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Summary
Summary
Winner of the 2017 Odyssey Award for Excellence in Audiobook Production
A New York Times Bestseller
A Booklist Editors' Choice Audio
An AudioFile Best Audiobook of the Year
A Publishers Weekly Best Book of the Year
A Shelf Awareness Best Book of the Year
A Bulletin Blue Ribbon Book
Winner of the Indies Choice Book Award
Winner of the Sydney Taylor Book Award
"Exquisite." -- The Wall Street Journal
"This is masterly storytelling." -- The New York Times Book Review
A stunning, beautiful, and ambitious debut novel set in Poland during the Second World War perfect for readers of All the Light We Cannot See and The Book Thief.
Krak w, 1939. A million marching soldiers and a thousand barking dogs. This is no place to grow up. Anna Lania is just seven years old when the Germans take her father, a linguistics professor, during their purge of intellectuals in Poland. She's alone.
And then Anna meets the Swallow Man. He is a mystery, strange and tall, a skilled deceiver with more than a little magic up his sleeve. And when the soldiers in the streets look at him, they see what he wants them to see.
The Swallow Man is not Anna's father--she knows that very well--but she also knows that, like her father, he's in danger of being taken, and like her father, he has a gift for languages: Polish, Russian, German, Yiddish, even Bird. When he summons a bright, beautiful swallow down to his hand to stop her from crying, Anna is entranced. She follows him into the wilderness.
Over the course of their travels together, Anna and the Swallow Man will dodge bombs, tame soldiers, and even, despite their better judgment, make a friend. But in a world gone mad, everything can prove dangerous. Even the Swallow Man.
Destined to become a classic, Gavriel Savit's stunning debut reveals life's hardest lessons while celebrating its miraculous possibilities.
Author Notes
Gavriel Savit received a BFA in musical theater from the University of Michigan in Ann Arbor. He has acted in several productions including Amazing Grace on Broadway. His first novel, Anna and the Swallow Man, was published in 2016 and made the New York Times bestseller list.
(Bowker Author Biography)
Reviews (7)
Publisher's Weekly Review
Anna is seven years old when the Nazis come for her linguistics professor father. In 1939 Poland, many children are left orphaned or are taken to concentration camps, but Anna finds refuge of a sort by traveling with a tall, thin man, who communicates with birds and speaks in metaphors. Anna and the Swallow Man speak in Polish, German, Russian, Yiddish, and French. Reader Corduner performs these lines with the lightest of accents, flavoring the story and never overwhelming the listener. Corduner's gentle tone of voice makes young Anna come alive without resorting to high-pitched breathiness. His Swallow Man is mysterious but also comforting, setting up great tension in the story. In his quiet yet firm manner, the Swallow Man teaches Anna lessons of survival, some of which challenge her instincts to be honest and compassionate. Corduner handles the story deftly, simply letting Savit's words do the work and never hamming it up in his performance. This book is more than simple historical fiction; it is almost a fable about how to live in hard times. Corduner's performance is also more than simple narration-it is remarkable. Ages 12-up. A Knopf hardcover. (Jan.) © Copyright PWxyz, LLC. All rights reserved.
Horn Book Review
In 1939 Krakow, Poland, seven-year-old Anna is left orphaned after her father, a linguistics professor, is taken by the Nazis. Confused and frightened, but pragmatic, she follows a mysterious man, tall and exceedingly thinwhom she meets on the street and who seems to have the power to communicate with birdsout of the city and toward an unknown destination. As they walk, and as days become months, then years, the Swallow Man teaches Anna life lessons and survival skills in the form of aphorisms (Asking a stranger for something is the easiest way to assure that he will not give it. Much better simply to show him a friend with a need) and metaphors (Those [soldiers] look like young men, dont they? But theyre not. The ones from the westthose are wolves. And the ones from the east are bearsand if they can find a reason to hurt you, they will). Then Anna finds a man in the woods, a Jewish man who is a musician and who joins their little familyfor a time. The third-person narrativelyrical, fluid, with a pervasive shadow of menacelends a folkloric feel to a graceful story steeped in history, magic, myth, and archetype; comparisons to The Book Thief (rev. 3/06) are apt regarding writing style, themes, and intended audience beyond the protagonists years. The book leaves readers with many questions, not least of which are: Who is the Swallow Man? What is he? As the Swallow Mans words remind us in the epilogue: Questions, Annaquestions are far more valuable than answers. elissa gershowitz (c) Copyright 2016. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Booklist Review
In 1939, seven-year-old Anna's father, a linguistics professor in Krakow, disappears, along with 150 other academics. Parentless, she must find an adult to care for her, and thanks to her precocious, quick thinking, she convinces a willowy, enigmatic stranger to let her travel with him. Savit lyrically and languidly narrates the following years as Anna and the stranger, whom she calls the Swallow Man, peripatetically wander the Polish countryside, keeping to themselves and subsisting on whatever they can forage. Before long, the dangers of the Nazi occupation and the atrocities of the Holocaust become impossible to ignore, and when they add a Jewish musician to their traveling band, the Swallow Man faces difficult questions how far will he go to protect Anna? And how far will he go to protect his own identity? Full of sophisticated questions and advanced vocabulary, Savit's debut occasionally feels like an adult novel, but young readers with the patience for his gauzy pacing and oblique plot turns will be rewarded by a moving, thought-provoking story about coming-of-age in the midst of trauma.--Hunter, Sarah Copyright 2015 Booklist
New York Review of Books Review
THERE ARE TWO questions about Gavriel Savit's splendid debut novel that are sure to be asked repeatedly: Is it an allegory, and at whom is it aimed? The first I believe Savit answers clearly. "The world understands stories," he has one of his main characters come to realize, "not as absolute, irrevocably factual truths that simply don't exist, but as flaccid allegories or metaphors." You may read the novel as allegory; go ahead. All stories are allegory. This one makes use of stock figures from European folklore (the fool, the golem, the trickster, the demon, animal shape-changers). It's also tempting to expand on ways in which the novel's characters represent aspects of the Polish people during World War II. Even the winsome chapter-heading designs created by the illustrator Laura Carlin can be interpreted in more than one way. But Anna and the Swallow Man, and the very human people they meet in the course of the novel, also have their own plausible existence within the rules of the world we know. Indeed, they learn to question and distrust allegory as the tale progresses. For every apparent piece of magic performed in the text, there is a scientific explanation. When the Swallow Man gives Anna a fantastical description of the medicine he takes, for example, there is a literal interpretation as well. This is masterly storytelling. The answer to the second question you may extrapolate from the first. Like all good folktales, Savit's story is aimed at anyone who will listen. A 10-year-old may identify with Anna. A teenage reader will absorb the deftness and sophistication of the telling. An adult will find his or her expectations challenged. If there is a character whose point of view we seem intended to share, it is Anna; but you, the reader, old or young, must filter your thoughts through the lens of the omniscient narrator, and it is easy to end up feeling protective of Anna rather than empathizing with her. The book's third-person narrative voice is intelligent, confiding and personable - indeed, precocious - rather like Anna herself. From the first page, Savit makes no concession to reading level, age or target audience. He simply takes pleasure in what he's writing. I have to admit, this is the way I like it, and any potentially problematic precocity in the text is saved by his earnest, accessible voice. The plot is simple. Anna Lania, at age 7, is left orphaned on the street in November 1939 when her linguist father is shipped off to a concentration camp along with the rest of the Krakow literati, as part of the Nazis' Sonde raktion operation to wipe out the Polish intellectual elite. Anna's random meeting with the mysterious character she knows only as "the Swallow Man" is fortuitous for them both, and they spend the next four years hiding in the Polish forests, close to the lines of the Eastern Front. Before the war is over, events conspire to cause the co-dependent pair to part. Little of the plot is linear. It's more anecdotal, describing habitual patterns in the lives of the two main characters as they wander and survive. But while the novel's action is simple, its emotional impact, drive, narration, character development and resolution are elaborately layered. WHENEVER THE DESCRIPTION of forest survival seems saturated, a new character is introduced who adds depth to the story. The joyful escapee Hirschl, from the Lublin ghetto, and the frightening Peddler don't just bring color and life and danger to the tale: They are catalysts, altering the subtle relationship between Anna and the Swallow Man, and changing them both. Hirschl's challenge to the Swallow Man's philosophy brings about the novel's conclusion: not just the events, but the Swallow Man's changed perception of what matters. The narrator knows, and the reader can guess, that the stakes are higher than Anna realizes. Following one of the book's most terrible and tragic moments, the Swallow Man produces a wonderful piece of artistic virtuosity that borders on the supernatural, and he asserts that its effects will last. But Anna discovers that he is wrong. That she does "her best to ignore the fact" is the only comment passed on this brutal disappointment. Yet the lesson here, and in the novel's conclusion, is surely not that beauty and faith and love are illusory, or even that they are fleeting. It is that they take hard work to maintain, and require, as often as not, personal sacrifice. ELIZABETH WEIN'S young adult novels include "Code Name Verity" and, most recently, "Black Dove White Raven."
School Library Journal Review
Gr 8 Up-It is 1939, and seven-year-old Anna lives with her father, a professor of linguistics, in Krakow. Anna finds herself alone after her father is summoned to a meeting by the Gestapo and does not return. She befriends a strange man who is able to talk to birds, hence the nickname the Swallow Man. Anna and the Swallow Man wander the countryside for four years, careful to avoid largely populated areas. The Swallow Man is a mystery to Anna and the listeners alike-the author never quite reveals why he is living in hiding. The story is beautifully told, and, despite the often dark subject matter, Allan Corduner's voice is soothing. Though it is set during the Holocaust, the book does not draw upon the historical content in too much detail. Still, it could be used as part of a historical unit to discuss different points of view. VERDICT It is important to note that teens are the intended audience-though the protagonist is young, the story can be disturbing and too violent for children closer to the character's age. Recommended for YA collections. ["More interpretive than literal, the story will generate discussion among YA readers": SLJ 12/15 review of the Knopf book.]-Betsy Davison, State University of New York at Cortland © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Guardian Review
A bemusing tale about a young girl alone during the war in Poland, who travels for years with a kindly fugitive The loss of innocence is a mainstay in fiction for the young: in fact, one might even argue that all children's books in some way reflect a knowledge of that approaching moment when childish things are put away. The innocent in Gavriel Savit's intelligent debut novel is Anna, the daughter of a professor of linguistics in wartime Poland. When he vanishes one day, she is abandoned, and must make her own way in the world. The premise is certainly an arresting one: how can a small girl survive when the very world is being torn up around her? Her innocence is protected for longer than it might have been, thanks to her meeting with the eponymous Swallow Man, a strange but kindly fugitive who becomes her rescuer, of a kind, and her companion on a journey that will last the duration of the war. Ambiguous and slippery, he talks in riddles and allegories, changing his clothes to suit his surroundings, carefully observing people before talking to them. He teaches her the language of "Road" -- the lies that you have to tell in order to survive. He becomes her "Daddy", asking her to abandon her name and become, to him, only "Sweetie". On the road they have no identity: they are as unnoticeable as the rocks or the trees. The novel has many coldly beautiful images, and is fully aware of the starkness of life and the bestial nature of man. The Swallow Man feeds Anna information filtered through the prism of story: the Nazis are Wolves; the Russians, Bears; he himself is on a mission to find a beautiful, rare bird, which both sides wish to claim and devour. For a quest novel aimed at the young (or indeed any) reader to work, there must be some concrete notion of what the quest is tending towards. The Swallow Man's imaginary bird is all but forgotten. The mismatched pair drift, wander, often literally going round in circles; they cross over the boundary into Russia, and then back, for no apparent reason. They meet a clarinet-playing Jew who has no reed for his instrument (metaphor alert), and who seems to exist simply in order to provide a fleeting moment of conflict towards the end. They never run, and are rarely in serious danger, spending years holed up in secret among rocks. Time passes oddly: it is always winter. For all the long seasons that Anna and her Swallow Man spend together, we never feel that we know why she loves him; we never feel that she is growing, or questioning what she is doing with this man. Savit aims for a fable-like narrative with an omniscient narrator, but the style, alas, can be dry: "Even this peculiar kind of transgression, of which she had little understanding, engendered real contrition in her." There is something contrived about the diction, as if he is striving for fine writing: "Even with skill and cunning, Anna and the Swallow Man often went for an exceedingly long time without the sort of stuff common to larders and pantries and other vaults of cultivated human food." The last part of that long sentence, after "without", could much more effectively read simply "food". This is a bold first novel that promises more from the undoubtedly talented Savit. Though, structurally, it is beautifully and carefully wrought, it is like a glass case, airless. Thematically, it never reaches the ambitious targets it sets itself: the climax is rushed over, and we are left as bemused about her journey and the Swallow Man as we were at the start. * Philip Womack's The Double Axe is published in February by Alma. To order Anna and the Swallow Man for [pound]7.99 go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over [pound]10, online orders only. Phone orders min p&p of [pound]1.99. - Philip Womack.
Kirkus Review
After a young girl is left to fend for herself in World War II Poland, she stumbles upon an intriguing gentleman who she hopes will guide her out of the emerging chaos of war. Anna Lania is 7 at the start of this multiyear tale with its overtones of folklore and magical realism. Her linguistics-professor father is taken away by the Germans during the expulsion of intellectuals at Jagiellonian University in Krakow. A linguist herself, Anna is drawn to the language abilities and bird savvy of the Swallow Man, so named to preserve his anonymity. As they make their way together across Poland, the Swallow Man has ingenious ways of explaining their new realities to Anna via storytelling while his real activities remain an enigma until the end. Most striking here is that debut author Savit creates a young girl's world that only consists of father figuresand it is not always clear how Anna is to determine whom to trust and whether or not these relationships and how she thinks of them are ultimately safe. The eventual conclusion: human connection, however brief or imperfect, has the potential to save us all. Artful, original, insightful. (Historical fiction. 12 up) Copyright Kirkus Reviews, used with permission.
Excerpts
Excerpts
What Do You Say? When Anna Łania woke on the morning of the sixth of November in the year 1939--her seventh--there were several things that she did not know: Anna did not know that the chief of the Gestapo in occupied Poland had by fiat compelled the rector of the Jagiellonian University to require the attendance of all professors (of whom her father was one) at a lecture and discussion on the direction of the Polish Academy under German sovereignty, to take place at noon on that day. She did not know that, in the company of his colleagues, her father would be taken from lecture hall number 56, first to a prison in Krakow, where they lived, and subsequently to a number of other internment facilities across Poland, before finally being transported to the Sachsenhausen concentration camp in Germany. She also did not know that, several months later, a group of her father's surviving colleagues would be moved to the far more infamous Dachau camp in Upper Bavaria, but that, by the time of that transfer, her father would no longer exist in a state in which he was capable of being moved. What Anna did know that morning was that her father had to go away for a few hours. Seven-year-old girls are a hugely varied bunch. Some of them will tell you that they've long since grown up, and you'd have trouble not agreeing with them; others seem to care much more about the hidden childhood secrets chalked on the insides of their heads than they do about telling a grown-up anything at all; and still others (this being the largest group by far) have not yet entirely decided to which camp they belong, and depending on the day, the hour, even the moment, they may show you completely different faces from the ones you thought you might find. Anna was one of these last girls at age seven, and her father helped to foster the ambivalent condition. He treated her like an adult--with respect, deference, and consideration--but somehow, simultaneously, he managed to protect and preserve in her the feeling that everything she encountered in the world was a brand-new discovery, unique to her own mind. Anna's father was a professor of linguistics at the Jagiellonian University in Krakow, and living with him meant that every day of the week was in a different language. By the time Anna had reached the age of seven, her German, Russian, French, and English were all good, and she had a fair amount of Yiddish and Ukrainian and a little Armenian and Carpathian Romany as well. Her father never spoke to her in Polish. The Polish, he said, would take care of itself. One does not learn as many languages as Anna's father had without a fair bit of love for talking. Most of her memories of her father were of him speaking--laughing and joking, arguing and sighing--with one of the many friends and conversation partners he cultivated around the city. In fact, for much of her life with him, Anna had thought that each of the languages her father spoke had been tailored, like a bespoke suit of clothes, to the individual person with whom he conversed. French was not French; it was Monsieur Bouchard. Yiddish was not Yiddish; it was Reb Shmulik. Every word and phrase of Armenian that Anna had ever heard reminded her of the face of the little old tatik who always greeted her and her father with small cups of strong, bitter coffee. Every word of Armenian smelled like coffee. If Anna's young life had been a house, the men and women with whom her father spent his free time in discourse would've been its pillars. They kept the sky up and the earth down, and they smiled and spoke to her as if she were one of their own children. It was never only Professor Łania coming to visit them; it was Professor Łania and Anna. Or, as they might have it, Professor Łania and Anja, or Khannaleh, or Anke, or Anushka, or Anouk. She had as many names as there were languages, as there were people in the world. Of course, if each language is for only one person, then eventually a girl begins to wonder, What is my father's language? What is mine? But the answer was quite simple--they were speakers of other people's languages. Everyone else seemed tied down to only one, at best to two or three, but Anna's father seemed to be entirely unbound by the borders that held everyone else in the wide and varied landscape of Krakow. He was not confined to any one way of speaking. He could be anything he wanted. Except, perhaps, himself. And if this was true of Anna's father, well, then it must have been true for Anna, too. Instead of passing on to his daughter one particular language that would define her, Anna's father gave her the wide spectrum of tongues that he knew, and said, "Choose amongst them. Make something new for yourself." In none of her memories of him was Anna's father not saying something. He lived, in her memory, like a vibrant statue, molded in the shape of his accustomed listening posture: right knee bent over the left, elbow propped against the knee, his chin in his palm. He adopted this attitude frequently, but even when so silently bound in attention, Anna's father couldn't help but communicate, and his lips and eyebrows would wriggle and squirm in reaction to the things people said to him. Other people would have to ask him what these idiosyncratic tics and twitches meant, but Anna was fluent in that language, too, and she never had to ask. She and her father spent so very much time talking together. They talked in every language in every corner of their apartment, and all throughout the streets of the city. Of all people, she was certain that he liked talking to her best. The first time Anna realized that a language was a compromise shared amongst people--that two people who spoke the same language were not necessarily the same--this was the only time she could remember asking her father a question that he could not manage to answer. They had been making their way home from some outing or other, and it had been growing dark. Anna didn't recognize the part of the city where they were walking. Her father was holding on to her hand very tightly, and his long-legged strides forced her to trot to keep up. His pace quickened, faster and faster as the sun dipped beneath the rooftops and then the hills beyond, and by the time it happened, they were practically running. She heard them before she saw anything. There was a man's voice laughing, loud and jolly, so genuinely amused that Anna began smiling as well, excited to see whatever it was that was making the laughter. But when they arrived at the street from which the sound was coming, her smiling stopped. There were three soldiers. The laughing soldier was the smallest. She didn't remember the two others very clearly, except that they seemed impossibly large to her. "Jump!" said the smallest soldier. "Jump! Jump!" The grizzled old man in front of them did his best to follow this direction, hopping up and down pointlessly in place, but there was very clearly something wrong with his leg--a bad break, perhaps. It was plain to see that he was in terrible discomfort. At great expense of effort, he kept his voice silent each time his shoes hit the cobblestones, despite the pain that twisted his expression. This seemed to delight the small soldier even more. Perhaps the most difficult part of this memory was the pure and unreserved delight of that laughter. In Anna's mind, the soldier was speaking--and, for that matter, laughing--in Herr Doktor Fuchsmann's language. Herr Doktor Fuchsmann was a fat, nearly bald man who always wore a waistcoat. He had spectacles and a cane, which he used to help him shuffle around his small pharmacy all day long. Herr Doktor Fuchsmann was a man who giggled, and whose face was almost always turning red. In the short time that Anna had known him, he had snuck her more cookies than she had ever even seen in any other setting. And the small soldier was speaking Herr Doktor Fuchsmann. Anna was confused. She could understand neither the soldier in the context of the doctor, nor the doctor in the context of the soldier. So she did what any child would do in such a situation. She asked her father. If Anna's father had not been the man that he was, and if Anna had not been hearing and speaking and thinking, in part, in German for as many of her seven years as had the potential for speech in them--in short, if her accent had not been so compellingly native--this story might've ended before it began. "Papa," said Anna. "Why are they laughing at that man?" Anna's father didn't answer. The soldier turned his head. "Because, Liebling," he said. "That is not a man. That is a Jude." Anna remembered that word exactly, because it changed everything for her. She thought she knew what language was, how it worked, how people pulled in different words out of the air into which they had spoken in order to shape their outlines around them. But this was much more complicated. Reb Shmulik didn't say Jude. Reb Shmulik said yid. And this soldier, no matter what language he was speaking, was as different from Herr Doktor Fuchsmann as he wanted everyone to know that he was from Reb Shmulik the Jew. In 1939 a group of people called Germans came into a land called Poland and took control of the city Krakow, where Anna lived. Shortly thereafter these Germans instituted an operation entitled Sonderaktion Krakau, which was aimed at the intellectuals and academics of the city, of whom Anna's father was one. The day appointed for the execution of Sonderaktion Krakau was November the sixth, 1939--Anna's seventh year--and all Anna knew that morning was that her father had to go away for a few hours. He left her in the care of Herr Doktor Fuchsmann shortly after eleven o'clock, and then he did not come back again. It was not uncommon for Anna's father to leave her with his friends when he had some pressing business to attend to. He trusted her enough to leave her alone in the apartment for brief periods, but on occasion, of course, he needed to be gone for longer. She was still very young, and from time to time someone was needed to look after her. Anna's father had done his best to insulate her from what had been going on in the city, but a war is a war, and it is impossible to protect a child from the world forever. There were uniforms in the street, and people yelling, and dogs, and fear, and sometimes there were gunshots, and if a man loves to speak, eventually his daughter will hear the word "war" spoken, furtively, aloud. "War" is a heavy word in every language. Anna remembered vaguely that there had been a time before this heavy word had descended on every side of her like the weighted edges of a net, but more than the figure or face of any particular person--more even than the brief impression she had managed to form of her mother--what principally characterized her memory of that time was the vibrant outdoor life of an exuberant city: chatting strolls in public parks and gardens; glasses of beer, or cups of coffee or tea, at tables on the sidewalk; mothers and lovers and friends calling names out across reverberant stone streets, hoping to catch and turn a beloved head before it disappeared around a corner. Those had seemed like days of perpetual warmth and sun to Anna, but war, she learned, was very much like weather--if it was on its way, it was best not to be caught outdoors. In his final months Anna's father spent quite a bit of time inside with her, talking and, when the inevitable need for silence arose, reading. He meant very well, but most of the books he had in the house were still far beyond Anna's level, and so she spent much of her time with one particular book, a thick volume of children's stories drawn from every source. Whether they were from Aesop or the Bible, or Norse myth or Egyptian, they were all illustrated in the same comforting nineteenth-century hand, with pen and ink, reproduced there on thick, heavy paper. Anna missed that book as soon as she was separated from it. Even before she missed her father. For the first two or three hours after noon on the sixth of November, Herr Doktor Fuchsmann acted just as he always had toward Anna, teasing and laughing over his spectacles while the shop was empty, and immediately ignoring her as soon as the bell on the door rang a new customer inside. There were many fewer cookies now than there had been in past days, but Anna understood--Herr Doktor Fuchsmann had explained the dearth with reference to the war. This was a common practice, one with which Anna had already become quite familiar--whenever someone remarked something out of the ordinary lately, it seemed to be explained by pointing out the war. Anna still was not certain what precisely was meant by this word "war," but it seemed, at least in part, to be an assault on her cookie supply, and of this she simply could not approve. The shop was much busier that day than Anna had ever seen it before, and the people who came in after Herr Doktor Fuchsmann's relief seemed mostly to be young Germans in subtly differing uniforms. Even some of the older men in suits came in speaking a bright, clipped-sounding German that, though clearly the same language as the Herr Doktor's, seemed to Anna to lean forward with tight muscles, where his sat back, relaxed. It was all terribly interesting, but Herr Doktor Fuchsmann became nervous when she paid too obvious attention to anything his customers had to say, and so she did her best to look as if she weren't listening. He tried to mask his growing anxiety as the day drew on, but when the time came to close down his shop and Anna's father had still not returned to collect her, Herr Doktor Fuchsmann began to worry very openly. Anna was not yet terribly worried, though. Her father had been gone for longer before, and he had always returned. But now there were gunshots in the streets from time to time, and dogs barking constantly. Herr Doktor Fuchsmann flatly refused to take Anna home with him, and this was the first seed of worry in her. He had always been so sweet to her before, and it was confusing that he should suddenly turn unkind. Excerpted from Anna and the Swallow Man by Gavriel Savit All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
