MEDIA
REVIEWS
Listen
to the NPR radio review HERE.
Haig cleverly reinvents this 400-year-old
tragedy as a 21st-century morality tale inhabited
by schoolchildren, barmaids and mechanics,
and it's fun to look for the parallels between
the two works. . . The story's greatest
strength, however, is Philip's perspective
as narrator. Haig effectively runs Philip's
words and
thoughts together with an economy of punctuation,
spliced with details that a child would notice,
to create the voice
of an anxious child. . . The Dead Father's
Club has much to recommend it, especially
in how it shows the adult world through the
eyes of an innocent. . . . It's still the
dark tale of Hamlet, perhaps more disturbing
because it is related by an adolescent. It's
ingenious. Susan
Kelly, USA Today
Philip
is a breathless storyteller who seldom stops
for punctuation but whose honesty and innocence,
which shine from every sentence, are utterly
captivating and heartbreakingly poignant.
The result is an absolutely irresistible read.
Booklist (starred
review)
We
now owe another debt to Shakespeare, and one
to Haig, for re-imagining a tragic masterpiece
with such wit, force and - yes - originality.
Kirkus Review
(starred review)
The
plucky hero impressively navigates the gloomy,
pungent waters of retribution, death and guilt,
and Haig gives an enviable job of leavening
a sad premise through the words and actions
of a charming, resilient young man. Publishers
Weekly (starred review)
Totally
engrossing.
Stephen Daldry, director of Billy Elliot and
The Hours, (The Observer)
Matt Haig's extraordinary second novel pushes
and pulls at Shakespeare's play, pokes and
prods at it in such a way that only half the
fun is to be found in spotting the parallels.
The story is so surprising and strange that
it vaults into a realm all of its own . .
. most of all it allows Haig to indulge his
innocently acute eye for detail and his delightfully
weird imagination. One's heart goes out to
a boy torn between a selfish ghost ("If
you ever loved me . . . ") and a foolish
mother, and one naturally fears for him, knowing
the fate of the first Hamlet. But Haig borrows
from Shakespeare in the same spirit that Shakespeare
borrowed from his own sources. One is never
sure where the story is going next, and that's
what makes the book such sad fun. Gerard
Woodward, The Guardian
What
makes this work effective is that the narrative
captures the anxiety of a timid boy, ridiculed
by everyone, who must decide whether and how
to kill his charismatic uncle. Hamlet never
faced such difficulties. Recommended. Library
Journal
Haig's update of Hamlet is
clever, and Philip's narration nicely captures
a studied, Haddonesque naïveté.
Thom Geier,
Entertainment Weekly
.
. . Haig does an excellent job of evoking
his troubled, fumbling protagonist, and his
second novel manages to be both darkly comic
and a painful, touching account of bereavement.
James Stuart,
The Guardian
Matt
Haig allows us to see through Philip Nobel's
eyes and we share his experiences ... In order
to faithfully reconstruct this reality of
extraordinary proportions ... Haig uses all
the techniques that the written page offers
... The stylistic techniques, which are recreated
faithfully in Italian by Paola Novarese (the
translator), make us laugh and cry ... It
is difficult, almost impossible for us not
to feel affection towards Philip Noble. Il
Corriere della Sera
The
Dead Fathers Club is poignant, funny, innocent,
touching has an underdog and enough nasty
undertones to please the most cynical mind
- all of it written from a child's perspective.
. . This novel is both funny, surreal and
at times full of very black humour: a fine
piece of work by a talented and clearly imaginative
young writer. * * * *
Nick Ryan, Sunday Express
The
Shakespearean roots of Haig's book don't force
the plot into preordained directions. No characters
are wasted; Leah, the Ophelia to Phillip's
Hamlet, emerges as a mysterious but moving
force. One of the joys (for those familiar
with Hamlet) is figuring out at what points
Haig's work diverges. Phillip is an unreliable
narrator, but it isn't until close to the
ending that you begin to wonder just how unreliable.
Maybe Uncle Alan isn't such a bad guy ...
Haig does a great job of assuming the voice
of an 11-year-old. The advantage of writing
through a child's eyes is that the events
play themselves out in a less self-conscious
way than, say, an account of adult grief.
Through Phillip, and the struggles Phillip
has with his father's ghost, we see the cruelty
of death, the desire to make sense out of
an nonsensical event. "The Dead Fathers
Club" is full of funny moments, but the
ending reveals the dark heart of Hamlet's
story. Reyhan
Harmanci, San Francisco Chronicle
A
breathless see-saw between indecision and
drama, between dark comedy and poignancy.
Utterly compelling to its unpredictable climax,
you won't want to come up for air.
Eve Magazine
Humorous
and original. This is one of those crossover
books like The Curious Incident Of The Dog
In The Night-Time which will appeal to adults
and children alike.
Carla McKay, Daily Mail
This
loose reworking of Hamlet is full of poignant
insights and literary in-jokes, plus the author
does a nice line in grim hilarity.
Easy Living
Touching,
quirky and macabre.
S Magazine, Sunday Express
Tempering
the tragedy with a deftly comic touch, Haig
combines a compelling mixture of psychological
insight and pre-adolescent angst in this strikingly
original tale. The
Big Issue
In
Haig's magnificent updating of Hamlet, Philip,
an English schoolboy, must decide whether
to listen to the ghost of his father and to
murder the uncle who is making the moves on
his mother. . . . Haig's prose is light and
humorous and sprinkled with allusions to the
Bard, even as his topic turns dark and menacing.
Arsen Kashkashian of The Boulder Book Store,
Colorado store (Book Sense) in the Seattle
Post
If
Hamlet were 11, he might write this. What
I liked about this book, The Dead Fathers
Club by Matt Haig, is that although it's what
they call an adult novel it is written just
like an 11-year-old kid talks. I am not English
like the boy in the book, Philip Noble, and
I am a little bit older - 12 - but I can understand
him very well. . .It's good and it doesn't
sound like a grown-up trying to be a kid .
. . Roger
K Miller, Philadelphia Inquirer
I'm
not a natural fan of authors who refuse to
use apostrophes but Matt Haig's Hamlet-esque
Dead Fathers Club, narrated by an 11-year-old,
somehow gains piquancy from it. This is the
story of Philip, whose late dad appears as
a ghost and tells the boy that he was murdered
by Uncle Alan. Philip must now avenge him
by killing Uncle Alan. And he has to do it
before his father's birthday in a few weeks,
otherwise Dad's ghost will be condemned to
haunt the pub car park forever. Phil
Hogan, The Observer
Matt's
writing style is unusually down-to-earth and
he prides himself on penning novels that appeal
to different generations.
Grant Woodward, Yorkshire Evening Post
Told
through the eyes of 11-year-old Philip, this
is a hilarious yet moving novel. * * * *
Closer
There's
no doubting the inventiveness and imagination
at work here and Philip's desperately confused
emotions are drawn with great sympathy and
conviction. Tina
Jackson, Metro
The
yarn is spun in the authentic contemporary
words of a pre-pubescent, telling us that
his pub landlord father has died in a road
accident, and his mother is succumbing to
the greasy charms of her dead husband's brother,
Uncle Alan. . . Hilariously funny, it is also
extremely dark. . .You will either love it
or hate it, but it would be a challenge not
to be affected by it.
Jackie Butler, Western Morning News
It's
a playful manhandling of Hamlet, and it works:
The more you read, the more captivating it
becomes. Philip is funny, vulnerable and resolute
as he tries to shake off his grief and save
his beloved dad from the Terrors and his mom
from Uncle Alan. We suspect the Bard would
be pleased. Anne
Stephensen, The Arizona Republic
astoundingly
authentic. . . East
Bay Express
Kept
me in a state of tension throughout The
Bookseller
The story of Hamlet is not usually thought
of as one meant for laughter. But Matt Haig's
able retelling of the tale in The Dead Fathers
Club will make you laugh, though it might
also evoke a tear. . . There are many encounters
with other Dead Fathers in a great sendup
of ghostly dealings, Hamlet-like, on the moors,
and several sly references to the play. There
is even a character named Dane. The ending
is not pure Shakespeare, but it is pure Haig
and that is very good indeed. Valerie
Ryan, Amazon.com editorial review
Philip,
who pours out his story in a style unhindered
by punctuation or the rules of grammar, is
an immensely likeable character. Spending
300-pages seeing through his innocent and
honest eyes as he relates his tragically-comic
story is an experience not to be missed. His
story is actually more tragic than anything
Hamlet had to deal with. In fact, my overwhelming
urge on finishing The Dead Fathers Club was
to apologize to Philip for laughing at his
predicament, but it is impossible not to as
Haig has a keen eye for the blackly comic.
Bookbrowse
This
is an amazing and imaginative update of Hamlet
. . . Haig does a fabulous job of exploring
the psyche of an eleven-year-old boy. He takes
serious situations and makes them come across
with humor and a full range of other emotions.
The Dead Fathers Club is a refreshing and
modern tale of grief and revenge - and also
a definite must-read. Curled
Up.com
Matt
Haig's prose is quirky, with no apostrophes,
liberal use of capital letters, and some creative
typesetting. He captures Philip's young voice
with its innocence and acceptance of a new
reality. . . Haig has a deft descriptive touch.
A church "smelt of God which is the smell
of old paper." When Philip reluctantly
answers Uncle Alan, "In an invisible
ice cube out of my mouth I said Yes.".
. . a poignant, original, often charming story
of a boy struggling in sorrow and misery with
all his heart. Marilyn
Dahl, Shelf Awareness
Lovers
of Hamlet will savor The Dead Fathers Club.
. .The Dead Fathers Club, at heart, is the
wrenching story of a boy who can't cope with
his father's death. He is 11 years old and
powerless, not a prince with infinite charisma,
and still the ghost keeps demanding that he
show vindictive bravery. That Haig lets the
problem overwhelm the boy so relentlessly
gives the book its haunting power. . . The
Hamlet-sized story doesn't crush the innocent
telling. In fact, in places, youth refreshes
the older vision. . .in a climax in which
Philip seems to overhear himself, he muses:
"Dads are just men who have babies but
I know he loved me because I felt it go out
of me when he crashed. It was like air or
blood or bones or something that made me me
and it wasnt there any more and I had only
half of it now and I didnt know if that was
enough." That last beautiful clause --
"I didn't know if that was enough"
-- achieves understanding while still preserving
ambivalence. Its eloquence is hemmed tightly
with doubt and fear. He is right: We never
know if we have what it takes to make it through,
and circumstances have forced him to learn
this too young. It is irresistible to wonder
if Haig chooses the protagonist's age not
only for its inherent vulnerability but also
because another Hamlet--Shakespeare's son,
Hamnet -- died at the age of 11. If so, "The
Dead Fathers Club," a tale of grief,
holds a posthumous mirror up to the Bard,
and offers him empathy. Todd
Shy, News & Observer, Raleigh
This
is a first novel with incredible promise.
I received an advanced readers' copy of this
retake on the Hamlet story and have been reading
it faster than the bodies piled up in Shakespeare's
famous tragedy. Mike
Ashworth's must-reads
for 2007,
EC/DC
The
hilarious tale is full of poignant insights
into the strange workings of the world seen
through the eyes of a child. Hull
Daily Mail
A
clever adaptation of Hamlet, with the characters
mirroring their Shakespearian counterparts.
Liz
Taylor, Booksellers' Choice, The Bookseller
. . . the book leads to a conclusion as tumultuous
and powerful as Hamlet's. While that might
sound like exaggerated praise, it's remarkable
how Haig transforms the melancholic prince
into a kid, the Danish court into a blue-collar
inn and a schoolyard full of brats, the prince's
failed romance into a nearly asexual friendship
with all the force of love. Genre fans should
also be satisfied, for there's more of the
supernatural here than in the original: multiple
ghosts from various eras, trapped in horrors
not quite as absolute as fate. Faren
Miller, Locus Magazine
[An]
elegant little farce Glasgow
Herald
Clever and delightful. http://www.whatnottoread.com
at
times funny, dark and very sad. . .The author
expertly navigates through the murky waters
of pre-teen life with scenes that ring true
to life. And the first-person narrative by
the young protagonist offers incredible insight
into a boy's life after his father dies.
Haig uses skewed typography, all-capitalized
words and no punctuation (besides periods,
that is) to mimic the young boy's stream-of-consciousness
and mental reasoning. . . This is Haig's American
literary debut, and he does it with wit and
imagination.
Angie Blackburn, The Post and Courier
Plot in a nutshell: This is a British hip-hop
retelling of Hamlet, an effort you may not
have realized you needed until you see it.
Author reminds me of: Dave Eggers. Best reason
to read: If he weren't so literary, Haig could
have a future in the gothic world. His scenes
with Dads Ghost are genuinely frightening
— and they're interspersed with funny
and poignant insights of adolescent love and
loss.
Dan Whipple,
Rocky Mountain News
. . . in the capable hands of Matt Haig, this
knock-off works . . .
While the HAMLET connection is never lost,
Haig takes the story in a direction all his
own and the reader is compelled to go along
for the ride. Matt Haig is a writer whose
work I’ll be tracking down as it comes
out. P.J. Coldren,
Reviewingtheevidence.com
Matt Haig's second novel leaps
off the page with startling effect . . .The
story is quirky and, despite obvious plot
similarities to Shakespeare's Hamlet, it is
highly original... with action and incident
on virtually every page. Andy
Smart, Nottingham Evening Post
You
know a book is a good one when you do not
want to put it down and everything else in
your life – including the washing up
– has to wait. . . It is a superb book,
quite different from any I have read before,
but I thoroughly enjoyed it. I shared it with
my 16 year-year-old daughter and she got so
absorbed in it she even abandoned her normal
television soaps – a compliment indeed.
. . . It’s a winner. Newark
Advertiser
Cleverly
constructed narrative convinces the reader
that this is a young child relating, explaining
and describing both major and trivial incidents
in his life. If you enjoyed The Sixth Sense
you’ll find this book compulsive reading.
It offers some pertinent observations about
the human condition . . . be prepared for
a highly dramatic conclusion.
John Weller,
Reader’s Pick, Hull Daily Mail
Most
entertaining are Philip’s chums, the
Rosencrantz and Guildenstern equivalents,
Ross and Gary. Philip’s exchanges with
these interchangeable comic twins are brilliant
pitched in adolescent speak . . . [Haig] is
also interested in how language breaks down,
and frequently his verbal dexterity is at
once disorientating and enlightening . . .
In his boyishness, Philip shows an all too
apparent weakness that very effectively, and
often poignantly, exposes the absurdity of
revenge. As well as the influence of Roald
Dahl in his narrator, Haig’s novel echoes
Mark Haddon’s The Curious Incident Of
The Dog In The Night-Time and like that work,
this should hold similar appeal for adults
and older children alike. . . There is a great
deal to admire in his zippy writing, and as
for the themes he explores so well, they’re
as old as time itself. Johanna
Thomas-Carr, City A.M
Where
Matt Haig’s debut novel, The Last Family
in England, was a superb reworking of Henry
IV, Part I, Dead Fathers Club gives a gracious
nod towards Hamlet. . . Matt Haig –
one of the freshest talents in the UK at the
moment – triumphs again. Steph
Little, Brighton Argus
A
SELECTION OF BOOK TRADE REVIEWS
The
Dead Fathers Club is a wholly unusual reworking
of Shakespeare's Hamlet. But the Hamlet parallels
-- complete with similar plot twists -- are
worked in so deftly that the reader never
quite anticipates where the book will go next.
Readers see the world, surprising and strange,
through Philip's eyes. It's a tangled web
of murder and lies, with a boy caught in the
middle, trying to make sense of it all. The
result is a confused yet perceptive narrator
whose responses to the world he inhabits are
darkly humorous and sometimes tragic. Haig's
novel reads at a breathless pace (assisted
by the absence of commas and apostrophes),
his first-person narrative credibly that of
a young British boy who takes things at face
value. The result is a mysterious and engrossing
book for both older children and adults --
neither of which will be able to put it down.
The Barnes &
Noble Review from Discover Great New Writers,
Spring 2007 Selection
Dear
Reader,
If I could jump out of this magazine right
now and press one book into your hands, it
would be Matt Haig's wonderful and imaginative
novel THE DEAD FATHERS CLUB. I loved it! I
hate comparing books to others, but just to
give you a quick feel for what this novel
is all about, think The Curious Incident of
the Dog in the Nighttime meets William Shakespeare's
Hamlet. It works. . . What unfolds is a delightful
and witty story about loss and growing up
and finding your voice when so many obstacles
are trying to silence you. I hope you take
a chance on this book and if you love it,
please tell your family and friends about
it and start a wave of enthusiasm about one
of the best - and most underappreciated -
novels of 2007. Gary
Jansen, Executive Editor, QPB
This
is a very impressive novel; it's being published
as mainstream (and the Hamlet parallels throw
it solidly into the literary-novel category
rather than genre fantasy), but anyone with
a passing familiarity with the plot of Hamlet
could read it with great appreciation. Whatever
you call it, it will be one of the major fantasy
novels of 2007; it's that good. Andrew
Wheeler, senior editor at the Science Fiction
Book Club
The
Dead Father's Club is the perfect choice for
fans of The Curious Incident of the Dog in
the Night-Time...The story is a quirky little
mystery and also a moving tale of how a young
boy deals with a terrible loss. With narration
by 12-year-old Andrew Dennis, winner of the
BBC Audiobooks Young Voice of Bath competition
in 2006, Highbridge Audio's production of
The Dead Father's Club is spot-on. Linda
Arrington Lusk, Ingram Auditor's Pick Feb
07
This
clever and poignant update of Hamlet will
keep you in suspense until the last page!
. . .The problem with reinterpreting Shakespeare
is it’s difficult topping the Bard.
When it fails, it fails miserably. But when
it succeeds, like in this wildly imaginative
novel, it opens your eyes to the new possibilities
of literature! Mystery
Guild America pick
A suspenseful —
and funny — ghost story with a twist.
Feb/March Showcase,
Keplers
Books made out of other books are not a modern
invention; Shakespeare adapted texts that
were known in his time for his own plays.
But in recent times, such parallel works and
pastiches as Cold Mountain (following The
Odyssey) and Jane Smiley’s new novel,
Ten Days in the Hills, after the Italian epic
The Decameron, have reworked the classics
with a postmodern élan that seek to
reinterpret what was as what is, for contemporary
readers. Thus, Matt Haig’s unusual debut
novel, The Dead Fathers Club, is Hamlet for
a new age: told by a young boy named Philip
Nobel whose father has died in a car accident,
his father returns, “flickering”
to life for only Philip’s eyes as Dads
Ghost—no punctuation (as much of the
novel as written)—to instruct him to
take revenge on his Uncle Alan... And Haig’s
writing style does much to emphasize the unreliable
narrator (given that at one point the reader
realizes that Dads Ghost and the flickering
and the private conversations may not be a
conceit but Philip’s own Hamlet-like
neuroses): “When Dad died I believed
it was all my fault. But I dont think that
any more. You can believe what you want to
believe. That’s what I think.”
This is a marvel of invention (and reinvention).
Steve Shapiro's
picks, Rainy
Day Books – Fairway, KS
After
The Bad News That His Dad Was Killed In A
Car Accident, Imagine Philip Noble's Surprise
When Dad Appears @ The Funeral, With The 'Dead
Fathers Club'(All Murder Victims Themselves)
In Tow, With Not Only The Identity Of His
Killer But The Further Unwelcome News That
It's Up To Young Phillip, 11, To Avenge His
Father's Death, & Defend The Family From
Future Attacks...BY WHATEVER MEANS NECESSARY.
The Quandry? Well, To Kill Or Not To Kill,
Of Course! A Quirky, Light 1st Mystery (Haig's
First Novel To Be Released In The States)
That, Despite Obvious Points Of Reference
(HAMLET'S CURIOUS INCIDENT) Not Only Feels
Original, But Has The Equally Rare Quality
Of Being Enjoyable. Good Stuff.
Tom’s favourites, JCA
Books, NY
In Haig’s
imaginative, quirky update of “Hamlet,”
11-year-old Philip Noble is asked by his dad’s
ghost to avenge his murder by Uncle Alan;
but the boy realizes it’s a bigger job
than he anticipated, especially when he is
caught up by the usual distractions of childhood—girls,
bullies, and his own self-doubt. Kay
L. Grismer and Angie Tally for The Country
Bookshop, Southern Pines, NC
It’s
compelling, ambiguous, and more surprising
than you might think. Liz's
favourite, Mystery-Bookstore
In his quixotic quest to avenge his father’s
death, Phillip learns many life lessons: truth
is relative, revenge is a big job and not
painless, and love is worth fighting for.
Haig's novel is an unusual and often hilarious
update of Hamlet ... Julie,
Book faves for Feb, Blue
Willow Books, West Houston
Young Philip Noble wants to do what
is right. Unfortunately, that means avenging
his father's death... With a bow to Shakespeare's
Hamlet and a nod to Donald Barthelme's The
Dead Father, this is Philip's account of the
ordeal told in the quirky style of The Curious
Incident of the Dog in the Night-Time, unedited
and fun, just like an eleven-year-old kid's
version should be.
MW, Jan/Feb picks, Square
Books Mississippi
What
an amazing book! I practically wept. I really,
really liked this book a lot. Amy
Rosenfield, Joseph-Beth
Davis-Kidd Booksellers, Cleveland
Funny, tragic
(and very British), Matt Haig has written
a delightful and poignant novel, told in the
voice of an 11 year old boy who is trying
to process the death of his father as he also
endeavors to grow up. Full of surprising and
intricate language as well as fascinating
plot twists, this is a story for all types
of readers. Karen Frank, Northshire
Bookstore Vermont
We are already
on our second full shipment of this terrific
novel and we're getting such great responses
from the early readers. Very highly recommended.
Rakestraw
Readers Recommend - the Best in New Books
THE AUDIO BOOK REVIEWS (narrated by 12 year
old, Andrew Dennis)
Narrators are generally a versatile lot. But
there are limits
Gender isn't too much of a problem. But youth
is, especially for a male. A woman can imitate
a young voice fairly easily, but few men can
regress to a time before their voices changed.
So when producer Paul Ruben was pondering
who should narrate a story told in the voice
of an 11-year-old boy, he went for the real
thing.
The problem was, how do you find someone?
Acting prodigies aside, how do you find a
kid who can deliver a 7-hour narration of
a book based on a Shakespearean play? And,
oh yes, Ruben is American and the boy had
to be British.
Turns out a British narrator and friend who
had just judged a BBC-sponsored competition
to find "the Young Voice of Bath"
recommended the winner, Andrew Dennis, who
just happened to be 12.
Lucky Ruben. On the audio version of Matt
Haig's novel, The Dead Fathers Club, Dennis
is splendid. For starters, he's a good reader.
He'd have to be. But it's so much more. Perhaps
not surprisingly, he captures the essence
of adolescence - confusion and excitability.
Sandy
Bauers, Philadelphia
Inquirer
5/5:
After a car crash kills his father 11 year-old
Philip Noble and his mum are beside themselves
with grief. Luckily they’ve got Uncle
Alan to console them and help run the family’s
pub, the Castle and Falcon. Trouble is, dad’s
ghost appears to Philip at the wake and informs
the boy that it wasn’t an accident that
killed him. It was Philip’s conniving
Uncle Alan who messed with the car’s
brakes. Alan, Dad says, is out to get his
hands on the pub and on Philip’s saintly
mum. Now because he’s been murdered
he can’t move on into the afterlife
until his murder is avenged by his son. The
vendetta must be resolved before dad’s
next birthday or else he’ll be condemned
to the Dead Father’s Club, forever tormented
by The Terrors. If this is beginning to sound
like something you’ve maybe read before,
well, think about Hamlet. There you go. But
please don’t let that scare you. Haig’s
version is ever-so-much better than Shakespeare’s
(I’m not kidding). Told by Philip, the
prose is as bright and perceptive as any eleven-year-old-going-on-forty
can write. Even though I knew how the story
might end, I was gripped by the humor and
plot twists and, shucks, shear curiosity to
see how it all comes out. Read it –
better yet, listen to it. The narrator, Andrew
Dennis, is outstanding! Monday
Night Book Club
Something of a Hamlet for the 21st
century, this audiobook presents Philip Noble,
an 11-year-old boy whose father recently died
in a car accident. But when his father returns
as a ghost demanding revenge for his death,
Philip must decide whether or not his Uncle
Allan murdered his father. While grappling
with the idea of murder, Philip must contend
with all the typical stresses of adolescence
including romance and bullys. HighBridge Audio's
decision to cast 11-year-old Andrew Dennis
to read this novel pays off. His youthful
voice adds authenticity and his narrative
skills fully envelope the first-person perspective
of Philip. He also ably distinguishes additional
characters. His most impressive feat is the
level of emotion and intensity he maintains
through many of the scenes. Several times,
Haig repeats a word or phrase more than five
times. In the text, this works because readers
can skim, but listeners must hear each one.
However, Dennis infuses different emphasis
for each repeated word, making it work.
Publishers Weekly
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