2012: Classics in Their Own Country: Asia and the Middle East

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2012: Classics in Their Own Country: Asia and the Middle East

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1arubabookwoman
Editado: Ene 19, 2019, 6:38 pm

ETA

2019 Welcome!

I decided to utilize the same threads for the year-long Classics in Their Own Country that we used in 2012 because there is a lot of good information in these older threads. A new intro and updated author/book list will appear shortly in paragraphs 18 to 23 below. In the meantime, feel free to peruse the 2012 parts of this thread.

From 2012:

Welcome to a year-long read of "Classics in Their Own Country." We are all familiar (or at least have heard of) many of the classics in the Western Canon. But what about the classics of Korea or the Philippines or other countries around the world? I was prompted to suggest this topic by a curiosity, maybe even a need, to know what other great books there are out there in the world that I might be missing.

But first, how do we know that a book is a "classic"? Is it a book people "praise and don't read" (Mark Twain), or "a bludgeon for preventing the free expression of beauty in new forms," (Oscar Wilde)?

All kidding aside, I like Italo Calvino's definition: "A classic is a book that has never finished saying what it has to say." In Calvino's view, whether a book is a classic is personal, and classics are not limited to books widely accepted as such: "There is nothing for it but for all of us to invent our own ideal libraries of classics."

Some other definitions of classics:

Ezra Pound: A book is a classic "because of a certain eternal and irrepressible freshness."

Michael Dirda: A classic "can be read again and again with ever-deepening pleasure."

Charles Augustin Sainte Beuve: "A true classic...is an author who has enriched the human mind, increased its treasure, and caused it to advance a step....{Books are classics} not because they are old, but because they are powerful, fresh, and healthy."

My suggestion would be that as we read these "Classics in Their Own Country" we consider and discuss:

--Is the book a classic, and why?

--What about the book is universal, and what is unique to its country or region?

--Are the themes, characters, and/or plots familiar or alien? Timeless or dated?

--Are these books similar to those of classics in the Western canon, or are they new or different?

--What is the context of the book--what was it influenced by or was it entirely novel? What influences did it have on subsequent literature?

--Would you include this book in your personal "library of classics"?

Above all: ENJOY!

3arubabookwoman
Ene 6, 2012, 8:21 pm

IRAN

Mohammad Ali Jamalzadeh b. 1892: Isfahan is Half the World: Memoirs of a Persian Boyhood

Sadegh Hedayat b. 1903: The Blind Owl

Jalal Al-e-Ahmad b. 1923: The School Principal; By the Pen

Mahmoud Dowlatabadi b. 1940: The Legend of Baba Sobhan; The Colonel; Missing Soluch

Hushang Golshiri b. 1938: Black Parrot, Green Crow

Bahman Sholevar: The Night's Journey; Dead Reckoning

Simin Daneshvar: Shavushun: A Novel About Modern Iran; Mourners of Siyavash (First novel by an Iranian woman; Iran's best-selling novel ever)

Sadiq Chubak: The Patient Stone

IRAQ

Fadhil Al-Azzawi b. 1940: The Last of the Angels

ISRAEL

S. Y. Agnon b. 1888: The Bridal Canopy--Nobelist

S. Yizhar b. 1916: Khirbet Khizeh (1949)

Moshe Shamir: My Life With Ishmael; The King of Flesh and Blood

Amos Oz

A. B. Yeshova

JAPAN

Ogai Mori b. 1862: The Wild Geese (1911)

Futabatei Shimei b. 1864 Ukigumo--Japan's first modern novel

Natsume Soseki b. 1867: I Am A Cat (1905); Botchan (1906); Wayfarer (1914); Kokoro (1916)

Takeo Arishima b. 1878: A Certain Woman (1918)

Kafu Nagai b. 1879: Geisha in Rivalry

Ryunosuke Akutagawa b. 1892 Rashomon (1914)

Naoya Shiga b. 1883: A Dark Night's Passing

Agawa Hiroyuki b. 1920: Citadel in Spring (1952); Burial in the Clouds (1955)

Dazai Osamu b.1909: The Setting Sun (1947); No Longer Human (1948)

Junichiro Tanazaki b. 1886: Naomi (1924); The Makioka Sisters (1943)

Eiji Yoshikawa b. 1892: Taiko

Masuji Ibuse b. 1898 Black Rain

Yasunari Kawabata b. 1899 Snow Country (1935); Master of Go (1951); Thousand Cranes (1949); House of Sleeping Beauties (1961)--Nobelist

Fumiko Enchi b. 1905 The Waiting Years

Shusaku Endo b. 1923

Kobe Abe b. 1924

Yukio Mishima b. 1925

4arubabookwoman
Ene 7, 2012, 1:56 am

KOREA

Kim Manchoong b. 1637 The Cloud Dream of the Nine

Kang Kyong-ae b. 1907 From Wonso Pond

Kim Tong-ni b. 1900 The Cross of Saphan

Yom Sang-Seop b. 1897: Three Generations (1931)

Chae Man-shik b.1902: Peace Under Heaven; My Innocent Uncle

LEBANON

Khalil Gibran b. 1883

Elias Khoury b. 1948

Amin Maalouf b. 1949

Hanan al Shaykh b. 1945: Women of Sand and Myrrh;
The Story of Zahra

NEPAL

Indra Bahadur Rai b. 1927: Gorkhas Imagined

NEW ZEALAND

Katherine Mansfield b. 1888

Sir Julius Vogel b.1889: Anno Domini 2000: Or Woman's Destiny

Robyn Hyde b. 1934: The God Wits Fly

John Mulgan b. 1935: Man Alone

Maurice Gee b. 1931

Albert Wendt b. 1939 Leaves of the Banyan Tree

Witi Ihimaera b. 1944: The Whale Rider

Keri Hulme b. 1947: The Bone People

OCEANIA

Epeli Hau'ofa b. 1939: Tales of the Tikongs; We Are the Ocean

Mudrooroo b. 1936: Dr. Wooreddy's Prescription for Enduring the End of the World

Florence Frisbie: Miss Ulysses of Puka-Puka (1948)

John Pule: The Shark That Ate the Sun

Albert Wendt (also claimed by New Zealand)

PAKISTAN

Saadat Hasan Manto b. 1912: Bitter Fruit (1941)

Bapsi Sidhwa b. 1938: Cracking India

PALESTINE

Emile Habiby b. 1922: The Secret Life of Saeed

Ghassan Kanafani b. 1934: Men in the Sun and Other Palestinian Stories

PHILIPPINES

Jose Rizal b. 1861: Noli Me Tangere

N.V.M. Gonzalez b. 1915: The Winds of April (1941); A Season of Grace

F. Sionil Jose b 1924: Dusk

Bienvenido Santos: You Lovely People; A Season of Grace

Nick Joaquin: The Woman Who Had Two Navels

SAUDI ARABIA

Abdelrahman Munif b. 1933: Cities of Salt; The Trench; Variations on Night and Day

SYRIA

Hanna Minah b. 1924: Fragments of Memory: A Story of a Syrian Family; Sun on a Cloudy Day

Ulfat Idilbi: Sabriya: Damascus Bitter Sweet

TAIWAN

Chen Ruoxi b. 1938: The Execution of Mayor Yin

Huang Chunming b.1939: The Taste of Apples

Pai Hsien-Yung b.1937: Taipei People; Crystal Boys

Wang Wen-hsing b. 1939: Family Catastrophe: A Modernist Novel

VIETNAM

Nam Cao b. 1917: Chi Pheo and Other Stories

Duong Thu Huong: Paradise of the Blind

5Polaris-
Ene 9, 2012, 4:19 pm

Small point of order, I hope you don't mind...
The Israeli author is A. B. Yehoshua, of whose work I would recommend The Lover.

6Polaris-
Editado: Ene 9, 2012, 4:29 pm

Another classic from Israel would be S. Y. Agnon's Only Yesterday - a heavyweight epic of pre-state life in Jaffa, Jerusalem and elsewhere. The main protagonist Isaac Kumer is a newly arrived Zionist from Galicia. The people he meets and befriends are a wide net of 'types' one may well have encountered in pre-WWI Ottoman Palestine. The writing is poetic, almost Biblical in tone, and is quite unlike anything else I've read.

The flavour of the era is very strong - an overcrowded Jaffa on the verge of spilling over into the nascent Tel Aviv, and a dusty and altogether other-worldly Jerusalem. The blending in of historical figures and institutions helps to really put you there at this fascinating time of early 20th century transformation in an endlessly complex country. I think that this is regarded by many as Agnon's masterpiece. He remains Israel's only Nobelist.

7whymaggiemay
Ene 9, 2012, 6:17 pm

For Iran, it's poetry, not a novel, but I intend to read The Rubáiyát of Omar Khayyám, something I've long ignored.

8StevenTX
Ene 26, 2012, 4:54 pm

Deborah asked me to re-post some comments here about the Chinese classic Outlaws of the Marsh from my Club Read thread, even though I haven't yet finished the novel. I'm glad to oblige, and I'll even expand on them at the risk of stealing some thunder from our 4th quarter "China and Neighboring Countries" discussion.

The following works are traditionally considered the four great classical Chinese novels:

1. Romance of the Three Kingdoms by Luo Guanzhong. This is an historical novel written in the 14th century describing events that took place in the 2nd and 3rd centuries following the collapse of the Han Dynasty, China's equivalent of the Roman Empire. I read this two years ago. It is a mixture of historical fact and fanciful invention full of battles and campaigns, but focusing on the wiles and stratagems of the contending leaders. Mao supposedly kept a copy at his bedside.

2. Outlaws of the Marsh (also translated as The Water Margin) by Shi Nai'An (and possible edited by Luo Guanzhong). See below.

3. Journey to the West by Wu Ch'eng-en. Written in the 16th century and also translated in an abridged form as Monkey. I haven't read this one yet.

4. The Story of the Stone by Cao Xueqin, written in the 18th century, also translated as A Dream of Red Mansions or The Dream of the Red Chamber. I read this last year, and it is a fabulous novel. It is the story of an aristocratic family in Beijing in the 18th century. There are no battles and campaigns here, instead it is the coming of age story of a young man amidst his family's declining fortunes. For the most part it is a gentle, lyrical novel focusing on the feminine side of the household. Unfortunately the author left the work unfinished and in the form of several discrepant manuscripts, so no two published editions follow the same sources. The Penguin edition uses the first published Chinese version which was finished by Cao's contemporary, Gao E, supposedly from Cao's notes. Of its five volumes, the last two are by Gao. I highly recommend this version. Gao's writing isn't as poetic as Cao's, but it contains a wedding scene that will absolutely rip your heart out.

The downside to these works is that they are all huge. Romance of the Three Kingdoms is the shortest at about 1500 pages.

Now on to my report on: Outlaws of the Marsh, Volume 1



I've finished the first of four volumes of this 2000-page epic, one of the traditional four great novels of Imperial China. The author, Shi Nai'an, lived from 1296 to 1372. The editors believe the work was also edited by Lou Guanzhong, the author of The Romance of the Three Kingdoms. Outlaws of the Marsh has also been translated under the titles Water Margin and All Men Are Brothers.

The setting is China during the twilight of the Northern Song Dynasty in the early 12th century. The empire is plagued by corruption and inefficiency and will soon fall to barbarian invaders from the north, the Jurchens.

The novel itself is an interconnected series of adventures featuring various heroes as protagonists (eventually 108 in all, according to the introduction). The stories are joined into a single narrative by having one hero, during or at the end of his adventure, meet up with the man who will be featured in the next adventure. Some characters return and some form joint enterprises, so there is still an overall feel that this is one novel and not just a fix-up of independent tales.

What all of the principal characters have in common is that they are outcasts in one form or another. Some are men who have been unjustly exiled by the scheming of a jealous rival. Some are under sentence for forgivable crimes, such as accidentally killing a wicked merchant or an unfaithful wife. Several of them become bandits, joining forces in a citadel hidden within the marshes. Others are still, at least at this point in the story, on the road or at some temporary place of refuge.

The stories bear strong resemblance in many ways to the Arthurian legends that were being recorded at the same time by Shi's European contemporaries. These heroes, in their solitary rambles, encounter each other in much the same form as knight errant--jousting to the point of exhaustion, then becoming fast friends. The chief difference is in the absence of anything resembling courtly love. Women have only small rôles in this story, typically as either scheming old hags or beautiful but unfaithful concubines.

Here the warrior monk known as "Sagacious Lu" demonstrates his strength by uprooting a willow tree:

9AHS-Wolfy
Ene 26, 2012, 5:33 pm

I remember watching and enjoying a TV version of The Water Margin when I was much younger. Perhaps one of these days I'll see if I can pick up the book form. Thanks for posting your comments here.

10AnneDC
Feb 11, 2012, 1:01 pm

I read Kokoro, by Natsume Soseki, for the Japanese author theme reads group, but it also fits into this challenge as it is considered a classic in Japan. It is the only book I have read by Soseki and I've read very little Japanese fiction in general. I've reposted my brief review from my 75 books thread, at Deborah's request, and I also thought a little bit about the opening questions related to this theme.

Kokoro - Natsume Soseki (Japan)

General comments
(reposted from my 75 books thread):

Kokoro is a story that is told very simply but with a steadily building sense of doom. The unnamed narrator, a university student, somewhat randomly makes the acquaintance of an older man, whom he comes to call Sensei (teacher) and to see as a sort of mentor. It is obvious that Sensei’s past includes some kind of melancholic secret which even his wife does not know the details of.

Kokoro, which apparently translates to “heart” or “the heart of things,” unfolds in chapters of little more than two pages at a time, which gave me something of the feeling of someone dealing out a deck of cards—steady and inexorable. It is divided into three sections: “Sensei and I” and “My Parents and I” are both told by the student narrator, and the third section, “Sensei’s Testament, “ is in the form of a letter from Sensei to the student. Betrayal and moral failure are at the heart of the story. There are also historical overtones, reflecting the end of the Meiji period and the beginning of modern Japan.

Classics in Their Own Country comments

Kokoro was written in 1916, and was Natsume Soseki's last book. It seems to be regarded as a classic in Japan (not that I would know) and I also encountered it on the "1001 Books to Read Before You Die" list, which suggests that someone out there considers it to have significance of a more universal nature.

Is this a book that people "praise but don't read?" I'd be surprised, as this book is not a difficult read. It is short and compact, and could be read in one or two sittings. In the sense that a classic is a book that people continue to read long after it has been published, the term fits.

The impact of modernization, historical change, and the tension between old and new ways, are probably common to all places, though would be expressed differently in different countries. Some particular ailments of "modernism" might seem very familiar to Western culture. And yet I would assume Kokoro is specifically rooted in Japanese history and the changes represented by the Meiji period, and that I would have taken something different from the book if my knowledge of Japanese history were deeper. I think this is a Japanese classic the way The Great Gatsby, just to provide an example, is an American classic--rooted in a particular time but with enduring meaning.

There are some universal themes: a young person trying to decide how to live his life, looking for role models and torn between the past and the future. And its themes of betrayal, guilt, and responsibility strike me as universal, as well as the idea of loneliness and isolation--although I think these themes play out here in a way that is more specific to Japan. There is a sense of silence, holding things in, that struck me as somewhat foreign to Western society, especially contemporary Western society. The moral code that underpins Sensei's behavior felt somewhat alien to me and perhaps culturally specific.

I'm not sure I would include this book in my personal "library of classics," but I would need to spend a little more time thinking about that concept, in any case, since I'm not sure what books would make it onto my list.

11rebeccanyc
Feb 17, 2012, 10:15 am

I agree with a lot of what Anne DC wrote above about Kokoro and I too read it for the Author Theme Reads group. Here is the review I posted there and on my Club Read and 75 Books threads.

This is a deceptively simple, yet haunting, novel that I've found myself thinking about since finishing it yesterday. On the surface, it is the tale of three students, one narrating his story in a present of around 1912, and another reflecting in 1912 on his days as a student, and his friendship with another student, some decades earlier. The helpful introduction, in my edition, by the translator describes the Meiji period in Japan, from 1868 to 1912, as a time of turmoil in which western ideas were being introduced, transforming the Japanese culture and way of life.

It is a story of deception, betrayal, friendship, family conflict, alienation, illness, and death told in a way that illustrates these without for the most part overtly calling attention to them. From the beginning, there is a sense of foreboding, as the 1912 student meets an older man, whom he calls Sensei, or teacher, who regularly visits the grave of his friend, known as K, but will not share with the student, or even his wife, why this is so important to him. The two get closer, and then the student leaves Tokyo to spend time with his family and dying father. While he is away he gets a long letter from Sensei, which forms the last part of the book, in which he tells the story of his student years, his friendship with K, and how he became the man the student met after K's death.

The reader is filled with apprehension as the story develops, knowing, in a way the student is too immature to realize, that Sensei's secret is grim and that the ending will not be good. The writing is extremely subtle, so that the reader, at least this one, almost has the feeling of experiencing the development of the characters the way they themselves do, yet is propelled through the almost monotony of everyday life to find out what happens. At the same time that the story is in some ways quite modern, it seems very rooted in a particular time and place, and I found it interesting to learn about some of the older Japanese customs and beliefs, some of which feel quite alien, like the practice of letting children (not babies) be adopted by other families who can provide them with greater financial and educational resources, the significance of suicide, and some Confucian (or Buddhist???) ideals.

According to the translator, "kokoro" means "heart," but in a broader sense than we understand it. She explains it means "the thinking and feeling heart" as opposed to "pure intellect," and indeed that is a theme of the book, something the characters struggle with. I read this book for the Author Theme Reads group's Japanese year, and it makes me eager not only to read more by Sōseki but also more by other Japanese authors so I have more of a context for what I'm reading.

12rebeccanyc
Mar 15, 2012, 9:04 am

Sanshirō by Natsume Sōseki Originally published 1909.

Sanshirō is a young man, about 22 years old, who travels from his country village to Tokyo to enroll in the prestigious university there in about 1909. The novel opens on the train carrying him to Tokyo, on which he has two encounters, one with a woman, one with an older man, that foreshadow much of the rest of the book. Sanshirō is obviously both intelligent and ambitious, but he has a lot to learn about both people, especially women, and the comparative sophistication of Meiji era Tokyo, the period when, as in Kokoro, the other book by Natsume that I've read, Japan was absorbing western ideas.

Very soon after his arrival in Tokyo, Sanshirō meets several people who will be part of his life for the rest of the book: his gregarious fellow student Yojirō, who is always plotting something; a scientist known to his family, Nonomiya; a professor, Hirota, who is somewhat detached from the world; and especially Mineko, an entrancing and yet mysterious young woman. Sanshirō, who is otherwise largely an observer, of people, of the streets and streetcars of Tokyo, of the sky and the clouds moving across it, becomes obsessed with Mineko, although I have to stress I do not mean "obsessed" in the way we think of the word today. He thinks about her, thinks about how he can get to see her -- but when he does see her, he is unable to do the right thing, to say what she would like to hear, to interact with her in a way that could move things forward. He is intimidated by her modernity at the same time that he is fascinated by it.

In addition to the Mineko thread, Sanshirō also becomes involved in an attempt to get a Japanese professor of western literature at the university, receives letters and instructions from his mother, along with information about a girl back home who doesn't interest him, and finds his way around Tokyo and the university.

As in Kokoro, Natsume's writing is very subtle. Just as Sanshirō observes the world, the reader observes Sanshirō and experiences what he is experiencing, even if at times the reader, or this one anyway, just wants to slap him and say "talk to her, already." It would be difficult to call this a coming of age novel, because Sanshirō still has a long way to go at the end of it, but he definitely is learning. I enjoyed this book and found it an excellent tale of a young provincial man gradually getting to know the wider world, as well as an intriguing portrait of a particular time and place. In that sense, it is definitely a classic.

As an aside, my edition had a lovely and informative introduction by Haruki Murakami.

13rebeccanyc
Mar 27, 2012, 9:06 am

The Sea and Poison by Shūsaku Endō Originally published 1958.

Here is my general review, crossposted from Club Read, 75 Books, and the book page.

I am very impressed that Shūsaku Endō wrote this book, not only because it deals with the horrifying vivisection of US prisoners of war by Japanese doctors at the end of World War II, but primarily because he is a Japanese author tackling what must have been, and probably still is, an extremely fraught subject. What he is really addressing is the moral question: how could anyone, but especially doctors who have sworn an oath to protect life, agree to participate in this?

Endo tells the story through the eyes of several of the doctors and nurses who end up participating in the vivisection, but the principal character is Dr. Sugaro, a young intern at the time who, despite reservations, was involved in the "operations," and who, when the book opens, is practicing almost in seclusion in a shabby home office outside Tokyo. Then, through flashbacks, we get a picture of the time and motivations of the other characters, primarily the principal doctors, "the Old Man," Dr. Hashimoto, and his assistant Dr. Shibata; a sickening sycophant, Dr. Asai; another more sophisticated intern, Dr. Toda; and two nurses, the chief nurse Oba and a younger nurse with a difficult past, Ueda.

The end of the war is near and the Americans are bombing the city of Fukuoka day in and day out. It has been reduced nearly to rubble, and the doctors and nurses at the nearby medical school have become numbed to the death and destruction. Most of them are also numb to the suffering of their patients, many of whom have advanced cases of tuberculosis, especially those in the welfare ward, although, despite teasing, Sugaro feels compassion for an elderly woman who is scheduled to undergo unnecessary and probably fatal surgery because the doctors feel she is expendable. At the same time, the internal politics of the hospital lead "the Old Man" to focus his efforts on becoming to become Dean of Medicine and Asai and Toda are scheming with him. Even before the military proposes the vivisection "experiment," the patients are not at the forefront of the doctors' or nurses' minds. Nobody seems that enthused about the war, either.

Through flashbacks to the earlier lives of some of the participants, especially Toda and Ueda, Endō explores their psychological inability to refuse to join in. Toda lacks a conscience and cares only what society thinks and what he can get away with; Ueda has experienced her own traumas (through which we see the Japanese treatment of the Chinese in areas they occupied prior to the war) and has a hard time thinking about the point of view of other people. Throughout, Endō focuses on the idea of what is morality and how we will be judged, as well as some Buddhist perspectives on suffering. He also introduces the idea of the other; Hashimoto has a white (German) wife, who does things the Japanese find unusual for a woman in her position, and the whiteness of the US bomber pilots who are the POWs is also noted.

I have only scratched the surface of this brief but chilling and complex book. The sea is ever-present, a force beyond human control, and the poison of going along with the group is insidious.

Comments for this group about why it is a classic.

I think this book is a classic both because it deals with a very specific time and a very specific horror that few would write about, and because the themes dealing with human nature are timeless. Most of us try to advance ourselves and rationalize some of the actions we take to succeed; many of us struggle with external and personal stresses. Many works of literature force us to ask ourselves how we would behave in certain situations, or how the fictional situations resemble ones we have confronted; this is one of them.

14rebeccanyc
Abr 4, 2012, 6:46 pm

Japan Originally published 1962, English translation 1964.
The Woman in the Dunes by Kōbō Abé

I found this Japanese classic extremely difficult to read: so disturbing, so claustrophobic, so infuriating. And yet, I suspect all this is as the author intended. Literally, it is the story of a man unwillingly trapped in a disintegrating house in a sand pit with a woman who has been living there for some time, condemned to continually remove sand so it doesn't overpower the house and then the neighboring village. He struggles, attempts to escape, feels alternately anger at and compassion for the woman, and philosophizes about sand, sex and love, and the meaning of life. Metaphorically, it is an existential look at the lives we all live.

I also found it intriguing to think about why it is called "the woman in the dunes" when the woman is never fully developed as a character, and the male protagonist is the focus of the story. To me the woman was almost symbolic, as it is in a way the woman/the pit/the hole in the ground that traps the man, even though it was the male villagers who put him there. A little Freudian, no?

Finally, I found myself struggling to appreciate this book, and on some levels I could. The world the author creates is believable if bizarre, as are the changing moods, attitudes, and actions of the protagonist. The author's depiction of sand and its movement is fascinating and mind-stretching. The way he develops the plot and makes the reader feel as trapped as the protagonist is masterful. The line illustrations, by his wife, are charming and add to the tale. But overall it is so grim and, as I said, so claustrophobic, that reading it was, for me, an unpleasant experience.

Why is it a classic? I think I would have to agree with the quote by Italo Calvino that Deborah quoted in the first post: "A classic is a book that has never finished saying what it has to say."

15dcozy
Abr 8, 2012, 6:33 pm

I'll just poke my nose in here to mention Pak Kyung-Ni's Land, an essential modern Korean novel. I wrote about it here: http://www.japantimes.co.jp/text/fb20120226a2.html

16Mercury57
Ene 4, 2015, 8:39 am

Has anyone come across an author from Kirabati? i'm looking for a recommendation to complete a reading project I have

17Samantha_kathy
Ene 11, 2015, 12:37 pm

Maybe you can find something on here: http://www.kiribatibooks.com/

18arubabookwoman
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