Chimamanda Ngozi Adichie: Commonwealth Lecture 2012

praise silence for the right worshipful the lord mayor locum tienens audemann the lord levine of port circle your excellencies my lord's ladies and gentlemen it's a very great pleasure to welcome you all to guildhall this evening where we in the city of london are very proud to host this the 15th commonwealth lecture the lord mayor is very sorry not to be with you himself tonight he's on a business mission to our commonwealth partners in australia and new zealand and i know that he would want me to thank the commonwealth foundation for all its work in organizing this evening's event the commonwealth is an extraordinary 2 billion strong family of peoples nations bound together by a shared commitment to democracy good governance respect for human rights eradication of poverty and sustainable development all values which events right across the world show we must continue to cherish and promote but the commonwealth is also bound together by a single figure her majesty the queen whose diamond jubilee we celebrate this year her majesty's life has been one of service and duty respected by all a life committed to connecting the diverse peoples of the commonwealth together so it's entirely fitting that commonwealth observance day this year marks the start of the german jubilee celebrations opened by the uk's largest multi-faith celebration of westminster abbey attended by her majesty and it is just as fitting that the commonwealth theme for this very special year and our lecture this evening should be that of connecting cultures we share a great deal but we celebrate our difference and how much we can learn from our rich diversity the city of london offers services that will be critical in creating jobs and growth at home and abroad the city also has a very strong commitment to the arts not least as one of the largest funders and supporters of the arts in this country from the barbican center to the museums we support here in the city and right across london so we're delighted this evening to welcome the commonwealth's secretary general his excellency mr kamala sharma to guildhall this evening who of course is no stranger to us here at all as well as our lecturer chimamanda ngozi adichie her novels and short stories have made a huge impact facts and figures tell one part of her story but her work contains the holy grail for all writers what one critic called emotional truth showing us the feelings and the dramas of individuals caught up in terrible historic events confronting us with human consequences of real events all done with empathy and grace her fellow writer chinua achecepe said we do not usually associate wisdom with beginners but she is a writer endowed with a gift of ancient storytellers i'm sure that you're all looking forward to a special lecture as part of a very special year and i would now like to hand over to simone de como monde the chair of the commonwealth foundation thank you very much my lord mayor secretary general mr sharma mr sharma your excellencies ladies and gentlemen the commonwealth lecture is organized by the commonwealth foundation in partnership with the commonwealth secretariat the cambridge commonwealth trust the commonwealth parliamentary association the royal commonwealth society and the royal overseas league connecting cultures is the commonwealth theme for 2012. it celebrates the diverse mix of people across the commonwealth united by shared values and vision together these 54 nations represent over 2 billion people of differing beliefs and traditions with cultural expression a vibrant means of identity and exchange the commonwealth foundation is the commonwealth agency which has been entrusted by heads of governments to take care of the culture portfolio amongst other activities of course we recognize that culture is an essential essential pillar of development culture is the soul of our society and an expression of the human spirit it is intrinsically linked to the fabric of the commonwealth our culture program aims to give less heard voices an opportunity to share their stories targeted initiatives develop and support cultural practitioners to challenge and explore issues that affect civil society at every level and in the year of connecting cultures we have relaunched the commonwealth writers prize won by our speaker in 2005. in the form of commonwealth writers a new global initiative which finds and develops new writers of fiction in 2011 commonwealth heads mandated a relaunch of the commonwealth foundation so it can be more effective so that it can more effectively strengthen and mobilize civil society in support of commonwealth principles and priorities looking ahead i see a bright future for the commonwealth foundation and i am delighted to formally welcome vijay krishna narayan as the new director and wish him every success in his new role i would also like to take this opportunity to offer our most sincere thanks on behalf of all at the commonwealth foundation to dani sriskandaraja for the remarkable leadership in his capacity as interim director over the last 12 months thank you so much dany chimamanda was born in nigeria in 1977. her first novel purple hibiscus won the commonwealth writers prized best first book in 2005 and garnered widespread critical acclaim her second novel half of her yellow son won the orange prize for fiction in 2007 she was named one of the 20 most important fiction writers today under 40 years old by the new yorker she is a trustee of the fara fina trust a highly successful initiative in nigeria to promote reading writing and a culture of social introspection and an engagement through the literary arts she is an ambassador for the commonwealth foundation's commonwealth writers program it is my pleasure therefore to ask you ladies and gentlemen to welcome our speaker to the 15th commonwealth lecture mrs chima mandangozi adichie thank you very much thank you good evening a few weeks ago my dear friend martin kenyon who is sitting in front telephoned me and left a message in which he sounded quite alarmed because he had just heard that i had been asked to give the commonwealth lecture what martin did not know was that i was just as alarmed as he was and so i feel a little bit like a pretender to the throne standing here before you in this gorgeous space but i am deeply honored and i thank the commonwealth foundation for inviting me and i thank you all for being here i would like to start by talking about bagels when i was growing up in osuka the university town in southeastern nigeria books were the center of my world i started reading when i was perhaps four years old and i read everything i could find one day i read an american novel in which a character ate something called a bagel for breakfast i had no idea what a bagel was but i thought it sounded very elegant very exotic i pronounced it baguel i desperately wanted to have a bagel my family visited the united states for the first time when i was nine and at the airport in new york i told my mother that as a matter of the gravest urgency we had to buy a bagel and so she went to a cafe and bought one finally i would have a bagel you can imagine my disappointed surprise when i discovered that this bagel this glorious big girl from the novel was only just a dense doughnut still even though a bagel ended up not being some sort of exquisite confection the moments in which i thought it was were well worth it because my imagination soared in delight and there was something comforting and instruct instructive in that discovery of a bagel in the demystifying ordinariness of a bagel other people like me ate boring food i have since by the way come to enjoy toasted bagel with cream cheese but i wanted to use this anecdote not only to illustrate the wondrous ability of books to enlarge our imaginations but also as a starting point to make a case for the kind of literature that i was drawn to and that i continued to be drawn to as a reader and as a writer i have been writing since i was old enough to spell my writing when it is going well gives me what i like to describe as extravagant joy and when it is not going well is a source of great depression and anxiety i write because i have to i write because i love the solitude of writing because i love the near mystical sense of creating characters who sometimes speak to me because i love the possibility of touching another human being with my work because i spend a large amount of time in the spaces between the imaginary and the concrete writing we are often told is a solitary endeavor and it is it is also intensely idiosyncratic each time i read of or hear about a writer's elaborate writing ritual i am immediately tempted to claim an equally elaborate ritual of my own to claim that i light red candles or hold improbable yoga positions or recite an igbo chant or fall into a brief trance before i actually begin to write but although my ritual is in truth significantly less colorful than what i wish it were it does exist as i suspect it does for every writer there is an igbo proverb that says which translates loosely to a sculptor always works with a frown this suggests that the sculptor and by extension the artist the writer the creative person walks in a state of the most the utmost seriousness and rigor because her vocation her calling is not entirely in her control she's a conduit of sorts communing with something larger than herself hence the frown now i don't walk with a frown at least not all the time but i do think of my writing as both magic and craft it is a whispering from the spirits an inexplicable gift i have been blessed with and it is also a steely determination to sit down for hours and write and rewrite until the muscles of my neck and shoulders tighten in painful revolt my family and i often joke about how when i am home and all this quiet and all distraction turned off and i'm supposed to be writing i am instead wandering around the house from study to bedroom to kitchen and back again which brings to mind a wonderful quote from the american writer don delillo writers go out of their way to secure their solitude and then having secured it they go out of their way to squander it but that wandering is itself part of the magic and craft process and the hope is that at some point in the wandering the literary spirits will intercede the story or character will reveal itself and i will then be able to sink into the hours of writing and rewriting fully inhabiting an intense inward space but it is too simple to claim that writing is a private act end of story if it were so i would write in a diary and put it away in a draw an audience all the possibility of an audience moves writing from a private to a public space i have often been asked who my audience is who i write for and the most honest answer is that i really do not know because i never consciously think of audience while writing fiction i sometimes also wonder whether it ever occurred to togyenyev that a teenager in a small town in southeastern nigeria might be part of the audience of fathers and sons his novel about 1860s russia which i love i don't suppose it did occur to him perhaps a more comprehensible answer to the question about who my audience is is that i write the kind of fiction i like to read and so i write for whoever enjoys the kind of fiction i enjoy as a child books about hobbits or flying saucers or alternative universes did not interest me perhaps because at some level i was always in awe of the vastness of the world of the many places i was yet to learn about of the millions of ordinary human stories yet untold each one worthy each one capable of truth and beauty and so i was particularly drawn to books that i like to call realist literature books populated by recognizably real human beings living in real places of course one must use the word real with some reservation the world of realist literature is not the same as the real world but it is close enough aligned enough to the real world to be able to illuminate it and it is books of that sort that i would like to make a case for today books that have often brought to my mind the words of the ancient latin poet horus the role of literature is to instruct and delight realist fiction is not merely the recording of the real as it were it is more than that it seeks to infuse the real with meaning which perhaps is why the artist walks with a frown as events unfold in our lives we do not always know what they mean but in telling the story of what happened meaning emerges and we are able to make connections with emotive significance realist fiction is above all the process of turning fact into truth i knew the basic facts of nigerian history when i first read chino achieves novels things fall apart and arrow of god but it was those novels that made me realize that while i may very well know the facts i did not really know the truths bloodless words like pacification and amalgamation and indirect rule were the facts but the truths were in the human stories a respected man being flogged publicly by agents of the colonial government a priest once resplendent in his pride and his stubbornness now reduced to sitting on a cold prison floor because he had dared to reject an offer from a british district officer and in images such as these i learned a great truth which the history books said nothing about the loss of dignity one of my favorite novels is the dark child by camara lay a book of startling beauty defiant optimism and the most layered nostalgia on recently re-reading it i was struck by a sentence in the introduction by the south african english writer william plummer plummer wrote leia introduces us to a society which appears entirely free of vulgarity the assumption of course being that the society should have been vulgar now this is a silly comment if ever there was one but if we are willing to overlook the silliness of it we see that plummer might have been knowledgeable about the so-called facts of what he calls tribal life but he took this novel this beautiful novel about a quiet childhood in the plains of guinea to make him see the truths most of us know the story of the philosopher diogenes the critic who carrying a lantern in daylight walked up and down the streets of athens and claimed that he was looking for an honest man scholars say that diogenes did in fact carry a lantern around athens sunlit streets but he did not say that he was looking for an honest man what he said was that he was looking for humanity of course the cynicism of his action is clear the lantern in daylight tells us that he does not believe he will find his humanity but it can also be interpreted as his refusal to take the idea of humanity for granted because humanity is in fact something we must always keep searching for to read realist literature is i think to search for humanity as diogenes did but hopefully with much less cynicism it is easy to assume that our collective humanity is self-evident that we do not need to search for it but we live in a time of numbers and facts in a world where an acceptable response to the news of a death is to click the like button in facebook we live in a world where we can easily find information about gdp and infant mortality and life expectancy but not about that which most motivates people human desire we live in a world where we so often quote figures of the number of the dead in iraq and afghanistan and congo until they become just that figures each time i read these news articles i find myself thinking what do they dream about in congo how do they fall in love in afghanistan how do they resolve family quarrels in iraq what do they like to eat of course we must know about the dead and the dying and of course these figures and facts are essential but they must they should coexist with human stories we should know how people die but we should also know how they live when we read human stories we become alive in bodies not our own literature is in many ways like faith it is a leap of the imagination both reading and writing require an imaginative leap and it is that imaginative leap that enables us to become alive in bodies not our own it seems to me that we live in a world where it has become increasingly important to try and live in bodies not our own to embrace empathy to constantly be reminded that we share with everybody in every part of the world a common and equal humanity but i must hasten to clarify that i am not suggesting that we are all the same we most certainly are not many of us would be reluctant to live in a world in which everyone were the same we would be suffocated by boredom literature is indeed about how we are different the american writer john updike after reading chinuachebe's arrow of god wrote to achebe to say that a western writer would not have allowed the destruction of a character as rich as the protagonist as zulu perhaps what object had implicitly understood was that in achebe's world very different from the western world depicted in the literature with which object was familiar the preservation of the community mattered more than the preservation of the individual or in the words of a character in the novel itself an animal rubs its itching flank against a tree but a man asks his kinsman to scratch this is part of realist literature's magic that we are able to thrill to the magnificent diversity in the world and so we read not to see how peop other people are like us but simply to see them to truly see them what they love what they resent what wounds their pride what they aspire to yet part of that magic of realist literature is to remind us of how similar we are in the midst of our differences to remind us that we all sh that what we all share is the quest for value to be human is to want to be valued we want our bodies to be nourished and we want our hearts to be nourished and this is the humanity we must seek through stories i fell in love with sri lanka after i read romeshknes sakura's beautiful novel reef with its evocation of friendship love and politics in a country about to be torn apart by war i visited sri lanka and at the airport in colombo i saw a collection box which said something like contribute money to help the soldiers i was not quite sure which soldiers this fundraising was for whether the government or the tamil lam but it did not matter much to me because i put some money in the box anyway and i dreamed in that small gesture of restoration of healing of a return to a country as it was depicted in the novel reef perhaps this was a hopelessly sentimental act but it filled me with a small delight as did the country of sri lanka itself it was not surprising to me that i fell in love with the country and with its people who felt strangely familiar because i had encountered them in the pages of a beloved book books are immensely powerful inherently powerful a power that often transcends the creator of the book i don't think that the writer of that american novel i read as a child had any idea that i would come to so lushly romanticize bagels nor do i think that bagels would have so completely captured my imagination if i had read of them in a newspaper article or anywhere else outside the pages of a novel ben oakley the nigerian writer tells a story about his father who after training as a lawyer in england returned to nigeria with a great collection of books homer tolstoy dostoevsky which he didn't quite get around to reading the books gathered dust and from time to time he would say to his son ben dust the books but don't read them this of course made the books even more attractive to ben and so while dusting he would read them and if he heard his father's voice he would hurriedly return to dusting as an adult okra would recall this story and end with the words books still have this tension for me the do and don't the possibility of danger of secret knowledge it makes them very potent of course it is the contents of a book that are truly potent inchino achebe's essay traveling white he writes about a librarian who at a lecture at the university of california told him what achebe described as a curious story it was about a german judge named volvon ziedler this distinguished judge the president of the highest constitutional court in germany had just accepted an offer to move to namibia and become a consultant to the namibian regime then a friend gave him the novel things fall apart after he read it he promptly and dramatically changed his mind he would no longer move to namibia because he could not lend his abilities to an apartheid system that dehumanized africans achebe concludes this story by wondering why a man so accomplished needed a novel to make him see this did he not read the newspapers but perhaps the german judge only knew the facts and perhaps in reading chinook novel he was taking a walk along the sunlit streets of windhoek holding a lantern logic can convince but it is in fact emotion that leads us to act realist literature reminds us of this that we are not a collection of logical bones and flesh that we are emotional beings that dignity and love matter as much as bread and water the parts of us that we can measure and define are important but the real influence the real basis for connection comes from the parts of us that we cannot measure and define i am a person who deeply loves two languages ibu and english i love ibu because it is mine because it is the language of home and laughter and love growing up in nigeria it was english that had political and economic power but i did not love it for that reason i loved it because i was educated in english and because i read english books when i went to the us to go to university i met a number of international students from jamaica india kenya and i soon realized that while we were very different we did have something in common something that the students from china or even senegal did not a certain way of being and doing an almost intuitive way of understanding each other and i would argue that it was not simply because our countries had been colonized by the british not because we came from places where lawyers wore funny white wigs but because we had from childhood read british books we read charles dickens and we read in enlighten we read of cucumber sandwiches and we read of ginger beer and our imaginations were bound in a common familiarity there was something in this discovery that moved me very much although it also left me newly astonished at just how the british had managed to meddle in so many parts of the world the african-american writer w.e.b du bois once said that all art is propaganda this is the kind of statement that is easy to disagree with because of the ideas we have about art and about propaganda where the former is pure and the latter a deliberate spreading of often insidious information but when we think about a more nuanced meaning of propaganda then do dubois becomes easier to agree with here's a quote from dubois all art is propaganda and ever must be despite the wailing of the purists i stand in utter shamelessness and say that whatever art i have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy i do not care a damn for any art that is not used for propaganda but i do care when propaganda is confined to one side while the other side is stripped and silent du bois was speaking in the context of what he called negro art the art of black americans who were not allowed by the white establishment to write about certain subjects but in the larger sense perhaps dubois was saying that we cannot pretend that literature falls from the sky unburdened by value or by history the senegalese poet and statesman sango once said i have always taken care to put an idea or emotion behind my words i have made it a habit to be suspicious of the mere music of words of course the music awards is important it matters because it enhances meaning there's no better way to see an image onto our minds than with a well-written sentence but literature is not just words literature is never just words when i read graham greene and virginia woolf i am being delighted and entertained but i am also learning of a certain sensibility a certain englishness and so in a sense to write realist fiction is an exercise in citizenship it is strange to talk about creating and citizenship because we like to think of art as separate that if anything an artist and a creator simply by creating suddenly becomes a citizen of an imaginary land of artists and this is in some ways true but we also live in a world in which the nation state dominates in which your value as a human being the value that the formalized structures of the world gives you can often be determined by what passport you carry i will know as a person who travels on a nigerian passport traveling with a nigerian passport means carrying the weight of assumptions that i am likely to be lying or to be a drug dealer or a fraudster the many expressions of disbelief when i say i am a writer being asked to step aside for more questions at airports the extra processing steps required for visas to countries as diverse as kenya and denmark i wish i could tell the various embassies that i in fact am a citizen of the world of artists but of course citizenship goes beyond my passport it is a sensibility while i have a great affection for america and i live part-time in america i know i can never be an american because i will never understand the game of baseball and i know i'm nigerian because i always root for the nigerian football team during the world cup and i know i am african because as soon as the nigerian team is kicked out of the world cup which invariably happens early on i then begin to root fiercely for the other sub-saharan african teams more seriously realist literature transmits the sensibility of citizenship is steeped in this sensibility both for the reader and the writer nelson mandela described chinuachebe's novel things fall apart as the book in whose presence the prison walls came down i'm sure mandela loved many other novels but would he have felt this way about another book that was not african arguably not for many africans things fall apart was not merely an interesting and moving novel it was also a gesture of returned dignity because it was a complex and humane novel that came in the wake of a long but little varied tradition of books written by europeans about africa books in which africa was often portrayed as a place without history without humanity without hope chinua achebe himself first read some of the better known examples of these books as a secondary school student in southeastern nigeria in the 1940s he has written about his response to the african characters in those books and here's an excerpt i did not see myself as an african to begin with i took sides with the white men against the savages the white men were good and reasonable and intelligent and courageous the savages arrayed against them were sinister and stupid all at the most cunning i hated their guts as chebe matured and became more critical in his reading he began to understand the enormous power that stories had and how much this power was shaped by who told the stories and by how they were told as a university student in the 1950s in addition to reading wordsworth and shakespeare and coleridge achebe also read a novel called mr johnson by the english writer joyce carey it was set in nigeria and time magazine had named it the best book ever written about africa achebe disagreed not only was the nigerian character in the novel unrecognizable to him and his classmates but he also detected in the description of nigerians what he described as an undertow of uncharitableness a contagion of distaste hatred and mockery now much has been written about chinook as things fall apart being a response to mr johnson but one likes to think that achebe would have written his novel even if he had not read caries still the portrayal of africans in the books he read must have had an influence on him must have spurred his literary spirits on how could it not when i first began to understand these portrayals of africans in european literature i was filled with that peculiar sense of defensiveness and vulnerability that comes with knowing that your story has been grossly bestowed so i turned to chinook novels in the stark sheer poetry of things fall apart in the humor and complexity of arrow of god i found a gentle reprimand don't you dare believe other people's stories of you with the book of reportage and accumulation of facts being able to do that i think not our history is cling to us the british history british historian betrane russell once spoke about two little girls from estonia who had narrowly escaped death from starvation in a famine and who had been brought to live with his family they were fed very well and very regularly but russell was surprised to discover that they would sneak off to neighboring farms and steal potatoes and hoard them even though they were now in the midst of plenty their hungry days had not left them our history is cling to us we are shaped by where we come from our art is shaped by where we come from the south african writer sky in fact writes that under apartheid black south african writers wrote mostly short stories because of the urgency of their political situation orhan pamuk is able to create such beautiful explorations of istanbul because it is where he grew up and it is unlikely that i would have been so haunted by the nigeria biafra war which is the setting of my second novel half of the yellow sun if i had not been born into an igbo family that was deeply affected by the war i am often asked where the inspiration for the novel came from an almost impossible question to answer it came from a desire to write about love and friendship and family and how war changes all of that it came from a faded beautiful photograph of my grandfather david adichie it came from seeing tears in my mother's eyes as she told the story of her father's death in a refugee camp it came from the novels of florawapa and chukwuemekiki it came from the smell of the dust in my hometown in anambra state and most of all it came from a deep haunting obsession that even now i cannot find the language to describe when i was in graduate school in the united states a professor said during a class discussion on colonialism in sub-saharan africa that the africans whose lands had not been taken by the european colonisers had really lost nothing because their lands were still intact at those wards something in me recoiled viscerally i thought the professor was dangerously wrong to quantify the effects of colonialism and to reduce it to land this is not to diminish the enormous practical and emotional significance of the loss of ancestral lands but the truth is that the losses associated with any unjust government and colonialism was an unjust dictatorship cannot be limited to those things that we can measure the losses are more nuanced the loss of language and stories the loss of a way of being and a way of thinking the loss of dignity and the loss that comes when succeeding generations inherit those losses i sometimes wonder whether it might be a good idea to send a package of books of realist literature to every prime minister and president in the world although the difficult part might be finding a way to make sure they actually read them perhaps it would make government policy take into account the parts of us that prove we are not merely a collection of logical bones and flesh we should read human stories to be instructed and to be delighted but also to remind ourselves that we are not alone that we in the wards of pablo neruda belong to this great mass of humanity not to the few but to the many and finally i would like to end with some words from bessie head a brilliant feminist writer from south africa who lived most of her life in botswana when she was asked the question why do you write her response was this i am building a stairway to the stars i have the authority to take the whole of mankind up there with me that is why i write praise silence for the commonwealth secretary general his excellency mr kamala sharma distinguished guests i think you will all agree with me what a great privilege it has been uh to hear chimamanda this evening and what could be more appropriate than the fact that in this year the theme of the commonwealth is connecting cultures because cultures are to be connected geographically laterally but also in time and also in terms of of experience and many of the themes which she touched upon so gracefully and so sensitively resonate in the hearts and minds of all commonwealth citizens the act of creation itself the efforts of application that is required the universality of the audience to which she refers the theme of the loss of dignity and what it means to the silent and total destruction of her personality the need for looking for humanity where you find it and to quote from her a common and equal humanity the word common familiarity which unites all of us global citizenship all of these are themes which are not only appropriate for this year for us but our themes which have always been part and parcel of the third d which we treasure so much in the commonwealth we used very much to the first two days of development and democracy but one of the greatest gifts of the commonwealth is in fact what it is already which is diversity and what it means to all of us to forge a common humanity and to speak about it what i value most of all chimamanda in you is the fact that you are young the commonwealth now is a society of young people i have been to countries where to the question how many people are here who are 29 or younger i have been given the answer about 70 percent a mental image of a country only land at an airport is this is a country of adults with some young people in it the truth is just the opposite we are mostly landing in a country of young people the adults like myself are in fact few and getting fewer all the time so when we look to the future we look to people like you with the wisdom which you bring in your youth and the presence and the poor is which you bring and we feel encouraged when we feel a noble and lifted by this possibility of course we have heard shivamanda before we've heard her in the abbey but it has been a particular privilege to be able to hear her at such great length and to be so encouraged by what she has said this is the diamond jubilee year it's a very special year for us and i think what we've heard has been a very special contribution in this year going forward this brings to a close the commonwealth week this year it began with a concert in the barbican also with an african cell so if you like the two ends of the week are both a kind of gift of the city corporation the barbican and now here i would like very much to thank the lord mayor local tenants alderman the lord levine the city of london corporation the city remembrancer mr paul double and his staff particularly hannah romney adam suman the commando vijay krishna ryan and the commonwealth foundation staff particularly claire turner and emma decosta mr sally shaby and the commonwealth youth orchestra which we've had the privilege of hearing so many times during the commonwealth week arvindhan purjantan and sita in anticipation who will be performing south indian classical music during the reception and now i invite everyone to the reception in the old library hosted by the city of london corporation for which we are immensely grateful and i don't want to point to a random direction and mislead you but it shouldn't be too difficult for you to find it thank you

Channel: Commonwealth Foundation

Views: 252,018

Keywords: Commonwealth, Lecture, Chimamanda, Ngozi, Adichie, Connecting Cultures

Id: vmsYJDP8g2U

Length: 51min 57sec (3117 seconds)

Published: Fri Mar 16 2012