Nimo's War, Emma's War: Making Feminist Sense of the Iraq War / Edition 1

Paperback (Print)
Rent from
(Save 67%)
Est. Return Date: 07/04/2015
Buy New
Buy New from
Buy Used
Buy Used from
(Save 32%)
Item is in good condition but packaging may have signs of shelf wear/aging or torn packaging.
Condition: Used – Good details
Used and New from Other Sellers
Used and New from Other Sellers
from $3.32
Usually ships in 1-2 business days
(Save 89%)
Other sellers (Paperback)
  • All (23) from $3.32   
  • New (6) from $19.03   
  • Used (17) from $3.32   


Nimo, Maha, Safah, Shatha, Emma, Danielle, Kim, Charlene. In a book that once again demonstrates her flair for blending the textures of everyday life with shrewd political insights, Cynthia Enloe looks closely at the lives of eight women, four Iraqis and four Americans, during the war in Iraq. Enloe profiles a Baghdad beauty parlor owner, a teenage girl who survived a massacre, an elected member of Parliament, the young wife of an Army sergeant, and an African American woman soldier, among others. Bringing to light unexpected theaters of operation-prostitution, sexual assault, marriage, ethnic politics, sexist economies-these stories are a brilliant entryway for exploring the actual causes, costs, and long-range consequences of war.

Read More Show Less

Editorial Reviews

From the Publisher

"Stories help illustrate how gendered politics change over the course of a war and how this thing we call war itself changes over time."--Ms. Magazine

"Enloe's new work is a great addition to her oeuvre on women, militarism and consumer culture in international perspective."--Times Higher Education

Ms. Magazine
“Stories help illustrate how gendered politics change over the course of a war and how this thing we call war itself changes over time.”
Times Higher Education - Carrie Rentschler
“Enloe’s new work is a great addition to her oeuvre on women, militarism and consumer culture in international perspective.”
Read More Show Less

Product Details

  • ISBN-13: 9780520260788
  • Publisher: University of California Press
  • Publication date: 6/2/2010
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 336
  • Sales rank: 1,452,791
  • Product dimensions: 6.00 (w) x 8.90 (h) x 1.00 (d)

Meet the Author

Cynthia Enloe is Research Professor of Women's Studies and
International Development at Clark University. She is the author of Bananas, Beaches and Bases: Making Feminist Sense of
International Politics, Maneuvers: The International Politics of Militarizing Women's Lives, The Morning After: Sexual Politics at the End of the Cold War,
and The Curious Feminist: Searching for Women in a New Age of Empire, all from UC Press.
Cynthia Enloe won the Howard Zinn Lifetime Achievement in Peace Studies Award from the Peace and Justice Studies Association (PJSA).

Read More Show Less

Read an Excerpt

Nimo's War, Emma's War

Making Feminist Sense of the Iraq War

By Cynthia Enloe


Copyright © 2010 The Regents of the University of California
All rights reserved.
ISBN: 978-0-520-94595-1


Eight Women, One War

Nimo, Maha, Safah, Shatha, Emma, Danielle, Kim, and Charlene. Four Iraqi women, four American women. I have never met any of these women. But I feel as though I have been living with them for the past six years. They have changed my mind. My mind slips into a particular mood when I think of each of these women. My thoughts orient themselves differently when I give them over to any one of them, while walking to the subway, or standing in line at the post office. Nimo takes me to a small beauty salon where women chat easily, the lights flicker and the water sputters out of the faucet; Kim makes me feel what it is like to be awoken in the middle of the night by a phone call from an anxious military wife. The sputtering water, the nighttime phone call—these are among women's lived realities during the long Iraq War.

Nimo, Maha, Safah, Shatha, Emma, Danielle, Kim, and Charlene. I am deeply indebted to each one of them. They have taught me anew that there are always fresh questions to ask about what it takes to wage wars—about all the efforts to manipulate disparate ideas about femininity, about the attempts to mobilize particular groups of women, about the pressures on certain women to remain loyal and silent. There are more efforts to control women and to squeeze standards for femininity and manliness into narrow molds than most war wagers will admit. There are far more efforts than most analysts care to acknowledge.

Together, these eight women also have taught me that in the midst of warfare the politics of marriage, the politics of femininities, the genderings of racial and ethnic identities, and the workings of misogyny each continue. Warfare does not stop the gendered clock. Sometimes, it sets the hands of the clock back.

These eight women have taught me, too, to be a lot more curious about what skills and resources it takes for a woman to survive a war: persuading an uncle to take you and your children into his small apartment after militiamen have murdered your husband and destroyed your home; having workmates who will cover for you when you have to travel across the country to your wounded son's bedside; mustering the gumption to confront the strangers who have occupied your house; creating new goals for yourself after losing an arm; returning to school after seeing your aunt shot point-blank.

Nimo, Maha, Safah, Shatha, Emma, Danielle, Kim, and Charlene. I don't think any of these eight women ever have met, though perhaps in prewar days Maha walked by Nimo's Baghdad beauty salon or Kim saw Danielle on ESPN as she smoothly outmaneuvered other players on the basketball court.

The Iraq War started when the U.S.-led coalition invaded Iraq in March 2003 and then was fought on many fronts for months and years afterward. We can draw new understandings of warfare and wartimes by paying close attention to these eight women without turning any one of them into merely the iconic "working woman," "wife," "widow," "mother," or "woman soldier." Nor do we need to succumb to the temptation to treat each of these eight women as so distinctive in her experiences and personality that she stands alone, outside history. To be curious about a particular woman's experiences and ideas, to respect her individuality, is not to say that she is unable to shed light on larger canvases of warfare and wartime.

This double-claim—that each of these eight women is neither unique nor universal—is easier to assert, of course, than it is to demonstrate. Readers, I think, will see me tussling here with the dynamic relationship between generality and particularity as I try to understand each woman's experience for its own sake, while simultaneously seeking to tease out from her life the wider implications of those experiences.

My own inclination is toward comparison and generalization, to delve into one to shed light on the other, to use the particular to reveal the general. That's the teacher in me. At the same time, though, more perhaps than in any of my previous writings, I have worried about doing justice to each woman individually. Emma is more than a Latina, more than an American mother of a teenage son. Safah is more than an Iraqi teenage girl, more than a massacre survivor. I realize now that I scarcely know how much more.

As the scores of notes in the following chapters will attest, there have been dozens of books, reports, and articles about Iraqi women's and American women's experiences of the Iraq War. I have learned from them all. What I am suggesting in this modest book is that we have something important to discover by thinking of Iraqi and American women together—not because they have known each other (though a few have), not because they have made common alliance (though some have), but, rather, because thinking about women on several "sides" in the same war might make starkly visible how wars and their prolonged aftermaths depend both on particular ideas about and practices of femininity and masculinity, and on women in warring states not discovering their connections with one another.

By taking each of these eight women seriously and exploring their varied wartime experiences together, I have been led toward two new fundamental understandings about war. First, these eight women, considered together, have underscored for me how every war takes place—is waged, is coped with, is assessed—at a particular moment in ongoing gendered histories, national gendered histories, and international gendered history. Shatha, for instance, competed for a seat in the wartime Iraqi parliament at a time when women's rights activists internationally were successfully pressing governments to establish legislative quotas for women. Danielle enlisted in the U.S. Army at a time in U.S. history when government officials no longer could enjoy the masculinized luxury of filling its ranks with male conscripts. That is, the early 2000s activists' push for establishing parliamentary quotas for women helped shape the Iraq War. So did U.S. male war strategists' reluctant postconscription acceptance of women recruits.

In military academies, civilian classrooms, and on blogs and editorial pages all over the world, commentators compare wars—the Vietnam War with the Chechen War, the Yugoslav War with the Congo War. So what is new here is not that wartime observers chart similarities and differences between wars. Rather, what paying close attention to these eight women newly reveals is that any given war takes place not simply at a particular moment in the history of weapons technology (was the stirrup invented yet? Which side had access to remote-controlled drones?). Nor has any given war taken place just at a particular moment in the evolution of the nation-state (did the warring state have effective tax collectors? Could the state's war strategists call on a widely felt national identity strong enough to trump communal loyalties?). Not even awareness of the evolution of political economies is sufficient (would Western state elites have fought over Iraq if petroleum-dependent industrialization had not been then in full bloom?).

Those conventional historicized investigations alone, I've found, are not enough to make adequate sense of a given war or to compare wars reliably. Any war takes place at a particular moment in the history of gender—that is, in the history of women's organizing, in the history of women's relationships to the state, in the history of contested masculinities, in the history of patriarchy's rationalization and reach. The Iraq War is better understood if we ask how its occurring at a distinctive point in the national and international histories of women and of patriarchy has shaped its causes, its winding course, and its aftermath.

Taking on board this deeper understanding of the historicity of warfare would alter the required reading lists at West Point and Sandhurst, but also at Oxford, Berkeley, and Tokyo University. Professors teaching courses on military history and national security doctrines would have to start assigning books on the history of marriage. They would have to require their students to delve into historicized investigations of wartime prostitution. They themselves—as historians and analysts of war and national security—would have to become familiar with the rich primary sources on women's movements in 1890s Russia, 1910s Britain, 1920s Korea, 1930s Japan, 1960s Iran, 1970s United States, 1980s Yugoslavia, 1980s Iraq, 1990s Rwanda, 2000s Congo, and 2000s Pakistan.

A second new idea started to take shape as I spent more and more time in my head with Nimo, Maha, Safah, Shatha, Emma, Danielle, Kim, and Charlene. I gradually began to see war's distinct phases, gendered phases. The politics of any war is unlikely to be the same at its start, its middle, and its end. Think of 1940 Britain compared with 1942 and 1945 Britain. Furthermore, the differences between any war's own time periods are likely to be marked by distinctly different gender dynamics and preoccupations. Feminist historians of World Wars I and II have discovered this. Feminist historians of the Crimean, Boer, and Iran-Iraq wars have confirmed this. The politics of marriage, of property, of sexuality, of women's paid work, of parenting—each changed in the midst of each war.

Each of those gendered political changes altered the dynamics of war—who were the key players, what were their resources and their rationalizations. We ignore the wartime transformations of marriage politics at our own analytical risk.

Gendered wartime phases marked the Iraq War as well. For instance, Iraqi women's beauty salons did not become the target of bomb-throwing militiamen at the outset of the Iraq War. They were set afire in its second gendered phase, when some men organized into militarized groups had convinced themselves that a certain practice of feminized beauty was subverting the country's wartime civic order. Similarly, Charlene's maternal work to heal a shattered young American male veteran didn't attract much congressional attention until later in the Iraq War, when her government's inadequate care of returning soldiers became the focus of press reports.

This is not to argue that all wars proceed lockstep through identical gendered phases. The gendered phases of the Iraq War may be quite different than those of, say, the 1990s Yugoslav wars or World War I. In fact, the gendered wartime and postwar phases may turn out to be quite different in their timing and their patterns in the several societies engaged in the same war. Thus while feminized beauty was politicized in 2005 Iraq and the United States, the wartime politics of beauty in both countries were not identical. Yet these eight women have taught me to be alert to gendered phases within any war, thus to stay focused month by month, year by year to often subtle changes: which masculinities were privileged early in the war versus two years later; which women became the objects of political elites' anxiety as the death rates rose, which as they fell; what issues were prioritized by politically engaged women initially, though later strategically downgraded. Paying attention to these eight particular women over time throughout this one war has taught me to cultivate a long attention span, to eschew analytical laziness, to avoid referring simplistically to "the war."

I began to notice each of these eight women one by one during the early phase of the Iraq War. At that point, in 2003 and 2004, I was not intent upon collecting eight women's wartime stories. I was just seeking to gain a more subtle understanding of this war by listening to the voices of particular women. This is an enterprise feminists have taught us is always analytically rewarding.

I was freshly reminded of this reward when, in the later phases of the Iraq War, I began reading a new book published by the feminists of the antimilitarism group Women in Black, Belgrade. To help readers comprehend not only the war at its outset and at its peak, but also the war in its ongoing aftermath, the editors had decided to present women's own firsthand accounts of the 1990s war that tore apart the former Yugoslavia. They called their book Womens Side of War. The Belgrade Women in Black editors were committed to letting women speak for themselves about what they each did in this war, what the war did to them, and how, a decade later, they continued to think about both. Readers can hear one hundred and ten women's voices between this book's covers. Much of what they say is surprising, a lot of it is discomforting. Some women never before had spoken about these experiences. Other women had been writing since the war began but continued to reassess their earlier thoughts. Perhaps one day Iraqi and American (and British, Georgian, Korean, Fijian, Spanish, Polish, and Australian) feminist activist editors will collect in one place diverse women's voices telling of their experiences in the Iraq War.

To hope for such an ambitious volume of women's firsthand recollections is not to say that there is no place for analysis. Instead, what feminists from many countries have taught us is that reflective thinking requires a perpetual return to women's own voices. That is what some thoughtful journalists offered us in the midst of the Iraq War.

The journalists whose profiles of individual Iraqi and American women I have relied upon here did not select women who were making wartime headlines. Lynndie England, Jessica Lynch, and Condoleezza Rice are not here. Nor did these innovative journalists treat the women they featured as mere symbols or abstractions or widgets. Each woman was portrayed with her own voice, her own neighbors, relatives, and allies, with her own resources, calculations, and worries. At this time in American media history, when money-strapped newspapers are closing their overseas bureaus and some cities' daily papers are disappearing altogether, I found myself more indebted than ever to the women and men working as professional journalists—and to those editors who provided them with the discretion, resources, and time to do this sort of painstaking reporting.

I am not sanguine about the press. Its flaws are multiple and run deep: coziness with governmental sources, nervousness about advertisers' sensibilities, vulnerability to publishers' ideological interventions, and preoccupation with corporate profits. I value commentators. I read and listen to a lot of them, benefiting from their insights. Yet their commentaries necessarily rely on the expanded, not shrunken, existence of careful, detailed, ethical, energetic, and sometimes risky reporting done by on-the-ground journalists. Sabrina Tavernise's decision to treat a small Baghdad beauty parlor as a site for gathering wartime news, Damien Cave's decision to pay attention to a Texas high school in order to reveal how a government acquires its soldiers—these journalistic decisions (and their editors' support for these decisions) make it possible for citizens to begin to make sense of the gendered politics of wars.

As will become obvious in the chapters that follow, however, we acquire the means for crafting a full and nuanced analysis of any war when we place the highest quality journalism in an enriched context that researchers can provide. Thus the work of researchers within the World Health Organization, Oxfam, the United Nations High Commission for Refugees, Refugees International, the International Committee of the Red Cross, UNICEF, Small Arms Survey, Amnesty International, and Human Rights Watch, many of them in partnership with Iraqi researchers, has clarified the patterns, the preconditions, and consequences to which the journalists' accounts first gave substance.

Distinctive to the Iraq War (and the contemporaneous conflicts in Afghanistan, Pakistan, Congo, Sudan, Sri Lanka, and Somalia) is the prominence of researchers trained in gendered analysis who are working inside these organizations. Employing these gender analytical skills made their reports on the Iraq War more realistic and thus more useful. Feminist-informed gender analysis is not a luxury; it is a necessity. Consequently, we know a lot more about the interactions in this war, for instance, between men as refugees, women as refugees, men in relief agencies, and women in relief agencies than we did about those crucial relationships during World War II or the Pakistan-Bangladesh War.

Wartime research also has its own gendered history. That gendered history of research—what is deemed worth asking, what is never asked, who is considered worth interviewing, who is considered too marginal to interview—shapes how we see any war; it determines what lessons we take away from any war. Why did it take until the 1990s for the Japanese Imperial government's 1930s–40s program of sex slavery to come to light? Why did the U.S. occupation authorities' racialized dating policies in postwar Germany only surface fifty years later? The answer in part is that in each instance powerful state actors had a stake in suppressing knowledge about these policies. But these silences also reflect the absence of systematic gender analysis in the tool kits of the hundreds of researchers who investigated, allegedly, every conceivable dimension of World War II. The full dimensions and multiple processes of the Iraq War are far more exposed because this war broke out when gender analysis was having an impact on at least some researchers' curiosities. We all are the beneficiaries of that gendered exposure.


Excerpted from Nimo's War, Emma's War by Cynthia Enloe. Copyright © 2010 The Regents of the University of California. Excerpted by permission of UNIVERSITY OF CALIFORNIA PRESS.
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.

Read More Show Less

Table of Contents

List of Illustrations ix

Preface xi

1 Eight Women, One War 1

The Iraqi Women

2 Nimo: Wartime Politics in a Beauty Parlor 19

3 Maha: A Widow Returns to Baghdad 45

4 Safah: The Girl from Haditha 72

5 Shatha: A Legislator in Wartime 93

The American Women

6 Emma and the Recruiters 129

7 Danielle: From Basketball Court to Baghdad Rooftop 150

8 Kim: "I'm in a Way Fighting My Own War" 171

9 Charlene: Picking Up the Pieces 192

Conclusion: The Long War 211

Notes 227

Bibliography 271

Index 295

Read More Show Less

Customer Reviews

Average Rating 5
( 9 )
Rating Distribution

5 Star


4 Star


3 Star


2 Star


1 Star


Your Rating:

Your Name: Create a Pen Name or

Barnes & Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation


  • - By submitting a review, you grant to Barnes & and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Terms of Use.
  • - Barnes & reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
Sort by: Showing all of 9 Customer Reviews
  • Anonymous

    Posted February 19, 2015

    To on the couch

    This post counts as 20 so make another! Please?

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

    Posted January 29, 2015

    Oh baby!

    Made me wet! Keep going PLEASE!

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

    Posted October 18, 2014

    To on the couch


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

    Posted August 7, 2014


    It got me turned on high. Keep going!

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

    Posted August 6, 2014

    On the Couch

    (I realize the last characters weren't introduced, it's sort of a continuation of my last story. But basically, Alyssa and Jordan have been friends. Thanks for the suggestions, I would do all of them if I could, but I picked a few I'm going to use. Keep them coming...I mean, keep them c<_>uming;) ) <p> "Jaya keep your phone on!" Alyssa called up to her daughter before walking out the door, leaving the hor<_>ny 15 year old for the evening. Her and her dad, Jordan were going out on a date and Jaya was left home with their golden retriever, Max, and their cat, Lynx. Jaya always plesured herself while fantasizing about her father when she was hor<_>ny, she'd watched he and Alyssa have se<_>x, and he was big. She longed to have his thick sh<_>aft ramming away inside her vir<_>gin cu<_>nt almost every day, but today it wasn't cutting it. A strange moaning noise came from downstairs and Jaya went to investigate. Apartently, se<_>x was in the air, she came down to see Max holding Lynx by the scruff, mercilessly fu<_>cking the tight co<_>re. Lynx seemed to be enjoying it, she rocked her hips back to meet his every thrust, and Max hu<_>mped her, a dog. Jaya sat down and let a hand slide into her pan<_>ties. Suddenly she noticed something...was Max looking at her? He was! While he fu<_>cked one pu<_>ssy he was looking at Jaya, thinking, wishing, he was fu<_>cking hers. Maxs brown eyes stared at Jaya, imagining the way her t<_>its would jiggle up and down while he shot his load into the shecag. Jaya was now ready to cu<_>m everywhere, and Max could tell. He quickly abandoned Lynx and ran to Jaya, barking. Jayas mind went blank, she was a master to her lust, and as such stripped her clothes and bent over the couch. Max moun<_>ted his new bi<_>tch and wasted no time in placing his pr<_>ink inside her cu<_>nt. He began hu<_>mping and the rest was history. His paws curved over her waist as he pistoned his co<_>ck in and out Jayas pus<_>sy. His ba<_>lls swelled and prepared to empty inside this extremely tight va<_>gina, and he growled in pleasure when he noted the way her ti<_>ts bounced just the way he imagined. Luke walked in the back door, looking for Jaya. He wanted to take his girlfriend out to eat, but was thrown off gurd to see her bent over the couch with a shaggy dog fu<_>cking her brains out. Luke took the oppritunity to get lucky with his gf and stripped na<_>ked. He slid under Jaya and gave her cl<_>it a light kiss. His toung rubbed it in circles and went into her sli<_>t, almost meeting with Maxs ba<_>lls. Luke moved up go suck on her big ni<_>pples while his hand continued stroking her cl<_>it. His err<_>ect pen<_>is stood up and touched Jayas cu<_>nt just were Maxes co<_>ck slid in and out. Each hu<_>mp brought his b<_>alls smacking into Lukes di<_>ck and made him almost instantly ji<_>zz all over both Max and Jaya. "You like getting fu<_>cked bh a dog? You like doggie co<_>ck in your pu<_>ssy?" Jake said, insterting his co<_>ck in her a<_>ss. Lynx, not wanting to be left out, started licking and sucking Lukes ba<_>lls. Jakes hands fondled Jayas ni<_>pples while his co<_>cked rammed into her a<_>ss. Max hu<_>mped his bi<_>tch wildly while her cl<_>it grinded into his cro<_>tch, and Lynx suckled all four ba<_>lls. "Oh fu<_>ck! Get your co<_>cks in me! Fu<_>ck my a<_>ss!" Jaya cried. Her vag<_>ina squealched as Maxs large co<_>ck began leaking juices, and when Jake gave his ba<_>lls a saueeze, he ca<_>me.

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

    Posted November 25, 2013

    To Blossom's Journey

    Forget what I said earlier. This is good stuff!! Rarley do you find an ero<_>tic story with a storyline like this. I appreciate the fact that you spent the whole chapter building story. Well done!

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

    Posted November 24, 2013

    To Blossem

    Continue plz! I MUST KNOW

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

    Posted November 22, 2013

    Blossoms Journey 2

    Quickly getting Torch off her, she went to Ashen." What were you doing?" He mewed, looking hurt." You were cheating on me! Did you think i wouldnt get payback?" Blossom yowled, green eyes blazing in rage." Well, i wanted to ma<_>te, but you never gave the slightest hint you wanted to be fu<_>cked!" Ashen retorted. Then the other she came in. She smelled of another clan." Who are you?" Demanded Blossom, unsheathing her claws." Shes my friend, Rain. She is in heat." He mewed. Torch remained silent as they went on arguing." Ok, forget this ever happened." Rain said. The other cats nodded." I should get back to my camp." She added, quickly padding off." We should too." Torch mewed, finally speaking. Soon they arrived at the camp. It was sundown. Curling up in her nest, Blossom drifted off to sleep. The next morning, she woke up to more arguing." You dont deserve her! You cheated!" She heard Torch mew." She loves me! Im her mate!" Growled Ashen." Would you two just shut up? Ashen is my mate, and its staying that way." Blossom grumbled. Torch glared at Ashen angerly and stormed out of the den. Blossom looked at Ashen." What was that all about?" She asked." He wants to be your mate. I think hes desperate for you." Ashen replied solomnly

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

    Posted November 23, 2013

    To below

    Good job keep going!

    Was this review helpful? Yes  No   Report this review
Sort by: Showing all of 9 Customer Reviews

If you find inappropriate content, please report it to Barnes & Noble
Why is this product inappropriate?
Comments (optional)