398:... the duchess the ownership of approximately eighteen per cent of the population of Spain inclusive with farms, mines, factories, breweries, houses, forests, rocks, vineyards and holdings in eleven countries of the world including shares in a major league baseball club in North America, an ice cream company in Mexico, quite a few diamonds in South Africa, a Chinese restaurant on Rue François 1er in Paris, a television tube factory in Manila, and in geisha houses in Nagasaki and Kobe.
229:
171:. A clear caricature, he is obsessed with his moustache and carries a topaz cat named Montes. Despite his wealth, Muñoz spends the novel feeling cheated by Goya. While first appearing as a minor character, he ultimately is the villain and is described as the most important character as he sets the plot in motion and intrudes at key moments. Through his unwitting interventions, he causes a number of deaths of other characters leading Condon to write later:
321:"revealed dozens upon dozens of great masterpieces of paintings that had not been seen for centuries, hung frame touching frame—the work of Goya, Velasquez, the great Dutch masters, and the most gifted masters of the Italian Renaissance.... The idea of masterpieces of Spanish painting hanging in stone castles all over Spain, high and invisible in the darkness, stayed with me and gradually formed itself into a novel called
247:
her residence. The long-forgotten paintings are coveted by
American criminal James Bourne, who regularly steals paintings across Spain from his hotel in Madrid. With every painting he replaces the original paintings with forgeries executed by Jean Marie Calvert, a Parisian artist who is the world's greatest copyist.
432:
would characterise his latter works as well. Early in the book, for instance, in a paragraph discussing "criminality", in which, with typical Condon brio, he compares the kind of "infantile discipline" that a master criminal needs to that of a small boy "who will work to remember baseball batting averages back to
520:, contented himself with a long synopsis of the story, finding "... a murderous sort of zaniness to Mr. Condon's plot" and remarking that "With a technique that requires all surprises and revelations to be undermined by fresh surprises and revelations, Mr. Condon spins everyone deeper and deeper into the plot."
175:"... Victoriano Munoz certainly deserved to die for what he had done in my first novel.... The admirable Duchess of Dos Cortes, who murdered him, was very religious, and I was her old deity, poor woman. She implored me for permission to kill him for his most heinous crimes against her, and I had to so rule."
460:
The crowd rioted at the bull ring.... Two children and one woman were trampled to death; twenty-six persons were injured, nine seriously. Two men, seated sixty yards apart in separate sections of the plaza, had been pointed at as having thrown the knife but miraculously had been saved from the mob by
431:
reviewer quoted earlier that "Condon's is a fully controlled job of writing rather than an ardent grope. Written throughout with painstaking grace, not one scene or description is ever thrown away," Condon does, however, occasionally slip into pretentious, emotionally overheated, prose, a trait that
161:
of the book. He is created as a superficially likeable character: tall, physically powerful and intelligent. He reflects a recurring theme of the novel: the corruption of businessmen as immoral and criminal. Bourne worked at his father's insurance business; in that time driven to the conclusion that
470:
than this book and that may also have appeared in other works by Condon. On page 142 James Bourne is at his grandiloquent worst as he once again tries to justify his criminality to Eve: "I am you and you are me and what can we do for the salvation of each other?" Two hundred pages later, one broken
250:
Painted in Paris, the reproductions are brought into Spain by Bourne's wife, an upper-class young
American girl named Eve Lewis, who loves Bourne in spite of his criminality. Bourne is introduced, stealing three masterpiece paintings from his supposed friend, the Duchess of Dos Cortes, and arranges
539:
In 1961 they wrote admiringly that, "A Condon novel has the sound and shape of a bagful of cats. In The Oldest
Confession, The Manchurian Candidate and Some Angry Angel, Condon garnered fans with accounts, written in messianic exasperation, of criminal endeavor, fate's falling cornices, widespread
246:
follows Doña Blanca
Conchita Hombria y Arias de Ochoa y Acebal, Marquesa de Vidal, Condesa de Ocho Pinas, Vizcondesa Ferri, Duquesa de Dos Cortes, a 29-year-old beauty who was married to an aged degenerate and becomes the wealthiest woman in Spain upon his death, and owner of the paintings inside
550:
In 1974, in yet another unfavorable review of his latest novel, they wrote: "His early books, The Oldest
Confession, The Manchurian Candidate and A Talent for Loving, are among the maddest funny novels of the last couple of decades. They seemed to have been written by Mephistopheles, raucous with
496:
of June 22, 1958, wrote a favorable review called "Urbane
Insiders". It managed to completely avoid giving his readers much more than a cursory clue as to what the book was about. One of his paragraphs (omitted here) was devoted to another, earlier work by another author about art forgeries, but,
329:
Back in New York, Condon began turning his initial concept into a screenplay—until his wife pointed out, that he was writing it in the past tense instead of the present, which is obligatory for screenplays, and that it should be turned into a novel. Condon followed her advice and the book was
506:
And yet the one thing the author is unable to convey is any feeling of depth, of real mortality unfolding before the reader. The deterioration of James
Bournes, Ivy League master criminal, is singularly unmoving even as one stunningly dramatic scene or ingenious plot-turn follows another....
501:
Unlike most other first novels, Richard Condon's is a fully controlled job of writing rather than an ardent grope. Written throughout with painstaking grace, not one scene or description is ever thrown away or treated in a commonplace manner. Everything is handled, and handled well, from the
446:
Also typical of later Condon works is his precise detailing of the peripheral deaths and injuries to innocent bystanders caused by some particularly careless or coldblooded act committed by one of the characters, sometimes by the book's sympathetically drawn protagonist. Dr. Muñoz of
251:
for his wife to smuggle them to Paris for a highly profitable sale. When she arrives in Paris, however, she discovers that the mailing tube in which the paintings were being carried is now empty. The book then focuses on the downward spiral of Bourne and his associates.
511:
If, the next time out, he can manage to open up and write more personally without marring his exceedingly refined sense of literary form, then we shall really be seeing a book. As things are now, no apologies are necessary to anyone for this is quite an impressive
29:
953:
162:
it is no crime to steal from already corrupt businessmen. Bourne repeats throughout the book at the only truly honest people are those who are criminal. Despite his depicted genuine love for his wife he is shown as self absorbed, callous and amoral.
471:
woman tries to console another with an equally long-winded speech that ends with, "I am you and you are me and what have we done to each other?" A year later, with the publication of the book that was to make Condon famous, on a frontis page of
585:
403:
Most of Condon's novels feature brief appearances, or sometimes only off-stage mentions, of characters named after real-life friends of the author. In a number of books, for instance, a character named
Keifetz appears, named apparently for
182:
Bourne's wife, Eve Lewis, a young
American who has come to Paris and is skilled in languages, learnt through various lovers. After becoming Bourne's lover and criminal accomplice, she now travels with a large number of passports in various
280:
Bourne, double crossed by Victor, is subsequently killed by the
Duchess of Dos Cortes in revenge for the death of her lover, Jimenez. Jean and James are caught and arrested, both being sentenced to life for the theft.
254:
Bourne, though considering himself a master criminal, is tracked by others. Bourne is coerced by Dr Victor Muñoz into the seemingly impossible task of stealing one of the world most famous masterpieces, the
558:, "Condon's style, which has seemed preachy and sodden in recent years, achieves some of the snap and malice that enlivened such earlier works as The Oldest Confession and The Manchurian Candidate."
502:
viewpoint of the cosmopolitan insider who knows everything there is to know about such urbane things as art critics, European customs inspectors, wire services, bullfights and fine food and drink.
497:
aside from that hint, his review is little more than generalities. It was, nevertheless, a fine inaugural reception in a most important media outlet for a hitherto unknown 43-year-old author:
532:. Over the next 30 years, however, they mentioned it at least six times, always favorably, and frequently as containing superior qualities that Condon's later novels generally failed to meet:
342:
about the forthcoming book, "Condon explained without divulging details of the plot, 'Is one of need. Half the need, love. The other half, greed.'" The movie version was released in 1962 as
216:
Lawyer Chern, a Swiss lawyer who makes a brief appearance before being killed by Bourne, who locks him for what is intended to be a few days into a Parisian cellar and then forgets about him.
416:, a character has lunch in a Paris bistro and briefly meets two people playing chess at the bar, "Buchwald and Nolan, newspaper and airline peons respectively". Buchwald is certainly
589:
193:
His wife, Lalu, only described as "Lalu looked like a nursery doll. Her voice was higher than a dog's whistle.... The sounds she made were like a well filled with drunken canaries."
455:
buzzing while Bourne carries out the actual theft of the Goya painting, he makes himself even more detestable. After carrying out the first step of the diversion demanded by Bourne:
441:"It is greed with a social sense removed because what is there to be taken must be taken by the criminal consistent with his inner resources, eliminating envy, a much smaller sin."
388:... the giant gestures of throwing the ball from the long baskets as Van Gogh might have tried to throw off despair only to have it bound back at him from some crazy new angle.
206:
Homer Pickett, an absurd, compulsively talkative backwoods American congressman from downstate Illinois who is, improbably, the world's greatest authority on Spanish paintings.
167:
Dr. Victoriano Muñoz, Marqués de Villabra, a wealthy, half-mad Spanish nobleman obsessed by injustices supposedly done to his family a hundred years earlier by the painter
547:, and made the assessment that, "Condon was never a satirist: he was a riot in a satire factory. He raged at Western civilization and every last one of its works."
1107:
369:
The novel offers first glimpses of many of the traits and stylistic tricks that were typical of Condon's later novels, among them, as the playwright
1102:
565:
novel, "In Condon's mad early novels—The Oldest Confession, The Manchurian Candidate—marvelous characters seethed with venality and obsession."
683:
451:
is far from sympathetic—he is repellent even—and when he sets out to create an "extraordinary diversion", one that will instantly have all of
1048:
1034:
1020:
1006:
992:
978:
289:
In 1955, Condon, then 40 years old and a longtime New York publicist and Hollywood employee of various studios, was the publicity agent for
338:
Even before it was published in April 1958, twelve film companies had initiated talks about purchasing rights to it. In a brief mention in
1092:
722:
Richard Condon, paperback edition, Four Square, London, 1965), which includes four paragraphs of text on the final page that are
650:
424:, which was published in Paris, where Condon had also lived during the 1950s. The identity of Nolan, however, remains a mystery.
305:
134:
The epitaph to this first novel, which appears on the title page of the first American hardback edition, reads in its entirety:
1087:
383:
Bourne always sat uncommonly still ... a monument to his own nerves which bayed like bloodhounds at the moon of his ambition.
718:, Richard Condon, first American hardback, Appleton-Century-Crofts, Inc., New York, 1958. A 1965 British paperback edition (
726:
in the American hardback edition, does not quote this epigraph anywhere, thereby making the title meaningless to the reader
1082:
219:
Various minor characters such as English gangsters, Spanish customs officials and lawyers, and employees of Bourne's hotel
107:. The novel is a tragicomedy about the attempted theft of a masterpiece from a museum in Spain. It can be classified as a
939:, Richard Condon, American paperback edition, N.A.L. Signet Books, New York, fifth printing, November, 1962, frontis page
1097:
963:
736:
804:, by A. H. Weiler, a friend of Condon's, whose name is used frequently for minor characters throughout Condon's works
420:, the celebrated newspaper columnist and humorist, who, at the time of the book's publication, was still working for
373:
once put it, "the madness of his similies, the lunacy of his metaphors". A selection of these from the opening pages:
1112:
393:
Also making a debut was Condon's delight in creating long lists of madcap and strangely juxtaposed items such as:
291:
581:
104:
60:
257:
234:
128:
115:. The book deals with issues of money, greed, ethics and morality. It was adapted into a film retitled
405:
228:
186:
Jean Marie Calvert, the unequaled French copyist. He is a vital cog in Bourne's plan to steal the
608:
831:, Richard Condon, first American hardback, Appleton-Century-Crofts, Inc., New York, 1958, page 4
691:
658:
344:
270:
168:
116:
523:
433:
99:
is a 1958 novel, the first of twenty-five by the American political novelist and satirist
408:, a New York City author who wrote a novel about a major league baseball player called
370:
100:
42:
1076:
466:
Finally, we have the first mentions of a phrase that is more closely associated with
353:
296:
528:, the leading mid-brow American weekly for most of the 20th century, did not review
417:
349:
300:
28:
561:
In 1988, 30 years after his inaugural novel, they wrote, in a review of the third
209:
The congressman's drunken, and sexually frustrated, wife who has an addiction to
577:
112:
108:
695:
662:
158:
378:
The duchess was ... a tribal yo-yo on a string eight hundred years long....
788:, by Richard Condon, Dial Press, New York, 1973, second printing, page 150
776:, by Richard Condon, Dial Press, New York, 1973, second printing, page 147
760:
Richard Condon, writing in "Endpaper, A Confession of Multiple Homicide",
310:
273:, from its tightly guarded quarters in the national museum of Spain, the
210:
190:, but, ultimately panics, derailing the robbery and leading to his death.
309:, he was present at a scene being filmed in the ancient rectory of the
200:
623:
562:
452:
314:
1066:
157:
James Bourne, an American in his middle 30s, is the protagonist and
818:
Screen: 'Happy Thieves'; Appears on Bill with 'Season of Passion'
684:"Screen: 'Happy Thieves':Appears on Bill With 'Season of Passion'"
624:"Crime Genre: MacGuffins, Red Herrings, and Writing a Great Caper"
274:
227:
516:
Charles Poore, however, writing two months earlier in the daily
483:: "I am you and you are me and what have we done to each other?"
554:
In 1977 they grudgingly admitted that, for his latest novel,
586:
Creative Commons Attribution-ShareAlike 3.0 Unported License
786:
And Then We Moved to Rossenarra: or, The Art of Emigrating
774:
And Then We Moved to Rossenarra: or, The Art of Emigrating
127:
The title is inspired, as many of Condon's quotes, from
477:
Standard Dictionary of Folklore, Mythology and Legend,
360:
as a "limp herring" of "the devastating first novel".
492:
Gerald Walker, in the Sunday book review section of
330:
published to favorable reviews not long afterwards.
551:
glee at the insane excesses of the human creature."
84:
76:
66:
56:
48:
38:
475:, two separate epigraphs, one supposedly from the
996:magazine, "A Shortage of Cats", July 21, 1961, at
303:being shot in Spain. As he writes in his memoir,
737:"Book Reviews, Sites, Romance, Fantasy, Fiction"
651:"Richard Condon, Political Novelist, Dies at 81"
317:. The enormous lights needed to film the scene
982:magazine, "Mixed Fiction", March 28, 1960, at
8:
1052:magazine, "Bookends", September 19, 1988, at
1024:magazine, "Obscurity Now", June 24, 1974, at
576:This article incorporates material from the
21:
543:In 1971 they cited the "foaming manias" of
313:, the massive palace and cathedral outside
131:, the fictional book he had also written.
427:In spite of the admiring statement of the
27:
20:
1038:magazine, "Royal Flush", May 30, 1977, at
412:—that novel was dedicated to Condon. In
196:The Duchess of Dos Cortes and her lover:
1069:– a website about "The Keener's Manual"
598:
536:In 1960 they called it "fine, mordant".
199:Cayetano Jiminez, the world's greatest
1010:magazine, "Cheese", March 4, 1971, at
948:"Urbane Insiders", by Gerald Walker,
7:
238:, the object of James Bourne's plot
1108:American novels adapted into films
14:
1067:http://tegularius.org/keener.html
479:and the other, shorter one, from
422:The International Herald-Tribune
584:", which is licensed under the
306:And Then We Moved to Rossenarra
649:Gussow, Mel (April 10, 1996).
1:
1103:Appleton-Century-Crofts books
111:or caper novel, a subset of
1129:
364:Style and Condonian quirks
334:Publication and the movies
606:"Books Published Today".
292:The Pride and the Passion
26:
1093:Novels by Richard Condon
937:The Manchurian Candidate
473:The Manchurian Candidate
468:The Manchurian Candidate
267:Charge of the Marmelukes
436:", he goes on to write:
356:, and was dismissed by
105:Appleton-Century-Crofts
61:Appleton-Century-Crofts
16:Novel by Richard Condon
720:The Oldest Confession,
514:
463:
443:
400:
390:
385:
380:
327:
239:
146:
138:The Oldest Confession
103:. It was published by
22:The Oldest Confession
1088:American crime novels
925:The Oldest Confession
913:The Oldest Confession
901:The Oldest Confession
889:The Oldest Confession
877:The Oldest Confession
865:The Oldest Confession
853:The Oldest Confession
841:The Oldest Confession
829:The Oldest Confession
802:On Local Movie Fronts
716:The Oldest Confession
612:: 20. April 28, 1958.
582:The Oldest Confession
545:The Oldest Confession
530:The Oldest Confession
499:
458:
449:The Oldest Confession
439:
414:The Oldest Confession
396:
386:
381:
376:
323:The Oldest Confession
319:
244:The Oldest Confession
231:
136:
96:The Oldest Confession
1083:1958 American novels
952:, June 22, 1958, at
816:, February 5, 1962,
800:, February 9, 1958,
690:. February 5, 1962.
285:Concept and creation
144:The other half Greed
142:Half the need Love,
1098:Novels set in Spain
762:The New York Times,
556:The Abandoned Woman
481:The Keener's Manual
129:The Keener's Manual
33:First edition cover
23:
966:The New York Times
950:The New York Times
814:The New York Times
798:The New York Times
688:The New York Times
655:The New York Times
609:The New York Times
588:but not under the
494:The New York Times
488:Critical appraisal
461:courageous police.
358:The New York Times
340:The New York Times
295:, a film starring
240:
178:Other Characters:
1113:1958 debut novels
968:, May 1, 1958, at
764:November 30, 1975
630:. August 31, 2018
345:The Happy Thieves
271:Francisco de Goya
169:Francisco de Goya
117:The Happy Thieves
92:
91:
77:Publication place
1120:
1054:
1046:
1040:
1032:
1026:
1018:
1012:
1004:
998:
990:
984:
976:
970:
961:
955:
946:
940:
934:
928:
922:
916:
910:
904:
898:
892:
886:
880:
874:
868:
862:
856:
850:
844:
838:
832:
826:
820:
811:
805:
795:
789:
783:
777:
771:
765:
758:
752:
751:
749:
747:
733:
727:
713:
707:
706:
704:
702:
680:
674:
673:
671:
669:
646:
640:
639:
637:
635:
620:
614:
613:
603:
153:Main Characters
140:Is one of Need,
68:Publication date
31:
24:
1128:
1127:
1123:
1122:
1121:
1119:
1118:
1117:
1073:
1072:
1063:
1058:
1057:
1047:
1043:
1033:
1029:
1019:
1015:
1005:
1001:
991:
987:
977:
973:
964:Charles Poore,
962:
958:
947:
943:
935:
931:
923:
919:
911:
907:
899:
895:
887:
883:
875:
871:
867:, pages 107–108
863:
859:
851:
847:
839:
835:
827:
823:
812:
808:
796:
792:
784:
780:
772:
768:
759:
755:
745:
743:
735:
734:
730:
714:
710:
700:
698:
682:
681:
677:
667:
665:
648:
647:
643:
633:
631:
622:
621:
617:
605:
604:
600:
572:
508:
505:
490:
434:Napoleon Lajoie
366:
336:
287:
226:
151:
143:
141:
139:
125:
85:Media type
69:
34:
17:
12:
11:
5:
1126:
1124:
1116:
1115:
1110:
1105:
1100:
1095:
1090:
1085:
1075:
1074:
1071:
1070:
1062:
1061:External links
1059:
1056:
1055:
1041:
1027:
1013:
999:
985:
971:
956:
941:
929:
917:
905:
893:
881:
869:
857:
845:
833:
821:
806:
790:
778:
766:
753:
741:Kirkus Reviews
728:
708:
675:
641:
615:
597:
596:
595:
594:
571:
568:
567:
566:
559:
552:
548:
541:
537:
489:
486:
485:
484:
457:
456:
438:
437:
425:
406:Robert Keifetz
395:
394:
375:
374:
371:George Axelrod
365:
362:
335:
332:
286:
283:
225:
222:
221:
220:
217:
214:
207:
204:
197:
194:
191:
184:
173:
172:
164:
163:
150:
147:
124:
121:
101:Richard Condon
90:
89:
86:
82:
81:
78:
74:
73:
72:April 28, 1958
70:
67:
64:
63:
58:
54:
53:
50:
46:
45:
43:Richard Condon
40:
36:
35:
32:
15:
13:
10:
9:
6:
4:
3:
2:
1125:
1114:
1111:
1109:
1106:
1104:
1101:
1099:
1096:
1094:
1091:
1089:
1086:
1084:
1081:
1080:
1078:
1068:
1065:
1064:
1060:
1053:
1051:
1045:
1042:
1039:
1037:
1031:
1028:
1025:
1023:
1017:
1014:
1011:
1009:
1003:
1000:
997:
995:
989:
986:
983:
981:
975:
972:
969:
967:
960:
957:
954:
951:
945:
942:
938:
933:
930:
926:
921:
918:
914:
909:
906:
902:
897:
894:
891:, pages 35–81
890:
885:
882:
878:
873:
870:
866:
861:
858:
854:
849:
846:
842:
837:
834:
830:
825:
822:
819:
815:
810:
807:
803:
799:
794:
791:
787:
782:
779:
775:
770:
767:
763:
757:
754:
742:
738:
732:
729:
725:
721:
717:
712:
709:
697:
693:
689:
685:
679:
676:
664:
660:
656:
652:
645:
642:
629:
625:
619:
616:
611:
610:
602:
599:
593:
591:
587:
583:
579:
574:
573:
569:
564:
560:
557:
553:
549:
546:
542:
540:venality...."
538:
535:
534:
533:
531:
527:
526:
521:
519:
513:
509:
503:
498:
495:
487:
482:
478:
474:
469:
465:
464:
462:
454:
450:
445:
444:
442:
435:
430:
426:
423:
419:
415:
411:
410:The Sensation
407:
402:
401:
399:
392:
391:
389:
384:
379:
372:
368:
367:
363:
361:
359:
355:
354:Rita Hayworth
351:
347:
346:
341:
333:
331:
326:
324:
318:
316:
312:
308:
307:
302:
298:
297:Frank Sinatra
294:
293:
284:
282:
278:
276:
272:
268:
264:
263:Second of May
260:
259:
252:
248:
245:
237:
236:
230:
223:
218:
215:
212:
208:
205:
202:
198:
195:
192:
189:
185:
181:
180:
179:
176:
170:
166:
165:
160:
156:
155:
154:
148:
145:
135:
132:
130:
122:
120:
118:
114:
110:
106:
102:
98:
97:
87:
83:
80:United States
79:
75:
71:
65:
62:
59:
55:
51:
47:
44:
41:
37:
30:
25:
19:
1049:
1044:
1035:
1030:
1021:
1016:
1007:
1002:
993:
988:
979:
974:
965:
959:
949:
944:
936:
932:
924:
920:
912:
908:
900:
896:
888:
884:
876:
872:
864:
860:
852:
848:
840:
836:
828:
824:
817:
813:
809:
801:
797:
793:
785:
781:
773:
769:
761:
756:
744:. Retrieved
740:
731:
723:
719:
715:
711:
699:. Retrieved
687:
678:
666:. Retrieved
654:
644:
632:. Retrieved
627:
618:
607:
601:
575:
555:
544:
529:
524:
522:
517:
515:
510:
504:
500:
493:
491:
480:
476:
472:
467:
459:
448:
440:
428:
421:
418:Art Buchwald
413:
409:
397:
387:
382:
377:
357:
350:Rex Harrison
343:
339:
337:
328:
322:
320:
304:
301:Sophia Loren
290:
288:
279:
266:
262:
256:
253:
249:
243:
242:The plot of
241:
233:
187:
177:
174:
152:
137:
133:
126:
113:crime novels
95:
94:
93:
18:
578:Citizendium
348:, starring
258:Dos de Mayo
235:Dos de Mayo
188:Dos de Mayo
109:caper story
1077:Categories
927:, page 142
915:, page 142
903:, page 227
879:, page 119
628:Story Grid
570:References
149:Characters
855:, page 13
696:0362-4331
663:0362-4331
580:article "
159:anti-hero
123:The Title
57:Publisher
843:, page 7
746:April 9,
701:April 9,
668:April 3,
634:April 3,
311:Escorial
211:absinthe
49:Language
232:Goya's
201:matador
52:English
694:
661:
563:Prizzi
512:debut.
453:Madrid
315:Madrid
183:names.
39:Author
518:Times
429:Times
275:Prado
269:) by
88:Print
1050:Time
1036:Time
1022:Time
1008:Time
994:Time
980:Time
748:2021
703:2021
692:ISSN
670:2021
659:ISSN
636:2021
590:GFDL
525:Time
352:and
325:....
299:and
261:(or
224:Plot
724:not
277:.
265:or
119:.
1079::
739:.
686:.
657:.
653:.
626:.
750:.
705:.
672:.
638:.
592:.
213:.
203:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
