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The Magic of Saida [NOOK Book]

Overview

Giller Prize–winner M. G. Vassanji gives us a powerfully emotional novel of love and loss, of an African/Indian man who returns to the town of his birth in search of the girl he once loved—and the sense of self that has always eluded him.
Kamal Punja is a physician who has lived in Canada for the past forty years, but whom we first meet in a Tanzanian hospital. He is delirious and says he has been poisoned with hallucinogens. But when Kamal finds a curious and sympathetic ear in...

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The Magic of Saida

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Overview

Giller Prize–winner M. G. Vassanji gives us a powerfully emotional novel of love and loss, of an African/Indian man who returns to the town of his birth in search of the girl he once loved—and the sense of self that has always eluded him.
Kamal Punja is a physician who has lived in Canada for the past forty years, but whom we first meet in a Tanzanian hospital. He is delirious and says he has been poisoned with hallucinogens. But when Kamal finds a curious and sympathetic ear in a local publisher, his ravings begin to reveal a tale of extraordinary pathos, complexity, and mystery.

Raised by his African mother, deserted when he was four by his Indian father, married to a woman of Indian heritage, and the father of two wholly Westernized children, Kamal had reached a stage of both undreamed-of material success and disintegrating personal ties. Then, suddenly, he “stepped off the treadmill, allowed an old regret to awaken,” and set off to find the girl he had known as a child, to finally keep his promise to her that he would return.

The girl was Saida, granddaughter of a great, beloved Swahili poet. Kamal and Saida were constant companions—he teaching her English and arithmetic, she teaching him Arabic script and Swahili poetry—and in his child’s mind, she was his future wife. Until, when he was eleven, his mother sent him to the capital, Dar es Salaam, to live with his father’s relatives, to “become an Indian” and thus secure his future. Now Kamal is journeying back to the village he left, into the maze of his long-unresolved mixed-race identity and the nightmarish legacy of his broken promise to Saida.

At once dramatic, searching, and intelligent, The Magic of Saida moves deftly between the past and present, painting both an intimate picture of passion and betrayal and a broad canvas of political promise and failure in contemporary Africa. It is a timeless story—and a story very much of our own time.

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Editorial Reviews

Library Journal
Born to an African mother and an Indian father, Kamal Punja has many hurdles to overcome to gain acceptance in his native African village of Kilwa. Deserted by his father at the age of four, this only child grows attached to his mother, but as he approaches his teen years, she forces him to leave home and live with his father's brother to "become Indian." Interwoven with Kamal's personal journey is the story of his relationship with local poet Mzee Omari, who wrote an epic on the German occupation of East Africa. This history, as well as that of the British takeover and, more recently, of Idi Amin's dictatorship in Uganda, immerses the reader in the world of the novel. Kamal becomes a successful medical doctor in Edmonton, Canada, not returning to his native village for 40 years, when he comes back to look for Saida, his childhood sweetheart and the granddaughter of Omari. VERDICT Much more than a coming-of-age story, this complex novel is also a mystery, a passionate love story, a history of the region, and a tale of magic, broken promises, and betrayal. The enormously talented Vassanji's (The Gunny Sack) writing is simply fabulous. [See Prepub Alert, 9/24/12.]—Lisa Rohrbaugh, Leetonia Community P.L., OH
From the Publisher
“A magical, heart-breaking story.” —Emily Taylor, Charleston City Paper
 
“Sophisticated . . . The Magic of Saida is as ambitious and sprawling as it is compelling.” —Susi Wyss, Washington Independent Review of Books
 
 “Vassanji’s remarkable new novel is a magic trick that reveals how it’s performed while in process . . . As Kamal relates the colonial history, [it] amounts to the best sort of historical fiction . . . Vassanji has won Canada’s Giller Prize twice. This book also seems bound for glory.”  —Michael Autrey, Booklist (starred)
 
 “An ambitious, passionate work about racial identity, deracination, and the unsolvable mysteries of the human heart . . . The retro echoes of Graham Greene and W. Somerset Maugham play with readers expectations in this decidedly contemporary African novel . . . Vassanji employs dense but splintered prose to mirror the dense but splintered identity of his multicultural/multiethnic protagonist.” —Kirkus Reviews
 
“It’s a bravura performance, but subtle and understated. Vassanji isn’t a bombastic writer; his prose is rich, but never distracting, multifaceted, but never simply beautiful for its own sake . . . [The novel’s frame] allows for fluid, non-linear storytelling that brings the past and the present, the recounted and the shown, the pedestrian and the magical, into a crystalline narrative immediacy . . . The Magic of Saida is the sort of novel that, upon finishing, one wants to immediately read again, to examine, to study just how Vassanji works his narrative magic, and to allow oneself to savour it just that little bit longer.” —Robert J. Wiersema, Globe and Mail
 
“M. G. Vassanji’s new novel offers an experience as mysterious and haunting as hearing the sudden beat of drums in the middle of the night . . . Kamal [has] a great story to tell, a narrative that echoes the best-known African-set tale in the English language: Joseph Conrad’s Heart of Darkness . . . The seductive power of Vassanji’s prose mesmerizes . . . [He is] one of Canada’s best novelists.” —Paul Gessell, Quill & Quire
 
“Seductive and poignant.” —Peter Robb, Ottawa Citizen
 
“Vassanji has taken on a story sufficiently broad and deep to furnish a trilogy, so a good deal of the pleasure in reading The Magic of Saida lies in how he fits it all into a single mid-length novel . . . Shifts in perspective, setting and time are handled without a hitch . . . Vassanji is at his best writing about how history affects at a micro level [and] such moments are plentiful.” —Ian McGillis, Montreal Gazette
 
“A gripping narrative . . . What is most moving is the theme of betrayal . . . Vassanjis material is so compelling that he needs little more than to adopt the role of a chronicler.” —Philip Marchand, National Post
 
“A sensitive examination of love, loss, and homelessness . . . The sub-plot regarding a famous poet, Saidas grandfather, is remarkable . . . Its impossible not to feel enormous sympathy for [Kamal,] a man who overcomes so many hurdles except that of his own humanity. For creating this character, M. G. Vassanji must be thanked.” —Candace Fertile, Vancouver Sun
Kirkus Reviews
Vassanji (The Assassin's Song, 2007, etc.) employs dense yet splintered prose to mirror the dense yet splintered identity of his multicultural/multiethnic protagonist, a successful Canadian doctor who was born in Tanzania to an African mother and Indian father. When the novel opens, Kamal lies delusional and near death in a hospital in Tanzania. As he recovers, his new Tanzanian acquaintance, a local publisher, unravels the mystery of what made Kamal so sick. Kamal has returned to Tanzania after 35 years abroad, haunted by his memory of the girl he loved as a child growing up in the village of Kilwa. The girl's name was Saida, and she was the granddaughter of a local poet of renown, Mzee Omari Tamim, who highly revered Kamal's Indian grandfather. He and Saida shared the innocent love of childhood, but then, at the age of 11, his mother abruptly sent him away to be raised by Indian relatives in the city; fortunately they turned out to be a loving family, but Kamal has never recovered from his sense of abandonment. The story of Kamal's childhood in 1950s Africa as a mixed-race child cuts away to his return to present-day Kilwa, where he stays in a ramshackle hotel owned by an expat British owner--the retro echoes of Graham Greene and W. Somerset Maugham play with readers' expectations in this decidedly contemporary African novel. Kamal has returned to find Saida, the guilty love of his life. Her elderly aunt is reluctant to tell him what she knows, but he persists. Excerpts from Mzee Omari's poetic history of Tanzania are laced throughout, but the poet's own story is more complex than it at first appears. In fact, nothing here is as straightforward as it seems: Who was/is Saida, why did Kamal's mother send him away, and what lies at the source of Mzee Omari's poetry? And then there is Kamal's own ambivalence toward his history. An ambitious, passionate work about racial identity, deracination and the unsolvable mysteries of the human heart.
The Barnes & Noble Review

It is tempting but foolish to assume that a writer's work is a reflection of that writer's life. Yet the outline of Moyez Vassanji's own story suggests themes and preoccupations that are indeed central in his novels. Vassanji, who is Indian by parentage and tradition, was raised in Africa, emigrated to the United States, studied nuclear physics at MIT and eventually settled in Toronto, where he studied Sanskrit and Indian philology and then began to write fiction. "I was brought up straddling cultures and countries," he explained in a 2007 interview, "It was impossible to be pure." And the idea of purity — ethnic, religious or political — is repeatedly tested in Vassanji's novels, where it is found to be at best wrongheaded, at worst atrocious. Purity of the heart is, of course, a different matter, if no less vexing.

"I had returned after thirty-five years," the protagonist of The Magic of Saida observes as he follows his heart, "a respected doctor, fortified with vaccinations and prophylactics?. Every means to protect myself from the ills of the tropics in which I was born." In the novel, Kamal Punja leaves the "?delicious climate- controlled certainty" of his Canadian suburban home and travels to his birthplace in Tanzania, looking for Saida, the girl he loved, to fulfill his promise that he would return. A pure quest, it seems. But as this stately, oddly absorbing novel opens, it is immediately clear that nothing is clear.

In a hospital in Dar as Salaam, a patient suffering from delirium, most likely drug-induced, babbles about a poet hanged from a tree and an enchanted girl called Kinjikitile. The patient is Kamal and he has apparently been poisoned. His adult children, freshly arrived from Canada, hover at his bedside and a local publisher, hearing of Kamal's ravings, visits him to learn more. The publisher recalls that Kinjikitile is "?the name of a man, the prophet who inspired the great War of the Waters against the Germans in this country a century ago." And the poet mentioned by Kamal could only be Mzee Omari Tamin, "?one of our preeminent bards, found hanged from Kilwa's equally famous mango tree, sometime during the 1960's." As Kamal recovers, he confides in this stranger who becomes "?.his comfort, his sounding board, his nurse — not the first publisher, surely, to find himself in such a role."

It is a timeless, familiar overture — the chance encounter between the seeker and the listener; the narrative propelled by memory into the past — and the story that follows is both deceptively simple and slyly convoluted, as befits the unsteady life it describes. "It would seem to Kamal later," the publisher learns, "?that his childhood existence had been some conjuror's creation, with the ability to change shape, parts of it to disappear like smoke, leaving behind only the indelible impressions on his mind and heart, utter bewilderment and sorrow. The only child of an African mother whom he adores and an Indian father who apparently abandoned them and died mysteriously, Kamal is later sent by his mother to live with his father's brother in Dar as Salaam. So begins his exile, first from home, later from Africa. He has been formed, however, by that earliest place. "Kilwa was all history," he recalls. "The past haunted from the ruins and graves; it was there in reference to the Germans how had ruled here once, and the slaves who were sold here; he heard it in his mother's tales and he heard it recited — majestically — by the old poet, Saida's grandfather."

Kamal is nine when the poet begins the epic whose thousand verses would contain "the history of our Kilwa and of our precious Swahili coast." Before Mzwee completes his task, however, he is found hanged on the same tree where rebels fighting German colonial rule were hanged. Vassanji revisits that war, but its horrors are muted when contrasted, for example, with Uwe Timm's extraordinary novel of the same period, Morenga. Vassanji's reach, of course, is wider. His novel shuttles back and forth, between Tanzania's colonial period and Kamal's childhood, between Kamal's childhood and the present, folding into each switchback turn another layer of meaning, another fragment of the puzzle that has formed this man and his country. "After the Arabs, and thirty years of German rule, and forty of British, this was the time of the African," young Kamal learns when independence is declared. But where does he, "a failed Indian" belong? Even the present is shifting ground, Kamal discovers, when he finally tracks down his heart's desire on territory that plunges him into a Conradian heart of darkness.

Anna Mundow, a longtime contributor to The Irish Times and The Boston Globe, has written for The Guardian, The Washington Post, and The New York Times, among other publications.

Reviewer: Anna Mundow

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Product Details

  • ISBN-13: 9780307961518
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 3/5/2013
  • Sold by: Random House
  • Format: eBook
  • Pages: 320
  • Sales rank: 617,699
  • File size: 3 MB

Meet the Author

M. G. Vassanji is the author of six previous novels: The Gunny Sack, which won a regional Commonwealth Writers’ Prize; No New Land; The Book of Secrets, which won the very first Giller Prize; Amriika; The In-Between World of Vikram Lall, which also received the Giller Prize; and, most recently, The Assassin’s Song. He is also the author of two short-story collections, a travel memoir about India, and a biography of Mordecai Richler. He lives in Toronto.

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Read an Excerpt

Prologue
 
He came to my notice quite by accident one afternoon, when I overheard a nurse tell the receptionist at the city hospital about a curious patient who had been brought in in a state of delirium early that morning. He had been ranting all sorts of crazy things, the nurse put it, adding, “This one’s headed for the madhouse, for sure.”
 
What sort of crazy things?
 
“Eti, a poet was hanged in Kilwa, after he wrote a letter to Mecca, and—you will like this—there is a lover, beautiful like a mermaid, called Kinjikitilé . . .” High laughter rippled merrily down the hallway on this otherwise depleted Sunday afternoon. I happened to be visiting an old colleague of mine, and on my way out had paused at the station to make an inquiry. And this bit of hospital gossip awoke some nerve in me—and not because Kinjikitilé, as every child in school learns, was the name of a man, the prophet who inspired the great War of the Waters against the Germans in this country a century ago. It was the reference to the poet that had caught my breath. He could only be Mzee Omari Tamim, one of our preeminent bards, found hanged from Kilwa’s equally famous mango tree, sometime during the 1960s. The townspeople, not satisfied with the police verdict of suicide, engaged a renowned sorcerer to solve the case. The verdict: murder by a djinn. I happen to know that the case was deemed politically embarrassing to our young nation and was hushed up.
 
I am a publisher by profession, and in my field discoveries are what one lives for. It was also through casual hearsay that some years ago I discovered the manuscript of a Swahili novel, possibly the first one ever written. For me, a sensation; a financial failure nevertheless. But it’s what I do, nosing around after stories, from Oyster Bay to Kariakoo, Dar es Salaam to Mwanza. In that pursuit, I admit, I sometimes forget the occasion. “Take me to this curious patient,” I told the nurse.
 
He was called Kamal Punja, the nurse informed me on our way to his room. That Indian name belied his appearance when I saw him, which was very evidently that of an African. He was a big man, lying on his back, his hair partly grey. His breathing was quick and audible, his pallor a deep ashen, and his lined, fleshy face had the look of a man worried by his sleep. A young man and woman sat beside him, the one towards the middle, the other at the head, and turned out to be his son and daughter. I assumed it was they who had brought the expensive roses by the window. I felt sorry for them. The girl was as thin as a reed, the boy big boned and muscular; in their North American accents they were attempting to convince Dad that he was not well and should return home to Edmonton to be looked after. It occurred to me briefly that they were not used to such unhappy scenes; they were in their early twenties. There was one other person in the room, a young woman present in a consular capacity, and she left as soon as I arrived.
 
Visiting time was over, Sister Felicity announced, and the girl and boy left, promising to be back the next day. The nurse, with a knowing look at me, also departed, closing the door behind her, and I was alone with the patient, who had turned his head and was staring at me.
 
“Hello,” I said and stepped closer to his bed.
 
“Who are you?” The voice fragile, the look tired. The large eyes alarmingly bloodshot. There was a small growth of beard at the chin, and the nose, I noticed, was fleshy without being broad.
 
“I am Martin Kigoma, a publisher. I am visiting a friend here and I heard about you from the nurse. You seem to have had a wild experience.”
 
Having pulled up the chair vacated by his son, I watched him somewhat warily. I had already been apprised by the nurse that he was a medical doctor from Canada, and had been flown in from Kilwa in an emergency. He had been pumped for an overdose, based on the diagnosis that accompanied him. He needed help, that face seemed to signal, and it was not just of the medical sort—and, I hasten to add, this was not the opportunistic observation of a predatory publisher with a need to make a comeback.
 
“How do you feel now, Doctor?” I asked with concern.
 
“Woozy,” he answered, and twitched an arm in an attempt to raise it. “Confused. You see, I’ve been poisoned by a mixture of hallucinogenic drugs . . . plant extracts . . . make you talk and talk . . . make you see things . . .”
 
I noticed from his accent that he must have left these parts a long time ago. At this time I also had the feeling that he seemed familiar, and I’d seen that face in perhaps its younger days. This happens sometimes, with people showing up on our streets after long absences abroad. And so my empathy for him was all the greater.
 
“The nurse said—” I began, then switched tack. “What took you to Kilwa? Did you go on a holiday?”
 
He didn’t reply. A deathly quiet descended upon us, in that bleak, spare cubicle. His head had fallen back and his eyes were shut, and it seemed that in his struggle with himself he had lost consciousness; but after some minutes as I prepared to leave he suddenly spoke, as though in his sleep.
 
“Kinjikitilé. I came on a mission, to find her . . . to keep my promise. I told you I would return, and I came. It’s not too late . . . not too late.”
 
I stood up—Sister Felicity was at the door with a firm look, bidding me to leave. I put my hand on his arm and asked him, “Shall I come to see you again?”
 
“Do,” he said, turning ever so slightly towards me now. And to my great surprise, added, “Please. I need to find out . . .”
 
“I will return,” I assured him, kindly. I turned to go, and as I reached the door, he said, “Martin . . . that’s your name . . . do you believe in magic?”
 
I don’t know, I would have told him; yes and no, but probably no . . . He wouldn’t have heard me, for he had drifted off.
 
I left the hospital deeply affected. It is rare to be provoked to such pity, and to such a sense of mystery. As I drove along Ocean Road in my old jalopy, the beach to my left crowded with visitors this bright late afternoon, expensive leisure vehicles parked to either side of me, I wondered at the nightmares of the man I had just left in his sickbed. An African with a very Indian name, a look of utter desolation on his face, making obscure historical references in his ravings while admitting to a drugged state. Calling on a woman with an impossible name. Do you believe in magic? Many people do, to this day.
 
Some instinct drew me back to the hospital late that night on my way home from a party, to discover that the patient’s condition had worsened. His son and daughter had been called and were waiting outside his room in the open corridor, sitting on the floor, leaning against the wall, looking lost and dejected and half asleep. Inside, there was some commotion, which seemed the louder for the utter stillness all around, against the background of a cricket chorus in the garden before us and the gentle wash of the ocean tide coming in across the road from the hospital.
 
“What happened?” I asked.
 
Before they could answer, the medical resident and a nurse emerged, and I repeated my question.
 
“He has high fever,” the doctor said. “He should be all right. We’re running tests.”
 
“Can he go back to Canada for treatment?” the daughter asked.
 
Both the kids had now stood up.
 
“He can’t be moved until he’s stable,” the doctor said testily, then went on kindly, “He will be all right. This is a modern hospital, and we have the most qualified staff. It is likely that your father has a tropical malady, for which this would be the better place for treatment.”
 
He turned to me for confirmation and I nodded briefly.
 
I stepped inside the room. Kamal Punja lay on his bed breathing deeply and looking ghastly, the dim overhead lamp having rendered his sweat-drenched face weirdly electric, like that of a lit-up zombie. A nurse stood by the bed working with an IV drip. His daughter be--hind me gave a sob and I put an arm around her. There we left him, and I drove the boy and girl to their hotel, not far away, where we all had some tea in the bar. They became chatty and talked about their father and their life back in Canada.
 
“It’s hard to imagine him here,” said Hanif. “Like I can’t believe that he grew up here in these same streets.”
 
There was a silence, before his sister Karima looked up. “Yes, I find it hard too.”
 
“Did he often talk about his childhood?” I asked.
 
They nodded.
 
“Especially when we were little,” the girl said.
 
“How could he leave, just like that?” the boy responded, slowly and bitterly. “Abandon us and everything . . . Now this . . .”
 
It took him a week to recover. He was treated for malaria, finally, the two attending physicians disregarding the previous diagnosis of a drug overdose. There was malaria parasite in his blood, and who was to quibble; no point in reporting to the triumphant medicos the patient’s own corroboration, albeit made in a confused state, that he had been poisoned with drugs. His deliriums had become rarer and then gone away altogether. But once when I sat alone with him, he startled me by suddenly turning on his side and looking straight at me with wide-open eyes.
 
“A girl called Kinjikitilé—you find that strange, don’t you?”
 
“Yes, I do,” I said. “It’s not commonly used, that name. Who was she?” He kept quiet, turned away, and went back to sleep.
 
A few days after that, Hanif and Karima departed for Canada, leaving him, they said, in my custody: “Martin, he’s in your hands.” Kamal was sitting up on the reclining bed as they embraced him and took their leave. It was a sad moment to watch, but the parent and the kids had had a talk and apparently come to an understanding.
 
“Don’t you want to return home?” I asked him once we were alone.
 
We exchanged a look, and he replied, haltingly, in a low voice, “I must find out first. I don’t know . . . I don’t know what happened . . . I don’t know if I’ve seen her . . .”
 
I did not need to ask who.
 
Over the weeks that followed I saw him regularly, and he seemed to welcome my attention. He was a lonely man, and not only in this city, where he knew no one besides me and an old schoolteacher; a lonely man anywhere, who had after three and a half decades come back in search of someone he had loved once. What he discovered was his nightmare. It had left him with a dreadful uncertainty. What exactly had he seen and heard during that bizarre ordeal? How much was true, how much, simply, hallucination? He wanted to talk, I was there to listen. I was his comfort, his sounding board, his nurse—not the first publisher, surely, to find himself in such a role.
 
Her actual name was Saida, he informed me. He knew her until age eleven, when his mother sent him away to become an Indian. He said this as casually as if it were the most normal thing to do. They were from Kilwa, the coastal region to the south whose recorded history and culture go back a thousand years and more—John Milton’s “Quiloa”—though recent neglect has seen it waste away into the dust of obscurity. They were an African boy and girl: their single mothers were like sisters; her grandfather was the beloved poet Mzee Omari Tamim. Their companionship had been accepted, even encouraged. He thought he would marry her. He could never understand why he had been led on, to follow his fool’s path and love her, only to be sent away to pine for her.
 
It was to find her that he had returned.
 
A successful and driven doctor in Canada, he had reached a stage in his life of material abundance, in which however—as he obliquely put it—his personal ties had weakened. And so one day he stepped off the treadmill, allowed an old regret to awaken, and suddenly set off to find the girl he had known as a child, keep his promise to her that he would return. That there was more to his urgency, I could guess. Wearing round his neck a tawiz, a Quranic charm given him by her when they first parted, he took a flight to Dar es Salaam. From here he took a bus to Kilwa. It was burning hot in December, and despite some talk of bandits on the way, this is what he preferred, travelling over land—the sight of each bush, each blade of grass, each tree so loaded with sentiment as to grip the heart of the returning native.

Thus he arrived in Kilwa.

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