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3.8 31
by William Peter Blatty

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William Peter Blatty has thrilled generations of readers with his iconic mega-bestseller The Exorcist. Now Blatty gives us Dimiter, a riveting story of murder, revenge, and suspense. Laced with themes of faith and love, sin and forgiveness, vengeance and compassion, it is a novel in the grand tradition of the great Catholic novels of the 20th Century.


William Peter Blatty has thrilled generations of readers with his iconic mega-bestseller The Exorcist. Now Blatty gives us Dimiter, a riveting story of murder, revenge, and suspense. Laced with themes of faith and love, sin and forgiveness, vengeance and compassion, it is a novel in the grand tradition of the great Catholic novels of the 20th Century.

Dimiter opens in the world's most oppressive and isolated totalitarian state: Albania in the 1970s. A prisoner suspected of being an enemy agent is held by state security. An unsettling presence, though subjected to unimaginable torture he maintains an eerie silence. He escapes---and on the way to freedom, completes a mysterious mission. The prisoner is Dimiter, the American "agent from Hell."

The scene shifts to Jerusalem, focusing on Hadassah Hospital and a cast of engaging, colorful characters: the brooding Christian Arab police detective, Peter Meral; Dr. Moses Mayo, a troubled but humorous neurologist; Samia, an attractive, sharp-tongued nurse; and assorted American and Israeli functionaries and hospital staff. All become enmeshed in a series of baffling, inexplicable deaths, until events explode in a surprising climax.

Told with unrelenting pace, Dimiter's compelling, page-turning narrative is haunted by the search for faith and the truths of the human condition. Dimiter is William Peter Blatty's first full novel since the 1983 publication ofLegion.

Editorial Reviews

From the Publisher

“Dimiter is an intelligent, tightly wound, suspenseful novel. One can only hope Blatty will publish another sometime soon.” —USA Today

“Gripping and intelligent, Dimiter is part detective story and part religious thriller in the grand tradition of The Name of the Rose.” —Allan Folsom, New York Times bestselling author

“Enfolds a message of faith in a fast-paced thriller” —Los Angeles Times

“A beautifully written, haunting tale of vengeance, spiritual searching, loss, and love.” —Publishers Weekly (starred review)

Publishers Weekly
Blatty fans looking for straight-up horror in the vein of The Exorcist will be disappointed, but those with broader tastes will find this a beautifully written, haunting tale of vengeance, spiritual searching, loss, and love. In 1973 Albania, Colonel Vlora (aka “the Interrogator”), the head of a team of torturers, questions “the Prisoner,” who the reader later learns is Paul Dimiter, “an American clandestine agent referred to in some quarters of the world as 'legendary,’ while in others as 'the agent from hell.’ ” (Rumor has it Dimiter poisoned Ho Chi Minh while the Vietnamese leader was visiting Albania shortly before his death in 1969.) Dimiter escapes to Jerusalem, where he encounters a number of engaging characters, including a doctor of neurology, a sharp-tongued nurse, and a grief-stricken Israeli policeman. The complicated plot confounds until the isolated pieces of the psychological puzzle that’s Dimiter match up and fall into place, revealing surprising truths. (Mar.)
Kirkus Reviews
From the author of The Exorcist (1971), a halting, unfocused thriller about a series of mysterious events in Jerusalem. Blatty begins with a numbing, cluttered and confusing prologue, set against the political intrigue and violence in Albania in the 1970s. In a series of sessions, some, for no clear reason, reproduced as transcripts, a man identified as "the Interrogator" attempts to break down "the Prisoner." The Prisoner remains tight lipped until the Interrogator uses sodium pentothal to get him to talk. In a mysterious feat "never quite understood" the Prisoner takes out his guards and escapes. Three days later, on a Sunday, he appears before seven men in a barn. Back at his office, the Interrogator reflects on his Prisoner, now identified as Dimiter, "the agent from Hell." Blatty thereupon shifts to Jerusalem and Hadassah Hospital, scene of a murder, the miraculous recovery of a two-year-old from cancer and, "at the end of the hall, something black and quick." For good measure, there's also mention of a case of leprosy and, later, the discovery of a body in the tomb of Christ. The narrative mostly turns into a rather unremarkable police procedural as police detective Peter Meral (perhaps the only character with any dimension) takes on the case of American novelist Eddie Shore. Shore, hospitalized for food poisoning, dies suspiciously of cardiac arrest. Then Moses Mayo, a neurologist at Hadassah, dies, and Meral is convinced he was murdered. Periodic references to Dimiter promise to draw together the diffuse plot strands, with Blatty periodically breaking in to suggest that all will come together as he ends several chapters on a portentous note: " ‘The only cover you can blow now isthe lid on his coffin.' Which, in its way, would later prove to be prophetic." Cue rain and wind and dreams about Christ's resurrection from the tomb to add a quasi-mysterious, quasi-spiritual overlay. A holding pattern that never wants to end.

Product Details

Tom Doherty Associates
Publication date:
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4.10(w) x 6.60(h) x 1.00(d)

Read an Excerpt


By William Peter Blatty

Tom Doherty Associates

Copyright © 2010 William Peter Blatty
All rights reserved.
ISBN: 978-1-4299-6110-3


Ninety three million miles from the sun, in the damp of a windowless concrete room in a maze of other rooms and cells and passageways where grace and hope had never touched, the Interrogator sat behind a tight wooden table with a mind gone blank as the notepad before him. The Prisoner radiated mystery. After seven days of torture he had yet to utter a word. Silent, his head bowed down, hands manacled, he stood beneath the blinding grip of the spotlight in the middle of the room like a barrier to comfort.

'"Who are you?"

The Interrogator's voice was straw. All the questions had been asked. None had been answered. Now they all had worn away to this single probe as if locked within the Prisoner's name were his nature.

"Who are you?"

Drained, the Interrogator waited, squinting at the sweat-blurred lines on the pad. In the hush of the chamber he could hear his own breathing and the desultory faint sharp clicks of his pen point tapping at the table's stained dark oak. For a moment his ears twitched up minutely, straining toward a sound heard dimly through the walls: the scuffing of shoes, a body being dragged. He could not tell if the sounds were real or imagined. Here even the dust in the air was heard shrieking. Another odd sound intruded. What was it? The Interrogator rested his pen on the table and lifted a haunted gaze to the Prisoner, silent and motionless yet so vivid that he seemed a disturbance embedded in time. Drops of blood were falling softly to the mottled stone floor from the ends of his fingers, now one, now another, where the nails had been wrenched from their sockets.

The Interrogator shifted his weight uneasily.

He looked down at the quiet pen.

"Who are you?"

The silence held its breath.

The Interrogator's thumb probed under his spectacles, dislodging them a little as he rubbed at the corner of a watery eye. He carefully removed them and polished each small, round gold-rimmed lens with a frayed and faded white cotton handkerchief that faintly smelled of naphtha. Finished, he fitted the glasses back on with slender hands the color of parchment, then nodded a command to a burly torturer.

"Go ahead," he quietly ordered.

The torturer moved to the light, where he paused, gently patted the Prisoner's cheek, then suddenly delivered a thudding blow to the Prisoner's groin with a rubber truncheon. The Prisoner absorbed it, sinking to his knees but emitting no sound. The Interrogator's fingertips touched at a scar that bisected his pale thin lips into a snarl, and under the collar of his olive drab coverall, that bore no sign of rank, his neck felt strangely warm and taut. Against all reason the Prisoner frightened him. Like the dark and heavy stars that show no color to the far observer, he blazed with a terrifying inner light.

They had come upon him by chance. On a Sunday, 25 September, near the northern mountain village of Spac, a force of police, trained dogs, and militia had been hunting a suspect in the attempted assassination of Chief of Security Mehmet Shehu. Shots had been fired by unseen marksmen as Shehu, in the city on a tour of inspection, departed from Security Police Headquarters, then housed in the ancient brownstone prison in that section of Shkoder called Rusi i Madh. One man was caught, a peasant from Domni who, under torture, finally implicated a second man from his village, a clothing merchant named Qazim Beg, who was believed to be escaping to Yugoslavia. Hunting parties sped to the routes considered the likely paths of flight: to the west, the mud-brown River Buna and, north, the so-called "Shepherd's Pass," a high coil at the crests of the Dukajini Mountains. Though swollen by unexpected rains, the Buna's roiling, buffeting waters could be crossed at the narrowest pinch of its waist, slightly more than two hundred yards; but because it was known to so few Albanians and was close to the suspect's village, the Pass drew the larger force of searchers, fifty-eight armed volunteers and three dogs. Their climb was daunting, a robber of breath that spiraled through sandstone, marl, and shale to freezing heights of desolation: these were "The Ranges of the Damned." But at the Pass the hunting force found no one and began a return that would have been without incident except for a curl of fate that would later be seen as first contact with The Prisoner. One of the dogs, a ferocious mastiff of enormous muscle and bulk, had been loosed toward a crackling sound in a wood and was later discovered lying still amid gold and orange leaves on the forest floor in autumnal light as if fallen asleep and turned away from all yearning. Its neck had been broken. The leader of the force, a young smith named Rako Bey, felt a shadow pass over him at the sight, for he could not grasp the power of a human capable of killing the dog in this way. His breath a white fire on the darkening air, he scanned the wood with narrowed eyes, sifting hawthorn and hazel in search of his fate and seeing nothing but the cloud that is before men's eyes. The sun was descending. The forest was haunted. Bare branches were icy threats, evil thoughts. Bey thought of his mother. He slung his rifle over his shoulder and urged the force on and away from this place.

The group had a secondary mission in Quelleza: the capture of a murderer, a village baker, and while this objective was not to be gained, at the end of a labyrinthine path another would, for their search would lead the hunting force to the Prisoner, who was a book that had been lovingly written for The Interrogator by Fate.

The hunt for the baker promised danger. The murderer's kin were mountain clansmen and likely to resist the attempted arrest, for the murder, after all, had been part of a blood feud whose tangles were myriad and numbing to the mind. A husband, a reticent man from Micoi, had dragged his unfaithful wife from their house in accordance with the bessa, the unwritten code that forbade any vengeful act indoors, and in sunlight he had shot her once in the head. Then the silver bullet in her quiet brain had been given to the husband by the victim's brother as a token that the deed had his prior consent. There it all might have ended. But the woman's lover, in a crime of passion, berserk, found the husband at home and killed him. Because the wife's lover was a rival clansman, the husband's brother, the farmer, took revenge. He, in turn, was sought out by the father of the dead lover, whom he foiled by refusing to venture out of doors from the house where he lived with his wife and one child, a rosy-cheeked, brindle-eyed two-year-old boy, and thus was confident the bessa would protect him from harm. Thus, for weeks nothing happened while the farmer and his mounting fear roamed the house like nervous ghosts, one's soft set of footfalls imaging the other's. Strange rappings were heard on those edgy nights, and the farmer and his fear, grown familiar from their lengthy confinement together, were at times heard conversing in quiet tones, and once a hearty laugh rang out between them. Then, on a night when the stars were lost, the farmer bolted from a fitful sleep, awakened by cries from a goat of his herd. It bleated repeatedly, as if injured. Cocking an ear, the farmer listened, confirming that his fear was soundly asleep as its whistling snores rattled dryly through the house, and so he irritably arose from his muttering bed, fumbled into his lamb's wool jacket and trousers, and then sleepily wandered out into the blackness to see to his goat. So are good deeds not always rewarded. He climbed the first mound of a steep double rise jutting up between the house and the urgent bleating, unaware of the trap that had been cunningly set for him by the father of the lover. The avenger, a mild-eyed baker named Grodd, lay hidden in back of the second rise firmly clutching the goat by a leg while repeatedly twisting the animal's ear. But then misfortune struck, things collapsed, for perhaps due to drowsiness or distraction, or a root or a rock where there should have been none, when the farmer had achieved the craggy peak of the first of the hillocks on his way to the goat he lost his footing and was suddenly plunging through space toward the base of the far ravine below. "I am falling," he dismally reflected, and then he murmured aloud, "This should not be," for his behavior all his life had been exemplary, though this record was now in some peril as he muttered clichés about life's caprices, but this looming blot on his reputation was timely avoided when he ended his fall with a definitive emphasis as his head struck a sharp-edged rock. Grodd heard the sickening crack of bone and soon after was shaken by the realization that his quarry might die by other than his hand. When he'd grasped the full horror of the situation; when he stood beside the farmer and then knelt and felt the gouts, the bold gushings of blood, the baker groaned and decried the unfairness of it all. Did he not wear a charm to ward off the evil eye? Had he not with his finger traced a sign of the cross into every loaf of bread he had ever baked? How had the demons taken charge of this night?

Grodd carried the farmer into his home, roused his wife, and then ran to the nearby village where he wakened the doctor and then rushed him back to the house. But it came to no use, the old doctor told him after assessing the nature of the wound, for complex surgery was needed, and quickly, or the farmer would be dead in a matter of hours.

"It's subdural hematoma," the doctor explained.

"It is demons!" cried the baker, distraught.

The wife hastily blessed herself.

The old doctor shrugged and left.

With the anguished Grodd breathing curses by his bed, the fallen farmer, still unconscious, very soon contracted a fever, slipped into pneumonia, and within three days was visibly dead.

Inconsolable, Grodd burst into tears.

"It was the demons who killed him!" he shouted at one point.

"Yes, it was only the appearance of pneumonia," agreed the wife.

After that no one cared to say anything at all.

The code of the bessa could not be satisfied except by the killing of a male. And so one year after the death of the farmer, when wariness and vigilance had relaxed, Grodd the baker returned to the farmer's house where he happened to come upon his two-year-old son as he played alone in a dreamy field, and there, amid the sun-washed, breeze-blown poppies that were bluer and more vivid than Bengal light; among the hazel and cherry trees and the dogwood, the mustard and the parsley and the brabble of larks and the swaying, star-flung Michaelmas daisy petals as white as the Arctic fox, Grodd watched as the boy chased a black-winged butterfly; listened to a cowbell's tinkle in the distance, remembered his youth, heard the little boy laugh, took a breath, and then shot him between his brindled eyes. It was Grodd that the hunting force had been searching for when they happened upon the Prisoner. Some thought it was not by chance.


Q. And what led you to the house in the first place?

A. Nothing, sir. Grodd was related to the blind man who lived there, but then he is related to most of the village. Nothing led us there, Colonel. It was fate.

Q. Maintain propriety.

A. Sorry, sir.

Q. Our fate is in our hands.

A. Yes, exactly.

Q. About the house, then ...

A. Oh, it was just another house outside the village. We surrounded it a little after sundown. It was cold. We broke in and found the blind man inside. And the other one.

Q. The other one?

A. Yes. We found the blind man sitting by the fire. The other was at the table. There was food set out, a lot of it: cabbage, bread, cheese, lamb and eggs, onions, some grapes. When I saw the lamb and eggs I knew the other one had to be a guest, an outsider, so I kept my gun leveled at him. He could have been Grodd. Though I was doubtful.

Q. Why?

A. Because Grodd was supposedly blue-eyed and slender.

Q. I don't understand.

A. Well, he didn't fit Grodd's description.

Q. You didn't see the Prisoner as blue-eyed and slender?

A. No, of course not. He is dark-eyed and stocky, a brute. Why are you staring like that?

Q. Never mind. Did the Prisoner resist?

A. No, he didn't.

Q. He did nothing?

A. No, his head was down, he didn't move. He had a small woolen blanket on his lap and his hands were out of view underneath it.

Q. Did he speak to you?

A. No. The blind man did all the talking. He asked us who we were and what was happening. I told him. I demanded their identity cards. But when the oldster stood up I saw his blindness and I told him, "Never mind, grandfather. Sit." The other fellow dug for his card in his pocket, and then he handed it over and I checked it. It said that his name was Selca Decani and that he was a seller of feta cheese from Theti. But I think he was more than that.

Q. How?

A. I don't know. I can't explain it.

Q. I am handing you the Prisoner's identity card. Did you scrutinize it carefully?

A. Well, no. I mean, he obviously wasn't Grodd so I just glanced at some items, looked at the photograph, and gave the card back.

Q. I invite you to examine the photograph again.

A. He looks slender here. He isn't.

Q. But it's he?

A. Yes, it's he.

Q. And the color of the eyes? What does it say?

A. This is strange.

Q. What does it say?

A. It says blue.

Q. You recall now they were blue?

A. They were black as wet olives in a barrel. I was with him all the way to Shkoder Prison. They are black.

Q. Very well.

A. Are you testing me?

Q. Continue your report.

A. The card is wrong.

Q. I said continue.

A. Well, we were leaving them, almost out the door, when suddenly the blind man spoke very oddly.

Q. Oddly how?

A. Just an odd tone of voice. I can't describe it.

Q. And what did he say?

A. He said, "He is not one of us. He is alien."

Q. What did he mean?

A. I wasn't sure. We came back and trained our guns on the fellow, and I asked the old man to explain. He didn't answer. I said, "Grandfather, hurry, speak up. My daughter will be three years old by the weekend and I promised to be with her. Hurry up, please, give an answer." And the oldster said, "Take him." I looked into the fellow's eyes and then decided to club him with the butt of my rifle.

Q. Why?

A. I don't know. Just something, some movement in the back of his eyes, some inner struggle. I had the feeling he could kill us if he wished.

Q. You're quite tired, I think.

A. I haven't slept.

Q. We'll come back to this. What happened next?

A. I knocked him out and we chained up his legs, and then we took him to the station house in Quelleza. We asked the police if the man had checked in with them when he first came into the village. That's the law.

Q. So it is.

A. They said no. This was highly suspicious. I explained things completely to the local commissar and to the commandant of police.

Q. That was well.

A. So then the commandant asked him some questions. Well, the man wouldn't speak, not a word, and we started to wonder about whether he was a mute or some kind of an imbecile, perhaps. But all the wires to Theti were down, there'd been a storm, and we couldn't check out any part of his story. As it happened, though, we ran into wonderful luck. In Quelleza at that moment was a merchant from Theti, a big fellow, bald, very talkative; anyhow, they found him and they brought him to the station and they asked if he'd ever seen the Prisoner before. He said yes, and that he couldn't quite remember his name but that our man was very definitely from Theti. Then the commissar asked if he was Selca Decani, and the merchant said, "Of course he is! Exactly! It's Selca!" and "How in the world could I have possibly forgotten!" Then he started to study our fellow intently and a curious look came over his face and he told us though he didn't know how it could have happened, but he'd somehow made an error, for until that moment it had slipped his mind that Selca Decani had been dead for many years, and that our fellow looked nothing like Decani at all. What made his mistake so amazing, he told us, was that he had known Decani quite well and had been saddened and depressed by his death for many months. It was all very strange.


Excerpted from Dimiter by William Peter Blatty. Copyright © 2010 William Peter Blatty. Excerpted by permission of Tom Doherty Associates.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.


Meet the Author

William Peter Blatty (1928-2017), the writer of numerous novels and screenplays, is best known for his mega-bestselling novel The Exorcist, deemed by the New York Times Book Review to be "as superior to most books of its kind as an Einstein equation is to an accountant's column of figures." An Academy Award winner for his screenplay for The Exorcist, Blatty is not only the author of one of the most terrifying novels ever written, but, paradoxically, also cowrote the screenplay for the hilarious Inspector Clouseau film, A Shot in the Dark. New York Times reviewers of his early comic novels noted, "Nobody can write funnier lines than William Peter Blatty," describing him as "a gifted virtuoso who writes like S. J. Perelman."

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Dimiter 3.8 out of 5 based on 0 ratings. 31 reviews.
Kindle-be-damned More than 1 year ago
This novel is like none other I have read. The opening chapters are moody and mysterious and the writing is quite beautiful. We are quickly introduced to the story's central character, "Dimiter," who then recedes into the backround as the scene shifts from Albania to Jerusalem. Only gradually do we see what his place is in this second half, and the key role he plays in the story as a whole. The plot is not a simple one. Several narrative threads are created along more or less parallel lines, then dropped for a time, only to be picked up and concluded later in the book. Eventually, all of these strands are woven together and a startling picture emerges. I won't spoil your read by revealing what that picture is. I will say, however, that it is most unusual as well as uplifting in a completely unexpected way. If I were to point out any drawback to the book as a whole, I would say that the second half seems somewhat shortened compared to the first. And I enjoyed the story and the quality of the writing so much that I would have been preferred to see the story extended for several more chapters. As it is, however, the pace is quick and the tension builds until the "mystery" of Dimiter is revealed. This is not a book for everyone, however. I think you have to love fine writing and be interested in exploring some pretty serious subjects, like the nature of God's involvement (if any) in this world and the extent to which violent acts can conceivably be justified in the name of a "good" God to fully appreciate it. This book tackles some weighty topics much in the way that "The Exorcist" (also by Blatty) does, but the stories are not similar otherwise. And anyone who picks up this book expecting spinning heads or pea soup will be disappointed. If memory serves, this book is darker and more serious in tone than "The Exorcist", despite the many surprising humorous exchanges between some of the characters in the second half. (Surprising to see on the book's dust jacket that the author has written several humorous books and screenplays, including "A Shot in the Dark", one of the first Inspecter Clouseau films.) And while I can't say that it has changed my mind about God or any of the topics mentioned above, it has certainly made me think more deeply about them. This is a book that almost demands a second reading, because there are many subtle, almost subconscious clues regarding the climax scattered throughout the earlier chapters. In addition, the main characters in the Jerusalem section of the book possess a depth which one does not usually encounter in a "thriller" of this kind. In short, I highly recommend this book, but be prepared to be challenged and have your thinking cap on and fully-charged when you sit down to read it. Meanwhile, buy the hardcover. Kindle be damned!
SheilaCE More than 1 year ago
During 1973, a mysterious figure is taken captive in the totalitarian state of Albania and interrogated by authorities using extreme methods of torture. Impervious to pain and unwilling to speak about his true identity, the prisoner confounds his captors until his remarkable escape. One year later, a series of strange occurrences that include the unexplainable healing of a boy with an incurable condition and the discovery of a body in Christ's tomb have gained the attention of local authorities and intelligence officials. In their struggle to understand this enigmatic case, they discover a plot that is utterly confounding in its complexity. And at the center of it there is a man without an identity, a man who is very dangerous. He is called Dimiter, the Agent of Hell. Dimiter, a fascinating and well-crafted suspense novel, is the newest release by William Peter Blatty, the author of the horror classic The Exorcist. Its mystery has a depth that will captivate readers until its final pages. With imagination and eloquence, William Peter Blatty writes Dimiter, a story that is sure to have mystery-lovers and suspense enthusiasts enthralled for some time to come.
harstan More than 1 year ago
In 1973 in Albania, security chief Colonel Vlora the "Interrogator" works to break a prisoner suspected of being an American agent. He and his experts torture the Prisoner in ways the Spanish Inquisition would never of imagined, but the source of their assault never even screams once; instead he takes everything slammed at him in total silence. Even more shocking to his hosts, "the Prisoner" does the impossible; he escapes and completes his mission. At Hadassah Hospital in Jerusalem, a series of unexplained deaths shake up the staff. Christian Arab police detective Peter Meral leads the investigation that seems to be going nowhere. Whereas Americans and Israelis struggle with the happenings, none yet know that the Albanian Prisoner, Paul Dimiter is in the Holy City doing what he does best causing hell. This is not an easy read as the exciting story line seems incoherent when suddenly like a magician William Peter Blatty brilliantly brings it together in a thrilling psychological suspense thriller. Dimiter is an eerie individual who has figuratively lost his soul (not in a horror novel - Exorcist sense) but seeks some form of redemption. Readers will relish the shocking truths as to who he is and why Albania (ask Ho Chi Minh about him) and then Jerusalem. Harriet Klausner
Anonymous More than 1 year ago
Thoroughly enjoyed this novel!
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Timothy Wilson More than 1 year ago
I couldn't put this book down once I started. Blatty has an immersive style of writing that sucks you in right from the go.
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