Hecht, Anthony

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A Summoning of Stones
Anthony Hecht
Manufacturer: The Macmillan Company
ProductGroup: Book
Binding: Unknown Binding
ASIN: B0000CPGZ6

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A pained elegance Hecht is a poet of elegance and clarity, of classical learned lines reflecting a rich personal experience. He

Collected Later Poems
Anthony Hecht
Manufacturer: Knopf
ProductGroup: Book
Binding: Paperback

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Collected Earlier Poems
Collected Poems 1943-2004
Melodies Unheard: Essays on the Mysteries of Poetry (Johns Hopkins: Poetry and Fiction)
Collected Poems
The Darkness and the Light: Poems

ASIN: 0375710302
Release Date: 2005-04-12

Book Description

Anthony Hecht, now in his eightieth year, has earned a place alongside such poets as W. H. Auden, Robert Frost, and Elizabeth Bishop. Here under one cover are his three most recent collections–The Transparent Man, Flight Among the Tombs, and The Darkness and the Light. The perfect companion to his Collected Earlier Poems (continuously in print since 1990), this book brings the eloquent sound of Hecht’s music to bear on a wide variety of human dramas: from a young woman dying of leukemia to the tangled love affairs of A Midsummer Night’s Dream; from Death as the director of Hollywood films to the unexpected image of Marcel Proust as a figure skater.

He glides with a gaining confidence, inscribes
Tentative passages, thinks again, backtracks,
Comes to a minute point,
Then wheels about in widening sweeps and lobes,
Large Palmer cursives and smooth entrelacs,
Preoccupied, intent

On a subtle, long-drawn style and pliant script
Incised with twin steel blades and qualified
Perfectly to express,
With arms flung wide or gloved hands firmly gripped
Behind his back, attentively, clear-eyed,
A glancing happiness.

From the Hardcover edition.

Customer Reviews:

A pained elegance Hecht is a poet of elegance and clarity, of classical learned lines reflecting a rich personal experience. He .......2006-01-11

Hecht is a poet of elegance and clarity, of classical learned lines reflecting a rich personal experience. He is too someone who looks at life with a hard realism which comes from his not easy - life including second world- war combat and being one of the American soldiers who liberated the concentration camp Flossenburg.
He confronts the bitterness of desolate landscapes and makes of these meetings a music of deep poetic beauty.
"

Melodies Unheard: Essays on the Mysteries of Poetry (Johns Hopkins: Poetry and Fiction)

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Essays Unsurpassed
Solving poetry's mystery by exploring others' craft

Melodies Unheard: Essays on the Mysteries of Poetry (Johns Hopkins: Poetry and Fiction)
Anthony Hecht , and J.D. McClatchy
Manufacturer: The Johns Hopkins University Press
ProductGroup: Book
Binding: Paperback

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Collected Later Poems
Collected Earlier Poems
Collected Poems
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Selected Letters (Moore, Marianne)

ASIN: 0801882664

Book Description

The fruit of a lifetime's reading and thinking about literature, its delights and its responsibilities, this book by acclaimed poet and critic Anthony Hecht explores the mysteries of poetry, offering profound insight into poetic form, meter, rhyme, and meaning. Ranging from Renaissance to contemporary poets, Hecht considers the work of Shakespeare, Sidney, and Noel; Housman, Hopkins, Eliot, and Auden; Frost, Bishop, and Wilbur; Amichai, Simic, and Heaney. Stepping back from individual poets, Hecht muses on rhyme and on meter, and also discusses St. Paul's Epistle to the Galatians and Melville's Moby-Dick. Uniting these diverse subjects is Hecht's preoccupation with the careful deployment of words, the richness and versatility of language and of those who use it well.

Elegantly written, deeply informed, and intellectually playful, Melodies Unheard confirms Anthony Hecht's reputation as one of our most original and imaginative thinkers on the literary arts.

Customer Reviews:

Essays Unsurpassed.......2003-11-16

This compilation of essays by perhaps the finest, most elegant poet writing on either side of the Atlantic has its faults. The first one to catch the eye is that the first two essays on the Sonnet repeat each other, word for word, in several places. But taking the work, which covers many subjects in addition to the "Melodies Unheard," which is saved for the last, as a whole, one can not help be struck by Hecht's depth of insight and urbanity of expression on each subject: from Sidney, to Elizabeth Bishop, to Moby Dick. It is simply impossible for a poetic mind to come away unmoved or without perspective shifted from the depths so adroitly explored here. My favourite example (And I suspect Hecht's as well, since it's the only chapter in the book on which he lavishes a full page reproduction of a Bosch painting in illustration of a part of a poem. Indeed, there are no other props of this sort in the entire collection.) is his explication of Elizabeth Bishop's poem "The Man-Moth." I never thought very much of Ms. Bishop's poetry before reading this explication, so deep and fecund of insight. - But herein lies a sort of paradox inherent to most all these essays-I now appreciate "The Man-Moth" exceedingly but am even more overwhelmed by rereading Hecht's poetic explication of the poem. The same is true of Hecht on Moby Dick. I suppose this is a great compliment. But one wonders whether Ms. Bishop would have thought so. In any event, though disagreeing with Hecht in regard to a couple of minor nuances here and there, I would say to the already very select group considering the purchase of this book that it's well worth it. Maybe, if Bishop is a favourite poet of yours or Melville a favourite author, too well worth it. As Hecht avers in the last essay, "...our experience of poetry is no simple business." - Nor is our experience of Hecht.

Solving poetry's mystery by exploring others' craft.......2003-05-22

REVIEWED BY HENRY TAYLOR ...

Anthony Hecht, one of the very few finest poets of the past 50 years, is also one of the most learned, wide-ranging, perceptive, and engaging critics. Now 80, he has gathered in this new collection, "Melodies Unheard," 18 essays, most of them done in the past five years in response to invitations and assignments of various kinds, from centenary observances to pieces for The New York Review of Books.
As to his subtitle, he remarks in his Introduction, "What, I have asked myself, is the critic trying to do? And there are plenty of answers. But perhaps we might begin with the urge governing Poe's Auguste Dupin: to solve a mystery. Not infrequently this means discovering that there was a mystery to be solved in the first place, because no one had noticed any need for scrutiny."
Though he does not say so explicitly, Mr. Hecht appears also to be concerned with "mystery" in the sense of skill, craft, or art; this older usage appeared often in the indentures of apprentices, bound for a period to learn the mysteries of , say, tailoring. Near the end of his Introduction, he says, "No poet examines someone else's poem, especially a major poem or a large body of poetry, without hoping to learn something from such scrutiny; and, moreover, to learn something he can put to his own personal use."
It is an inspiring and humbling object lesson for any serious reader to behold the thoroughness with which Mr. Hecht opens his powers of perception to the variety of texts he encountered in the course of writing these pieces. He has his preferences, to be sure; he understands that meter and rhyme have been integral to poetry for centuries, and that to dispense with them is to incur serious risks. It must be noted, however, that he is no knee-jerk enemy of free verse; one of the best pieces here is a penetrating and highly favorable consideration of Charles Simic, whose unmetrical surrealism Mr. Hecht praises for its resonance and responsibility.
Collections of separate critical pieces can sometimes seem too miscellaneous, whatever the brilliance or persuasiveness on display in the individual essays. Mr. Hecht has addressed this matter with unusual thoughtfulness and diligence, and the result is a solid book rather than an assemblage of book parts.
First, his Introduction takes up some points not dealt with to his satisfaction in the essays. For example, early in an essay chiefly concerned with the opening of T. S. Eliot's "The Waste Land," Mr. Hecht mentions "the bedeviling topic of Eliot's anti-Semitism, which I must leave for another time." He makes short work of William Empson's attempt to make Eliot out as a decent fellow of his time who had no problem with some of his time's notions, and just slightly longer work of Eliot's own claim that he was not an anti-Semite and never had been.
Anti-Semitism arises again in a discussion of St. Paul's Epistle to the Galatians; Mr. Hecht's treatment of it is notable for its patient use of a remarkable amount of Biblical knowledge, and for its tact with personal reminiscences of direct encounters with wounding prejudice.
Second, the book concludes with an essay called "The Music of Formsþ" which appears to have been written for the collection; it is not mentioned in the acknowledgments of editors and lecture venues. It is here that Mr. Hecht is most clearly distressed at what seems to him the shrinking audience for such delicacies of technique as he explores in the rest of the book. For years, he tells us, it was his habit, following some exposition of metrical terminology and example, to ask his undergraduate students to locate for him the place where the dialogue of Romeo and Juliet shifts from prose into verse. It didn't last:
"After a certain number of years I gave up asking my classes this question, which obviously embarrassed them and discouraged me, for it became transparently clear that the overwhelming majority of my students were quite simply deaf to almost all metrical considerations and that my introductory lecture on the topic was purposeless and wasteful. And I reluctantly concluded that there are many who are not so much mystified by meter as completely oblivious to it."
One who has repeatedly urged students to observe line-ends when quoting poetry in critical papers can but agree with this assessment. However, it seems always to have been the case that those to whom matters of precision and beauty of language are matters of great importance - of life and death, as we sayþ - are greatly outnumbered by those to whom such matters are of no importance. Mr. Hecht strikes a firm balance between taking pessimistic notice of this situation, and considering that Milton's "fit audience though few" is entirely deserving of the best effort he can muster.
Thus Mr. Hecht proceeds, with grace, urbanity, good humor, and vast erudition, to consider certain literary works from the past eight centuries, and to shed light on their techniques and on a few instances of obscurity.
Among the poets treated are Shakespeare, Philip Sidney, A.E. Housman, Gerard Manley Hopkins, Robert Frost, W.H. Auden, Elizabeth Bishop, Richard Wilbur, and Yehuda Amichai. There are also essays on aspects of "Moby-Dick," and on the prose of Seamus Heaney. The approaches range from close explication of text to sweeping historical surveys. Throughout, the style and manner are those of a deeply knowledgeable and polished conversationalist, grateful to be in the presence of the works he understands so well. Care for poetry and its traditions has seldom been so memorably exemplified.

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Formal and Savage
a truly wonderful collection
Meticulous, inspiring work
Moses coming down from Mount Parnassus

Collected Earlier Poems
Anthony Hecht
Manufacturer: Knopf
ProductGroup: Book
Binding: Paperback

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Collected Later Poems
Collected Poems
Melodies Unheard: Essays on the Mysteries of Poetry (Johns Hopkins: Poetry and Fiction)
Collected Poems 1943-2004
The Complete Poems, 1927-1979

ASIN: 0679733574
Release Date: 1992-02-25

Customer Reviews:

Formal and Savage.......2006-07-07

Contains the complete texts of Millions of Strange Shadows, The Venetian Vespers, and The Hard Hours (for which he won the Pulitzer prize). Hechts poems are formal and savage. You'd be hard pressed to find another poet who can write with such grace and ferocity. From jealous love to the holocaust, Hecht approaches every topic. One of America's greatest, and, unfortunately, lesser known poets.

To read more reviews check out Void Magazine's website.

a truly wonderful collection.......2001-11-22

if i had to describe Anthony Hecht in one word, it would be regal. there is no poet who looks more dignified or acts with more dignity. and his poetry is full of grace, dignity, and a quiet power. it is no wonder that hecht is as respected as he is. the poems in this collection are ones to be read slowly, over time, in order to fully digest what makes hecht such a magnificant poet.

Meticulous, inspiring work.......2001-06-20

Anthony Hecht's poems are such carefully crafted masterpieces, unfolding beautifully, quietly creeping into the heart. For those who recognize and appreciate the flow of language, the meter of words and syllables. Read "A Letter" and "Sestina d'Inverno." True works of art.

Moses coming down from Mount Parnassus.......2000-03-22

Anthony Hecht is Moses coming down from Mount Parnassus with these Collected Earlier Poems as his Ten Commandments on the craft of ARS POETICA. He is perfectly at ease with all the elements of style and leads the reader easily into his world of observed treasures- Venetian Vespers - Cape Cod Lullaby - and for a change of pace, Third Avenue in Sunlight. An absolute master of his craft.

Anthony Hecht In Conversation With Philip Hoy

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Anthony Hecht In Conversation With Philip Hoy
Philip Hoy , and Anthony Hecht
Manufacturer: Between the Lines(CA)
ProductGroup: Book
Binding: Paperback

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Collected Earlier Poems

ASIN: 1903291151

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BIBLICAL THEMES TOUCHING THE REAL WORLD POETICALLY
The Great and the Jejeune
the latest from hecht

The Darkness and the Light: Poems
Anthony Hecht
Manufacturer: Knopf
ProductGroup: Book
Binding: Hardcover

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Collected Earlier Poems
Collected Later Poems
Flight Among the Tombs: Poems
The Transparent Man
Collected Poems 1943-2004

ASIN: 0375411941
Release Date: 2001-06-12

Book Description

The poetry of Anthony Hecht has been praised by Harold Bloom and Ted Hughes, among others, for its sure control of difficult material and its unique music and visual precision. This new volume is the fruit of a mellowing maturity that carries with it a smoky bitterness, a flavor of ancient and experienced wisdom, as in this stanza from “Sarabande on Attaining the Age of Seventy-seven”:

A turn, a glide, a quarter-turn and bow,
The stately dance advances; these are airs
Bone-deep and numbing as I should know
by now,
Diminishing the cast, like musical chairs.

Hecht’s verse—by turns lyric and narrative, formal and free—is grounded in the compassion that comes from a deep understanding of every kind of human depredation, yet is tempered by flashes of wry comedy, and still more by innocent pleasure in the gifts of the natural world. Followers of his poetry will recognize an evolution of style in many of these poems—a quiet and understated voice, passing through darkness toward realms of delight.

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BIBLICAL THEMES TOUCHING THE REAL WORLD POETICALLY.......2001-10-25

Outstanding masterpiece using many Biblical themes and events to convey the paradox of God's Light in the Darkness of a cursed world, alluding to Creation & Fall in Genesis 1-3.

Just two poems are worth the price of the entire volume:
SACRIFICE - ABRAHAM; SAUL & DAVID.

Excerpts:
Abraham -

Three promises he gave/Came like three kings or angels to my door:His purposes concealed/In coiled and kerneled store/
He planted as a seedling that would yield/In my enfeebled years/
A miracle that would command my tears/With piercings of the grave.
"Old man, behold creation,"/Said the Lord, "the leaping hills,
the thousand-starred/Heavens and watery floors./ Is anything too
hard/For the Lord, Who shut all seas within their doors?"

Saul & David -

A shepherd boy, but goodly to look upon/
Unnoticed but God-favored,sturdy of limb/
As Michelangelo later imagined him,/
Comely even in his frown./

Shall a mere shepherd provide the cure of kings?/
Heaven itself delights in ironies such/
As this, in which a boy's fingers would touch/
Pythagorean strings/

And by a modal artistry assemble/
The very Sons of Morning, the ranked and choired/
Heavens in sweet laudation of the Lord/
And make Saul cease to tremble.

Simply magnificent. A tour de force. Mr Hecht simply gets better with age, like a fine Merlot. Bon Apetit!

The Great and the Jejeune.......2001-07-13

Twenty-five years ago the novelist John Fowles published a truly silly essay in which he argued that lyric poetry is the exclusive province of the young. He cited Keats and Shelley to make his point. I was just a kid when I read it, but my reaction was "Shoemaker, stick to your lath." Among the lyric poets I most admired were Pindar and Po Chu-I, Horace and Hardy, men who had done extraordinary work into their eighties. Even then I longed for the reflections of those who "spit into the teeth of Time that has transfigured me," in Yeats' memorable phrase.

With the appearance of The Darkness and the Light, I have another great old man to read. Here are one of the half-dozen greatest villanelles in our language, the most vicious, wittiest flyting since Burns sank beneath the sod, the "Sarabande at Age 77," and the title poem, which I first read one week after my octogenarian father succumbed in the wan, morning light. Fellow Amazonians, I'd say this is the most important book of English verse to appear since Wilbur gave us his collected poems in 1988. Buy it. Read it. Memorize it.

the latest from hecht.......2001-06-13

Hecht's verse is always a pleasure to read. You see his intelligence, formal skill, and love of language in his poems. "Nocturne" is Hecht's succesful villanelle, which is one of my favorite formal types of poems, and when it is well done, and it is well done here, it can be one of the most successful forms of poetry. bravo mr. hecht. "Sacrifice" also sticks out in the book. it is a poem in three parts, juxtaposing the story of abraham and isaac with an incident in 1945, which is just chilling. hecht has several successful translations. I was dissapointed in the lack of war poems, which few do better than hecht, and the overabundance of religous poems. the dual picture on the cover lead me to believe that the subject of this collection would be both wwii and religion. i would hope next time knopf would do better in designing the cover.

Seven Against Thebes (Greek Tragedy in New Translations)

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Aeschylus' play that falls between Oedipus Rex and Antigone
excellent translation from excellent series
When the gods send destruction there is no escape.

Seven Against Thebes (Greek Tragedy in New Translations)
Aeschylus , and Helen H. Bacon
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback

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Prometheus Bound (Greek Tragedy in New Translations)
Persians (Greek Tragedy in New Translations)
Iphigeneia at Aulis (Greek Tragedy in New Translations)
Bacchae
Alcestis (Greek Tragedy in New Translations)

ASIN: 0195070070

Book Description

The formidable talents of Anthony Hecht, one of the most gifted of contemporary American poets, and Helen Bacon, a classical scholar, are here brought to bear on this vibrant translation of Aeschylus' much underrated tragedy The Seven Against Thebes. The third and only remaining play in a trilogy dealing with related events, The Seven Against Thebes tells the story of the Argive attempt to claim the Kingdom of Thebes, and of the deaths of the brothers Eteocles and Polyneices, each by the others hand. Long dismissed by critics as ritualistic and lacking in dramatic tension, Seven Against Thebes is revealed by Hecht and Bacon as a work of great unity and drama, one exceptionally rich in symbolism and imagery.

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Aeschylus' play that falls between Oedipus Rex and Antigone.......2003-11-12

After the banishment of Oedipus, his twin sons Eteocles and Polyneices were elected co-kings of Thebes. They agreed to reign for alternate years, but Eteocles, would not relinquish the throne at the end of the first year, accusing his brother of having an evil disposition and banishing him from the city. Eventually Polyneices would return with six other champions to lay siege to the city. "The Seven Against Thebes" expedition ends with both Eteocles and Polyneices dead, killed by each other, before the walls of Thebes. After that, the defenders crushed the besiegers and the seven proud generals were all killed, except for Adrastus, who managed to escape thanks to his divine horse, Arion. However, the defenders of Cadmeia, the acropolis of Thebes, had so many losses that from then on any victory which looked more like a defeat as called a Cadmeian victory.

The Aeschylus tragedy "Seven Against Thebes" is the only surviving play of a connected trilogy dealing with the sins of Laius (father of Oedipus) and the curse subsequently brought down upon his descendants. Aeschylus focuses on a prophecy that had been made regarding the sons of Oedipus: "They shall divide their inheritance with the sword in such a manner as to obtain equal shares." The play begins with Eteocles in command of the city and Polyneices arriving with his army of Argive soldiers. It begins with Eteocles making a call to arms and is followed by a description of the oath taken by the seven generals of the attacking armies. When the brothers kill each other during the battle by the walls of Thebes it becomes clear their "equal shares" refers to their common graves. The tragedy ends with a brief appearance by Antigone, who declares her intention to bury her brother Polyneices in defiance of the command of Creon, who now becomes king of Thebes.

This tragedy comes after the events related by Sophocles in "Oedipus at Colonus," but obviously before what happens in his "Antigone." What is interesting here is the psychological portrait that Aeschylus presents of the two brothers, even though only one of them appears in the play (the idea of having to different settings was apparently too much of a radical idea for drama at that time). Such insights are nominally something we would expect from Sophocles, but this is Aeschylus who is developing the split between the brothers in terms of oppositional pairs of characteristics. Clearly the idea is that one cannot exist (live) without the other, which makes their dying together justified by logic as well as the curse on the House of Oedipus.

It is difficult to judge this play and appreciate it as the climax to this particular trilogy without knowing much more about the preceding plays dealing with the two earlier generations of the house of Cadmus. What is clear is that Eteocles does not deserve much sympathy from the audience given that he has a greater culpability in his demise than either his father or his sister, at least in terms of what we know from the plays of Sophocles, which is the flaw in this assessment.

excellent translation from excellent series.......2002-03-16

This excellent edition of Seven Against Thebes is part of Oxford University Press' ongoing series Greek Tragedy in New Translations, the idea behind which is that these plays should be translated into English not just by Greek scholars, but also by poets, to preserve as much of the real communicative power and drama as possible.

This edition is ideal for reluctant students assigned to read Seven Against Thebes, and may even succeed in sparking their interest in the subject. The language is true to the play and stays vivid even through a few static moments.

As with all the plays in this series, the introduction provides information not only about how the translation was accomplished, but also about how the play would have been performed, and perceived, by the ancient Greeks, what's missing from the play (namely, the first two plays of a trilogy), and notes about how the play fits into the scheme of Greek tragedy.

Other plays in the series, such as Oedipus the King, are also highly recommended.

This review applies only to the Hecht/Bacon translation published by Oxford University Press in their Greek Tragedy in New Translations series, and not to the Dover Thrift edition.

When the gods send destruction there is no escape........1999-06-13

This is the third play in a trilogy, the other two being lost. The play results in an end to the curse on the Oedipus family. However, it is different from the approach later used by Sophocles. Here, there is no redemption from within. The curse ends only when the family becomes extinct. The two sons of Oedipus, Eteocles and Polyneices, who were to share power in Thebes, have quarrelled. Eteocles seizes power and Polyneices goes to get help from Adrastus, King of Argos, and six other kings. Eteocles sends champions to fight the six kings at six of the gates of Thebes. The seventh gate is left to Eteocles. However, that is the gate to which his brother comes. Eteocles feels that he has no choice but to fight and further incur the wrath of the gods by shedding kindred blood. "When the gods send destruction there is no escape." Eteocles had an "out" of his predicament but he choses not to use it. One really sees the pains of conflict and war in this play.

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The Hard Hours
Anthony Hecht
Manufacturer: Atheneum
ProductGroup: Book
Binding: Paperback
ASIN: B000NSK4VE

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Another stunning collection from Hecht

Flight Among the Tombs: Poems
Anthony Hecht
Manufacturer: Knopf
ProductGroup: Book
Binding: Paperback

General | Poetry | Literature & Fiction | Subjects | Books

The Darkness and the Light: Poems
Collected Earlier Poems

ASIN: 0679765921
Release Date: 1998-01-12

Amazon.com

Flight Among the Tombs, Anthony Hecht's sixth book of poems published since 1954, shows one of America's foremost poets working at the top of his form. Part scholar, part circus ringmaster, Hecht calls our attention to three rings of his erudition: classical wit, Renaissance energy, and contemporary doubt. A fragment of Christopher Smart provides the book's title, but George Herbert, in whose clever prosodic vineyards Hecht has long labored, casts the book's longest shadow. The first half contains lyrical poems in which Death--both scythe-hauling figure and physical phenomenon--speaks as the central character inside a collage of masks: carnival barker, film director, society lady, member of the Harlem Guild of St. Luke, and, of course, poet. Hilarious and creepy, the poems combine Hecht's late-modernist sense of ironic humor with an orchestra of Latin and Renaissance conceits, stripping away the latter's theology to express a very inclusive mortality. Yet Hecht, whose deep humanity prevents these poems from becoming mere set pieces of the macabre, turns this message of doom into a call to enjoy the unpredictable in life, as the speaker watching aristocrats dine says in "Death the Mexican Revolutionary," <blockquote> We recommend the quail,
Which you'd do well to eat
Before your powers fail,
For I inaugurate
A brand-new social order
Six cold, decisive feet
South of the border.
</blockquote> Several occasional poems in the book's second half mark the passing of Hecht's generation, including "For James Merrill: An Adieu" and "A Death in Winter," honoring the memory of Joseph Brodsky. These poems are particularly moving in light of the rambunctious sensibility of the volume's first half. At turns outrageous and somber, Flight Among the Tombs is a surprising addition to Hecht's oeuvre. --Edward Skoog

Book Description

Divided into two parts, this new book contains a collaboration with the artist Leonard Baskin called "Presumptions of Death, " reproducing 22 masterly wood engravings and all of Hecht's other poems written since his last book, The Transparent Man.

Customer Reviews:

Another stunning collection from Hecht.......2002-06-17

Hecht has to be one of the greatest living poets we have, and Flight Among the Tombs is another example of this. It is chiefly a sequence of poems where Death speaks as or through someone else. It is a powerful sequence of poems set with wood engravings Leonard Baskin. The combination is stunning. The section section of the book is a few poems added, I'm guessing, to make this a book-length collection. Luckily, with a poet of Hecht's caliber, the filler poems are just as good as the main portion of the book.

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Jiggery Pokery
Anthony, and Hollander, John Hecht
Manufacturer: Atheneum
ProductGroup: Book
Binding: Hardcover
ASIN: B000H554IG

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