchemy in 1614; fleeing the French Revolution in 1789. Throughout he hunts, visits the capital, marries woodcutters' young daughters, feasts ferociously, and debates with his clergy.
From the terrifying active Duke, the contemporary story focuses on passive Cidrolin, once wrongly convicted for a crime for which he is still persecuted by an unknown graffiti artist who daubs obscene accusations on his fence every night. Now living on a barge, drinking endless glasses of essence of fennel, he doesn't do much, giving directions to tourists, staring at construction sites or the nearby camping site. Any trip out of the ordinary invariably finds him back where he started; conversations are banal and repetitive. Like the Duke, he has three daughters and sons-in-law, a dead wife and the first name Joachim. He spends most of his time taking siestas, dreaming of the Duke. When the Duke sleeps, usually replete from an enormous meal, he dreams of Cidrolin. Queneau says his book's starting point was the old Chinese saying about a philosopher - When he went to sleep, he dreamt of a butterfly; when he woke up, he wondered whether he was a butterfly dreaming of a philosopher.
'Flowers' is, according to the experts, Queneau's most dense and philosophical novel, an intimidating mixture of Chinese philosophy, 'Finnegan's Wake', Plato, Hegel etc. It certainly deals with Big Themes, such as History, Time, Cosmology, Art, the Importance and Interpretation of Dreams. But for the less intellectually alert amongst us (including me), 'Flowers' offers sundry, more accessible pleasures. The comic set-pieces, which can arise from slapstick; bathos and deflated rhetoric; the deadpan recording of absurd conversations, and the absurd convolutions of deadpan conversations. the characters, from whom biography and psychology is deliberately and crucially elided, nevertheless end up being so completely endearing you don't want to leave them. The eulogy to dreams and their subversive power over official history. The detective story element - what crime was Cidrolin accused of? Who is his persector? Why is the watchman of the camp spying on him? Who sabotaged the new flats? Mostly, 'Flowers' is a joy for its language: the historical settings and wide social range of characters allowing for an Augian feast of archaic and obsolete words, jaw-breaking technical terms, slang, puns, neologisms, for all of which Barbara Wright finds delightful and rich equivalents in the wealth of English life and literature. So inventive, audacious and important is her translating, she should really be credited as the book's co-author.

dream a little dream of me
Queneau is a master, as is his translator Barbara Wright.I don't think you will find a translation that communicates more of the book's essence than this one.Every sentence is a play on words and meaning...Wright manages to take Queneau's French "jokes" and make them equally artistic English ones.This book is a delight in its entirety, perfectly deliberate and crafted, yet whimsical, personal, rambling, historical, and more all at once.It is as forward-thinking as Joyce's Ulysses, and in my opinion as important a primer for the ultimate literature.

Past, present, past becoming present; and dreams!
There is a phrase in the original french edition of this book which explains everything: "REVER ET REVELER C'EST A PEU PRES LE MEME MOT". Italo Calvino translated in italian with a fantastic "STAIATTENTO CON LE STORIE INVENTATE, RIVELANO COSA C'E' SOTTO. TAL QUALE COME ISOGNI" Keep attention with your dreams, they will disclose yourintentions.Read this book and sleep with Cidrolin dreaming about the lifeof the Duc d'Auge in the past or, if you prefer, live with the Duc d'Augeand dream about Cidrolin's life in the present. Just a surprise: one day,in Paris, they will meet themselves... ... Read more

Book Description
Seated in a Paris café, a man glimpses another man, a shadowy figure hurrying for the train: Who is he? he wonders, How does he live? And instantly the shadow comes to life, precipitating a series of comic run-ins among a range of disreputable and heartwarming characters living on the sleazy outskirts of the city of lights. Witch Grass (previously titled The Bark Tree) is a philosophical farce, an epic comedy, a mesmerizing book about the daily grind that is an enchantment itself. ... Read more

Customer Reviews (2)

A French subrealism
Raymond Queneau is a first class writer and it is very strange that is not famous. His translator also is very good and was able to retain the intentions of the writer.Queneau is a subrealist that has nothing to envy to the Latin American writers of the boom.He also is hilarious and there s always something else besides the first reading, that shows a French intelectual of first rate.

Wonderful, delightful, marvellous
I can't begin to explain why this book is so delightful.There are plenty of places to start with Queneau--perhaps the lighter, more accessibly funny Zazie is the best introduction--but this is my favorite.As with all of Queneau, it's a mix of silliness, absurdity, surreality, and philosophicality.He's a former philosophy student in the Hegelian tradition, but by way of the Marx brothers rather than Karl.

Like the Marx brothers, Queneau's storylines are trifles usually--but it's hard to care since his books still manage to beso uniquely humorous and thought-provoking.I won't try to explain it, but this book is such a perfect case of Queneau's marvellous ability to mix philosophy and comedy, fairy tales and tragedy, that it's a must read. ... Read more

Book Description
Impish, foul-mouthed Zazie arrives in Paris from the country to stay with Gabriel, her female-impersonator uncle. All she really wants to do is ride the metro, but finding it shut because of a strike, Zazie looks for other means of amusement and is soon caught up in a comic adventure that becomes wilder and more manic by the minute. In 1960 Queneau's cult classic was made into a hugely successful film by Louis Malle. Packed full of word play and phonetic games, Zazie in the Metro remains as stylish and witty as ever. ... Read more

Customer Reviews (11)

Zzzz...
How to translate extemely funny French novel rooted in the Paris argot of the late forties? That is the problem. The answer, as to this seminal work of humorous 20th century fiction, is -if it can be translated into (American) English at all, perhaps the best shot would be some sort of heavy Scottish or Irish brogue; translating "Zazie" in standard English, simply does not fully satisfy (not to mention fail to cause bellyfuls of laughter). This brilliant novel requires something less rigid, and definitely outside of the limits of standard English. Even though B.W. does a good job, this almost requires different blood understanding in order to rend justice to the irrascible Zazou.

How can I stop laughting?
This book is hilarious from begining to end.Not extrange it was his most selling book in France.Again, the translation is wonderful.

great books of the modern world
one of the great modern books a must for anyone with any sense of humor and wit. if you are serious forget it. if you likefrench silly, read it

One of a kind (5 stars down for Barbara Wright)
I have had the pleasure to be introduced to a lot of French authors such as Vian, Queneau, Sartr, Bataille and others and I have found each one of them extremely fascinating and intricate. The majority of Queneau's work I have read in Bulgarian and he has become a favourite of mine, howeverI am quite disappointed with Barbara Wright's translations. I could barely finish reading Exercises in style. I fell offended by the literary translation and its bluntness. As much as I love the author, I'll never be able to get any of his books unless I find another translation, and that is a pitty...It's a shame since I wanted to get a bunch of my friends acquainted with his work.

Talk, talk, that's all you can do
If you decide to read Zazie in the Metro, don't be surprised to find yourself thinking a bit like the story's quirky cast of characters: speaking with charmingly wordy phrases (e.g., "Picking up a syphon he purposed to cause its mass to reverberate against Gabriel's skull," rather than, "he hit Gabriel in the head with a bottle."), and forming words using unusual spellings (e.g., "Tsnot true, unkoo" instead of, "It's not true, uncle."). You may even find yourself looking at the world through Zazie's wide eyes, seeing things with the innocence of a child narrated with a vocabulary like Charles Bukowski's.

I pity poor translator Barbara Wright -- author Raymond Queneau's preferred translator, from what I understand -- for what must have been buckets of perspiration shed in what could have only worked as a labor of love. After all, this is a book is more about language and dialogue than it is about anything that could be mistaken for a plot.

The other main source of Zazie in the Metro's charm comes from its unusual roll call of characters. Aside from the always-interesting Zazie, the book offers the quixotic and curious "Unkoo" Gabriel, his dour sometimes foil Gridoux, and even a parrot called Laverdure, whose solitary line -- "Talk, talk, that's all you can do" -- seems to get blurted out only with exceptional timing.

It's easy to understand how this colorful tale inspired a generation of French readers and writers. It is even said to have had a hold on Jean-Pierre Jeunet, the director of the wonderful and similarly playful film, Amelie.

Compared to all this, the plot of this story hardly seems worth mentioning: young Zazie comes to Paris to visit her uncle, but what she really wants to do is ride on the metro for the first time. Because of a strike, she can't, and she compensates with a string of other adventures.

Up until this point, I know, this does not sound like a three-star review (or three and a half, if that had been possible). I have given Zazie in the Metro what amounts to a so-so rating for reasons I am not too sure how to describe. The best explanation I can come up with is that despite all of the positive points made here, the book just failed to capture me; I never felt like I was part of the story. Somehow, its 157 pages seemed quite a bit longer, and sometimes the action became confused or obscured because of the clever word play. It was like a meal based on ingredients I adore, but which don't quite seem to work well together.

Yes, of course, buy and read Zazie in the Metro. Its place in Europe's literary cannon and the unusual mix of characters and language is enough to make that case. Besides, it's a book that an at least mildly adventurous literate person should know. I'll just hope it will be a bit more of a treat for you than it was for me. ... Read more

Book Description
"profound, complex, likable" novel, tr B Wright ... Read more

Customer Reviews (2)

Sad and lonely boy wanders/wonders through college
Sad and funny and beautiful, Queneau watches the world and portrays the smallest of things in the most unique way. Celebrating the simpleton, Queneau looks back at his student years. His head is stuck in books. Hemeets few friends. Outside, the world swindles and connives and lies andquips. Outsiders take note, this book settles long after the last page isturned. A special, special book. A great introduction to the world ofQueneau.

The Last Days by Raymond Queneau
This novel (Queneau's second after "Le Chiendent" translated as 'the Bark Tree' by Barbara Wright) is a charming, witty novel aboutthe travails of severalFrench students preparing for their "bacheau" admirably cointerpointed with a secondary story of a petty swindler and a tertiary story of a waiter who comfabulates a fantastic betting schema based on the movements of the lunary planets and their shifts and motion. The deft translation gives the full flavor of the novel, and Queneau's writing is superbly sunny and wonderful. This is a must read for all those interested in the development of the French novel c. 1930-s to 1940-s. It's quite funny! ... Read more

Amazon.com
A twentysomething bus rider with a long, skinny neck and a goofy hat accuses another passenger of trampling his feet; he then grabs an empty seat. Later, in a park, a friend encourages the same man to reorganize the buttons on his overcoat. In Raymond Queneau's Exercises in Style, this determinedly pointless scenario unfolds 99 times in twice as many pages. Originally published in 1947 (in French), these terse variations on a theme are a wry lesson in creativity. The story is told as an official letter, as a blurb for a novel, as a sonnet, and in "Opera English." It's told onomatopoetically, philosophically, telegraphically, and mathematically. The result, as translator Barbara Wright writes in her introduction, is "a profound exploration into the possibilities of language." I'd say it's a refresher course of sorts, but it's more like a graduate seminar. After all, how many of us are familiar with terms such as litote, alexandrine, apheresis, and epenthesis in the first place? ... Read more

Customer Reviews (20)

An Invitation to Play

The idea to collect exercises in rhetorical style is not exactly a new one. Classical Greek orators had their progymnasmata as part of the pedagogical curriculum, and a prolific Renaissance writer, like Erasmus in his De Copia, gives 200 stylistic diversions of two very banal sentences. The difference of Raymond Queneau's20th century Exercises in Style, 1947, lies in the absence of a pedagogical intent and in the ironical distance to esthetic effect.A classical orator typically employs figures to trigger intended effects in his listeners, effects that have certain political, or judicial consequences, or at least show off the eloquence and encyclopedic erudition of the speaker. Queneau, though obviously as erudite as any Renaissance man,conducts rhetorical procedures like chemical experiments: If you fuse a banal story with certain preconceived linguistic styles, how will they react with each other? The results are sometimes predictable, sometimes refreshing, hilarious, very witty, incredibly boring, bombastic, nonsensical, bad.

Queneau's greatest achievement, the surprising linguistic diversity, is derived from a radical axiom: Let everything be language. Mathematics, philosophy, botany, zoology, music, medicine, all are treated for what they indeed are - subjective observation and affected rendering. The combination of a banal story with 99 rhetorical prototypes does not only show the story in different lights, dispels the illusion of its assumed banality, but it also casts an ironic spotlight on those prototypes themselves. Using philosophical terms, Hellenisms or apostrophe to describe a non-incident in a public bus will actually reveal the characteristic quality of such language, a quality we will not become aware of, if we encounter it in its proper realm.

Some rhetorical figures are employed parodistically and in an absolutely literal manner without any regard to poetic propriety. The result is wildly dadaistic; reminiscent, for example, of the verbal excesses in Mozart's "Baesle" letters or the galumphing portmanteau words in Lewis Carroll's Jabberwocky. The demonic energy of ritual language is rediscovered. Obsessive playfulness.

Unfortunately the poetic perfection of a Jabberwocky is definitely absent in Queneau's experiments. This becomes painfully apparent in the "Haiku"--it's 5-7-5--but not a Haiku, and especially in the "Sonnet," a ghastly patchwork indeed, at least in the English translation. A truly artistic style can never be achieved by the mechanistic application of superficial devices. But of course, poetic perfection is not the point of these exercises. Their greatest charm lies in their playfulness and we are invited to play along. "Man plays only where he is man in the fullest sense of the word, and he is only fully man where he plays." [Schiller]

Question your fragments...
This book, simple in parts, simply genius in others, delves into our perceptions of events filtered through the social archetypes of our thought. Is this a poem? Is this a narrative? Perhaps a list, a simple list. If you read this book, be prepared to think, on many levels, with a keen eye for the experimentation--which then was quite revolutionary--and ask yourself, who now would try such a daring experiment. Very few, I assure you.

The book explores the same story written in 99 different ways, 99 different styles, genres (maybe) and it gives rise to the question, "Could everything be viewed this way?" My trip to the grocer, was it a poem, a haiku maybe? Did my conversation with the butcher and the deli manager really occur as a sonnet? Except that the basic unit of this book isn't really even a story, it's just a fragment, which further adds to the complexity of the issue. Everything we encounter during the day, most of it anyway, is merely fragments of a larger story.

This book asks the question, quietly, and with tongue in cheek, "How do you view those fragments?"

Eye Opener for All Professions
I see after reading this bookhow many ways there are to present information in different and interesting ways.Forget my monotonous ways!I have found myself in my engineering profession writing technical presentations with a new awareness of the style of my presentation.

Exercises in style is fun to read on the bus or at home, and in moments of "writer's block."I read the styles a few at a time, and am constantly amazed at the variety of styles given a simple little story.This book is a "must read" for those looking to expand their creativity with almost no effort.

Great and if you liked this. . .
I have always found this book to be fascinating and the perfect case for the argument of style/versus content. My classes have ended up screaming at each other in lively discussion of which of the two elements is more important and this book always provides a great catalyst for that discussion. I have, however, had students complain that this book is a little dry so if you are looking for another great book that accomplishes a very similar argument but seems to hold my class's interest better, try The Author by Hillary DePiano. I haven't seen it on Amazon yet but I know it is available on the author's website at hillarydepiano.com

The art of wordplay
I encountered "these exercises" for the first time 25 years ago. After a long trip we arrived at a friend abroad. Since alcohol had an all but positive effect on a couple of visiting family members, the theatrically very gifted host decided to pull a translation of Queneau's work off the shelve and to control the unruly crowd by reading/performing this entire work. It was a blast!

After coming across an essay mentioning that Queneau's encounter with Bach's art of the fugue prompted these linguistic style exercises, I picked up an original copy while visiting the city of light and have had many joyful reencounters since.

Together with Perec' "e-less" la Disparation, Queneau's "Exercises" remains the most popular Oulipo work. While I think that Queneau's influence on literature can be best compared to Schoenberg's invention of serialism in music, his exercises have the quick wit of a jolly Mozart. The work is light-hearted and entertaining, yet of significant substance. While Witgenstein's "Tractatus Logico Philosophicus" remains a hallmark in the analysis of the possibilities and limitations of language, it is dry and requires a significant investment of time and effort. The opposite is true for this book: even those not interested in the finer points of composition, grammar and syntax can still enjoy this virtuosic delight.

Previous reviewers have already mentioned that this book should be read aloud. Having had a "performance introduction" to the work, I fully agree. Thanks to Queneau's talent and wit, even upon repeated reading the text only gets funnier and funnier. ... Read more

Customer Reviews (2)

Icarus Ascending
Hubert, a writer, has lost the main character to the novel he is, well was, writing. After viciously accusing friends and fellow writers of stealing Icarus, he hires the detective Morcol, "who has appeared in many novels under different names," to find him. Soon we meet Icarus, who is only 15 pages old and on his own in 1890 Paris, and begin to see the formation from what Hubert designed, to a real character through his first experience with absinthe, his girlfriend LN, his love of automobiles and bicycles, and his love of flying machines. Barbara Wright has done nice work with the translation although the tone does change abruptly towards the end without apparent reason (some readers may know her translation of Alfred Jarry's, Ubu Roi). Queneau wrote this novel in the form of a play which adds to the borderline absurdist and fast-paced story. One almost believes that the story is really about the process of writing a novel as characters elude and morph and disappear. This is a very easy to read, yet highly irregular work that is highly recommended for its creativity and execution. Readers may also enjoy other works by Queneau and his writing group formed in the 1960's called the OULIPO.

brilliant and funny
This is the first novel I have read by queneau and I certainly plan on reading more by him."The flight of Icarus" is a hysterical novel in the form of a play, consciously parodying pirandello.It follows a young man, Icarus, the main character of a novelists new book, who escapes its pages and enters late 19th century paris.It is an amusing easy read, full of intentionally awful puns.I recommend it :). ... Read more

Book Description

Customer Reviews (4)

An Allegory of Protection unto Death
This allegory of good, bad and over-concern is narrated by a psychiatrist named Timortis (Timor Mortis) who comes upon this unknown village in an unknown country in an unknown time.Somethings in the village are familiar but many are not and assumptions have to be made as to who is what and what is who.Timortis enters a house in the village in which a woman is about to give birth (she has three sons: a set of twins named Joel and Noel and a single named Alfa Romeo).He ends up staying with the family for years (maybe eight, it hard to say) but only psychoanalyses the nanny who thinks the word is a euphemism for sex.

There are odd going ons in the town such as an "Old People's Market" and a church at which the Priest has a curate who is a devil and they battle for the amusement of the villagers.But all this is an afterthought to the trials and tribulations of the mother, whose only thoughts are how to protect her children from everyday problems that escalate up to how to protect them from meteorites.

The book is a study of the ends to which love can drive people and how love cannot only be stifling, it can be downright dangerous.

Great French Classic
Another Boris Vian even better than all the rest. Broaden your horizons and read this!

Utterly fascinating
Sometimes funny, often disturbing, thoroughly unique, and utterly fascinating.A psychoanalyst goes looking for desires to analyze because he lacks any of his own.He settles in a very bizarre and rather brutal village where shame is forbidden, horses are crucified, old folks auctioned, and a woman makes love at long distance with the blacksmith via a robotic spitting image of herself.Very weird, but not in the usual way.It's all presented so matter of factly, with such a straight face, that the effect is unlike any other literature of its kind.

"He propelled himself towards some particular piece of debris that was floating on the top and picked it up expertly between his teeth.It was a tiny hand.Covered with inkstains.He climbed back on board again.'Tut, tut,' he said when he looked at it.'Old Charlie's boy's been refusing to do his homework again."

"Somebody perfectly free has no urge to do anything at all."
In descriptions so richly imagined that he sometimes has to invent new words, Boris Vian brings to life the strange world discovered by a wandering traveler, Timortis, a psychiatrist who has been born an adult and has no memories of his own.An "empty vessel," he believes that if he can learn everything there is to know about someone through psychoanalysis, he can bring about a transferrence of identity and make his own life more complete.When he hears the cries of Clementine, a village woman giving birth to triplets, he stops to give aid and ends up delivering her sons--Noel, Joel, and Alfa Romeo.

Though the birthing scene is humorous, the full satirical flavor and the allegorical construction of this novel do not unfold until Timortis travels into the village.There he discovers that he has arrived just in time for the Old Folks Fair, at which old people are auctioned off like cattle and treated like them.Later Timortis visits a shop where he sees a child being worked to the verge of death, then revived with icewater.Farm animals, however, are given days off when they behave themselves and allowed to hitchhike if they need rides.A scapegoat, named Glory Hallelujah, retrieves putrid, decaying things from a blood-red stream with his teeth, his job being to "swallow the shame of the whole village." The vicar announces that"God is not utilitarian.God is a birthday present...a luxury, a tasseled cushion made of beaten gold."A horse is crucified for his sexual depravity.Additional bizarre episodes abound, leaving the reader to ponder the meaning of the non-stop action, at the same time that s/he is whisked along by the speed of Vian's prose to new and still more surprising events.

Puns, word play, and literary inventions fill the novel, even as Vian's often lyrical sentences and vibrant descriptions set the scenes.Satirizing the existing world for some of its most obvious faults, Vian presents a remarkably open-ended allegory, which makes the reader think at the same time that s/he often laughs at the absurdities and winces at the truths.But this is no full-blown alternative universe created to illustrate a serious and specific political or social agenda.Here Vian symbolically smiles at the reader as he leads Timortis through this strange community from episode to episode, illustrating his own opinions in a more or less random way, having fun all the time, while making some serious points.Not scholarly, though highly literate, this is a book for which one must buckle up, sit back, and just enjoy the ride.Mary Whipple ... Read more

Book Description
This digital document is an article from The Review of Contemporary Fiction, published by Review of Contemporary Fiction on September 22, 1997. The length of the article is 2115 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

From the supplier: A single line of the work of Raymond Queneau can bring up many questions. One example involves the image of the Sugarloaf from the poem "L'Amer," which suggests a tube of lipstick, phallus or candle. In addition, the name of Madame Lefevre des Noettes seems to be connected somehow with Desnouettes Square, where the Queneaus moved in 1928.

Citation Details
Title: Droles de drames. (Raymond Queneau)
Author: Andre Blavier
Publication: The Review of Contemporary Fiction (Refereed)
Date: September 22, 1997
Publisher: Review of Contemporary Fiction
Volume: v17Issue: n3Page: p80(5)

Distributed by Thomson Gale ... Read more

Book Description