Computational Mathematics: Models, Methods, and Analysis with MATLAB and MPI

Book Description

Computational Mathematics: Models, Methods, and Analysis with MATLAB and MPI explores and illustrates this process. Each section of the first six chapters is motivated by a specific application. The author applies a model, selects a numerical method, implements computer simulations, and assesses the ensuing results. These chapters include an abundance of MATLAB code. By studying the code instead of using it as a "black box, " you take the first step toward more sophisticated numerical modeling. The last four chapters focus on multiprocessing algorithms implemented using message passing interface (MPI). These chapters include Fortran 9x codes that illustrate the basic MPI subroutines and revisit the applications of the previous chapters from a parallel implementation perspective. All of the codes are available for download from www4.ncsu.edu./~white. This book is not just about math, not just about computing, and not just about applications, but about all three--in other words, computational science. Whether used as an undergraduate textbook, for self-study, or for reference, it builds the foundation you need to make numerical modeling and simulation integral parts of your investigational toolbox.

Customer Reviews:

Not really a general methods book.......2006-07-26

I picked up this book to see if it would be useful in a numerical methods course, but I found that it was much too specific - This is a book on numerical methods for PDEs, and not a general methods text. If you are interested in PDE models, then this might be a useful book for you- The authors do include some interesting applications.

Amazon.com

Officer, diplomat, spy, journalist, and intermittent genius, Marie Henri Beyle employed more than 200 aliases in the course of his crowded career. His most famous moniker, however, was Stendhal, which he affixed to his greatest work, The Charterhouse of Parma. The author spent a mere seven weeks cranking out this marvel in 1838, setting the fictional equivalent of a land-speed record. To be honest, there are occasional signs of haste, during which he clearly bypassed le mot juste in favor of narrative zing. So what? Stendhal at his sloppiest is still wittier, and wiser about human behavior, than just about any writer you could name. No wonder so meticulous a stylist as Paul Valéry was happy to forgive his sins against French grammar: "We should never be finished with Stendhal. I can think of no greater praise than that."

The plot of The Charterhouse of Parma suggests a run-of-the-mill potboiler, complete with court intrigue, military derring-do, and more romance than you can shake a saber at. But Stendhal had an amazing, pre-Freudian grasp of psychology (at least the Gallic variant). More than most of his contemporaries, he understood the incessant jostling of love, sex, fear, and ambition, not to mention our endless capacity for self-deception. No wonder his hero, Fabrizio de Dongo, seems to know everything and nothing about himself. Even under fire at the Battle of Waterloo, the young Fabrizio has a tendency to lose himself in Napoleonic reverie:

Suddenly everyone galloped off. A few moments later Fabrizio saw, twenty paces ahead, a ploughed field that seemed to be strangely in motion; the furrows were filled with water, and the wet ground that formed their crests was exploding into tiny black fragments flung three or four feet into the air. Fabrizio noticed this odd effect as he passed; then his mind returned to daydreams of the Marshal's glory. He heard a sharp cry beside him: two hussars had fallen, riddled by bullets; and when he turned to look at them, they were already twenty paces behind the escort.

The quote above, a famous one, captures something of Stendhal's headlong style. Until now, most English-speaking readers have experienced it via C.K. Scott-Moncrieff's superb 1925 translation. But now Richard Howard has modernized his predecessor's period touches, streamlined some of the fussier locutions, and generally given Stendhal his high-velocity due. The result is a timely version of a timeless masterpiece, which shouldn't need to be updated again until, oh, 2050. Crammed with life, lust, and verbal fireworks, The Charterhouse of Parma demonstrates the real truth of its creator's self-composed epitaph: "He lived. He wrote. He loved." --James Marcus

Book Description

Richard Howard's exuberant and definitive rendition of Stendhal's stirring tale has brought about the rediscovery of this classic by modern readers. Stendhal narrates a young aristocrat's adventures in Napoleon's army and in the court of Parma, illuminating in the process the whole cloth of European history. As Balzac wrote, "Never before have the hearts of princes, ministers, courtiers, and women been depicted like this...one sees perfection in every detail."

With beautiful illustrations by Robert Andrew Parker.

Customer Reviews:

What Did I Miss?.......2007-04-15

Wow - definitely a minority here since everyone else totally dug the book. Puzzling. I love historical fiction, especially about England or Italy. The description on the back was mouthwatering.

It's certainly not the antiquated narrative tone - Oliver Twist, The Fifth Queen, Barnaby Rudge, Wives and Daughters (excellent!!), Dracula...no problem with any of them.

I didn't finish the book - think it was around page 70 or so I decided to drop it. Couldn't tell you why. Just found it tedious and uninteresting. LOTS of description and long solid paragraphs maybe?

A classic.......2007-01-10

This is really one of those classic European novels from the early 19th century. It's written in a true romantic format: lengthy at times and not a whole lot of actions in today's standards but it's clean, enjoyable, naive and easy to follow. There's also a lot to learn about European culture that time. The translation is superb too; the language is very modern but it doesn't take the cultural/historical message away.

Passion and Poison in Parma.......2006-05-02

The Charterhouse of Parma is an unforgettable mess, half operatic melodrama, half micro-analysis of Europe's petty absolutist courts on the eve of democracy. In Fabrizio del Dongo, Stendhal hits every Romantic cliche with gusto: by turns passionate, melancholic, amorous, indifferent, spiritual and carnal, he ultimately struck me as no one at all, a cipher Stendhal uses to expose the pettiness of the venal world that succeeded Napoleon's defeat. With Conte Mosca, brilliant Prime Minister to the fearful Prince of Parma, Stendhal poured his own long experience of diplomacy and court politics into a sympathetic portrait of an admirable man condemned by circumstance to a life of toadying and intrigue at a tiny provincial court. The real hero of the book for me though was its heroine, the Duchessa de Sanseverina, who has to be one of the most unforgettable female characters in European literature. Part Machiavelli, part Lana Turner, the Duchessa blends romance and Realpolitik with a verve that makes the silly plot twists almost worthwhile.

There's a part of me that wonders if the special brilliance of this novel, which has the feel of a B-movie or potboiler, was in Stendhal's ability to turn his disregard for the plot into an expression of his disdain for a Europe devoid of Napoleon, crippled by reaction and venality and head-in-the-sand consumption that feels a lot like now. The story reads like a bad opera because that's how Europe looked to Stendhal c. 1839--he knows the class he's writing about is about to disappear; their intrigues don't matter much any more; the old noble families are dying out and the new world belongs to the new wealth of a middle class he didn't especially love or understand. What seems to matter most to Stendhal is passion, a quality hard to come by in a world where there's no longer much to be passionate about. It's a strange combination of romantic longing and hard-headed cynicism that for all the improbable bumps, seemed especially right for these times.

Clumsy but intriguing narrative flavor, 1839 vintage.......2006-03-13

This challenged me, and I've read my share of 19c novels. I read for hours straight, and barely budged its bulk. But I persevered, and if the titular Carthusian monastery is only in the last three paragraphs even mentioned, this is indicative of the slapdash, reader or convention to hell with it style in which this rather angry, tense, and rumbustious novel survives. If you can call a finished novel this rackety assemblage of swashbuckling bits interlarded into endless dramatic monologues of the Duchess, mainly, and her seeming nephew Fabrizio and the warden's daughter for whom he moons, Clelia. Not to mention the Count, who outlasts changes of lovers and regimes. They are all human, I suppose, taking into account a far more leisurely-paced version of their complicated lives, outside of the sabre-rattling, shown in novels 175 years ago. Harder for us to recognize people like ourselves--as they're scheming and plotting madly to turn this a proto-telenovela or higher class soap opera of the rich and famous, Northern Italian vintage.

It's as if Stendhal, writing this in mere months, driven by his publisher to compress it--as noted by Howard in his epigrammatic and idiosyncratic afterword--into two "volumes"-- wrote out whatever was in his head onto the page, stylistic felicity or cohesive plot or likable characters be damned. Convoluted, carefully qualified, often periodically structured sentences force you to slow down, and this novel, after its first hundred-odd pages, rarely moves quickly.

The story's "caterpillar" rhythms (Howard again) give this a staccato kind of edginess in parts, and plenty of Jamesean languour in many other sections. Not a novel to be casually read. Uneven, maddening, at times sleep-inducing. Oddly contemporary in the restlessness of the author with his tale, and the artificiality that pervades a supposedly realistic and detailed account of the inner and outer lives of a few highborn (or those aspiring to climb into these ranks) and profligate folks. I felt as if Stendhal used the excuse of an omniscient and editorializing narrator to talk to us about whatever was on his mind--near his death, unfortunately. He frequently adds smug asides about French vs. Italian mores and morals, and if these ring faintly amusing still today, I can imagine what entertainment they were within the Parisian salons of 1839.

This tale's more of a way for Stendhal to compare Paris with Italy, than with giving us as readers consistently engrossing characters, dramatic scenes, or gripping complications. True, all these are here in fits and starts: Marietta's greedy mother, Ferrante the mad poet in his Quixote-like passion for the Duchess, the mineralogically-concerned new Prince of Parma and his shrewish mother, the too-brief vignette of the tiny Bettina the chambermaid, the jailer's wife early on in Fabrizio's travels, and of course the fascinating set-piece of him wandering in and out of the edge of the battle of Waterloo, but missing a glimpse of Napoleon!

Frustrating in its ebb and flow, rawer than the polished prose passages may at first let on, and rewarding if you've already been through other 18/19c fiction, this novel-of-sorts is handsomely bound, with a few drawings inside and a lovely watercolor of Waterloo which may lead you, as it did me, to expect a much more action-filled story. The duels and prison escapes and court intrigue is all here, and a distant and disapproving look at clerical hypocrisy throughout jostles against an undertone of social conscience amidst the behind the scenes, off-stage bedhopping and double-crossing that at times balances a concentration upon the more rarified circles of society. For all the ludicrous moping of doe-eyed Clelia and far worse the undeserving and two-faced "prelate" Fabrizio, Stendhal's underlying, if rather too muted, criticism of their casuistry does keep you reading, since it's too far by then into the accruing for you to surrender your temporal investment! It certainly shows a Church mired in as much scandal and immorality as it has been charged with before and since. Stendhal does carry on the spirit of 1789 here.

False passports, illegitimate sons, crooked lawyers, corrupt politicians, threats of terror, restive peasants: all the stuff of so many tales from this time emerges here, but from a thicker, more lumpish, but still intriguingly half-baked mess that makes up this clunky but, for all its lopsidedness, a rather endearing, if harshly critical as much as soppily muddle-headedly romantic, depiction of a very unsettled time not unlike all the decades of Europe since then. This novel shows a continent already jittery about liberalism, secularism, and revolt, and this two/three generations before modernism and WW1.

Buried deep within one if its dense chapters towards the concluding, if rushed, episodes is Stendhal's observation that politics fits rarely into a novel; but like a gunshot at a concert, it's hard to ignore once it happens! The Abbe Blanes, a lovable eccentric, early on warns Fabrizio that 50 years must pass before the sleep of reason (not his words; I borrow Goya) lifts from a Europe under the thumb of despots and/or clerics. His prediction, by the later 19c in Italy, finally was proven. In this way, obliquely, those like the protagonists of this novel who favored Napoleon did, in a tangential manner, get their and their author's dreams fulfilled of a somewhat more open-minded Europe.

Plots and counterplots.......2005-06-23

I recently came across this book in a used book store and while thumbing through its pages remembered that while enrolled in a French literature class in college I had been assigned to read the novel in the original language. Only two things from that experience stand out: (1) I could not remember one detail from the novel and wondered how I passed the exam, and (2) a remark made by the instructor, an emeritus professor nearing seventy years of age, that "you have never been made love to unless you have been made love to in German" which struck me as very odd coming from an elderly woman and apropos of anything to do with nineteenth century French literature - although a woman student sitting a few rows in front of me had nodded her agreement. Of course, I had to pick up the book and re-read it.

Stendhal never was one to spend an inordinate time thinking up his own plots (The Red and the Black was based on police records) and this novel is no exception. It is based very loosely on the early career of Pope Paul III but the time of the novel is moved some three hundred years ahead to coincide with the defeat of Napoleon. The book chronicles the life and adventures of Fabrizio del Dongo and breaks neatly into two barely connected parts: Fabrizio's adventures at the Battle of Waterloo and his ascendancy into ecclesiastical power politics at the court of Parma. Regardless of what some existentialists claim to be the story of the "modern" hero - the individual who is afloat in a stream of events over which he has no control - this is essentially an adventure book and reads much like the romances of Alexandre Dumas.

It is also a love story involving Fabrizio's relationships with two women: the seemingly chaste Clelia and Fabrizio's aunt, the Duchessa Sanseverina, who has more than a familial interest in her handsome young nephew. Machiavelli, himself, would have blushed at some of the Duchessa's machinations and the casuistic justifications of Clelia in accepting Fabrizio as a lover would have pleased even the staunchest Jesuit. Although Stendhal keeps his narrative moving along nicely, the story is so full of details that the reader can only be shocked at the way in which the author brought his story to an end. Either Stendhal was just tired of the story or his editors were getting a bit impatient because the author summarizes the last dozen or so years of his chief protagonists in just over five pages, leaving the reader feeling somewhat underwhelmed and a bit cheated.

The Charterhouse of Parma (Oxford World's Classics)

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Best Charterhouse in print?
An unforgettable journey
A French view of Italian immorality
A Good Introduction to 19th Century French Literature
Exciting and interesting for the young

The Charterhouse of Parma (Oxford World's Classics)
Stendhal
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback

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ASIN: 0192839578

Book Description

The Charterhouse of Parma (1839) is a compelling novel of passion and daring, of prisons and heroic escape, of political chicanery and sublime personal courage. Set at the beginning of the nineteenth century, amidst the golden landscapes of northern Italy, it traces the joyous but ill-starred amorous exploits of a handsome young aristocrat called Fabrice del Dongo, and of his incomparable aunt Gina, her suitor Prime Minister Mosca, and Clelia, a heroine of ethereal beauty and earthly passion. These characters are rendered unforgettable by Stendhal's remarkable gift for psychological insight. `Never before have the hearts of princes, ministers, courtiers, and women been depicted like this,' wrote Honore de Balzac. `Stendhal's tableau has the dimensions of a fresco but the precision of the Dutch masters.' The great achievement of The Charterhouse of Parma is to conjure up the excitement and romance of youth while never losing sight of the harsh realities which beset the pursuit of happiness, nor the humour and patient irony with which these must be viewed. This new translation captures Stendhal's narrative verve, while the Introduction explores the novel's reception and the reasons for its enduring popularity and power.

Customer Reviews:

Best Charterhouse in print?.......2007-03-08

I have a soft spot for Lowell Bair's translation (in Bantam Classics), but Mauldon's is about as good, maybe better. She catches Stendhal's insouciance and tempo wonderfully, and is more careful than Howard's Modern Library version. Of the old Penguin, the less said the better -- I've not seen the new Penguin, but I doubt very much it's better than Mauldon's. (Pearson's intro, like the one for the Oxford "Red & the Black" -- also a fine translation, by Catherine Slater -- is good too.)

An unforgettable journey.......2003-04-16

Having read all of the posted reviews I feel incapable to even attempt and surpass them in eloquence and analysis, especially as English is not my native language and literature is merely a way of discovering myself.
Having said that, I merely wish to deposit my humble opinion for a book which simply swept me away for its realistic description of an era full of corruption, vane ambition and senseless passion, masqueraded as pure love. Yes, I do believe that Stendhal provides us with a realistic depiction of courtizans, complex behaviours motivated by passion for glory, love, but most of all self-respect. Most of the reviewers have described the story-line and the main characters in an admirable way, despite some of them being over-critical of all or some of the heroes. It does not matter whether one likes the characters or not, what is essential is that we follow their lives, their inner thoughts and desires, their fears. Stendhal interchanges between prose and thoughts in such a way that I felt like I knew Fabrice, Gina, Count Mosca personally, like I was present, hidden in a corner, during all their (mis) adventures.
This was a period when passion was the dominant motive for all actions, when personal relationships were full of exaggeration, positive or negative. Gina loved Fabrice passionately, Fabrice sought love passionately, Mosca adored Gina passionately, Fabrice idolised Clelia passionately, even the Prince loved himself passionately. In an era (our present) when passion is so rare to be found and when most of us indulge into petty actions and thoughts in a mechanical way, the depiction of a period where everything was so full of emotions cannot but impress us. I repeat that you do not have to like the characters, nor appreciate their motives. I do not believe that Stendhal aimed at our sympathy, he simply, in a masterful way, wished us to see what happens when reason gives way to emotion, always within the unavoidable conventional constraints of that society and its ethics.
A corrupted,senseless,opulent era, too similar to our own, but for so many different reasons. I highly recommend this book, because it took me to a world where a man's life could be devoted to one thing only: a quest of happiness even if that meant personal torture. And as is well known, torture, is not inflicted only through physical means, eg. imprisonment, but equally through mental torment and suffering.
A great poet once wrote that we live, love, dream and die alone. Stendhal shows that we should all do this for the right reason and what is right is a personal matter. After finishing the book I discovered something, which perhaps my immaturity prevented me from seeing clearly up to then: seeking all the emotions that matter to me passionately.Stendhal is a psychologist of the highest calimbre and a great painter of human souls. For that reason alone, although there are so many more - and "meeting" the insuperable and sublime, in any conceivable way, divine Gina is one of them, this book should rank highly in everybody's reading list.

A French view of Italian immorality.......2002-08-06

If I were to describe the hero of "The Charterhouse of Parma" as a narcissistic, rakish young man who is always being rescued from his misadventures by his doting, clever aunt, it would sound like I was talking about a P.G. Wodehouse book. But set this story in early 19th Century northern Italy, build it on an opulent foundation of picaresque romance and political intrigue, add equal measures of comedy and tragedy, and you have Stendhal's exuberant, wonderful novel.

Stendhal portrays the towns and states of northern Italy, all of which are ruled (during the Napoleonic era) by princes and dukes of varying degrees of care and competence, as vibrant playgrounds of Shakespearean passions for the rich. It is among this aristocracy that the hero, Fabrice del Dongo, is born and raised. Selecting Napoleon as his own hero, he runs away to France to join his cavalry just in time for the Battle of Waterloo; however, his adventures end in disillusion and humiliation (things didn't go so well for Napoleon, either), and he returns to Milan where his malicious brother has gotten him into trouble with the law.

Thus Fabrice seems destined to live his life on the run. His good looks and devilish persona make him irresistible to girls and loathsome to their jealous boyfriends, one of whom, named Giletti, Fabrice is compelled to kill in self-defense. For this act, he is imprisoned in a high tower in Parma, where the Governor's daughter, Clelia Conti, who lives in a palazzo adjoining the tower, attracts his romantic interest and tries to protect him from being poisoned by his enemies.

Fabrice's aunt, Gina del Dongo, is as central a character to the novel as her nephew. She uses her legendary beauty and charm to influence men to do her favors, such as helping Fabrice break out of prison. Her partner in crime is the equally ambitious Count Mosca, who schemes his way to becoming Prime Minister and loves Gina madly. Helping her help Fabrice out of his predicaments poses a dilemma for him, however; he actually considers the young man his romantic rival. And in some perverse way, he's right.

Despite the ribald nature of the events, this is a sad novel; it is about people who mistake passion for the end rather than the means and let it destroy their lives. And yet the novel is often very funny, particularly in Stendhal's satirical comparisons between the French and the Italian mentalities. He is aware that the French reader will find the plot absurd and the characters hopelessly immoral, but the point he is making is that even though this type of behavior -- adultery, bribery, simony, murderous revenge -- exists in every country, the Italians do it with a particular flair that makes it a unique cultural phenomenon.

A Good Introduction to 19th Century French Literature.......2001-12-19

I read this novel in the original language (French) and was not suprised to realize that the literary style used by Stendhal is rather similar to that of other French authors of the period, such as Balzac. For those who have read "La Comedie humaine", I can say that the author goes somewhat deeper into portraying the psychological nature of his caracters while the action line is not as complex as that in a typical novel of Balzac. The book is good; not only does it introduce the reader to the society and life of early 19th century Italy and France, but also provide an easy-to-comprehend example of French Romanticism. At times the reader encounters a number of sytlistic inconsistencies (the author spent only 7 weeks to write the entire book), yet overall the prose is elegant and straightforward. For those readers who are fonder of postmodern literature, "The Charterhouse of Parma" is perhaps not as interesting. To put it in one sentence, the book is classic, but that does not necessarily make it very inovative!

Exciting and interesting for the young.......2001-10-25

The story begins at the plot where a young monk is announced to go to the world. He is sent to an aristocrat who needs a educated private secretary. The aristocrat trusts him to treat as a friend to send him with his secret message to other countries. Although his status at his employer's house goes up in such a way, he still remains to be sprung from a common bourgeois. The inhibited love with his employer's beautiful daughter is growing up gradually inside him. One day he can't endure his emotion to do something incredible. Is he killed?
If you are a young man, this novel must excite you without any question. As well as "The Red and the Black", it is undoubtedly interesting for the young.

The Charterhouse of Parma (Penguin Classics)

Average customer rating:

Try the Mauldon translation
Disappointing.

The Charterhouse of Parma (Penguin Classics)
Stendhal
Manufacturer: Penguin Classics
ProductGroup: Book
Binding: Paperback

French | World Literature | Literature & Fiction | Subjects | Books

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ASIN: 0140449663

Book Description

A magnificent new translation of Stendhal's picaresque novel about love and intrigue in post- Napoleonic Europe

Judged by Balzac to be the most important French novel of its time, The Charterhouse of Parma is a classic portrait of aristocratic adventure. Fabrizio del Dongo, a headstrong and naive Italian grandee, defies the wrath of his right-wing father and goes to fight for Napoleon. But his dreams of military glory are dashed, drawing him back to Milan. There he becomes embroiled in a series of amorous exploits, fueled by his own impetuous nature and the political chicanery of his aunt and her wily lover. This is a colorful journey through extravagance, duplicity, and youthful daring.

Customer Reviews:

Try the Mauldon translation.......2007-02-26

Rater25's comment on the disappointing new Sturrock translation doesn't take into account Margaret Mauldon's version for Oxford, which I found delightful & without Howard's howlers. Hard to find on shelves, but hey, that's why there's Amazon.

Ordinary novels pall after reading Stendhal.

Disappointing........2007-02-21

What a disappointment! I ordered this item from the UK because it was available there many months prior to its publication in the US. The cost was high, but I had wanted to read this novel and the translations available seemed problematic.

Sturrock has a reputation for accurate and faithful translation. His Proust volume was a bit awkward, but wonderfully respectful of the original French.

Not the case here. Words are added; paraphrasing common, and the translation of many individual words is questionable. And the "Britishisms" rankle.

So, which translation to read? I compared the first chapter of them all against each other and against the original French.

Moncrieff is somewhat archaic but usually accurate and he writes extremely well. A new edition that corrects his occasional errors would be very valuable.

The Howard translation caused something of a scandal on publication. The editing (if there was any) is extremely careless. Grammatical and typographical errors are common and there is an occasional mistranslation. Once again, a scholarly revision of this translation would be useful.

All in all, for a contemporary American, the Howard seems the best bet. It's a fluent read. Just keep your French dictionary and an editing pencil handy.

Average customer rating:

THE CHARTERHOUSE OF PARMA(IN SLIPCASE)
Translator Stendhal. Marie-Henri Beyle. C. K. Scott-Moncrieff
Manufacturer: Heritage Press
ProductGroup: Book
Binding: Hardcover
ASIN: B000H7K7OA

La Cartuja De Parma / The Charterhouse of Parma (Literatura / Literature)

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La Cartuja De Parma / The Charterhouse of Parma (Literatura / Literature)
Stendhal
Manufacturer: Alianza
ProductGroup: Book
Binding: Paperback

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Monarch Notes on Stendhal's the Red & the Black & Charterhouse of Parma (Monarch Notes)

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Monarch Notes on Stendhal's the Red & the Black & Charterhouse of Parma (Monarch Notes)
Patricia Plante
Manufacturer: Simon & Schuster
ProductGroup: Book
Binding: Paperback

French | World Literature | Literature & Fiction | Subjects | Books

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The charterhouse of Parma,
Stendhal
Manufacturer: Limited Editions Club
ProductGroup: Book
Binding: Unknown Binding

French | World Literature | Literature & Fiction | Subjects | Books
ASIN: B0006AUFFE

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THE CHARTERHOUSE OF PARMA
Honore & Translated From French By: Moncrieff, Scott, C.K. Stendhall; De Balzac
Manufacturer: Modern Library
ProductGroup: Book
Binding: Hardcover
ASIN: B000N3O3XO

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THE CHARTERHOUSE OF PARMA

Manufacturer: Signet
ProductGroup: Book
Binding: Paperback
ASIN: B000HFFG8O

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The Charterhouse Of Parma
Stendhal
Manufacturer: New Phoenix
ProductGroup: Book
Binding: Hardcover
ASIN: B000UJIJBI

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