Jack Holmes and His Friend

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Jack Holmes and Will Wright arrive in New York in the calm before the storm of the 1960s. Coworkers at a cultural journal, they soon become good friends. Jack even introduces Will to the woman he will marry. But their friendship is complicated: Jack is also in love with Will. Troubled by his subversive longings, Jack sees a psychiatrist and dates a few women, while also pursuing short-lived liaisons with other men. But in the two decades of their friendship, from the first stirrings of gay liberation through the ...

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Overview

Jack Holmes and Will Wright arrive in New York in the calm before the storm of the 1960s. Coworkers at a cultural journal, they soon become good friends. Jack even introduces Will to the woman he will marry. But their friendship is complicated: Jack is also in love with Will. Troubled by his subversive longings, Jack sees a psychiatrist and dates a few women, while also pursuing short-lived liaisons with other men. But in the two decades of their friendship, from the first stirrings of gay liberation through the catastrophe of AIDS, Jack remains devoted to Will. And as Will embraces his heterosexual sensuality, nearly destroying his marriage, the two men share a newfound libertinism in a city that is itself embracing its freedom.

Moving among beautifully delineated characters in a variety of social milieus, Edmund White brings narrative daring and an exquisite sense of life's submerged drama to this masterful exploration of friendship, sexuality, and sensibility during a watershed moment in history.

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Editorial Reviews

Kate Christensen
…White delivers something rare: a novel that above all else leaves its readers intimately familiar with its characters' bodies…White is most interested in his two main characters as physical beings: the way they smell…their sexual desires and habits…their thoughts about their own and each other's bodies. Although at times this strategy can feel both too narrow and out of proportion, like a camera focused in immediate close-up and hazy at the edges, the cumulative effect is to afford the reader a deep physical knowledge of two reserved, cryptic men who in a conventional narrative most likely wouldn't and couldn't be known with this degree of immediacy, this insightful fleshly frankness—visual, visceral, every detail evoked in vivid 3-D.
—The New York Times Book Review
Publishers Weekly
In his latest novel, National Book Critics Circle award winner White (Genet: A Life) presents Jack Holmes, an unambitious editorial assistant at a cultural journal and Midwestern WASP who is initially conflicted by homosexuality and an unrequited fascination with co-worker Will Wright, a Catholic blueblood and aspiring novelist. White leaves little room to empathize with either character as they separately wind through frank sexual encounters during the ‘60s and ‘70s; their ambivalent relationship, which is eventually marked by collusion over adultery, emerges as one of self-centered though occasionally tender intentions. A plot that glosses over several intervening years to narrate from Will’s perspective in the second part and later returns to Jack in the third culminates in a mention of GRID (a protonym for AIDS)—a moment that serves more as a device to lead both men out of their “libertine” behavior within the span of a few sentences than as an historic, serious event worthy of reflection—best-suited for fans of White’s previous work, as well as readers intrigued by complex friendships. (Jan.)
From the Publisher

"In tender prose, White does justice to the erotic potential of the story, with abundant and charged descriptions of sex. Switching between Jack’s point of view and Will’s, White shows each man as he perceives himself and as he is perceived by his friend. The result is not just ironic, it is an elegant study of the paradoxes and half-truths that emerge in long-standing friendships."—The New Yorker

"Taken together, [Jack’s and Will’s] stories form a deep and powerful picture of love, desire, affection, rejection and despair in a great American city about to become writhen with AIDS. In passage after passage… novelist White proves himself to be the finest practitioner of making explicit and deliciously accurate sentences about sexual coupling, straight and gay… In chapter after chapter, White proves himself to be one of the finest practitioners of angst-ridden scene making about people in love with desire and desirous for real love." —Alan Cheuse, NPR’s "All Things Considered"

"[In] Jack Holmes and His Friend White delivers something rare…this novel, because of its relentlessly tight focus, its obsession with the physical aspects of sexuality, could be said to be lighter or shallower than White’s earlier ones, but this is wrong. For Jack Holmes and his friend, the realm of the body is the city they inhabit together, fellow libertines and explorers in a concrete place free of illusory deception. Inhabiting a body could be said to be the essential truth of being, the animal experience shared by us all. And the body never lies." — Kate Christensen, New York Times Book Review

"Surprising, funny and clever…White fixes his lens closely on [Jack and Will], and the relationship's strange unevenness, ebbing and flowing from decade to decade, provides a feeling of authenticity and nuance to its investigation of gay-straight male friendship…Jack Holmes is filled with White's wonderful knack for metaphor…an absorbing and worthwhile read." – Adam Eaglin, San Francisco Chronicle

"In its best moments Jack Holmes allows Jack and Will to look in on one another’s lives with curiosity and openness, engaging in pages-long dialogue about the nature of sex, love and friendship…[White is] adept at showing how relationships, especially in New York, city of ambition, are rarely disinterested—it’s this last insight, in particular, that makes Jack’s continued love for Will all the more poignant." –New York Observer

"White’s book embraces a classic love story, but it is much more: It offers something of a cultural history of gay life in New York in the closeted era before Stonewall. In the sometimes facetious, sometimes mutually uncomprehending, sometimes blazingly intelligent interplay of people of all sorts… White’s narrative is sometimes reminiscent of Christopher Isherwood’s Berlin stories—which is no small praise… One of the best novelists at work today, White spins an entangling—and thoroughly entertaining—yarn." – Kirkus Reviews

"The achievement of the book is that Edmund White largely pulls off this timeline of our lifetime and the history of the gay rights movement… That he tells his tale honestly, simply, and with dry eyes, in a work that neither stoops to the political dialectic or the screaming screed stands as a testament to Mr. White’s skill as an author… All this is quite a nifty achievement for [White], who writes as Max Steiner composed movie soundtracks, giving his work an underpinning of lush tremolo. This lush nature of his work is so very potent… It’s not just what he’s writing, it’s the way the man writes it." – New York Journal of Books

"With a leisurely pace that allows his characters to breathe and grow and the reader to make their acquaintance in complete terms, and with the rich, precise style that has distinguished his prose for two decades, White follows the course of the friendship between [Jack and Will]…A well-drawn story that also serves as an important reconstruction of a time and situation important in the evolution of gay social acceptance." – Booklist

"A fine, wise and necessary new novel… White has managed to whip up a bittersweet Nabokovian capriccio…it is a genuine page-turner… White’s keen insights into the dark Eros and messy psychodynamics of frustrated sexual desire, both straight and gay, and sociology are woven seamlessly into his rich, sensuously imagined narrative." Gay and Lesbian Review

"[White’s] prose is always most alive when it sneaks underneath the sheets. In Jack Holmes & His Friend, White is in top form." —Entertainment Weekly

"Jack Holmes serves… as yet another indelible—another articulate and articulated—White homage to New York City—one that is very deeply, very personally concerned with history… Fortunately for us, the many hours and the many days of reading Edmund White’s thoughts (28 books in 39 years!) do not pass slowly. They pass, rather, as fleetingly—and as satisfyingly—as a New York nanosecond." – Lambda Literary Review  

"Read Jack Holmes & His Friend now…With the Big Apple as the unrelenting, ever-changing setting, NY-based novelist Edmund White explores their unconventional friendship that spans from the quiet before the tumult of the ’60s through the era of free love…Told with healthy doses of humor (we promise), the novel explores the seldom written-about friendship between gay and straight men."  – Daily Candy

"Arguably [White’s] greatest [novel] yet… While the themes of friendship, sexual awakening and unrequited love may be typical, White’s handling of them is anything but... Equally [a] historical novel and [a] contemporary commentary." – Gay San Diego

Kirkus Reviews
Top-flight novelist White (City Boy, 2009, etc.) returns with a bittersweet story of the love that dared not speak its name until about the winter of 1963. The chronology is a little fuzzy, but the author situates the opening of his latest novel safely in the cozy prep-school world of the late 1950s. Jack Holmes is a glorious son of a Rust Belt then brilliantly agleam, tall and blonde and "with stomach muscles as hard as a turtle's shell," popular with everyone. It would be easy for him to coast, to live a superficial life, but Jack is a person of depth and complexity. So we learn when, after college, our Gatsby makes his way east and pitches his tent among the bohemians of Greenwich Village. His intelligence soon land him on the staff of a high-culture magazine where, "over-caffeinated, overdressed, and under-instructed," he wrangles with an editor who's smarter than Susan Sontag and more frustrated than Portnoy. At the same time, he enjoys an increasingly catholic diet of friends and bedmates, including, eventually, a promising young novelist named Will Wright--the name is suggestive--who emerges, over the chapters and decades, as Jack's soul mate. This is not all to the good, for White's story takes in not just the time of innocence and Camelot, but also the very first inklings of the "gay plague" that was first known as GRID, later as AIDS; Will's final dedication to Jack reads, "Our libertine days are over." So they are. White's bookembraces a classic love story, but it is much more: It offers something of a cultural history of gay life in New York in the closeted era before Stonewall. In the sometimes facetious, sometimes mutually uncomprehending, sometimes blazingly intelligent interplay of people of all sorts of orientations, gay and straight and in between, and all sorts of backgrounds and nationalities, White's narrative is sometimes reminiscent of Christopher Isherwood's Berlin stories--which is no small praise. But White's chief characters are all-American types, which one supposes is the point: Though Jack's psychiatrist may scold him for "acting out," and though they were subject to criminal prosecution in their day, his desires and passions are utterly normal. White's writing, of course, is not.

One of the best novelists at work today, White spins an entangling--and thoroughly entertaining--yarn.

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Product Details

  • ISBN-13: 9781408805794
  • Publisher: Bloomsbury UK
  • Publication date: 1/28/2012

Meet the Author

Edmund White is the author of many novels, including A Boy's Own Story, The Beautiful Room Is Empty, The Farewell Symphony, and, most recently, Hotel de Dream. His nonfiction includes City Boy and other memoirs; The Flâneur, about Paris; and literary biographies and essays. White lives in New York and teaches at Princeton.

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Read an Excerpt

JACK HOLMES AND HIS FRIEND

A Novel
By Edmund White

Bloomsbury

Copyright © 2012 Edmund White
All right reserved.

ISBN: 978-1-60819-703-3


Chapter One

Jack, who was from an eccentric Midwestern family, wasn't quite sure what a gentleman was other than someone who opened doors for ladies and didn't curse in mixed company. He'd gone to a boarding school, but one outside Detroit, which the sons of the "automobility" attended; they judged each other by their cars, not their manners or clothes. Although the schoolboys all had to wear coats and ties, their jackets were usually off the rack and were rumpled and styleless. Who would worry about clothes when he could tool around in a Corvette or Austin-Healey or Thunderbird up and down the leafy lanes of Bloomfield Hills or get into a drag race with an older businessman down Woodward Avenue?

Although Jack was bookish and refined after his own fashion, he was used to brash guys who lived in a loud, locker-banging, all-male world of muddy knees and broken noses and wolfed-down generic meals in the immense, pseudo-Gothic dining-hall they called the "cathedral of carbohydrates." In Detroit in the 1950s, no one earned extra points for reading, or for visiting Europe—well, okay, visiting it counted. Back then, it was still rare to travel abroad and cost a lot. The brainy daughter of rich Midwesterners might live with a French family for a semester in Tours, which was supposed to have the best accent. By the end of six months, she could barely express herself in French, but she'd have lost that extra ten pounds and acquired dark, becoming clothes and a convincing French "r" (you could hear the returning American girls on the Queen Mary asking each other confidentially, "How's your 'r'?"). The boys didn't even consider doing anything so painful and embarrassing as tackling another language; they were all going to study automotive engineering in a normal Midwestern university.

Jack would have gone abroad, but his father, a chemical engineer, couldn't see the point. He sent his son to the University of Michigan because it was midway between his house in Cincinnati and his summer cottage on Walloon Lake, Michigan. Jack had been accepted at Harvard and had even won a merit scholarship there, but it turned out that Jack's father earned too much for Jack to receive anything other than a parchment for his pains. And Jack's father said he'd be damned if any son of his would attend a pinko school like Harvard.

Even at the University of Michigan, Jack managed to declare himself a socialist, while at the same time he joined his father's fraternity, a Southern one where they wore masks with eyeholes and held swords up during the initiation ceremony and pledged to protect the purity of Southern womanhood. They didn't have any black or even Jewish members (the handsome, dark-haired Jews all belonged to ZBT down the street), but Jack had plenty of Jewish friends and Chinese friends (he was majoring in Chinese art history), and he even knew a black poet whom all his bohemian friends admired intensely: Omar. When Omar talked to them about Rilke, they could hear the clack and rustle of angel wings.

Jack had feared that his father would oppose his studying Chinese art history but no, he thought that China was the future and Jack was smart to be out ahead. What Jack didn't bother to tell his father was that he was studying mid-Ching painting and classical Chinese and that he had no interest in mastering contemporary conversational Mandarin. Nor did he much want to visit China; the land of his dreams lay entirely in the past. He took a few conversation classes to throw his father off his scent, but he was too embarrassed by the strange tonal sounds to be able to speak the language out loud. He did help one of his teachers translate a history of Buddhist art written in classical Chinese.

Jack was a tall, rangy guy with stomach muscles as hard as a turtle's shell. His straight hair was called dirty-blond, but in fact he kept it squeaky-clean with Breck shampoo, though he knew that product was for women. Girls who liked him said he had a "boy-next-door look," but if they really liked him, they said they could imagine him as the pitcher on a baseball team. Any hint of praise or interest in him made him perk up foolishly (which he instantly regretted). He wondered if he'd been undernoticed by his strange parents.

In boarding school, the boys had watched movies on Saturday evenings with girls from their sister school. The boys, especially the boarders, were as awkward as monks around women, and it was hard to convince them to talk to their guests during the cookie-and-cider reception after the projection. The day boys, who usually weren't around on weekends, were a lot more relaxed when they happened to attend. They treated women as if they were members of the same species at least, whereas the boarders gulped and turned funny colors and jabbed each other in the ribs, almost as if a girl were something like a newly purchased thoroughbred horse, valuable but hard to ride.

Jack got along with girls and boys because he was a classic "good guy." He had a way of addressing a total stranger with a highly specific, off beat question. Standing in front of a student photo exhibit, he might say to a stranger, without any introduction, "You can tell all these pictures were taken by the same person, can't you? They all look like people in the 1930s." Odd as the approach might be, it required nothing from his interlocutor but an opinion. It suggested they'd known each other forever.

He never had to think about how far he'd go with a girl, since they were all so closely chaperoned. On an April Sunday he could walk hand in hand over the extensive grounds with his friend Annie, but she seemed as cool and chaste as he felt, and anyway she'd often invite another girl to tag along. They were ironic about the "pre-ruined" Greek temple with its columns that had been built fallen, since fallen columns were more picturesque than standing ones, or about the fat, murky goldfish in the Jonah pool, or about the heavily fringed Edwardian splendors of the Booth House with its silk lamp shades and hand-carved oak breakfronts. Jack and his friends were always ironic, but often they didn't know if they were serious or not about any given subject. Irony was just a way of feeling superior instead of insecure.

In college in Ann Arbor, he had a brainy New Yorker for a roommate in the freshmen dorms. Howard was a slob who slept through most of his classes and never washed his clothes. In the evenings, when they were both awake and studying, they'd play a record of Prokofiev's sprightly Classical Symphony over and over again. The acidic variations on Mozart sounded as if a powdered wig had been given a lemon rinse. Howard was very thin, grinned all the time, and exposed his large and very pink upper gums and hunched his meager shoulders forward and shook with inaudible laughter. As actors said, he was "indicating" laughter. Howard was satirical but somehow kind at the same time.

Jack knew that Howard, as a New York Jew, was studying him with amusement as a type, a Midwestern WASP. Jack realized that each of them thought of himself as something usual, standard, and considered the other one to be exotic, a deviation. They got along very well. Jack had lived in boarding school for six years and could tolerate, even enjoy, almost anyone; he just drew a pink chalk line down the middle of the room and said to Howard that he should keep his filth on one side and never invade Jack's space. Howard raised his shoulders and shook all over with pretend laughter at this WASP "anality," as he labeled it. Jack chuckled when he thought how far he was from the conventional WASP of Howard's imagination. Jack felt that he was entirely self-invented, and that Howard conjured up images of tutors and Parcheesi tournaments, of trout fishing in cold-water private streams and fumblings with debs in the backs of Packard convertibles—when nothing could be farther from the grotesque chaos of his childhood.

Jack got good grades, and his fraternity prized him, especially since at least ten of his brothers were on probation. They were all lovable and hopeless—they were mediocre athletes, wretched scholars, bad even at organizing a float for the Homecoming Parade. They drank so much that they quite regularly barfed on their dates and blacked out nightly and had to be told the next morning about their latest excesses. They'd look sheepish and amused, almost as if they were subjects who'd walked out onto a ledge under hypnosis and couldn't remember anything. The fraternity did have a nice pseudo-Tudor house with half-timbering on the outside and a carved wood balcony on the inside where Caruso had once sung, but the whole place was falling apart.

The brothers talked a lot about pussy, but Jack wondered where they actually bedded their dates. At all "Greek" events there were chaperones, and almost no one had a car, though a few seniors rented private rooms just off campus. The girls, moreover, lived mostly in sororities, where there were curfews. Once the weather warmed up (the last two weeks of May), couples drifted off at night into the arboretum.

Then there were all the bohemian girls who joked and called themselves beatniks, but they despised the frat boys. The bohemians lived in dorms, too, but during the day or early evening they seemed to be available. You could tell the bohemian girls by their black stockings and black turtleneck sweaters and by their black boyfriends and regular presence in the middle room of the Student Union. Jack and the Greeks were in the first room, nerds and foreigners in the third; the bohemians were invariably in the middle room. Jack would get high on coffee and chatter endlessly to Wendy or Alice or Omar or Rebekkah in the middle room. He was supposed to be studying for biology or writing a paper on Buddhism, but when the talk got going, he was able to convince himself that this wit and fire, this laughter, and above all these theories about life and love—that all this was more important and original than mere "academics." At boarding school, every moment of the day had been regulated and measured by bells, but here the classes were few, and if a student skipped a lecture, no one was taking attendance. Maybe it was typical of Jack's excessively pliable nature that both the bohemians and the fraternity boys felt so at ease with him and counted him as one of them. He was a "nice" boy who knew how to please others; one of his friends thought he should become a diplomat. But in his heart Jack knew he wasn't a natural pleaser. At the end of an evening with friends he was always exhausted.

By the time he was a junior, he was living in a little room in the back of an old wood house. He shared a bathroom with two other guys, but that seemed no hardship to him, used to group living as he was. One of the guys on his floor was a painting student who never smiled, or if he did, it was out of sync and came long after everyone else had finished. Then he'd concede a pained smile with just half of his mouth, as if he'd figured out that that was what human beings did and he should join them and make an effort.

His name was Paul, and two or three times he invited Jack into his room for a cup of espresso, which he brewed in an Italian pot on his hot plate.

"Hey, neat," Jack said, intrigued by so much rumbling to produce the merest black sludge, and added, "I really like these big baseball players." He nodded toward a canvas so large it would take careful maneuvering to get it out the side entrance and down the fire escape. Some patches were detailed and realistic (a player's face, another's mitt), but the rest was in soft focus and drowned in circumambient color—a wash of green exceeding the stadium grounds and floating over into the surround, a blue sky leaking down onto the stands.

"Really?" Paul asked, lifting one eyebrow. But his delayed twitch of a smile showed he was pleased.

Paul's off -kilter responses made Jack uneasy. Jack didn't like complexity. Maybe because his childhood had been so stormy that now he longed for peaceful moral weather and the first hint of turbulence would cause him to flee south.

And yet he found Paul appealing—his long, hairless body, pale as pie dough, crimped here and there to bulge up as a big nose, a narrow, downturned mouth, an outsize, restless Adam's apple. He had no hair under his arms, which Jack knew because Paul painted bare-chested, often wearing nothing but his Jockey shorts, which looked two sizes too small, too tight and dubiously yellow; the elastic on one leg was broken and dangling down like some scary nodule formerly alive. His nipples were ridiculously small and dark: Nordic berries stunted by the cold. His ribs were as visible as hands around a cup. Wendy, his broad-hipped girlfriend, bursting out of her faded jeans and jiggling recklessly around in her University of Michigan sweatshirt, her glossy black ponytail perched on one shoulder like an expensive pet, was always smiling guiltily. She knew that her plentiful body amused, but might potentially off end, her austere lover. Everyone teased Wendy and everyone loved her, as if she were a prehistoric fertility symbol found one day among the tea things. But Paul often seemed pained, as much by Jack's calculated nice-guy blandness as by Wendy's alternating exuberance and sheepishness. Just by being quiet and staring at them hard, Paul could provoke self-conscious reactions in his friends.

Jack imagined that by the time Paul was forty he'd be sour and closed off , but since now he was just twenty he was still curious and still strangely underrehearsed for his life. He didn't know quite yet how he worked or what he wanted.

One day Paul invited Jack in for a cup of tea; he was painting in the nude. Jack was seated on a folding chair that Paul had cushioned with newspapers to protect Jack's clothes.

Jack felt uneasy, he couldn't say why. For chrissake, he hadn't set this deal up. Of course, maybe it was the way bohemians thought, or didn't think—it didn't mean a thing to them, clothes optional ... he was certain his face was bright red. Paul would be sure to notice and laugh at him for being so square. Yes—that's what it was: a test for Jack that Jack was flunking.

Paul said, as he handed him the cup, "Maybe you'd pose for me one day. I couldn't pay you much—maybe two bucks an hour."

"Yeah. Maybe. My schedule—"

"Okay, okay," Paul said, smiling sarcastically as if Jack had admitted some sort of defeat.

That night, as he lay in his narrow bed, which was too short for his lanky body, Jack turned so often that eventually his feet were hanging out in the cold. Finally he had to sleep on his side with his knees drawn up to his chest. He slowly rubbed one foot against the other for warmth. He resented Paul for putting him in the same derisory category as big-ass Wendy. It would be so easy to fall into thinking that Paul was somehow superior with his stinting smiles, his cool arrogance, the cobalt blue diagonal of paint across his ribs, his loping walk, tucked-in buttocks, scrotum as red and veined as an autumn leaf in the rain, and the penis as big and dark as a bloodsucker when you suddenly notice it in horror and salt it and pull it off.

After that Jack avoided Paul, except he would sometimes hear Wendy laughing, mid-sex. Her laughter rang through two doors and her ecstasy aroused him. He could imagine her writhing on his own cot, spilling over the margins, her arms rising, turning her round melons into long gourds, full at the bottom and narrow at the top. Paul's hips were only half the breadth of Wendy's. Jack had noticed the difference. Jack became so horny that he ended up jerking off while picturing them, Paul's buttocks dimpling as he thrust, Wendy exulting as she held an invisible tambourine in each hand.

(Continues...)



Excerpted from JACK HOLMES AND HIS FRIEND by Edmund White Copyright © 2012 by Edmund White. Excerpted by permission of Bloomsbury. 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.

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Sort by: Showing all of 5 Customer Reviews
  • Posted February 10, 2012

    more from this reviewer

    Top notch White

    As enjoyable as anything he has written. Highly recommended.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted February 9, 2012

    Amazing observations and characters

    I think every time I read something by Edmund White I start off thinking this is going to be a bit dry, but I'm glad I keep going back. I often find his characters' thoughts to be some of the most soul-baring and resonant I've ever encountered. Jack Holmes' unrequited emotions for his best friend over a period of years might be a kind of suffering that's a lot less likely now that it's much more acceptable to have a same-sex partner, but I think probably most people have experienced the hopelessness of loving or wanting someone inaccessible, and this book explores that territory beautifully.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 28, 2012

    See 1-29-12 NYT Book Review

    Explores male bisexuality in a sweeping, multi-decade novel set in New York City.

    1 out of 5 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted February 28, 2012

    don't know

    I don't understand why you are sending me books I did not order.

    0 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 3, 2012

    Don't waste your money

    I did not find this book interesting or entertaining. I wish I had not bought it.

    0 out of 4 people found this review helpful.

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