Burgess packs a lot into this incredibly short biography. It is a swift, almost whirlwind, account of Hemingway's life that feels like a runaway train that cannot be stopped.

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It is so short that you can read it in practically one sitting. Overall, you could say it's rather fitting that a biography of Hemingway be written in such a minimalist style. Burgess's humble foreword acknowledges that his is merely a brief sketch so I cannot fault him for lacking in-depth literary analysis, as some other Burgess packs a lot into this incredibly short biography. It is a swift, almost whirlwind, account of Hemingway's life that feels like a runaway train that cannot be stopped.

It is so short that you can read it in practically one sitting. Overall, you could say it's rather fitting that a biography of Hemingway be written in such a minimalist style. Burgess's humble foreword acknowledges that his is merely a brief sketch so I cannot fault him for lacking in-depth literary analysis, as some other reviewers here have expressed wanting. It is what it is and if you want something more, Burgess offers up his recommendations.I think Burgess offered just enough to pique my curiosity of Hemingway's other works. He often points out how the people and moments in Hemingway's life become integrated into the various literary works. I read this immediately afer 'For Whom the Bell Tolls' and found myself even looking for ways Hemingway fit his own experience into the story.

Burgess attempts to disentangle myth and man but still leaves us with some aura of mystery. I came away from the book both understanding why many people hate Hemingway and also feeling empathy towards him.

A mark of a good book is one that prompts you to read more and I think Burgess achieved that. A very readable account of that old phoney's life. As you can gather I am no Hemingway fan and sincerely believe he struck lucky, being the right man with the right attitudes at the right time in the evolution of literature. His sole talent was for self-promotion and his main asset was a determination so ruthless he allowed no one or nothing to stand in his way. As for Hemingway the 'writer of genius', up to a point, Lord Copper. He was also an awful and mendacious narcissist.I don't know A very readable account of that old phoney's life.

As you can gather I am no Hemingway fan and sincerely believe he struck lucky, being the right man with the right attitudes at the right time in the evolution of literature. His sole talent was for self-promotion and his main asset was a determination so ruthless he allowed no one or nothing to stand in his way. As for Hemingway the 'writer of genius', up to a point, Lord Copper.

He was also an awful and mendacious narcissist.I don't know whether this can count as 'a biography', tho' at a pinch I supposed it could. Burgess, an intelligent and entertaining writer, has not done any primary research, but merely - merely? - read previous biographies of Hemingway. There is also something, in shape and form, of the coffee table book about it which is unfortunate as it is far better than that. (It occurs to me that perhaps that's what the publisher wanted.)I am familiar Hemingway's life and must add it helps a little when reading Burgess's books. Knowing a little more helps flesh out some of the allusions which might otherwise be a tad obscure.

Not an incredibly informational overview of Hemingway's life, I would have liked to see more analysis of his writing. This book is really more of a third-person memoir of how Hemingway was viewed by his contemporaries (Spoiler: He was not a well-liked man). Oddly enough, Anthony Burgess doesn't reference any of his sources except in passing, which to the reader sounds like Burgess referred mostly to second- or third-hand sources. I don't even necessarily trust Burgess's source material since he Not an incredibly informational overview of Hemingway's life, I would have liked to see more analysis of his writing.

This book is really more of a third-person memoir of how Hemingway was viewed by his contemporaries (Spoiler: He was not a well-liked man). Oddly enough, Anthony Burgess doesn't reference any of his sources except in passing, which to the reader sounds like Burgess referred mostly to second- or third-hand sources. I don't even necessarily trust Burgess's source material since he doesn't cite it anywhere in the text.

Burgess is also awfully judgmental of Hemingway's abrasive personality, especially as a competitor, hunter, and gamesman; one photograph of Hemingway aiming a shotgun is tagged 'In Vienna Lagoon killing something, probably a duck'. Burgess seems to view Hemingway as almost an accidental literary success and a personal failure, this is obvious by Burgess's tone in his writing. He often seems to infer that Hemingway ripped off and piggy-backed on the success of other authors of the 'Lost Generation' without having much talent or putting in a terrible amount of effort on his own behalf.I wouldn't recommend this as a good biography by any means, but if you can get past Burgess's opinions it does give the reader an idea of Hemingway's conflicted life as an author (Hemingway) versus the expectations he had of himself in reality (Papa, 'Hemingstein') and how he was perceived by those around him during his life. It's funny to have just booked a train to Pamplona that stops in Bayonne. That's what Hemingway and company did 75 years ago. Stopped in Bayonne and hired a car to Pamplona(once a coral colored Ford, but that was later). This book was a real find since I was planning a trip to Pamplona and Paris and happened upon it through key word searches.

It was wonderful as in introduction to Pamplona, a reminder of Paris in the thirties+ and a review of Hemingway, his friends and women and the often shabby It's funny to have just booked a train to Pamplona that stops in Bayonne. That's what Hemingway and company did 75 years ago. Stopped in Bayonne and hired a car to Pamplona(once a coral colored Ford, but that was later). This book was a real find since I was planning a trip to Pamplona and Paris and happened upon it through key word searches. It was wonderful as in introduction to Pamplona, a reminder of Paris in the thirties+ and a review of Hemingway, his friends and women and the often shabby way he treated them.Pamplona loves Hemingway and pays tribute in sculpture, bust, and maintenance of the old hotel whose restaurant/bar he frequented. It's beautiful. Paris was full of Hemingway, the places he lived which I intended to look up as Burgess did.but I didn't get around to it.

I did think of him when I spied fat pigeons in the park and how he wrote of catching them and cooking them for dinner when he and Pauline were at their poorest.The book is far from a really good book on Hemingway as it covers a lot of old territory. I enjoyed it though, for what Burgess brought to it but mostly for how well it wrapped itself into my trip.Recommended for fans of Hemingway and/or Pamplona.

Recognizing authors as individuals, as having gone through the human experience, is an important aspect of the reading experience. It removes the barrier between the reader and the author thus allowing a better communication between the text and the reader. The author no longer seems distant and extraordinary, so the reader is able to absorb the book on his own terms, as one discusses life with a respected friend. This is why I love biographies.I love Hemingway's writing and have read several. Recognizing authors as individuals, as having gone through the human experience, is an important aspect of the reading experience.

It removes the barrier between the reader and the author thus allowing a better communication between the text and the reader. The author no longer seems distant and extraordinary, so the reader is able to absorb the book on his own terms, as one discusses life with a respected friend. This is why I love biographies.I love Hemingway's writing and have read several. This book just showed me what an amazingly fascinating contradictory individual he is. Actually I have more questions about him now than I did before I read the book, as this is a fairly short overview. So as a lightweight biography of the writer, I like it.It's enough to understand him to appreciate his writing.

But for someone who wants to know A to Z in depth, might want to check better full-length biography. Librarian Note: There is more than one author in the Goodreads database with this name.Anthony Burgess was a British novelist, critic and composer. He was also a librettist, poet, playwright, screenwriter, essayist, travel writer, broadcaster, translator, linguist and educationalist. Born in Manchester, he lived for long periods in Southeast Asia, the USA and Mediterranean Europe as well as in Librarian Note: There is more than one author in the Goodreads database with this name.Anthony Burgess was a British novelist, critic and composer. He was also a librettist, poet, playwright, screenwriter, essayist, travel writer, broadcaster, translator, linguist and educationalist. Born in Manchester, he lived for long periods in Southeast Asia, the USA and Mediterranean Europe as well as in England.

His fiction includes the Malayan trilogy (The Long Day Wanes) on the dying days of Britain's empire in the East; the Enderby quartet of novels about a poet and his muse; Nothing Like the Sun, a recreation of Shakespeare's love-life; A Clockwork Orange, an exploration of the nature of evil; and Earthly Powers, a panoramic saga of the 20th century. He published studies of Joyce, Hemingway, Shakespeare and Lawrence, produced the treatises on linguistics Language Made Plain and A Mouthful of Air, and was a prolific journalist, writing in several languages. He translated and adapted Cyrano de Bergerac, Oedipus the King, and Carmen for the stage; scripted Jesus of Nazareth and Moses the Lawgiver for the screen; invented the prehistoric language spoken in Quest for Fire; and composed the Sinfoni Melayu, the Symphony (No. 3) in C, and the opera Blooms of Dublin.-Wikipedia.

Contents.Plot In a futuristic Britain, Alex DeLarge is the leader of a gang of 'droogs': Georgie, Dim and Pete. One night, after getting intoxicated on drug-laden 'milk-plus', they engage in an evening of 'ultra-violence', which includes a fight with a rival gang. They drive to the country home of writer F. Alexander and beat him to the point of crippling him for life. Alex then rapes Alexander's wife while singing. The next day, while truant from school, Alex is approached by his probation officer Mr P.R. Deltoid, who is aware of Alex's activities and cautions him.Alex's droogs express discontent with petty crime and want more equality and high-yield thefts, but Alex asserts his authority by attacking them.

Later, Alex invades the home of a wealthy 'cat-lady' and bludgeons her with a phallic sculpture while his droogs remain outside. On hearing sirens, Alex tries to flee but Dim smashes a bottle in his face, stunning him and leaving him to be arrested by the police. With Alex in custody, Mr Deltoid gloats that the woman he attacked died, making Alex a murderer. He is sentenced to fourteen years in prison.Two years into the sentence, Alex eagerly takes up an offer to be a test subject for the Minister of the Interior's new Ludovico technique, an experimental for rehabilitating criminals within two weeks. Alex is strapped to a chair, his eyes are clamped open and he is injected with drugs. He is then forced to watch films of sex and violence, some of which are accompanied by the music of his favourite composer, Ludwig van Beethoven. Alex becomes nauseated by the films and, fearing the technique will make him sick upon hearing Beethoven, begs for an end to the treatment.Two weeks later, the Minister demonstrates Alex's rehabilitation to a gathering of officials.

Alex is unable to fight back against an actor who taunts and attacks him and becomes ill wanting sex with a topless woman. The prison chaplain complains that Alex has been robbed of his free will; the Minister asserts that the Ludovico technique will cut crime and alleviate crowding in prisons.Alex is let out as a free man, only to find that the police have sold his possessions as compensation to his victims and his parents have let out his room. Alex encounters an elderly vagrant whom he had attacked years earlier, and the vagrant and his friends attack him. Alex is saved by two policemen but is shocked to find they are his former droogs Dim and Georgie. They drive him to the countryside, beat him up, and nearly drown him before abandoning him. Alex barely makes it to the doorstep of a nearby home before collapsing.Alex wakes up to find himself in the home of Mr Alexander, where he is being cared for by Alexander's manservant, Julian.

Mr Alexander does not recognise Alex from the previous attack but knows of Alex and the Ludovico technique from the newspapers. He sees Alex as a political weapon and prepares to present him to his colleagues. While bathing, Alex breaks into 'Singin' in the Rain', causing Mr Alexander to realise that Alex was the person who assaulted him and his wife. With help from his colleagues, Mr Alexander drugs Alex and locks him in an upstairs bedroom. He then plays Beethoven's loudly from the floor below. Alex is unable to withstand the sickening pain and attempts suicide by throwing himself out the window, falling unconscious on the ground.Alex wakes up in a hospital with broken bones.

While being given a series of psychological tests, Alex finds that he no longer has aversions to violence and sex. The Minister arrives and apologises to Alex. He offers to take care of Alex and get him a job in return for his cooperation with his election campaign and public relations counter-offensive. As a sign of goodwill, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and has vivid thoughts of having sex with a woman in front of an approving crowd, and thinks to himself, 'I was cured, all right!' .

as. as Mr Frank Alexander. as Chief Guard Barnes. as Dim. as Stage Actor.

as Mrs Mary Alexander. as Dr Brodsky. as Tramp. as Joe the Lodger. as Prison Governor. as Catlady.

as Georgie. as P. Deltoid.

as Prison Chaplain. as Mum. as Dr Branom. as Frederick, Minister of the Interior. as Dad. as Pete. as Julian.

as Nurse Feeley. as Det.

Tom. as Conspirator RubinsteinThemes Morality The film's central moral question (as in many of Burgess's novels) is the definition of 'goodness' and whether it makes sense to use aversion therapy to stop immoral behaviour. Stanley Kubrick, writing in Saturday Review, described the film as:“A social satire dealing with the question of whether behavioural psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots.' ”Similarly, on the film production's call sheet (cited at greater length above), Kubrick wrote:“'It is a story of the dubious redemption of a teenage delinquent by condition-reflex therapy. It is, at the same time, a running lecture on free-will.”After aversion therapy, Alex behaves like a good member of society, though not through choice.

His goodness is involuntary; he has become the titular clockwork orange—organic on the outside, mechanical on the inside. After Alex has undergone the Ludovico technique, the chaplain criticises his new attitude as false, arguing that true goodness must come from within. This leads to the theme of abusing liberties—personal, governmental, civil—by Alex, with two conflicting political forces, the Government and the Dissidents, both manipulating Alex purely for their own political ends. The story portrays the 'conservative' and 'liberal' parties as equally worthy of criticism: the writer Frank Alexander, a victim of Alex and his gang, wants revenge against Alex and sees him as a means of definitively turning the populace against the incumbent government and its new regime. Mr Alexander fears the new government; in a telephone conversation, he says:“Recruiting brutal young roughs into the police; proposing debilitating and will-sapping techniques of conditioning.

Oh, we've seen it all before in other countries; the thin end of the wedge! Before we know where we are, we shall have the full apparatus of.”On the other side, the Minister of the Interior (the Government) jails Mr Alexander (the Dissident Intellectual) on the excuse of his endangering Alex (the People), rather than the government's totalitarian regime (described by Mr Alexander). It is unclear whether or not he has been harmed; however, the Minister tells Alex that the writer has been denied the ability to write and produce 'subversive' material that is critical of the incumbent government and meant to provoke political unrest.Psychology. Ludovico technique apparatusAnother target of criticism is the or 'behavioural psychology' propounded by psychologists. Burgess disapproved of behaviourism, calling Skinner's book (1971) 'one of the most dangerous books ever written'.

Although behaviourism's limitations were conceded by its principal founder, Watson, Skinner argued that —specifically, (learned behaviours via systematic reward-and-punishment techniques) rather than the —is the key to an ideal society. The film's Ludovico technique is widely perceived as a parody of, which is a form of classical conditioning.Author Paul Duncan said of Alex: 'Alex is the narrator so we see everything from his point of view, including his mental images. The implication is that all of the images, both real and imagined, are part of Alex's fantasies'.

Psychiatrist Aaron Stern, the former head of the MPAA rating board, believed that Alex represents man in his natural state, the unconscious mind. Alex becomes 'civilised' after receiving his Ludovico 'cure' and the sickness in the aftermath Stern considered to be the 'neurosis imposed by society'. Kubrick told film critics Philip Strick and that he believed Alex 'makes no attempt to deceive himself or the audience as to his total corruption or wickedness. He is the very personification of evil. On the other hand, he has winning qualities: his total candour, his wit, his intelligence and his energy; these are attractive qualities and ones, which I might add, which he shares with '.

Production McDowell was chosen for the role of Alex after Kubrick saw him in the film (1968). He also helped Kubrick on the uniform of Alex's gang, when he showed Kubrick the cricket whites he had. Kubrick asked him to put the not under but on top of the costume.During the filming of the Ludovico technique scene, McDowell scratched a cornea, and was temporarily blinded. The doctor standing next to him in the scene, dropping saline solution into Alex's forced-open eyes, was a real physician present to prevent the actor's eyes from drying. McDowell also cracked some ribs filming the humiliation stage show. A unique technique was used when Alex jumps out of the window in an attempt to commit suicide and the viewer sees the ground approaching the camera until collision, i.e., as if from Alex's point of view.

This effect was achieved by dropping a clockwork camera in a box, lens-first, from the third storey of the. To Kubrick's surprise, the camera survived six takes.On the 24th of February 1971, the last day of shooting, Progress Report No. 113 has a summary of all the footage shot to date: 39,880 feet wasted, 377,090 feet exposed, 13,120 feet remain as short ends with a total of 452,960 feet used. Sound: 225,880 feet printed from 288 1/4' reel to reel tapes.Adaptation The cinematic adaptation of A Clockwork Orange (1962) was not initially planned. Gave Kubrick a copy of the novel, but, as he was developing a -related project, Kubrick put it aside. Kubrick's wife, in an interview, stated she then gave him the novel after having read it. It had an immediate impact.

Of his enthusiasm for it, Kubrick said, 'I was excited by everything about it: the plot, the ideas, the characters, and, of course, the language. The story functions, of course, on several levels: political, sociological, philosophical, and, what's most important, on a dreamlike psychological-symbolic level.'

Kubrick wrote a screenplay faithful to the novel, saying, 'I think whatever Burgess had to say about the story was said in the book, but I did invent a few useful narrative ideas and reshape some of the scenes.' Kubrick based the script on the shortened US edition of the book, which omitted the final chapter.Novelist's response Burgess had mixed feelings about the film adaptation of his novel, publicly saying he loved and, and the use of music; he praised it as 'brilliant', even so brilliant that it might be dangerous.

Despite this enthusiasm, he was concerned that it lacked the novel's, an absence he blamed upon his American publisher and not Kubrick. All US editions of the novel prior to 1986 omitted the final chapter.Burgess reports in his autobiography You've Had Your Time (1990) that he and Kubrick at first enjoyed a good relationship, each holding similar philosophical and political views and each very interested in literature, cinema, music, and Napoleon Bonaparte. Burgess's novel (1974) was dedicated to Kubrick. Their relationship soured when Kubrick left Burgess to defend the film from accusations of glorifying violence. A, Burgess tried many times to explain the Christian moral points of the story to outraged Christian organisations and to defend it against newspaper accusations that it supported fascist dogma. He also went to receive awards given to Kubrick on his behalf.

Despite the benefits Burgess made from the film, he was in no way involved in the production of the book's adaptation. The only profit he made directly from the film was the initial $500 that was given to him for the rights to the adaptation.Direction Kubrick was a perfectionist who researched meticulously, with thousands of photographs taken of potential locations, as well as many scene takes; however, per Malcolm McDowell, he usually 'got it right' early on, so there were few takes. So meticulous was Kubrick that McDowell stated 'If Kubrick hadn't been a film director he'd have been a General Chief of Staff of the US Forces. No matter what it is—even if it's a question of buying a shampoo it goes through him. He just likes total control.'

Filming took place between September 1970 and April 1971, making A Clockwork Orange the quickest film shoot in his career. Technically, to achieve and convey the fantastic, dream-like quality of the story, he filmed with extreme wide-angle lenses such as the Kinoptik Tegea 9.8mm for 35mm cameras, and used fast- and to convey the mechanical nature of its bedroom sex scene or stylise the violence in a manner similar to 's (1969). Nature of the society The society depicted in the film was perceived by some as Communist (as pointed out in an interview with Kubrick) due to its slight ties to Russian culture. The teenage slang has a heavily Russian influence, as in the novel; Burgess explains the slang as being, in part, intended to draw a reader into the world of the book's characters and to prevent the book from becoming outdated. There is some evidence to suggest that the society is a socialist one, or perhaps a society evolving from a failed socialism into a fully fascist society.

In the novel, streets have paintings of working men in the style of Russian socialist art, and in the film, there is a mural of socialist artwork with obscenities drawn on it. As Malcolm McDowell points out on the DVD commentary, Alex's residence was shot on failed municipal architecture, and the name 'Municipal Flat Block 18A, Linear North' alludes to socialist-style housing.Later in the film, when the new right-wing government takes power, the atmosphere is certainly more authoritarian than the anarchist air of the beginning. Kubrick's response to Ciment's question remained ambiguous as to exactly what kind of society it is. Kubrick asserted that the film held comparisons between both the left and right end of the political spectrum and that there is little difference between the two. Kubrick stated, 'The Minister, played by Anthony Sharp, is clearly a figure of the Right.

The writer, Patrick Magee, is a lunatic of the Left. They differ only in their dogma. Their means and ends are hardly distinguishable.' Locations.

Thamesmead South Housing Estate where Alex knocks his rebellious droogs into the lake in a sudden surprise attackA Clockwork Orange was photographed mostly in metropolitan London and within quick access of Kubrick's then home in Barnet Lane,.Shooting began on 7 September 1970 with call sheet no. 1 at the Duke Of New York pub: an unused scene and the first of many unused locations. A few days later, shooting commenced in Alex's Ludovico treatment bedroom and the injection by Dr Branom.New Year's Eve started with rehearsals at the Korova Milk Bar and shooting finished after four continuous days on 8 January.The last scenes were shot in February 1971, ending with call sheet no. The last main scene to be filmed was Alex's fight with Billy Boy's gang, which took six days to cover. Shooting encompassed a total of around 113 days over six months of fairly continuous shooting.

As is normal practice, there was no attempt to shoot the script in chronological order.The few scenes not shot on location were the Korova Milk Bar, the prison check-in area, Alex having a bath at F. Alexander's house, and two corresponding scenes in the hallway. These sets were built at an old factory on Bullhead Road, which also served as the production office.

Seven call sheets are missing from the Stanley Kubrick Archive, so some locations, such as the hallway, cannot be confirmed.Otherwise, locations used in the film include:. The attack on the tramp was filmed at the (since renovated) pedestrian underpass under York Road Roundabout at the southern end of,. The unused scene of the attack on the professor was shot in shopping centre in, Buckinghamshire, (then open, since covered) but dropped due to the actor dying. For the subsequent scene where the professor recognises Alex towards the latter part of the film, the tramp plays the character who recognises Alex.

The Billyboy gang fight occurs at the then-derelict hotel on, demolished soon after. Alex's apartment is on the top floor of Canterbury House tower block, Hertfordshire. An exterior blue plaque and mosaic at ground level commemorate the film's location. The Chelsea Drugstore in west London.

The record shop where Alex picks up the two young women was in the basement of the former, located on the corner of Royal Avenue and in. The 'Menacing Car scene' where the forces the VW Beetle, motorcycle and Transit van off the road, were shot on Rectory Lane just south of Shenley Lodge. Driving under the lorry trailer was shot by on Bullens Green Lane at the crossroads of Fellowes Lane, Hertfordshire. The home of the writer, site of the rape and beating, was filmed at three different locations: the arrival in the 'Durango 95' by the 'HOME' sign was shot on the lane leading to Munden House, which is off School Lane, the house's exterior and garden with the footbridge over the pond is Milton Grundy's Japanese garden in, Oxfordshire and the interior is Skybreak House in The Warren,. Alex throws Dim and Georgie into Southmere Lake, which is adjacent to Binsey Walk at, London.

This is 200 yards north of Tavy Bridge precinct, where Alex walks home at night through an elevated plaza whistling and kicking rubbish. The 'Duke Of New York' pub is the since-demolished 'The Bottle and Dragon' pub (formerly 'The Old Leather Bottle') in, Edgware, London. The Cat Lady house where Alex is caught by police is, Rectory Lane, Shenley, Hertfordshire. The prison's exterior is, its interior is the ' since-demolished prison wing, Woolwich, London. The chapel in which Alex scrolls the lyrics as the prisoners sing is a since-demolished lecture room at St. Edward's College, Totteridge Lane, North London.

The library where he reads, fantasizes and then discusses the Ludovico Treatment with the priest was underneath the lecture room. Main article:Despite Alex's obsession with Beethoven, the soundtrack contains more music by than by Beethoven. The fast-motion sex scene with the two girls, the slow-motion fight between Alex and his Droogs, the fight with Billy Boy's gang, the drive to the writer's home ('playing 'hogs of the road'), the invasion of the Cat Lady's home, and the scene where Alex looks into the river and contemplates suicide before being approached by the beggar are all accompanied by Rossini's music. Reception.

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Stanley Kubrick's ninth film, 'A Clockwork Orange,' which has just won the New York Film Critics Award as the best film of 1971, is a brilliant and dangerous work, but it is dangerous in a way that brilliant things sometimes are. Quote in John Walker, Halliwell's Film, Video & DVD Guide 2006, page 223 (, 2005). (11 February 1972). Ebert Digital LLC. Kael, Pauline (January 1972). Retrieved 22 March 2018. Simon, John.

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21 July 2013. Retrieved 4 March 2018. Dwyer, Michael (14 December 1999). 'Passed like 'Clockwork' following a 26-year delay'. The Irish Times.

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Retrieved 5 January 2013Bibliography. Baxter, John (1997). Stanley Kubrick: A Biography. HarperCollins.

Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH.Further reading.

Burgess, Anthony (2000). ScreenPress Books.

Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. Heide, Thomas von der (1 June 2006). GRIN Verlag.

McDougal, Stuart Y. (7 July 2003).

Cambridge University Press. Volkmann, Maren (16 October 2006). GRIN Verlag.External links Wikimedia Commons has media related to.Wikiquote has quotations related to:.

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at. from HoboTrashcan.com (2008).