The Quiet American

( 27 )


While the French Army in Indo-China is grappling with the Vietminh, back in Saigon a young and high-minded American named Pyle begins to channel economic aid to a "Third Force."

Caught between French colonialists and the Vietminh, Fowler, the narrator and seasoned foreign correspondent, observes: "I never knew a man who had better motives for all the trouble he caused." As young Pyle's policies blunder on into bloodshed, the older man finds it impossible to stand aside as an ...

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While the French Army in Indo-China is grappling with the Vietminh, back in Saigon a young and high-minded American named Pyle begins to channel economic aid to a "Third Force."

Caught between French colonialists and the Vietminh, Fowler, the narrator and seasoned foreign correspondent, observes: "I never knew a man who had better motives for all the trouble he caused." As young Pyle's policies blunder on into bloodshed, the older man finds it impossible to stand aside as an observer. But Fowler's motives for intervening are suspect, both to the police and to himself: for Pyle has robbed him of his Vietnamese mistress.

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Editorial Reviews

From the Publisher
"No serious writer of this century has more thoroughly invaded and shaped the public imagination than Graham Greene." —Time
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Product Details

  • ISBN-13: 9780142001387
  • Publisher: Penguin Publishing Group
  • Publication date: 11/5/2002
  • Edition description: Reissue
  • Pages: 192
  • Sales rank: 584,462
  • Product dimensions: 5.12 (w) x 7.72 (h) x 0.54 (d)

Meet the Author

Graham Greene

Graham Greene (1904-1991) was a prolific novelist, short story writer, travel writer and children's book writer. Many of his novels and short stories have been successfully adapted to the movie screen, including The Third Man (directed by Orson Welles), The End of The Affair, and The Quiet American

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    1. Also Known As:
      Henry Graham Greene (birth name)
    1. Date of Birth:
      October 2, 1904
    2. Place of Birth:
      Berkhamsted, England
    1. Date of Death:
      April 3, 1991
    2. Place of Death:
      Vevey, Switzerland

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After dinner I sat and waited for Pyle in my room over the rue Catinat; he had said, ‘I’ll be with you at latest by ten,’ and when midnight struck I couldn’t stay quiet any longer and went down into the street. A lot of old women in black trousers squatted on the landing: it was February and I suppose too hot for them in bed. One trishaw driver pedalled slowly by towards the riverfront and I could see lamps burning where they had disembarked the new American planes. There was no sign of Pyle anywhere in the long street.

Of course, I told myself, he might have been detained for some reason at the American Legation, but surely in that case he would have telephoned to the restaurant — he was very meticulous about small courtesies. I turned to go indoors when I saw a girl waiting in the next doorway. I couldn’t see her face, only the white silk trousers and the long flowered robe, but I knew her for all that. She had so often waited for me to come home at just this place and hour.

‘Phuong,’ I said — which means Phoenix, but nothing nowadays is fabulous and nothing rises from its ashes. I knew before she had time to tell me that she was waiting for Pyle too. ‘He isn’t here.’

Je sais. Je t’ai vu seul à la fenêtre.

‘You may as well wait upstairs.’ I said. ‘He will be coming soon.’

‘I can wait here.’

‘Better not. The police might pick you up.’

She followed me upstairs. I thought of several ironic and unpleasant jests I might make, but neither her English nor her French would have been good enough for her to understand the irony, and, strange to say, I had no desire to hurt her or even to hurt myself. When we reached the landing all the old women turned their heads, and as soon as we had passed their voices rose and fell as though they were singing together.

‘What are they talking about?’

‘They think I have come home.’

Inside my room the tree I had set up weeks ago for the Chinese New Year had shed most of its yellow blossoms. They had fallen between the keys of my typewriter. I picked them out. ‘Tu es troublé,’ Phuong said.

‘It’s unlike him. He’s such a punctual man.’

I took off my tie and my shoes and lay down on the bed. Phuong lit the gas stove and began to boil the water for tea. It might have been six months ago. ‘He says you are going away soon now,’ she said.


‘He is very fond of you.’

‘Thank him for nothing,’ I said.

I saw that she was doing her hair differently, allowing it to fall black and straight over her shoulders. I remembered that Pyle had once criticized the elaborate hairdressing which she thought became the daughter of a mandarin. I shut my eyes and she was again the same as she used to be: she was the hiss of steam, the clink of a cup, she was a certain hour of the night and the promise of rest.

‘He will not be long,’ she said as though I needed comfort for his absence.

I wondered what they talked about together. Pyle was very earnest and I had suffered from his lectures on the Far East, which he had known for as many months as I had years. Democracy was another subject of his — he had pronounced and aggravating views on what the United States was doing for the world. Phuong on the other hand was wonderfully ignorant; if Hitler had come into the conversation she would have interrupted to ask who he was. The explanation would be all the more difficult because she had never met a German or a Pole and had only the vaguest knowledge of European geography, though about Princess Margaret of course she knew more than I. I heard her put a tray down on the end of the bed.

‘Is he still in love with you, Phuong?’

To take an Annamite to bed with you is like taking a bird: they twitter and sing on your pillow. There had been a time when I thought none of their voices sang like Phuong’s. I put out my hand and touched her arm — their bones too were as fragile as a bird’s.

‘Is he, Phuong?’

She laughed and I heard her strike a match. ‘In love?’ — perhaps it was one of the phrases she didn’t understand.

‘May I make your pipe?’ she asked.

When I opened my eyes she had lit the lamp and the tray was already prepared. The lamplight made her skin the colour of dark amber as she bent over the flame with a frown of concentration, heating the small paste of opium, twirling her needle.

‘Does Pyle still not smoke?’ I asked her.


‘You ought to make him or he won’t come back.’ It was a superstition among them that a lover who smoked would always return, even from France. A man’s sexual capacity might be injured by smoking, but they would always prefer a faithful to a potent lover. Now she was kneading the little ball of hot paste on the convex margin of the bowl and I could smell the opium. There is no smell like it. Beside the bed my alarm-clock showed twelvetwenty, but already my tension was over. Pyle had diminished. The lamp lit her face as she tended the long pipe, bent over it with the serious attention she might have given to a child. I was fond of my pipe: more than two feet of straight bamboo, ivory at either end. Two-thirds of the way down was the bowl, like a convolvulus reversed, the convex margin polished and darkened by the frequent kneading of the opium. Now with a flick of the wrist she plunged the needle into the tiny cavity, released the opium and reversed the bowl over the flame, holding the pipe steady for me. The bead of opium bubbled gently and smoothly as I inhaled.

The practised inhaler can draw a whole pipe down in one breath, but I always had to take several pulls. Then I lay back, with my neck on the leather pillow, while she prepared the second pipe.

I said, ‘You know, really, it’s as clear as daylight. Pyle knows I smoke a few pipes before bed, and he doesn’t want to disturb me. He’ll be round in the morning.’

In went the needle and I took my second pipe. As I laid it down, I said, ‘Nothing to worry about. Nothing to worry about at all.’ I took a sip of tea and held my hand in the pit of her arm. ‘When you left me,’ I said, ‘it was lucky I had this to fall back on. There’s a good house in the rue d’Ormay. What a fuss we Europeans make about nothing. You shouldn’t live with a man who doesn’t smoke, Phuong.’

‘But he’s going to marry me,’ she said. ‘Soon now.’

‘Of course, that’s another matter.’

‘Shall I make your pipe again?’


I wondered whether she would consent to sleep with me that night if Pyle never came, but I knew that when I had smoked four pipes I would no longer want her. Of course it would be agreeable to feel her thigh beside me in the bed — she always slept on her back, and when I woke in the morning I could start the day with a pipe, instead of with my own company. ‘Pyle won’t come now,’ I said. ‘Stay here, Phuong.’ She held the pipe out to me and shook her head. By the time I had drawn the opium in, her presence or absence mattered very little.

‘Why is Pyle not here?’ she asked.

‘How do I know?’ I said.

‘Did he go to see General Thé?’

‘I wouldn’t know.’

‘He told me if he could not have dinner with you, he wouldn’t come here.’

‘Don’t worry. He’ll come. Make me another pipe.’ When she bent over the flame the poem of Baudelaire’s came into my mind: ‘Mon enfant, ma soeur . . .’ How did it go on?

Aimer à loisir,
Aimer et mourir
Au pays qui te ressemble.

Out on the waterfront slept the ships, ‘dont l’humeur est vagabonde.’ I thought that if I smelt her skin it would have the faintest fragrance of opium, and her colour was that of the small flame. I had seen the flowers on her dress beside the canals in the north, she was indigenous like a herb, and I never wanted to go home. ‘I wish I were Pyle,’ I said aloud, but the pain was limited and bearable — the opium saw to that. Somebody knocked on the door.

‘Pyle,’ she said.

‘No. It’s not his knock.’

Somebody knocked again impatiently. She got quickly up, shaking the yellow tree so that it showered its petals again over my typewriter. The door opened. ‘Monsieur Fowlair,’ a voice commanded.

‘I’m Fowler,’ I said. I was not going to get up for a policeman — I could see his khaki shorts without lifting my head.

He explained in almost unintelligible Vietnamese French that I was needed immediately — at once — rapidly — at the Sureté.

‘At the French Sureté or the Vietnamese?’

‘The French.’ In his mouth the word sounded like ‘Françung.’

‘What about?’

He didn’t know: it was his orders to fetch me.

Toi aussi,’ he said to Phuong.

‘Say vous when you speak to a lady,’ I told him. ‘How did you know she was here?’

He only repeated that they were his orders.

‘I’ll come in the morning.’

Sur le chung,’ he said, a little, neat, obstinate figure. There wasn’t any point in arguing, so I got up and put on my tie and shoes. Here the police had the last word: they could withdraw my order of circulation: they could have me barred from Press Conferences: they could even, if they chose, refuse me an exit permit. These were the open legal methods, but legality was not essential in a country at war. I knew a man who had suddenly and inexplicably lost his cook — he had traced him to the Vietnamese Sureté, but the officers there assured him that he had been released after questioning. His family never saw him again. Perhaps he had joined the Communists; perhaps he had been enlisted in one of the private armies which flourished round Saigon — the Hoa-Haos or the Caodaists or General Thé. Perhaps he was in a French prison. Perhaps he was happily making money out of girls in Cholon, the Chinese suburb. Perhaps his heart had given way when they questioned him. I said, ‘I’m not going to walk. You’ll have to pay for a trishaw.’ One had to keep one’s dignity.

That was why I refused a cigarette from the French officer at the Sureté. After three pipes I felt my mind clear and alert: it could take such decisions easily without losing sight of the main question— what do they want from me? I had met Vigot before several times at parties — I had noticed him because he appeared incongruously in love with his wife, who ignored him, a flashy and false blonde. Now it was two in the morning and he sat tired and depressed in the cigarette smoke and the heavy heat, wearing a green eyeshade, and he had a volume of Pascal open on his desk to while away the time. When I refused to allow him to question Phuong without me he gave way at once, with a single sigh that might have represented his weariness with Saigon, with the heat, or with the whole human condition.

He said in English, ‘I’m so sorry I had to ask you to come.’

‘I wasn’t asked. I was ordered.’

‘Oh, these native police — they don’t understand.’ His eyes were on a page of Les Pensées as though he were still absorbed in those sad arguments. ‘I wanted to ask you a few questions — about Pyle.’

‘You had better ask him the questions.’

He turned to Phuong and interrogated her sharply in French. ‘How long have you lived with Monsieur Pyle?’

‘A month — I don’t know,’ she said.

‘How much has he paid you?’

‘You’ve no right to ask her that,’ I said. ‘She’s not for sale.’

‘She used to live with you, didn’t she?’ he asked abruptly. ‘For two years.’

‘I’m a correspondent who’s supposed to report your war — when you let him. Don’t ask me to contribute to your scandal sheet as well.’

‘What do you know about Pyle? Please answer my questions, Monsieur Fowler. I don’t want to ask them. But this is serious. Please believe me it is very serious.’

‘I’m not an informer. You know all I can tell you about Pyle. Age thirty-two, employed in the Economic Aid Mission, nationality American.’

‘You sound like a friend of his,’ Vigot said, looking past me at Phuong. A native policeman came in with three cups of black coffee.

‘Or would you rather have tea?’ Vigot asked.

‘I am a friend,’ I said. ‘Why not? I shall be going home one day, won’t I? I can’t take her with me. She’ll be all right with him. It’s a reasonable arrangement. And he’s going to marry her, he says. He might, you know. He’s a good chap in his way. Serious. Not one of those noisy bastards at the Continental. A quiet American,’ I summed him precisely up as I might have said, ‘a blue lizard,’ ‘a white elephant.’

Vigot said, ‘Yes.’ He seemed to be looking for words on his desk with which to convey his meaning as precisely as I had done. ‘A very quiet American.’ He sat there in the little hot office waiting for one of us to speak. A mosquito droned to the attack and I watched Phuong. Opium makes you quick-witted — perhaps only because it calms the nerves and stills the emotions. Nothing, not even death, seems so important. Phuong, I thought, had not caught his tone, melancholy and final, and her English was very bad. While she sat there on the hard office-chair, she was still waiting patiently for Pyle. I had at that moment given up waiting, and I could see Vigot taking those two facts in.

‘How did you meet him first?’ Vigot asked me.

Why should I explain to him that it was Pyle who had met me? I had seen him last September coming across the square towards the bar of the Continental: an unmistakably young and unused face flung at us like a dart. With his gangly legs and his crew-cut and his wide campus gaze he seemed incapable of harm. The tables on the street were most of them full. ‘Do you mind?’ he had asked with serious courtesy. ‘My name’s Pyle. I’m new here,’ and he had folded himself around a chair and ordered a beer. Then he looked quickly up into the hard noon glare.

“Was that a grenade?’ he asked with excitement and hope.

‘Most likely the exhaust of a car,’ I said, and was suddenly sorry for his disappointment. One forgets so quickly one’s own youth: once I was interested myself in what for want of a better term they call news. But grenades had staled on me; they were something listed on the back page of the local paper — so many last night in Saigon, so many in Cholon: they never made the European press. Up the street came the lovely flat figures — the white silk trousers, the long tight jackets in pink and mauve patterns slit up the thigh. I watched them with the nostalgia I knew I would feel when I had left these regions for ever. ‘They are lovely, aren’t they?’ I said over my beer, and Pyle cast them a cursory glance as they went up the rue Catinat.

‘Oh, sure,’ he said indifferently: he was a serious type. ‘The Minister’s very concerned about these grenades. It would be very awkward, he says, if there was an incident — with one of us, I mean.’

‘With one of you? Yes, I suppose that would be serious. Congress wouldn’t like it.’ Why does one want to tease the innocent? Perhaps only ten days ago he had been walking back across the Common in Boston, his arms full of the books he had been reading in advance on the Far East and the problems of China. He didn’t even hear what I said; he was absorbed already in the dilemmas of Democracy and the responsibilities of the West; he was determined — I learnt that very soon — to do good, not to any individual person but to a country, a continent, a world. Well, he was in his element now with the whole universe to improve.

‘Is he in the mortuary?’ I asked Vigot.

‘How did you know he was dead?’ It was a foolish policeman’s question, unworthy of the man who read Pascal, unworthy also of the man who so strangely loved his wife. You cannot love without intuition.

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Table of Contents

Introduction vii
Suggestions for Further Reading xix
The Quiet American 1
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Customer Reviews

Average Rating 4.5
( 27 )
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See All Sort by: Showing 1 – 20 of 27 Customer Reviews
  • Anonymous

    Posted August 5, 2005

    anything but quiet

    i read this book without expecting to be pulled into the book. the narrative slowly won me over and i found myself in the middle of rice fields with the characters of the book! i feel as though i were in vietnam, walking the streets, sitting in the restaurants, having a drink with fowler and pyle. more than anything i feel as though i had entered into the mind of fowler and experienced what he was experiencing. this book transported me to another world, another time and another life. i highly recommend this book. it's not a fast paced book but one worth reading.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted August 1, 2004

    It quietly gets under your skin

    One hopes that the excellent movie (and Michael Caine's well-publicized efforts to get it released after the studio went week in the knees) will bring a wave of new readers to Graham Greene -- one of the greatest novelists of his generation. A former spy who never managed to curb his wanderlust, Greene has set his novels in every corner of the world, favoring authenticity and characterization over trite blockbuster action. For anyone interested in literary craftsmanship and/or international affairs, his books are indispensable. The Quiet American, one of his stronger efforts, is a good place to start -- but not to stop.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted June 28, 2003

    Masterful Storytelling

    It's not just the story, but how Graham Greene weaves his words. The story is masterfully told; the characters are shaped with care. It's simply one of the greatest stories I've read, on the same level of James Hilton's Lost Horizon in the realms of storytelling. The plot is superbly crafted and Greene makes it so you really care what happens despite the character's flaws; a skill which many contemporary authors seem to lack.

    1 out of 1 people found this review helpful.

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  • Posted July 10, 2013

    What I most respect Graham Greene for is his complex views on se

    What I most respect Graham Greene for is his complex views on sexual relationships. There is none of the screaming drama found in modern writing. No one stomps off in a fit of wall punching, or turns to ridiculous mind games. In The Quiet American, the young and idealist Pyle tells the jaded married British Fowler that he is in love with his mistress. They go on to have an adult friendship despite contending for the same woman. It is so refreshing to read. 

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  • Posted May 23, 2010

    I Also Recommend:


    This is a wonderfully crafted story of a cynical British foreign correspondent covering the French Indochinese war and a gung-ho, innocent American who works for the US economic mission. Both want the same girl. While the love triangle holds the story together, Greene paints an uncomfortable portrait of American foreign policy at the beginning of the Cold War and is frighteningly clairvoyant as to future American involvement in Vietnam. The book also has much to say about journalistic neutrality.

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  • Posted February 26, 2010

    more from this reviewer

    Atmospheric and poignant

    A classic and for good reason, the novel tells one perspective of the story of the beginnings of American involvement in Vietnam prior to what is now referred to as the Vietnam War, during the 1950's when it was still a French colony. Fowler is a well crafted character, as is Pyle to a lesser extent, though I agree with many critics that Phuong's character is too childish and simplistic and Greene perpetrates the same degree of "othering" that many of his peers do in this kind of writing. Still, it's a well told story, there's a great sense of tension and sense of place, and a good starting point for looking at this not-told-nearly-enough story of the US/Vietnam relationship.

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  • Anonymous

    Posted March 7, 2006


    Greene's novel was meant to shock and offend. He novelized the terrifying consequences of American geopolitical innocence. it should be read by intelligent and open minded people, and not the weak minded who see things only on one dimension.

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  • Anonymous

    Posted November 23, 2005

    filthy awful book

    Sweat, grease, muss, filth, dirt, rage, passificity, and all of the general nastiments comprise Graham Greene¿s The Quiet American. Mr. Bailey has kept to his long and unfortunate habit of assigning this novel to his AP Literature/ CC Composition and English 4 classes, and I have been the forced recipient for two years running. Graham Greene copies far to closely the elaborate disgust which society, in his view, leaches onto the world¿s innocent. Innocent, meaning foreign or disabled. I may safely say that this book easily tops my list of least favorites, seconded only by every John Steinbeck novel ever written. The plot of The Quiet American centers around a somewhat greasy older European war correspondent and his vies for his frail and infantile Vietnamese mistress. Keep in mind the novel takes place just as the Americans began to enter Vietnam. Unfortunately for the slovenly Fowler, the new American aid worker, Pyle, has amorous intentions for the waifish foreign child. The remaining portions of the novel center around the typical love triangle in all books that feature an incoherent writer. The Quiet American When the novel was first published in the 1950¿s it was Don¿t be fooled by The Quiet Americans pseudo-profound nature, it is simply a sad recount of the world¿s attempts to gain control of Indo-China.

    0 out of 6 people found this review helpful.

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  • Anonymous

    Posted August 31, 2001

    The fall of idealism

    This book is so hard hitting on the idealism of the American's during the French war in Vietnam (1950-'54). It gives you a look at the Vietnamese people and their country. The book is all about the outsiders view of the people and the politics Vietnam. In war your have to pick a side to stay human.

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  • Anonymous

    Posted August 12, 2001

    Make Love Not War

    For anyone who wondered where the Vietnam War protest slogan, 'Make Love Not War' came from, The Quiet American offers an explanation. Here an American operative (Pyle) helps engineer the exit of the French from Vietnam to make way for the 'Third Force' paving the way for a U.S. role. He does his part by planting Bicycle Bombs. Although this is a fictional novel, the bicycle bombs are historical. Some believe that so too, is Pyle, The Quiet American, who may be a composite that includes (Major-General) Ed Landsdale, then a gosh-golly gee whiz lad from Boston who guided the Diem regime in Vietnam until his assassination in 1963. Greene portrays Pyle as the insensitive architect of chaos and bloodshed, who is oblivious of the destruction of his actions. He is often wide-eyed and earnest to the point of insanity and this painfully embodies something of the general American disposition in Vietnam at the time. But like Fowler, the aging British journalist, who reflects the fading power of European colonialism, and Phong, the young, beautiful woman both men desire, who is Vietnam, Greene paints all these characters with such depth that the surface story of human entanglements and moral dilemmas could stand alone without knowledge of their historical allegories.

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  • Anonymous

    Posted February 8, 2000

    An excellent tale of love and romance in 1950s Vietnam, but so much more

    On the surface, this is a tale of a 'love triangle' of sorts among Fowler (a British correspondent), Pyle (the American operative), and Phuong (the Vietnamese girl whom they both desire), and in itself, this superficial story is interesting. However, it goes deeper. In the characters, one can see the traits of nations, of a United States imposing its cultural and values on an unwilling people. And Fowler, who claims he is not involved in the conflict, is actually deeply engaged. This paints an interesting and accurate portrait of Vietnam at the very beginning of US involvement, which about ten years later would turn into full-scale military involvement.

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    Posted September 12, 2009

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    Posted December 20, 2009

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    Posted October 18, 2009

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    Posted April 11, 2010

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    Posted September 19, 2010

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    Posted October 17, 2008

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    Posted August 19, 2009

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    Posted August 11, 2011

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