A Good Fall [NOOK Book]

Overview

In his first book of stories since The Bridegroom, National Book Award-winning author Ha Jin gives us a collection that delves into the experience of Chinese immigrants in America.

A lonely composer takes comfort in the antics of his girlfriend's parakeet; young children decide to change their names so they might sound more "American," unaware of how deeply this will hurt their grandparents; a Chinese professor of English attempts to defect with the help of a reluctant former ...

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A Good Fall

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Overview

In his first book of stories since The Bridegroom, National Book Award-winning author Ha Jin gives us a collection that delves into the experience of Chinese immigrants in America.

A lonely composer takes comfort in the antics of his girlfriend's parakeet; young children decide to change their names so they might sound more "American," unaware of how deeply this will hurt their grandparents; a Chinese professor of English attempts to defect with the help of a reluctant former student. All of Ha Jin's characters struggle to remain loyal to their homeland and its traditions while also exploring the freedom that life in a new country offers.

Stark, deeply moving, acutely insightful, and often strikingly humorous, A Good Fall reminds us once again of the storytelling prowess of this superb writer.

From the Trade Paperback edition.

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Editorial Reviews

Marie Arana
In short, the storyteller's art is richly on display here. Ha Jin has a singular talent for snaring a reader. His premises are gripping, his emotional bedrock hard and true…there is no doubt that in A Good Fall Ha Jin captures a new, growing slice of America. It may not be as eye-blistering as the perspective he offers in his novels about China, but there's something arresting about the view. You might even call it: captivating.
—The Washington Post
Colm Toibin
In his latest collection of stories, Ha Jin explores the nature of displacement and the unease with which Chinese immigrants in the United States experience their new country. With skill and spareness, he uses the dozen stories in A Good Fall to dramatize lives in which hope has been crushed rather than abandoned, in which the struggle to find a place to live becomes as much a daily battle within the self as it is with society. His characters seem to be in exile not only from the China of their memories and dreams but from their very sense of who they are. Their emotional universe has become as circumscribed as their physical surroundings. Once inhabitants of a sprawling and familiar culture, they are now confined to a few rooms, a few streets.
—The New York Times
Publishers Weekly
From National Book Award–winner Jin (Waiting) comes a new collection that focuses on Flushing, one of New York City's largest Chinese immigrant communities. With startling clarity, Jin explores the challenges, loneliness and uplift associated with discovering one's place in America. Many different generational perspectives are laid out, from the young male sweatshop-worker narrator of “The House Behind a Weeping Cherry,” who lives in the same rooming-house as three prostitutes, to the grandfather of “Children as Enemies,” who disapproves of his grandchildren's desires to Americanize their names. Anxiety and distrust plague many of Jin's characters, and while the desire for love and companionship is strong, economic concerns tend to outweigh all others. In “Temporary Love,” Jin explores the inevitable complications of becoming a “wartime couple” or “men and women who, unable to bring their spouses to America, cohabit... to comfort each other and also to reduce living expenses.” With piercing insight, Jin paints a vast, fascinating portrait of a neighborhood and a people in flux. (Dec.)
Library Journal
With an enviable literary reputation built on award-winning titles set in China, poet/novelist/short story writer Jin recently debuted his first U.S.-based novel, A Free Life, about the Americanization of a Chinese immigrant family. While the 12 stories in his latest release continue to explore familiar immigrant themes—assimilation, isolation, generation gaps—Jin again captures the smallest details to create uniquely resonating portraits of everyday people: a lonely composer befriends his girlfriend's parakeet in "A Composer and His Parakeet," a man suspects his wife of infidelity in "The Beauty," an elderly couple are shunned by their American grandchildren in "Children as Enemies," and a garment worker falls for a prostitute in "The House Behind a Weeping Cherry." VERDICT Beyond his characters' ethnic backgrounds, Jin's writing clearly has mass appeal, most notably exemplified by National Book Award winner Waiting. This new work will be welcomed by any reader and is an excellent companion piece to The Bridegroom, a collection whose characters are the Chinese counterparts of characters featured here.—Terry Hong, Smithsonian Asian Pacific American Program, Washington, DC
Kirkus Reviews
First collection of short fiction in nine years from expatriate novelist Ha Jin (A Free Life, 2007, etc.). All set in Flushing, N.Y., all concerned with the Chinese immigrant's experience in America, these 12 stories are unified in geography and theme, uneven in richness and depth. The opening piece, "The Bane of the Internet," is one of the slightest, suggesting in four pages that the speed and amount of communication offered by e-mail aren't necessary benefits for a Chinese immigrant with relatives back home. Many other stories also resemble fables or parables, with generic titles and plot twists reminiscent of O. Henry. "Beauty" shows that quality to be not what it appears, and not merely skin deep. "Choice" concerns a series of (you guessed it) choices, as a graduate student opts for the humanities and deprives himself of the support his parents would have offered for a more professionally focused education. He finds a tutoring job to pay the bills and is torn between his teenaged pupil and her mother, an attractive young widow, but the climactic choice turns out not to be his. "Shame" invites the reader to find autobiography within its narrative, as a student's changing relationship with his former professor inspires a first novel in English. Generational tension bristles through "Children as Enemies" and "In the Crossfire," as elders prove resistant to the assimilation that younger Chinese-Americans are more likely to embrace. The title story is the most powerful, as an immigrant monk on the verge of suicide finds despair leading to redemption. "You can always change," he learns. "This is America, where it's never too late to turn over a new page."Rich imagery-"drizzle swayed in thewind like endless tangled threads," "the streetlights were swimming in my eyes"-displays the author's poetic gifts, but some of these tales belabor the obvious.
From the Publisher

“His best work so far. . . . Comparable to the best of Malamud and Singer.” —Kansas City Star
 
“Captivating. . . . Ha Jin captures a new, growing slice of America. . . . The storyteller’s art is richly on display here. Ha Jin has a singular talent for snaring a reader. His premises are gripping, his emotional bedrock hard and true.” —The Washington Post

“Engaging,. . . . Funny and tender at the same time. . . . The stories in this collection deal with what all good stories deal with: love, death, freedom and hope.” —The Dallas Morning News
 
“Quiet, careful, restrained prose—prose whose absence of flourish can, at times, make it all the more eloquent.” —The New York Times Book Review

“Skillful and deeply felt. . . . The collection as a whole celebrate[s] immigrant resilience: the courage to embrace calamity, hit the pavement and keep walking toward a brighter future.” —The Los Angeles Times
 
“Ha Jin's masterful storytelling persists—meticulous, droll, convincing, populated with memorable characters—not to mention the indelible portrait of an immigrant life he gives us.” —San Francisco Chronicle
 
“[Jin] writes with warmth and humor about what it means to be a bewildered stranger in a strange land, no matter where one is born.” —People Magazine
 
“Engrossing, visceral. . . . All [stories] come across with the straightforward declarative immediacy of a videotaped interview or testimonial. . . . [An] illuminating, well-integrated collection.” —The Christian Science Monitor
 
“[A] fine collection. . . . Jin is a master of the straightforward line . . . . [and] a significant American writer. . . . As in Chekhov's late work, his writing covers a lot of ground quickly.” —The New Republic
 
“A collection of sublime moments. . . . With moments of stark insight. . . . A message worth hearing.” —The Denver Post
 
“Every story . . . offer[s] evocative snapshots of the lives of contemporary first-generation Chinese immigrants. . . . [They] will take up quiet residence in your consciousness, shining a light into lives that too often go unseen.” —The Boston Globe
 
“Ha Jin continues his intimate, up-close look at Chinese immigrant life. . . . All [are] artfully turned out in Jin’s quietly seismic style.” —Elle
 
“Included are the rich imagery, attention to detail, and wry humor that are Jin’s stock in trade and that, when taken together, offer—as fellow writer Francine Prose has noted—‘a compelling exploration of the . . . terrain that is the human heart.’” —Fredericksburg Free Lance-Star
 
“Jin’s carefully constructed worlds offer the reader so much pleasure.” —Pittsburgh Post-Gazette
 
“[Jin’s] unvarnished prose adds a no-nonsense charm to the stories. . . . He just leans on simple phrasing that could come out of Sherwood Anderson or Ernest Hemingway. . . . Jin’s approach is the more honest one, and the one more likely to endure.” —Chicago Sun-Times
 
“Ha Jin’s new book of stories rises way above the ordinary or merely good. . . . The embarrassments and jokes and adulteries and frustrations of these characters in their little prosaic spaces convey the sense of how each human being is like and unlike all others.” —New York Post
 
“This may be Ha Jin’s best work yet, his stories often ascending to the mystical penumbra we expect of singer, Malamud, or O’Connor. . . . Ha Jin is equally good as a novelist and a short story writer. . . . Stories still allow him to get to the heart of the matter in a more piercing manner.” —The Huffington Post
 
“Jin writes with a twinkle in his eye.” —Cleveland Plain Dealer
 
“The understated clashes of culture [in A Good Fall] reveal careful thematic design and provide an almost 360-degree view of this select human experience: The concerns of people everywhere trying to make a better life come alive, one deceptively simple story at a time.” —The Miami Herald
 
“[Jin’s] work is shot through with a sense of isolation, melancholy and sacrifice: what it means—and costs—to be different. . . . There is a seriousness present. . . . And there is occasional humor or at least irony.” —The Seattle Times

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Product Details

  • ISBN-13: 9780307378699
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 11/24/2009
  • Sold by: Random House
  • Format: eBook
  • Pages: 256
  • Sales rank: 273,451
  • File size: 2 MB

Meet the Author

Ha  Jin
HA JIN left his native China in 1985 to attend Brandeis University. He is the author of five novels, three story collections, and three books of poetry. He has received the National Book Award, two PEN/Faulkner Awards, the PEN/Hemingway Award, the Asian American Literary Award, and the Flannery O'Connor Award for Short Fiction. Ha Jin lives in the Boston area and is a professor of English at Boston University.

From the Trade Paperback edition.

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    1. Also Known As:
      Xuefei Jin
    2. Hometown:
      Boston, Massachusetts
    1. Date of Birth:
      February 21, 1956
    2. Place of Birth:
      Liaoning, China
    1. Education:
      B.A. in English, Heilongjiang University, 1981; Ph. D. in English, Brandeis University, 1993

Read an Excerpt

The Bane of the Internet

My sister Yuchin and I used to write each other letters. It took more than ten days for the mail to reach Sichuan, and usually I wrote her once a month. After Yuchin married, she was often in trouble, but I no longer thought about her every day. Five years ago her marriage began falling apart. Her husband started an affair with his female boss and sometimes came home reeling drunk. One night he beat and kicked Yuchin so hard she miscarried. At my suggestion, she filed for divorce. Afterward she lived alone and seemed content. I urged her to find another man, because she was only twenty-six, but she said she was done with men for this life. Capable and with a degree in graphic design, she has been doing well and even bought her own apartment four years ago. I sent her two thousand dollars to help her with the down payment.

Last fall she began e-mailing me. At first it was exciting to chat with her every night. We stopped writing letters. I even stopped writing to my parents, because she lives near them and can report to them. Recently she said she wanted to buy a car. I had misgivings about that, though she had already paid off her mortgage. Our hometown is small. You can cross by bicycle in half an hour; a car was not a necessity for her. It’s too expensive to keep an automobile there—the gas, the insurance, the registration, the maintenance, the toll fees cost a fortune. I told her I didn’t have a car even though I had to commute to work from Brooklyn to Flushing. But she got it into her head that she must have a car because most of her friends had cars. She wrote: “I want to let that man see how well I’m doing.” She was referring to her ex-husband. I urged her to wipe him out of her mind as if he had never existed. Indifference is the strongest contempt. For a few weeks she didn’t raise the topic again.

Then she told me that she had just passed the road test, bribing the officer with five hundred yuan in addition to the three thousand paid as the application and test fees. She e-mailed: “Sister, I must have a car. Yesterday Minmin, our little niece, came to town driving a brand-new Volkswagen. At the sight of that gorgeous machine, I felt as if a dozen awls were stabbing my heart. Everybody is doing better than me, and I don’t want to live anymore!”

I realized she didn’t simply want to impress her ex. She too had caught the national auto mania. I told her that was ridiculous, nuts. I knew she had some savings. She got a big bonus at the end of each year and freelanced at night. How had she become so vain and so unreasonable? I urged her to be rational. That was impossible, she claimed, because “everybody” drove a car in our hometown. I said she was not everybody and mustn’t follow the trend. She wouldn’t listen and asked me to remit her money as a loan. She already had a tidy sum in the bank, about eighty thousand yuan, she confessed.

Then why couldn’t she just go ahead and buy a car if that was what she wanted? She replied: “You don’t get it, sister. I cannot drive a Chinese model. If I did, people would think I am cheap and laugh at me. Japanese and German cars are too expensive for me, so I might get a Hyundai Elantra or a Ford Focus. Please lend me $10,000. I’m begging you to help me out!”

That was insane. Foreign cars are double priced in China. A Ford Taurus sells for 250,000 yuan in my home province of Sichuan, more than $30,000. I told Yuchin an automobile was just a vehicle, no need to be fancy. She must drop her vanity. Certainly I wouldn’t lend her the money, because that might amount to hitting a dog with a meatball—nothing would come back. So I said no. As it is, I’m still renting and have to save for the down payment on a small apartment somewhere in Queens. My family always assumes that I can pick up cash right and left here. No matter how hard I explain, they can’t see how awful my job at a sushi house is. I waitress ten hours a day, seven days a week. My legs are swollen when I punch out at ten p.m. I might never be able to buy an apartment at all. I’m eager to leave my job and start something of my own—a snack bar or a nail salon or a video store. I must save every penny.

For two weeks Yuchin and I argued. How I hated the e-mail exchanges! Every morning I flicked on the computer and saw a new message from her, sometimes three or four. I often thought of ignoring them, but if I did, I’d fidget at work, as if I had eaten something that had upset my stomach. If only I had pretended I’d never gotten her e-mail at the outset so that we could have continued writing letters. I used to believe that in the United States you could always reshape your relationships with the people back home—you could restart your life on your own terms. But the Internet has spoiled everything—my family is able to get hold of me whenever they like. They might as well live nearby.

Four days ago Yuchin sent me this message: “Elder sister, since you refused to help me, I decided to act on my own. At any rate, I must have a car. Please don’t be mad at me. Here is a website you should take a look at . . .”

I was late for work, so I didn’t visit the site. For the whole day I kept wondering what she was up to, and my left eyelid twitched nonstop. She might have solicited donations. She was impulsive and could get outrageous. When I came back that night and turned on my computer, I was flabbergasted to see that she had put out an ad on a popular site. She announced: “Healthy young woman ready to offer you her organ(s) in order to buy a car. Willing to sell any part as long as I still can drive thereafter. Contact me and let us talk.” She listed her phone number and e-mail address.

I wondered if she was just bluffing. Perhaps she was. On the other hand, she was such a hothead that for a damned car she might not hesitate to sell a kidney, or a cornea, or a piece of her liver. I couldn’t help but call her names while rubbing my forehead.

I had to do something right away. Someone might take advantage of the situation and sign a contract with her. She was my only sibling—if she messed up her life, there would be nobody to care for our old parents. If I had lived near them, I might have called her bluff, but now there was no way out. I wrote her back: “All right, my idiot sister, I will lend you $10,000. Remove your ad from the website. Now!”

In a couple of minutes she returned: “Thank you! Gonna take it off right away. I know you’re the only person I can rely on in the whole world.”

I responded: “I will lend you the money I made by working my ass off. You must pay it back within two years. I have kept a hard copy of our email exchanges, so do not assume you can write off the loan.”

She came back: “Got it. Have a nice dream, sister!” She added a smile sign.

“Get out of my face!” I muttered.

If only I could shut her out of my life for a few weeks. If only I could go somewhere for some peace and quiet.

From the Hardcover edition.

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Table of Contents

The Bane of the Internet
A Composer and His Parakeets
The Beauty
Choice
Children as Enemies
In the Crossfire
Shame
An English Professor
A Pension Plan
Temporary Love
The House Behind a Weeping Cherry
A Good Fall
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Reading Group Guide

1. In the opening story of A Good Fall, the narrator thinks: “I used to believe that in the United States you could always reshape your relationships with the people back home—you could restart your life on your own terms. But the Internet has spoiled everything—my family is able to get hold of me whenever they like. They might as well live nearby” (pp. 5–6). In what other stories does the theme suggested in this passage—the desire to escape the past and start a new life in America—appear?

2. What role does the setting—Flushing, Queens—play in these stories?

3. The main characters in the stories of A Good Fall are, in many ways, quite different from one another, running the gamut from an English professor to a prostitute. In what ways are they and their situations similar?

4. In “A Composer and His Parakeets,” Fanlin is composing the music for an opera in which the hero claims that “greatness in art is merely an accident.” But Fanlin cannot accept this idea and feels that “no art should be accidental” (p. 12). What accidents in the story inspire Fanlin’s own artistic creation? In what other stories do accidents play a major role?

5. What expectations do the protagonists of these stories bring to the United States? In what ways are those expectations frustrated or fulfilled?

6. How do the characters in these stories try to solve the dilemmas they find themselves in? What are some examples of their resilience and resourcefulness?

7. In “A Pension Plan,” Minna tells Niu, “I do trust you, Aunt Niu, but we’re in America now, where even the air can make people change” (p. 170). How are the main characters in these stories changed by America? How does being in American change the way they view their homeland?

8. How does America appear as seen through the eyes of the Chinese immigrants in A Good Fall? What challenges and opportunities does America present for them?

9. In “Temporary Love,” Lina’s husband essentially blackmails her into paying for his business school tuition. In what other stories are characters pressured financially or treated unfairly over money?

10. What are the pleasures of Ha Jin’s storytelling style? How does he manage to make his writing at once so simple and so engaging?

11. Short stories generally revolve around a conflict that is introduced, developed, and then either resolved or left open. What kinds of conflicts occur in the stories of A Good Fall? Which stories exhibit strong closure? Which ones are more open-ended?  

12. How has Ha Jin ordered the stories in A Good Fall? Is there a clear progression? Why would he end the collection with a story in which the protagonist attempts to kill himself?

13. Much of what happens in the book is peculiar to Chinese immigrants, but what aspects of these stories might be true of the immigrant experience more generally?

14. The stories in A Good Fall are pervaded by anxiety and an often brutal struggle to survive. What moments of tenderness and compassion stand out?

15. How might these stories be received by Chinese contemplating emigration to the United States?

(For a complete list of available reading group guides, and to sign up for the Reading Group Center enewsletter, visit www.readinggroupcenter.com)

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Customer Reviews

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Sort by: Showing 1 – 12 of 10 Customer Reviews
  • Posted January 30, 2010

    more from this reviewer

    What to Keep

    This book is a collection of short stories about Chinese immigrants and their new experience settling in New York. Some are relatively new transplants, while others have been in the US for many years. The process of immersing self into a new culture and place, while retaining cultural traditions and personal beliefs, is complex and bewildering to many of the characters.
    The first compliment has to go to Ha Jin's prose: clear, clean and crisp. Each story is astonishing in its simplicity, deceivingly so. Because none of the stories and life experiences are simple. He writes beautifully, making you care for this odd mix of people so much with so few words. I appreciated how he didn't feel the need to over-explain the complications, he's expecting his readers to have some basic knowledge about Chinese culture. Yet he still adds nuances of depth to these characters so you come away with new understanding of them and their plight, both individually and collectively.
    For example, the Chinese have the well known reputation for respecting their ancestors far more than the American norm. While assimilating into American culture, some walk a fine line between behaving like everyone else or staying close to their cultural heritage. It's not simple at all. An overbearing mother appears for the most part to be an obnoxious insertion into her son's life, yet she is behaving in the norm. What is fascinating is how he relates to her, trying to respect her and her value system while keeping the peace with his wife. In the end, he makes a painful choice, because the two cannot be blended. Grandparents clinging to their past battle with grandchildren who only see their future, and in the middle a couple try and maintain respect and reasonableness for both generations.
    In "A Composer and His Parakeets", Fanlin finds that his new role as pet sitter for his girlfriend's parakeet has more depth and meaning than his relationship with her. He finds inspiration, as well as happiness and contentment, by simply caring for the small needs of the little pet. He realizes that just as she had pawned the bird off to him, soon she would leave him. As he composes, his work actually improves significantly as he can openly express himself and not hold back
    "The Bane of the Internet" shows the suffering of a newly immigrated woman who has to deal with the ease of keeping in contact with her family back home, one she thought she had escaped. While I laughed at some of her plight, the reality of her complaint is all too true.
    In "An English Professor", we watch a fully competent Chinese professor drive himself insane in his attempt to get tenure because he finds a typo in his application. The lengths he goes to in his desperation and pain, his paranoia and his lack of confidence are by turns humorous and tragic. Underlining it all is the intense drive to succeed and to save face, a theme that runs through many of the stories.
    Ha Jin illuminates the complexities of these lives and shows how complicated decisions are...whether to keep the past or take in the new, because you can't choose both. What to keep? All these characters have to decide.

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  • Anonymous

    Posted January 18, 2010

    another hit by jin

    Wow,
    This was great.
    A bunch of short stories.
    All written in the style that is uniquely Jin's.
    His characters all so interesting, you just fel
    for them and connect with them.
    Can't wait for the next one?

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