Healing Fiction

by James Hillman

This book is Hillman's main analysis of analysis. He asks the basic question, "What does the soul want?" With insight and humor he answers, "It wants fictions that heal."

Genres: Psychology, Nonfiction, Philosophy, Essays

148 pages, Paperback

First published May 15, 1998

About the author

James Hillman (1926-2011) was an American psychologist. He served in the US Navy Hospital Corps from 1944 to 1946, after which he attended the Sorbonne in Paris, studying English Literature, and Trinity College, Dublin, graduating with a degree in mental and moral science in 1950.

In 1959, he received his PhD from the University of Zurich, as well as his analyst's diploma from the C.G. Jung Institute and founded a movement toward archetypal psychology, was then appointed as Director of Studies at the institute, a position he held until 1969.

In 1970, Hillman became editor of Spring Publications, a publishing company devoted to advancing Archetypal Psychology as well as publishing books on mythology, philosophy and art. His magnum opus, Re-visioning Psychology, was written in 1975 and nominated for the Pulitzer Prize. Hillman then helped co-found the Dallas Institute for Humanities and Culture in 1978.

Retired into private practice, writing and traveling to lecture, until his death at his home in Connecticut on October 27, 2011 from bone cancer.

Reviews

[Morgan Blackledge · Rating 5 out of 5]

A MASTERPIECE!

ABSOLUTELY AMAZING!

JAMES HILLMAN was a ONCE IN A GENERATION GENIUS.

Hillmans work is hard to summarize.

Hillman is INTENTIONALLY ANTI-LITERAL.

In fact.

If there is ONE common theme in James Hillman’s work.

It is that of ANTI-LITERALISM.

Hillman is HERMETICAL.

Hillman is MERCURIOUS.

Hillman asserts: MERCURY POISONS CERTAINTY.

And he means it as a compliment.

To Hillman, LITERALIZATION is MADNESS.

To Hillman, LITERALIZATION is a SOUL TOXIN.

As such, DELITERALIZATION is a step towards SANITY and SOUL-MAKING.

Hillman is OPPOSITIONAL to INTERPRETATION.

Hillman posits that INTERPRETATION of a SYMBOLIC/ARCHETYPAL image, LITERALIZES the image, and as such, DENATURES it.

Said differently.

Interpreting the dream image of the BLACK SNAKE as one thing or another, SLAYS the ARCHETYPAL IMAGE, and STUFFS it with IDEAS.

Hillman prefers to view the ARCHETYPAL IMAGE as living, and invites us to LIVE WITH IT, and in so doing to BECOME MORE ENSOULED, and MORE WILDLY/MYTHICALLY ALIVE!

Healing Fiction explores the FICTITIOUS nature of PSYCHOLOGY. According to Hillman. PSYCHOLOGY at its best, is properly considered as a HEALING FICTION.

Hillman posits the concept of healing fiction wherein symbols, images, and signs are utilized for SOUL development, (as opposed to SPIRITUAL ascent, or PSYCHOLOGICAL adjustment, or SYMPTOM REDUCTION.

Hillman's fundamental question is:

WHAT DOES THE SOUL DESIRE?

Hillman doesn’t answer that QUESTION.

OOOPS!

Actually he does answer that question (see comments).

Anyway

He for sure makes it clear what the SOUL does NOT want.

- LITERALISM and CERTAINTY

The EGO wants LITERALISM/CERTAINTY.

The soul wants something ALTOGETHER DIFFERENT.

The SOUL wants DEEP CONNECTIONS with OTHER SOULS.

The SOUL WANTS JUSTICE.

The SOUL craves HEALING FICTIONS!

Hillman ends the book with a comparison and contrast between FREUD, JUNG and ADLER.

Hillman intimates that ADLER was the working class political REVOLUTIONARY of that group.

The GOD FATHER of SOVUAL WORKERS.

Hillman asserts that ADLER was more or less expunged for the PSYCHOANALYTICAL PANTHEON to the DETRIMENT of PSYCHOLOGY.

Hillman seemed to reinstate ADLER, and REINSTATE the THIRD LEG of that TRIPOD.

This is perhaps my favorite of Hillmans books.

It’s MASSIVELY GENERATIVE for CREATIVE ENDEAVORS of all types. But particularly for WRITERS and THERAPISTS, and all of us CREATORS and WORKERS in HEALING FICTION.

This is not a BOOK SUMMARY.

It is more of an art to keep up, combined with love letter, and a note to my future self not to forget about the WONDROUS ideas, and this AMAZING way of BEING and SEEING.

Words FAIL!

So do STARS.

But what can one do?

But to reach for them anyway.

5/5 ⭐️

[Lu · Rating 4 out of 5]

“L’anima è fatta delle sue stesse difese.”

“Tema di questo libro è la base poetica della mente. Esso si muove infatti nello spazio intermedio fra psicoterapia e letteratura, fra l’arte di curare e l’arte di narrare. Sebbene a prima vista sembri diretto al terapeuta, è in modo più nascosto indirizzato allo scrittore”

Questo libro ha due facce ben distinte, una indirizzata al terapeuta e una allo scrittore. Da quella di appartenenza si può imparare molto, dall’altra si può avere un buon arricchimento personale.
Io l’ho letto dal punto di vista della scrittura, quindi è più su quell’ambito che mi soffermerò.

“Il modo in cui raccontiamo la nostra storia è anche il modo in cui diamo forma alla nostra terapia. Il modo in cui immaginiamo la nostra vita è anche il modo in cui ci apprestiamo a viverla, perché la maniera in cui diciamo cosa sta accadendo è il genere per il cui tramite gli avvenimenti diventano esperienza.”

L’autore vuole dimostrare quanto gli scritti di Freud, Jung e Adler siano in realtà anche materiale narrativo, e che la stessa capacità di immaginare e creare storie, possa essere parte della cura.

“Mentre Freud è uno che scrive storie nel senso che abbiamo visto, Jung è uno che scrive sulle storie; e per Jung, quanto più la storia era fittizia e distante, tanto meglio era (da qui l’alchimia, il Tibet, Zarathustra, gli eoni astrologici, la schizofrenia, la parapsicologia), perché tali “materiali” lo obbligavano ad affrontarli a un livello altrettanto immaginativo. […] La differenza tra Freud e Jung è la differenza tra allegoria e metafora.”

Hillman si prende tutto il tempo che serve e forse anche di più per spiegare i concetti, e anche se sembra raccontare da zero tutti e tre gli esperti, in realtà bisogna sapere almeno chi erano questi tre individui, perché l’autore in realtà lo dà per scontato e più che presentarli tende a “ri-raccontarli” in un’altra veste.

“La storia del movimento psicoanalitico è di per sé come un romanzo continuo, in cui ogni nuovo capitolo si apre con rivelazioni sui personaggi principali – le loro lettere, le loro battaglie, i loro incesti. Il romanzo della psicoanalisi ne anticipa le “teorie”. Lo sviluppo del pensiero di Freud e la scoperta di Jung della psiche autonoma così come viene narrata nelle sue memorie si dispiegano come trame romanzesche, popolate di straordinari personaggi fiabeschi: Dora, Anna e l’uomo dei topi, Filemone, Miss Miller e la Personalità Numero Due, e anche Sabina, Minna e Toni; per non parlare di loro, poderosi protagonisti essi stessi della gigantomachia dei primi anni: Freud, Jung, Adler. Tutto sta nella mente, diceva la psicoanalisi, compresi i casi e i loro fatti, compresa la stessa psicoanalisi. Perché la mente è poiesis. Che “fa” finzioni letterarie per guarirsi dai suoi poeti letteralizzati.”

Hillman prende come esempio molti scritti di questi tre esperti, ma non è necessario leggerli prima, perché l’autore più che presentarli ci fornisce un nuovo modo di vederli, e se il lettore li conosce già magari sentirà il bisogno di rileggerli con questa nuova chiave di lettura.

“Ci impegniamo nell’arte per amore dell’impegno. Questo “fare”, fine a se stesso, i greci lo chiamavano poiesis. La psicoterapia è allora una sorta di poesia? È forse questo il modo migliore di immaginarla?
Nei capitoli che seguono si fa proprio questo tentativo: si cerca di vedere l’arte narrativa nella psicoterapia e la psicoterapia come un’attività narrativa.”

Mi è piaciuta molto la parte in cui terapia e scrittura si fondono, dando ad entrambe un nuovo significato. Chiunque si sia sentito salvato da un romanzo, riesce a comprendere perfettamente cosa intende l’autore quando parla del suo potere terapeutico, e al tempo stesso chiunque non abbia trovato nell’analisi l’aiuto che cercava, l’autore suggerisce la mancanza della parte immaginativa, il bisogno di “ri-riscrivere”.

Possiamo allora concepire la storia dal punto di vista dell’anima; collezionando accuratamente quel che è accaduto, la storia digerisce gli avvenimenti trasformandoli da materiale del caso in materia sottile.
Nascosto in questa fantasia c’è un caposaldo del mio credo: l’anima rallenta la parata della storia, la digestione doma l’appetito; l’esperienza coagula gli avvenimenti.

Ho apprezzato il concetto di “soffermarsi” sugli eventi, reali o inventati che siano, l’osservarli e rielaborarli più volte, il “revisionarli con l’anima” in modo che non finiscano nel nostro profondo interi e creino ‘indigestione’. E ho adorato il paragone di questo processo con quello di revisionare un capitolo:

“La regressione appartiene al modo digestivo di fare anima, per cui una buona dose di rimembranza, la sua pena e la sua vergogna, sono ricapitolazioni, sono ulteriori revisioni del capitolo prima di poterlo chiudere.”

L’autore ha uno stile molto prolisso, con frasi lunghe e complesse. Spesso in un paragrafo di 10 pagine il concetto che vuole esprimere è solo uno, al massimo due; bisogna farci l’abitudine. Oltre alla parte scientifico-narrativa, c’è anche una terza parte che riguarda argomenti più spirituali. La parte della demonologia che non mi ha entusiasmato molto, più che altro perché ha infilato nel capitolo il parere di mezzo mondo, quasi non volesse offendere nessuno, creando più confusione che altro; invece mi è piaciuta la parte riguardante l’anima e il dialogo con essa.

Voce dal petto: Non preoccuparti. Non c’è fretta. Mi piacciono i tuoi errori.
Lui: Anche quelli nei tuoi confronti?
Voce dal petto: Ogni volta che fai un errore, ti avvicini un po’ di più a me, e diventiamo più chiari l’uno all’altra. […] Tutto questo ti preoccupa, ti rende inquieto, come un sassolino nella scarpa: ad ogni passo sei un pochino ferito.

Gli argomenti prettamente spirituali non mi entusiasmano mai molto, mi piace che tutto vada sempre a braccetto con la scienza o un minimo di dimostrabile, tuttavia, dal punto di vista della scrittura, è un capitolo che offre molti spunti e arricchisce l’animo “artistico” del lettore.

‘Conosci te stesso’ alla maniera di Jung significa divenire familiari con i demoni, dischiudersi ad essi e ascoltarli, cioè conoscerli e distinguerli. Entrare nella propria storia interiore richiede un coraggio simile a quello necessario per cominciare un romanzo. Si tratta di avere a che fare con persone, la cui autonomia può modificare radicalmente e perfino dominare i nostri pensieri e i nostri sentimenti, senza dar ordini a queste persone né concedere loro pieno potere. Fittizi e reali allo stesso tempo, loro e noi, come fili siamo tessuti insieme in un mythos, in una trama, finché morte non ci separi. Ed è un coraggio raro quello che ci assoggetta a questa regione intermedia della realtà psichica, dove la presunta sicurezza dei fatti e l’illusione della finzione si scambiano gli abiti.

È un romanzo che dà un nuovo punto di vista e tante chiavi di lettura, quindi come parte di un percorso di scrittura, secondo me è un libro che potrebbe essere utile leggere. Inoltre la passione dell’autore per l’argomento è talmente profonda che traspare in ogni pagina, e penso che leggere di passioni così grandi sia fondamentale per chiunque voglia imparare a scrivere.

Forster descrive la trama in questi termini:
“La trama è una narrazione di avvenimenti, ma qui l’accento cade sulla casualità: ‘Il re morì, poi morì la regina’, è una storia. ‘Il re morì, poi la regina morì di dolore’, è una trama. Un racconto dice cosa avvenne poi, una trama ce ne dice il perché”.

“Ho avuto modo di notare che chi si è formato fin dall’infanzia un senso del racconto è in condizioni migliori rispetto a chi non ha avuto storie, non le ha udite, lette, recitate o inventate; […] Una precoce consuetudine con i racconti abitua all’esperienza della loro efficacia. Si sa quanto possano le storie, come possano costruire dei mondi e trasporre l’esistenza in questi mondi; si conserva un senso del mondo immaginale, della realtà persuasiva della sua esistenza, del suo essere popolato, del potervi entrare e uscire, del suo essere sempre là, con i suoi campi e i suoi palazzi, con le sue celle segrete e i lunghi bastimenti in attesa. Si impara che i mondi sono fatti anche con le parole, e non solo con i martelli e i fili metallici.”

“La capacità della psicoterapia di guarire, dipende dalla sua capacità di continuare a ri-raccontarsi, in rinnovate letture immaginative delle sue stesse storie.”

“La storia clinica riferisce i successi e i fallimenti della vita al mondo dei fatti. Ma l’anima non ha raggiunto gli stessi successi né ha subito i medesimi fallimenti.”

“Quel che diciamo sulle nostre “vere” identità e sulle pietre miliari dell’anima è altrettanto soggetto a dissoluzione, fraintendimento e slittamento di confini, quanto qualunque evento “esterno”. Possiamo ingannarci su noi stessi come sul mondo dei fatti.”

“Tutta la fretta viene dal diavolo, come dice un vecchio proverbio; il che significa, da un punto di vista psicologico, che il proprio diavolo va trovato nella propria indigestione, nell’avere più accadimenti che esperienze. Quello che sperimentiamo davvero, filtrandolo attraverso un processo immaginativo, è tolto dalle strade del tempo e dal mare ignaro della mia turbolenza mentale. Sconfiggiamo il diavolo semplicemente rimanendo calmi.”

Per altre recensioni: http://latorrediphedre.thelongwaychro...

[culley · Rating 4 out of 5]

Select reading notes:

- were the story written in another way, by another hand, from another perspective, it would sound different and therefore be a different story. I am suggesting the poetic basis of therapy, of biography, of our very lives.
- rhetoric means the art of persuasion. The rhetoric of an archetype is the way each God persuades us to believe in the myth and the plot. Gods are not set apart, to be revealed in revelation, or through epiphanies of image. They are the rhetoric itself. To find the gods we need only to look at the genre of our story.
- psychotherapy encourages the musing, that activity which frees memories into images. As we muse over a memory, it becomes an image, shedding its literal historical facticity, slipping its causal chains, and opening into the stuff of which art is made. The art if healing is healing into art.
- No all psychological complexes appearing as dream figures and symptoms are up to date, asking for a today kind of therapy. Parts of us live in old-fashioned stories, they might shrink from Rolfing and EMDR, they might even fall into a faint, have an attack of the vapors or find themselves forced “to weekend."
- one needs to read each literal sentence of one’s life metaphorically, see each picture of the past as an image.
- the little people come from the land of the dead. The images who walk in on our dreams are our ancestors. Image as ancestor. The images are claiming us. This is the moral moment in imagination. Realizing the claim of the image. The images place a great responsibility on us.
- There are things in the psyche that are no more “mine” than animals in the forest or birds in the air.
- there are Gods and diamons and heroes in our perceptions, feelings, ideas and actions and these fantasy persons determine how we see, feel, think and behave, all existence structured by imagination. archetypal psychology
- images are the voices of the underworld, those of below, and the underworld is the preeminent place of the soul. Daimons inhabit the lower regions, shadow is the psychological term, and we are brought low, humiliated, shamed when these figures speak their wants. Not because they are dirty doings, because we have disavowed the gods.
- our way is not to interpret the image but to talk with it. Ask not what it means, but what it wants. What does the soul want? This method of inquiry is like writing a fiction. This dialog demands that one take part in writing one’s own story. Self-authorship
- each of us has a place of lease resistance, an organic Achilles’ heal that determines the main lines of our psychic life.
- the realization of somatic inferiority by the individual becomes a permanent impelling force for the development of his psyche - Adler
- the inferior organ speaks an “organ jargon” that tells us about ourselves once we learn its language. (focusing) The afflicted organ gains one’s constant attention, furnishing inexhaustible material. Because we concentrate on them, these inferior spots are places of great potential.
- Psyche is the name for the life-potential of an inferior creature. To feel a sense of soul at all is to feel inferior. The old search for the bodily localization of soul is now given new meaning— finding the place of lease resistance.
- soul speaks with the voice of the inferiors, those kept down, below, and behind, as the child, the woman, the ancestor and the dead, the animal, the weak and the hurt, the revolting and the ugly, the shadows judged and imprisoned.
- therapies that safeguard themselves from the necessity feelings of inferiority (recognition of shadow) run the risk of not becoming therapies of the soul.

[Bill Bridges · Rating 5 out of 5]

A foundational book for Archetypal Psychology. In exploring the question "What does the soul want?", Hillman demonstrates that it wants fictions as therapy. Fantasies heal.

Especially interesting is Hillman's examination of the psychologies of Freud, Jung, and Adler -- their fictions. Even the "case history", that bastion of objective account, is a genre of writing, complete with its own tropes. It is a form of detective story, which we literalize as completely factual.

Using Adler's thought, Hillman gets to the heart of our need to literalize what is best kept metaphorical, "as if." The tension of "as if" is too much for us (the ego) to bear and it needs either/or logic to relieve this tension. It must dogmatize to escape anxiety.

This brings to mind Robert Anton Wilson's Maybe Logic (if we added "maybe" to every statement, we might not be so dogmatic), and the quantum condition of Shroedinger's Cat: existing in the indeterminate state of being both alive and dead (both/and logic) before our observation forces it into one state or the other. These speculations on physics are mine, not Hillman's, but it's where my thought went upon reading this excellent book.

[kit · Rating 5 out of 5]

i tried reading this about 20 years ago, when i desperately wanted answers and prescriptions. coming back, after all this time, i find myself luxuriating in the textures of this text. simply taking pleasure in the thread-work and composition; the beats and images; the call, the response, and the spaces between. this is one of those rare books that does what it references. i can tell that i'll be returning again, and soon.

[Allen · Rating 5 out of 5]

If you know Hillman, are a writer, a healer, study depth psychology or just plain philosophize the infinite greatness within, this is a must-read. Dense yet digestible. Poignant while humorous. Ineffably true. A book I know I’ll refer back to over my lifetime.

[Nikki · Rating 4 out of 5]

Fascinating read! Hillman's book contains three parts primarily addressing Freud, Jung, and Adler.
I think I was most fascinated by the first section because it contained a concept new for me. Though I've got a good handle on Freud himself, Hillman takes us specifically into examining case history and what Freud brought to it. Ultimately, case history itself serves as a type fiction: the person telling the story of their experience(s) is presenting a fiction, their interpretation and memory of the events; the analyst is then recording that story, with his/her (un)conscious interpretation of the events. Fascinating perspective. And, it leads us to the underlining theme of the whole text: why do our souls want this healing fiction??
In the second section, Hillman works with ideas of Jung, images, and Knowing Thyself. Just coming out of my Jungian course and really being fascinated by so much of his work, I soaked up this section. Hillman leads us into the use of active imagination and discussing healing, something of deep interest to me for my possible dissertation topic.
In the third and final section, Hillman looks at Alder and what the soul wants. The focus here lies on inferiority and community, and then leads to Hillman's final conclusion on what the soul wants. He concludes that, despite that various answers he's given through out, this is the key: we don't need to know WHAT the soul wants but THAT it wants. And this is something psychotherapy can deliver.

[Brian · Rating 5 out of 5]

This was one of the most important books I've ever read. Until then, I had thought the idea of narrative = life was a metaphor. Reading Hillman, and this book in particular, taught me that story is central to who we are. It really underscored Erving Goffman's The Presentation of Everyday Life in a new and fascinating way.

[Anita Ashland · Rating 5 out of 5]

A fascinating look at case histories as a genre of writing. Fiction and story is central to who we are.
"Perhaps our age has gone to analysis not to be loved or get cured, or even to Know Thyself. Perhaps we go to be given a case history, to be told into a soul story and given a plot to live by."

[Eduardo Taylor · Rating 5 out of 5]

Redactado por un expositor impecable de la poética Jungiana, Hillman extiende con facilidad su impresionante bagaje de conocimientos y experiencias a través de una narrativa que obliga al lector detenerse después de cada oración, anotar, investigar y continuar. El valor de un libro como este excede por completo a la solución de su pregunta central.

Pues para responder ¿Qué es lo que quiere el alma? es obligatorio, como en los cursos de filosofía, desarticular por completo cada suposición, prejuicio, etimología, intención y referencia lingüística que requiere una pregunta tan profunda y ambigua.

Es una relato, una ficción más, para hacer una pausa obligatoria y preguntar hasta el cansancio miles de preguntas nuevas a experiencias conocidas, recurrentes y críticas para el contacto con el alma.

Increíble, revelador, honesto, abierto y comprometido al análisis profundo.

[Adam Kościuk · Rating 4 out of 5]

Dionysian consciousness understands the conflicts in our stories through dramatic tensions and not through conceptual opposites; we are composed of agonies not polarities. Dionysian consciousness is the mode of making sense of our lives and worlds through awareness of mimesis, recognizing that our entire case history is an enactment, “either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-pastoral,”  and that to be “psychological” means to see myself in the masks of this particular fiction that is my fate to enact.

[Kaylee · Rating 5 out of 5]

“The best entry into imperfection is humor, self-irony, dissolving in laughter, the acceptable
humiliation that requires no after-compensation upwards. The sense of
imperfection may be one way into communal feeling: another surer one is
the all-too-human bond of the sense of humor.” SO TRUE JAMES HILLMAN!!!

[Barbara · Rating 5 out of 5]

So thought-provoking

Offers a humble view of psychotherapy and Jungian thought. Highly recommended for anyone interested in psychotherapy in general or Jungian analysis specifically.

[Gregory Boyce · Rating 4 out of 5]

If your work, or play, involves any degree of depth psychology (and you CBTers would probably enjoy this too) I highly recommend this book. We humans are meaning-making beings. We make meaning out of practically everything around us. Peruvian Shamans would call this a Jaquar level of perception. Hillman endorses the idea that our lives are significantly influenced by the 'stories' we tell ourselves about our lives. Like the Transactional Analysis notion of 'scripts', Hillman says that any dysfunction in our life is directly proportional to the fixation of the 'story' into reality. As a therapist I see this all the time with clients. Any particular intervention must fit into the client's story to be acceptable and yet confront the story to free them from its grip.
To give you a taste of the book, here's a quote from page 42, talking about case histories.

"Finally, we recognize that the case history in psychology is a genuine psychic event, an authentic expression of the soul, a fiction created not by the doctor but by the historicizing activity of the psyche, and that this genre of telling corresponds with the reemergence of soul in our age through depth analysis. As depth psychology invented a new kind of practitioner and patient, a new language, a new style of ritual, and of loving, so it shaped a new genre of story, one that is neither biographical nor medical, nor confessional witness, but a narrative of the inner workings of the soul through time, a history of memories, dreams, reflections, sometimes disguised, but not necessarily, in empirical realities. No matter who writes them, they remain documents of the soul.

It is in this sense that case histories are fundamental to depth psychol­ogy. Not as empirical fundamentals or residues of the medical model, nor as paradigmatic examples demonstrating one or another theorist's plot do they earn our attention. They are subjective phenomena, soul stories. Their chief importance is for the character about whom they are written, you and me. They give us a narrative, a literary fiction that deliteralizes our life from its projective obsession with outwardness by putting it into a story. They move us from the fiction of reality to the reality of fiction."

[Rjyan · Rating 4 out of 5]

There's three parts to this book, and the second felt markedly less exciting than the first, but the third part explodes with insightful revelations about Adler that are unmissable if you have never had the insights of Adler revealed to you. A little bit of background in archetypal/depth psychology-- or another Hillman book-- is probably good before jumping in to this one, as Hillman doesn't go out of his way to catch you up on the concepts he builds on top of. But the things he does build are pretty incredible.

[Richard · Rating 3 out of 5]

For as much ado as I've always heard about Hillman and his works, this was not a very impressive introduction. I'll be honest, the active imagination dialogues between patients and their animas was interesting....I guess it was all fairly interesting. But it had no umph. Nothing really making me love Hillman for his contribution, or wanting to return to him anytime soon. Any other reccomendations from Hillman fans, cause I'm not one just yet?

[Colin · Rating 5 out of 5]

Love, love, LOVE this book! LOVE Hillman! He looks at Adlerian psychology versus Freud and, mostly, Jung.

[Lynda · Rating 4 out of 5]

I looked this book up because I want to re-read it - loved it in my twenties and am curious to see what I think twenty some years later.

[Saul · Rating 4 out of 5]

Ostatnia część (Adler) podnosi ocenę.

[Marcia · Rating 3 out of 5]

I'm too bored with this book to finish it.