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Trieste: A Novel Kindle Edition
Haya Tedeschi sits alone in Gorizia, in northeastern Italy, surrounded by a basket of photographs and newspaper clippings. Now an old woman, she waits to be reunited after sixty-two years with her son, fathered by an SS officer and stolen from her by the German authorities as part of Himmler’s clandestine Lebensborn project.
Tedeschi reflects on her Catholicized Jewish family’s experiences, in a narrative that deals unsparingly with the massacre of Italian Jews in the concentration camps of Trieste. Her obsessive search for her son leads her to photographs, maps, and fragments of verse, to testimonies from the Nuremberg trials and interviews with second-generation Jews, and to eyewitness accounts of atrocities that took place on her doorstep. From this broad collage of material and memory arises the staggering chronicle of Nazi occupation in northern Italy that “explores the 20th century’s darkest chapter in an original way . . . an exceptional reading experience” (Minneapolis Star-Tribune).
- LanguageEnglish
- PublisherMariner Books
- Publication dateJanuary 14, 2014
- File size48082 KB
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Editorial Reviews
From Booklist
Review
"A work of European high culture...Even at their most lurid, Drndic’s sentences remain coldly dignified. And so does Ellen Elias-Bursac’s imperturbably elegant translation." –The New York Times Book Review
"A palimpsest of personal quest and the historical atrocities of war...Undeniably raw and mythical...Trieste evolves as a novel in the documentary style of the German writer W.G. Sebald, but also as a memorial of names, and as a novel about one woman's attempt to find order in her life. And as a book of events that have made the last century infamous for the ages, a book that, if it moves you as it moved me, you will have to set down now and then, to breathe, to blink and blink and say to yourself and whatever gods you might believe in, please, oh, please please please, never again." – Alan Cheuse, NPR
"Trieste…explores the 20th century’s darkest chapter in an original way, both thematically and stylistically, without ever diluting the disaster...So unflinchingly does Drndic present her detail that after certain passages concerning freight-train journeys, gas chambers and euthanasia centers, it pays to put the book down and take a break and gulps of fresh air. Potent, candid writing, while deserving of praise, is not always the easiest to digest...Trieste is an exceptional reading experience and an early contender for book of the year." –Minneapolis Star Tribune
"An extraordinarily rewarding novel...Rich." –Pittsburgh Post-Gazette
"A darkly hypnotic kaleidoscope of a book...Drndic has in her own way composed an astonishment that extracts light from darkness." –The Jewish Daily Forward
"Although this is fiction, it is also a deeply researched historical documentary. Haya's life story is woven artfully into a broader tale of the twentieth century's atrocities. The book begins gently, introducing us to the archiepiscopal see of Gorizia in a manner reminiscent of WG Sebald . . . It is a masterpiece." –A.N. Wilson, Financial Times
"Trieste achieves a factographical poetry, superbly rendered by Ellen Elias-Bursac, implying that no one in Axis-occupied Europe stood more than two degrees from atrocity." –Times Literary Supplement
"Trieste is more than just a novel, it's a document that should be compulsory reading in secondary schools ... Books like this are necessary whilst there's still a glimmer of hope that eloquently reminding us of the past may prevent its repetition." –Bookbag
"Trieste is a massive undertaking. It swings from stomach-churning but compelling testimonials from former concentration camp workers to fluid fictional prose." –Irish Independent on Sunday
"In this documentary fiction, the private and public happen at once, large and small scale, imagined with just the same biographical precision. Haya sits dazzled in the cinema, lost in the unbelievable glamour on the screen; meanwhile, neighbors are disappearing. . . . The picture Trieste offers is cumulative -- so is its effect. For a reader with a taste for tidy narrative, its wilfulness can be maddening, and yet the multifarious elements that comprise Haya's story and its grand context are an incredibly dense and potent mixture, too." –The Independent
"Trieste is a brilliant, original conceptualized novel consisting of fragmented memories and a series of concentrated history lessons that will challenge a reader with its irregular construction and seeming lack of continuity. It may not be easy but it is well worth reading and will assuredly linger in memory." –BookBrowse
"Powerful, disturbing, original...Author Dasa Drndic uses her technique with painful effectiveness." –New York Journal of Books
"Drndic’s monumental work about a hitherto rarely discussed aspect of the Holocaust, and about the ongoing consequences of fascism, is not for the fainthearted, but its seamless combination of beautifully told story and relentless harsh documentation makes for a deeply engaging and unforgettable read." –Jewish Renaissance
"A powerful and original testimony, moving and hypnotic." –Historical Novel Review
"Richly textured reminisces...Drndic's themes, use of history, and narrative technique invite favorable comparisons to W.G. Sebald." –Publishers Weekly
"Outrage, horror, and grief simmer beneath the surface of this gripping novel...An unbearable, unusual, and unforgettable tribute to a very dark period of history...Highly recommended, this story’s gripping historical approach calls to mind the work of Norman Mailer and Don DeLillo." –Library Journal, starred
"Trieste’s originality lies not just in its structure and forceful, unflinching imagery—translator Elias-Bursa deserves acclaim as well—but also in how it brings the lingering effects of the Nazis’ merciless racial policies forward into the present." –Booklist
"An epic, heart-rending saga from the Croatian novelist about a forgotten corner of the Nazi Holocaust...A brilliant artistic and moral achievement worth reading." –Kirkus, starred
From the Inside Flap
Haya Tedeschi sits alone in Gorizia, in northeastern Italy, surrounded by a basket of photographs and newspaper clippings. Now an old woman, she waits to be reunited after sixty-two years with her son, fathered by an SS officer and stolen from her by the German authorities as part of Himmler’s clandestine Lebensborn project.
Haya reflects on her Catholicized Jewish family’s experiences, dealing unsparingly with the massacre of Italian Jews in the concentration camps of Trieste. Her obsessive search for her son leads her to photographs, maps, and fragments of verse, to testimonies from the Nuremberg trials and interviews with second-generation Jews, and to eyewitness accounts of atrocities that took place on her doorstep. From this broad collage of material and memory arises the staggering chronicle of Nazi occupation in northern Italy.
Written in immensely powerful language and employing a range of astonishing conceptual devices, Trieste is a novel like no other. Daša Drndic has produced a shattering contribution to the literature of twentieth-century history.
From the Back Cover
"Highly recommended, this story’s gripping historical approach calls to mind the work of Norman Mailer and Don DeLillo." —Library Journal (starred review)
“An epic, heart-rending saga . . . A brilliant artistic and moral achievement worth reading.” —Kirkus (starred review)
"Trieste’s originality lies not just in its structure and forceful, unflinching imagery—translator Elias-Bursa deserves acclaim as well—but also in how it brings the lingering effects of the Nazis’ merciless racial policies forward into the present." —Booklist
"Moving . . . Drndic's themes, use of history, and narrative technique invite favorable comparisons to W. G. Sebald." —Publishers Weekly
About the Author
DASA DRNDIC is a distinguished Croatian novelist, playwright, and literary critic. She spent some years teaching in Canada and gained an MA in Theatre and Communications as part of the Fulbright Program. She is an associate professor in the English Department at the University of Rijeka.
Excerpt. © Reprinted by permission. All rights reserved.
She sits and rocks by a tall window in a room on the third floor of an Austro-Hungarian building in the old part of Old Gorizia. The rocking chair is old and, as she rocks, it whimpers.
Is that the chair whimpering or is it me? she asks the deep emptiness, which, like every emptiness, spreads its putrid cloak in all directions to draw her in, her, the woman rocking, to swallow her, blanket her, swamp her, envelop her, ready her for the rubbish heap where the emptiness, her emptiness, is piling the corpses, already stiffened, of the past. She sits in front of her old-fashioned darkened window, her breathing shallow, halting (as if she were sobbing, but she isn’t) and at first she tries to get rid of the stench of stale air around her, waving her hand as if shooing away flies, then to her face, as if splashing it or brushing cobwebs from her lashes. Foul breath (whose? whose?) fills the room, rising to a raging torrent and she knows she must arrange the pebbles around her gravestone, now, just in case, in case he doesn’t come, in case he does, after she has been expecting him for sixty-two years.
He will come.
I will come.
She hears voices where there are none. Her voices are dead. All the same, she converses with the voices of the dead, she quibbles with them, sometimes she slumps limply into their arms and they whisper to her and guide her through landscapes she has forgotten. There are times when events boil over in her mind and then her thoughts become an avenue of statues, granite, marble, stone statues, plaster figures that do nothing but move their lips and tremble. This must be borne. Without the voices she is alone, trapped in her own skull that grows softer and more vulnerable by the day, like the skull of a newborn, in which her brain, already somewhat mummified, pulses wearily in the murky liquid, slowly, like her heart; after all, everything is diminishing. Her eyes are small and fill readily with tears. She summons non-existent voices, the voices that have left her, summons them to replenish her abandonment.
By her feet there is a big red basket, reaching to her knees. From the basket she takes out her life and hangs it on the imaginary clothes line of reality. She takes out letters, some of them more than a hundred years old, photographs, postcards, newspaper clippings, magazines, and leafs through them, she thumbs through the pile of lifeless paper and then sorts it yet again, this time on the floor, or on the desk by the window. She arranges her existence. She is the embodiment of her ancestors, her kin, her faith, the cities and towns where she has lived, her time, fat sweeping time like one of those gigantic cakes which master chefs of the little towns of Mitteleuropa bake for popular festivities on squares, and then she takes it and she swallows it and hoards it, walls herself in, and all of that now rots and decomposes inside her.
She is wildly calm. She listens to a sermon for dirty ears and drapes herself in the histories of others, here in the spacious room in the old building at Via Aprica 47, in Gorica, known as Gorizia in Italian, GoÅNrz in German, and Gurize in the Friulian dialect, in a miniature cosmos at the foot of the Alps, where the River Isonzo, or Soča, joins the River Vipava, at the borders of fallen empires.
Her story is a small one, one of innumerable stories about encounters, about the traces preserved of human contact. She knows this, just as she knows that Earth can slumber until all these stories of the world are arranged in a vast cosmic patchwork which will wrap around it. And until then history, reality’s phantom, will continue to unravel, chop, take to pieces, snatch patches of the universe and sew them into its own death shroud. She knows that without her story the job will be incomplete, just as she knows that there is no end, that the end reaches on to eternity, beyond existence. She knows that the end is madness, as Umberto Saba once told her while he was in hospital here, in Gorizia, in Dr Basaglia’s ward perhaps, or maybe it was in Trieste with Dr Weiss. She knows that the end is a dream from which there is no waking. And the shortcuts she takes, the quickest ways to get from one place to the next, are often nearly impassable, truly goats’ paths. These shortcuts may stir her nostalgia for those long, straight, rectilinear, provincial roads, also something Umberto Saba told her then, so she sweeps away the underbrush of her memory now, memories for which she cannot say whether they even sank to the threshold of memory, or are still in the present, set aside, stored, tucked away. It is along these overgrown shortcuts that she walks. She knows there is no such thing as coincidence; there is no such thing as the famous brick which falls on a person’s head; there are links – and resolve – of which we seem to be unaware, for which we search.
She sits and rocks, her silence is unbearable.
It is Monday, 3 July, 2006.
HURRY UP PLEASE IT ’S TIME
Product details
- ASIN : B00AUZS5LG
- Publisher : Mariner Books; Reprint edition (January 14, 2014)
- Publication date : January 14, 2014
- Language : English
- File size : 48082 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Print length : 414 pages
- Best Sellers Rank: #675,905 in Kindle Store (See Top 100 in Kindle Store)
- #813 in Jewish History (Kindle Store)
- #2,152 in Historical World War II Fiction (Books)
- #2,857 in World War II Historical Fiction (Books)
- Customer Reviews:
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Customers find the book well-researched and comprehensive. They describe it as a profound work that beckons them to a deeper understanding of human life. However, some find the pacing slow at times, and the story compelling, while others find the plot underdeveloped and confusing. Opinions differ on the writing quality, with some finding it beautifully written and excellent, while others consider it difficult to read.
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Customers find the book engaging and well-researched. They describe it as an important read about the Holocaust that blends different literary forms.
"...not a history either, not a documentary, but a veritable cross dresser of literary forms...." Read more
"This was one of the most satisfying books I have read in a long time...." Read more
"...While it is not an enjoyable read by any means, it is a work that should be required reading in any country (like my own) where fascism continues to..." Read more
"...Not sure. A good editor would help. Worth reading, but somewhat challenging." Read more
Customers find the book well-researched and engaging. They appreciate its depth, detail, and historical context. The book provides insight into the hardships faced by people in Trieste during World War II.
"...A key sentence in this monstrous, experimental book: behind every name is a story." Read more
"...This is a very brutal book. History is laid bare. Pretensions are stripped naked. I often despaired as I read it...." Read more
"...It is a profound work in examining what is human life, how can humanity turn a blind eye to the suffering of so many, how does "social order"..." Read more
"Although it is labeled a novel, it is so meticulously detailed and well researched that it stands on its own as a historical reference...." Read more
Customers have different views on the story quality. Some find it compelling, powerful, and dramatic. Others feel the plot is underdeveloped, confusing, and slow to start.
"...This is a very brutal book. History is laid bare. Pretensions are stripped naked. I often despaired as I read it...." Read more
"...It is an eloquently written piece of historical fiction and is heavily laced with historical facts, photographs, a list of names of 9,000 Italian..." Read more
"...My loss. This book is not a novel, not a history either, not a documentary, but a veritable cross dresser of literary forms...." Read more
"...Drndic also quotes quite a bit of poetry.This is a grim powerful novel, not for the faint of heart." Read more
Customers have different views on the writing quality. Some find it well-written and engaging, with an excellent presentation of the material and masterful structure. Others feel it's not an easy read due to the difficult subject matter, finding it challenging to follow at first.
"This novel reads like non-fiction and tells the story of Heinrich Himmler's secret Lebensborn Program in his attempt to build a an Aryan super race...." Read more
"...You will not be entertained though. This is overwhelming stuff...." Read more
"...The writing is great. The story is compelling. The structure is masterful...." Read more
"...Ms Drndic does an excellent job of presenting the material from the coldness of the observers she describes to the Nazie's who were able to commit..." Read more
Customers have mixed opinions about the book. Some find it upsetting, depressing, and heartbreaking. Others say it's shocking and full of surprises, tragedies, despair, and paradoxes.
"...Hang with it. It is brutal, compelling, heart wrenching and shocking...." Read more
"...is a difficult book to read, it is history that is haunting and disturbing...." Read more
"...their sentences for their crimes against humanity were powerful and upsetting. The testimonies of those that survived the horror were heartbreaking...." Read more
"...Hard to put down. Full of surprises, tragedies, despair, paradoxes. Nazi history fragmented as the memories of those at deaths door." Read more
Customers find the book's pacing slow to start and not a quick read.
"...True, as some have commented, it starts slowly, but there is great reward for those who keep reading past page 50 or so. The writing is great...." Read more
"...Not a quick read and occasionally quirky (it lists 9,000 Italian Jews killed in the Holocaust), anyone seeking to get underneath the most important..." Read more
"A bit heavy and slow to begin. I'm only one third into it and almost put it down. So glad I didn't. Give it a chance...." Read more
"...Dry, slow, no character development. too bad." Read more
Top reviews from the United States
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- Reviewed in the United States on March 12, 2014Maps hover in the sky like paper airplanes. History: that lying, traitorous mother of life.
This is a book about the 20th century in the middle of Europe. Though the book title is 'Trieste', it starts further north, in Gorica. Gorica in Slovenia has been Italian as Gorizia and Austrian as Görz. It has been Roman and Venetian and Napoleonic and Habsburgian and Yugoslavian. It saw much action in the Great War, the Isonzo battles, about which you can read in Hemingway's Farewell to Arms.
This is largely a book about the Holocaust, here the fate of Italian Jewish families. The author is Croatian. Her career has a leg in the English speaking world. She is nearly 70, and I wonder why I never heard of her. My loss.
This book is not a novel, not a history either, not a documentary, but a veritable cross dresser of literary forms. Looking for comparisons, I come up with Peter Weiss on Auschwitz or Solzhenitsyn on the GULAG, but that doesn't fully cover it. I use it just to give an idea. There is more fictional flesh here. The fictional component justifies the label 'novel', in a way. You will not be entertained though. This is overwhelming stuff.
The center of the narration is taken by the family Tedeschi in Gorica. Suitably, and ironically, that is a typically Jewish name in Italian and means 'German'. Fates are traced back to the late 19th century. The moving borders and changing rulers play a big part in events. The family is not suffering particularly tragic fates, when compared to others, they wiggle through as bystanders.
They are witnesses to a mad century. The second half of the book focuses on Haya Tedeschi, who was a young woman when the war ended, and lives on into the next century. Haya has her own burden of memory to carry, and she still hopes to find her son, who disappeared as a baby. This leads us into other dark chapters of Nazi policies.
A key sentence in this monstrous, experimental book: behind every name is a story.
- Reviewed in the United States on August 28, 2014This novel reads like non-fiction and tells the story of Heinrich Himmler's secret Lebensborn Program in his attempt to build a an Aryan super race. The eventual horror was that the SS began to kidnap blonde, blue eyed children from conquered countries so they could become "Germanized." Particularly, it tells the story of an Italian Jewish woman, Haya, who has an affair with a dashing SS Officer who is a brutal guard at Treblinka. Haya has a son from this union who is almost immediately kidnapped and vanishes without a trace.
This story is slow to start and like many readers, I was frustrated as to where the story was headed as it begins with Haya, then in her sixties, piecing her life together from old photographs, letters, and newspaper articles. The author cleverly inserts historical facts throughout the fiction and it is only many pages into this complex novel that the reader begins to understand Haya's history and her search for the missing boy.
Hang with it. It is brutal, compelling, heart wrenching and shocking. It may be that something was lost in the translation and editing of this novel and it may be that many readers will give up on it when it seems to be going in circles for the first 100 pages.
- Reviewed in the United States on August 24, 2015This was one of the most satisfying books I have read in a long time. True, as some have commented, it starts slowly, but there is great reward for those who keep reading past page 50 or so. The writing is great. The story is compelling. The structure is masterful. Drndic weaves the fictional stories of the narrators into the actual historic events of the Nazi terror and Jewish Holocaust. Well researched and powerfully written. Themes of identity, love, family, individual guilt/shame, national guilt/shame, and institutional guilt/shame are ruthlessly explored. I have read dozens of books related to the Holocaust. This one of the best. This is a writer's book --a serious reader's book --not for the faint of heart or for those who want a quaint story with a tidy plot. This is a very brutal book. History is laid bare. Pretensions are stripped naked. I often despaired as I read it. I sat for nearly an hour after the last page --haunted by the horror of Nazi slaughter, the collective guilt of those who made little or no effort to stop the carnage, and the futile efforts of the victims to make sense of it all. This is a rare book that stays with you, haunts you, and beckons you to a deeper understanding of WHY, WHY, WHY.
- Reviewed in the United States on February 24, 2014This was a difficult read both in the tragic story as well as the structure. Flow was probably distorted in the English translation. Not sure. A good editor would help. Worth reading, but somewhat challenging.
Top reviews from other countries
- Laurence J. KirmayerReviewed in Canada on November 1, 2019
5.0 out of 5 stars Eyes wide open...
Devastating, brilliant, necessary. A work of painful excavation and the most tentative promise of transformation. Exemplary of the moral commitment of great literature.
- RadekReviewed in the United Kingdom on November 13, 2015
5.0 out of 5 stars that many of the people around her tote on their backs like a sack of red-hot stones
“She has always been somehow weightless, free of the heavy burden of mother tongues, national histories, native soils, homelands, fatherlands, myths, that many of the people around her tote on their backs like a sack of red-hot stones.”
This is Haya Tedeschi who, at the beginning of the novel, is an old Jewish woman sitting in a rocking chair in the Italian town of Gorizia, near Trieste. She is surrounded by documents, photographs, cuttings. Her head is swarming with memories, “melting in her mind like chocolate”.
It should be remembered that Trieste was one of those places which was a disputed territory in both world wars. A kind of no-man’s land perennially awaiting the outcome of some new military action. Its inhabitants never quite sure of where they belonged, pressed in by borders that were continually shifting around them. In short, it’s an inspired place to set a novel about the horrors of world war two.
Haya’s story is constructed piece by piece with frequent brilliantly researched documentary interludes. The artistry with which this novel moves back and forth between the personal and the public, a microcosm and a macrocosm of the Holocaust is, for the most part, brilliant. Haya’s story is told with a kind of disarming playful lyricism at times which reminded me of Nicole Krauss but without Krauss’ whimsy, her artificial sweeteners (which I enjoy) . We learn about Haya’s family’s displacement during the first world war. We learn that, like most Italian Jews, they are integrated into Italian life and do not identify themselves primarily as Jewish. To outsiders they are essentially indistinguishable from any other local resident. We see how they are forced by events to become nomads. Work takes them to Albania, Milan, Naples, Venice and Trieste. The hub of the novel is Haya’s relationship with a seemingly and, relatively speaking, innocent German soldier who is also a keen photographer. Haya is a typical young girl. Wilfully ignorant. While transports are leaving Trieste in the middle of the night she is often to be found at the cinema or dining in a trattoria. Kurt Franz, the German boyfriend, leaves her when she is pregnant. A year later her son mysteriously vanishes when her back is turned. The central mystery of the novel is what happened to her son. The personal horror of the novel is the gradual unfurling of who his father was, what he did.
There’s a sense we’ve become a little immunised to the horrors of the Holocaust. This novel rips through all those palliatives. It adds new horrors to the Holocaust. Some of the things you learn are as disturbing as anything you already know. I won’t spill any beans because these details are very much an integral part of the novel’s emotional charge. You also learn a few more light-hearted facts like, for example, how when Mussolini’s Ministry of Culture clamped down on the infiltration of foreign words into the Italian language they forbade Italians to refer to Louis Armstrong by his American name; instead he had to be called Luigi Braccioforte! More unsettling we discover that the Swiss allowed the transport trains to pass through their territory when the Brenner tunnel was snowed up on the provision that the Red Cross be allowed to serve the prisoners hot soup and coffee.
I read some of the other reviews of this and noticed one person objected to the Nuremburg transcriptions and especially the list of the 9,000 Jews deported from Italy. I found this list very moving because you knew every one of those people had a deeply moving human story like Haya’s. And you don’t have to read every name on the list so this seemed a rather querulous complaint. There might be a case for complaining that, at times, the documentary dwarfed the human story of Haya; that perhaps one didn’t quite get to know Haya as much as one would have liked and occasionally the large scale narrative detracted rather than added to the momentum of the small scale narrative. Personally, for example, I found the quoting of Pound, Borges, Shakespeare, Eliot and others clumsy rather than illuminating. But this is a small misgiving.
There’s also a fabulous twist when, late in the novel, we learn who is narrating the novel. This is without question one of the most painful novels I’ve ever read. It’s no Schindler’s List, softening the horror with acts of moving kindness. There’s nothing uplifting about this narrative - except the artistry with which it’s constructed.
One person found this helpfulReport - J MillerReviewed in the United Kingdom on July 21, 2016
4.0 out of 5 stars Four Stars
Good price and fast delivery.
- J D PageReviewed in the United Kingdom on April 2, 2013
5.0 out of 5 stars A moving and well researched book.
Trieste a moving and beautifully woven story linking fictional characters and real events during the period after the Nazis moved into North Eastern Italy in 1943. The book was really well researched and the details concerning the treatment of Jews and Partisans under the Nazis showed the horror and inhumanity of the time. The theft of the baby and German attempts to create a 'pure' bred population have dreadful consquences for the children as the war ends and they are identified for what they are - there seems to have been no room for forgiveness when the war was over.It is perhaps wrong to say that I liked the book , it is not that kind of book , but it drew me into the people and events in a grapic way. I read the book initially because of a planned holiday to Trieste and while there a visit to the Risera de San Saba demonstarted what a cold and forbidding place it was/is and the testimony of survivors plus the memorials to those who died left quite an empty feeling, especially in a world where attitudes towards those who are 'different' and the rise of the Facist right in some countries shows that what Dasa Drndic was writing about has not gone away.
- serpicoReviewed in the United Kingdom on November 25, 2021
3.0 out of 5 stars good condition
they say this is essential read , l agree its complex and drifts into areas may not be expecting in a novel type writer. BUT THAT ADDS GREAT DEAL, HAD TO PUT THIS DOWN AND BE REFLECTING THE EVENTS ALONG WITH ISSUES IDENTIFIED. VITAL WORTH EFFORT STILL ONLY A PART OF THE WAY THROUGH.BUT RECOMMEND YOUR EFFORTS IF YOU SO CHOOSE TO READ THIS BOOK
serpico
Reviewed in the United Kingdom on November 25, 2021
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