Abraham, Phil, 20, 25, 361-79

advertising, 4-5, 11-15, 35, 66, 85, 115, 187-91,
197-98, 227-30, 340-41, 353-59; of Admi-
ral television, 75, 318n10; of Belle Jolie,
337, 338; Bill Bernbach, 13, 15; Bill Brown
on, 341; of cigarettes, 12, 44, 120, 126, 221,
225, 234nn18-19, 335; David Ogilvy, 12-13,
358; of Hilton, 333, 354, 356; Jennifer
Wicke on, 341-42; and literature, 341-43;
of London Fog, 15, 289-90; of Maiden-
form and Playtex, 242-43, 292; of Patio
diet cola, 16; and race, 78-79, 87, 91n1,
119-20, 222-23, 228, 318n10; Raymond
Williams on, 341; Rosser Reeves, 12-13,
14; of Volkswagen, 13-14, 43, 357. See also
*Bye Bye Birdie*; Kodak Carousel; Marxist
critique; television: self-referentiality of;
Williams, Raymond: television flow

aestheticism, 4-5, 9, 22, 147-50, 323, 339,
341-42. *See also* fashion

African Americans, 42; and blues idioms of
accommodation, 80-91; Dawn Cham-
bers, 91-92nn1-3; Hollis, 75-76, 81, 223;
marginalized depiction of, 18-19, 73-77,
83-84, 104-5, 222, 301, 349-53, 376-77;
Sheila White, 73, 76, 77, 222, 318n10. *See
also* Carla

*American Beauty* (film), 262–63

Ann-Margret, 16-17, 290

Antonioni, Michelangelo: *L'avventura*, 195;
*Blow-Up*, 208; *L'eclisse*, 206; *La notte*, 192,

193, 199-206; *The Passenger*, 195-96, 206;
*Zabriskie Point*, 208

Apartment, The (film), 367

art, 185-90

Asians and Asian Americans, 20, 311-12

Babylon (Jewish exile), 321, 326, 332-33,
336, 339. See also *Mad Men*, episodes of:
"Babylon"

Baldwin, James, 80, 86

Balzac, Honoré de, 26. *See also* television:
novelistic qualities of

banal, 134-37

Baraka, Amira: *Blues People*, 84

Barrett, Bobbie, 266, 247, 332, 247, 251, 252,
327-28, 365

Barrett, Jimmy, 3-4, 85, 87, 243, 246, 327-28

Barthes, Roland: on photography, 182,
188-89, 233n6

Baudelaire, Charles, 151, 153

Beatles, the, 41, 371

Belle Jolie, 337, 338

Benjamin, Walter, 113, 149-50

Berger, John: *Ways of Seeing*, 238-39

Bernbach, Bill, 13, 15

*Best of Everything, The* (novel and film), 5-7

blackface and minstrelsy, 91, 114, 117-19, 124,
126-28

Bogart, Humphrey, 153

Breakfast at Tiffany's (film), 312

*Breaking Bad* (television series), 18, 21, 116,
118. *See also* television: "quality" series
Brown, Helen Gurley: *Sex and the Single Girl*, 279, 292–93

Butler, Judith, 180n6, 180n10

*Bye Bye Birdie* (film), 16–17, 290

Campbell, Pete, 124, 196–97, 223, 311–12, 375; and fantasies of sexualized violence, 225, 264–65; and Trudy Campbell, 62, 75, 83, 107

Carla, 19–20, 77, 81–83, 305–6, 309, 352, 377. *See also* African Americans

Castro, Fidel, 79

*Catch-22* (novel and film), 18, 37, 38

*CBS: “The Homosexuals,”* 279–80

Chase, David, 111–15, 118, 122–23. See also *Sopranos*, *The*

Cheever, John, 64, 70, 262

*Children's Hour, The* (film), 295–96

cinema, 192–93, 280, 373. *See also* Antonioni, Michelangelo

civil rights, 76–79, 143; depiction of, 91n1, 274

Coates, Ta-Nehisi, 19–20, 74, 128, 350–51

Cold War, 37. *See also* Cuban missile crisis

Connery, Sean, 3, 148, 154

consumerism and consumption, 12, 17, 18–19, 24, 87, 199; female, 224–25, 240–43; of novels, 133–34; race and, 75–76, 119, 128, 223; of television, 21, 23–24, 258–60. *See also* Marxist critique

Cooper, Bert, 38; Asiaphilia of, 313–14

Cosgrove, Ken, 185, 281, 282, 355

counterculture, 13–14, 45–47, 66, 85, 178, 297–98; beatnik, 36, 49, 79, 84, 183–84

Crane, Harry, 77, 280–81

Crawford, Joan: in *The Best of Everything*, 7

Cuban missile crisis, 20, 37, 99, 234n20, 329

*Dolce Vita, La* (film), 373

Daniels, Midge, 36, 46–49, 84, 183–84, 266, 283, 337, 348

*Deadwood* (television series), 24, 29n2. *See also* television: “quality” series

*Defenders, The* (television series), 18, 225; and abortion, 100–103; and race, 103–4

design: Bauhaus, 13; International Style of

architecture, 55–58, 62; modernist architecture and, 66–71; and styling of cinema and television production, 2–3, 5, 7, 53–55, 115, 161, 197, 218, 302, 339, 367, 369, 372. *See also* fashion; Abraham, Phil

*Dexter* (television series), 18, 116, 118, 251. *See also* television: “quality” series

Dickens, Charles, 322–23. *See also* television: novelistic qualities of

Doane, Mary Ann, 180n10, 246, 251–52, 253

Doyle, Sady, 8, 10

Doyle Dane Bernbach (DDB) (advertising firm), 13–14, 353. *See also* advertising: of Volkswagen

Draper, Don: cinephilia of, 192; extramarital affairs of, 4, 20, 46, 70, 247, 266–67; false identity of, 4, 43–44, 63, 66, 145, 155–56, 196, 207, 209–10, 247, 267, 336, 364; and Megan Draper (née Calvet), 44–45, 256n8, 266, 343n4, 372; queering and queerness of, 282–90; and racial identity, 15–16, 66–69, 85–86, 114–15, 121, 125, 128, 306, 326–30; Whitman family and origins of, 66–67, 125–26, 265, 329

Draper, Elizabeth “Betty” (née Hofstadt), 7, 10–11, 30n5, 197, 209–10, 240–42, 252, 326, 327, 329, 330, 333, 337–39, 344n14, 369; and black domestic workers, 77, 81–83, 305–6; and childbirth, 105–7, 143, 274; domestic space of, 54, 62–70, 253; Eugene Hofstadt (father), 39; New Look and styling of, 166–70; pregnancy of, 98; and psychiatry, 39, 168

Draper, Sally, 24, 50, 246–51, 252, 267, 338, 256n7, 364

*Dr. Strangelove* (film), 18, 37

Dylan, Bob, 280

Dyer, Richard, 253

8 ½ (film), 373

Eliot, George, 326–29. *See also* Jews and Jewish identity; television: novelistic qualities of

Ellison, Ralph, 80; *Invisible Man*, 81

Evers, Medgar, 106, 274
Exodus (novel and film), 331–32, 334

Exodus (second book of Old and New Testament), 326, 328–31, 344n11

fandom, 2–3, 9, 21–24, 162, 198, 210n2–5, 230–31, 296. *See also* television: extratheatrical and critical responses to

*Far from Heaven* (film), 7–8, 19–20

fashion, 3, 62, 150–54; “metrosexual,” 281; as performance, 161–66, 240; stiletto heel, 172; styling and New Look of Betty Draper, 166–70; styling and sexuality of Joan Holloway, 171–75, 292; styling of Peggy Olson, 175–79, 293

Faulkner, William, 302

feminism, 168–69, 171–75; and critique of
*Mad Men*, 8, 18. *See also* Friedan, Betty

Fitzgerald, F. Scott, 119

*Five Easy Pieces* (film), 38, 43–44

Flaubert, Gustave, 3, 25, 263, 322–23, 338–43.

*See also* television: novelistic qualities of

Foucault, Michel: panoptic space, 59–62

*Foyle's War* (television series), 8

Francis, Betty. *See* Draper, Elizabeth “Betty”

Frank, Thomas, and hip consumerism,
12–14, 353

Freud, Sigmund: death wish, 335; *fort/da*,
208. *See also* uncanny

Friedan, Betty, 107, 108, 168

gaze, 252; female, 246–51, 253; male, 169, 238–43; queer, 288; white, 300–301, 309–12

Gentleman's Agreement (film), 4, 246

Ginsberg, Allen: *Howl*, 49

Goodfellas (film), 260–61

*Graduate, The* (film), 262–63

Grant, Cary, 3, 147–48, 154, 158–59; *North by Northwest*, 154–58

Gray, Herman: *Watching Race*, 303–4

Greenwich Village, 14, 36, 42, 66, 85, 120, 178, 280, 283, 348. *See also* hip

Gregory, Richard Claxton “Dick,” 86–90

Greif, Mark, 8, 9–10, 12, 137–38, 259, 322–23, 345–47

*Groundhog Day* (film), 28

*Guess Who's Coming to Dinner* (film), 49

Guttman, Greta, 15, 335

Hamm, Jon, 3, 9–10, 22, 239, 370. *See also*
Draper, Don

Harris, Joan. *See* Holloway, Joan

Heinlein, Robert A.: *Stranger in a Strange Land*, 344n11

Hendricks, Christina, 377–78. *See also*
Holloway, Joan

Hilton, Conrad (character in *Mad Men*), 265–66, 333, 354, 356, 357

hip, 15, 17, 43, 45–50, 85, 117–20, 126; as racial discourse, 119

Hitchcock, Alfred, 233n10: *North by Northwest*, 154–58; *Strangers on a Train*, 281–82

Holloway, Joan, 60–61, 140, 196, 240–42, 295–96, 318n12, 378; pregnancy of, 103; rape of, 10; relationship with Roger Sterling, 84, 370–71, 337–38; sexuality and styling of, 171–75, 292

Holocaust, 330–32, 335

Israel, 14–16, 331–36. *See also* Jews and Jewish identity; *Exodus* (novel and film)

*It's a Mad, Mad, Mad, Mad World* (film), 49–50

James, Henry, 340–43

Jameson, Fredric, 190, 322–25. *See also*
Marxist critique

jazz. *See* hip

Jews and Jewish identity, 14, 16, 68–69, 321, 326–27, 335–36. *See also* *Babylon*

Jones, January. *See* Draper, Elizabeth
“Betty”

Joyrich, Lynne, 253, 255

Jurca, Catherine, 4

Kennedy, Jacqueline: and Maidenform
advertising campaign in *Mad Men*,
240–43

Kennedy, President John F.: assassination
of, 27, 41, 216, 272, 368

Kermode, Frank, 26, 341

Kerouac, Jack, 85

King, Martin Luther, Jr., 20, 274, 275
Kinsey, Paul: racial attitudes of, 20, 77, 83, 125, 222–23, 273, 318n12, 351, 375

Kodak Carousel, 5, 15, 181, 189–91, 217, 343

Koenig, Julian, 14, 357. *See also* advertising: of Volkswagen; Doyle Dane Bernbach

Korean War, 28

Kurt: as “the happy homosexual,” 280–81, 293

Lacan, Jacques: *imago*, 146, 198, 240–41; *méconnaissance*, 252; the Thing, 159. *See also* gaze

Landau, Martin, 154

*Leave It to Beaver* (television series), 2

Lewis, Sinclair: *Babbitt*, 262–63

*Life on Mars* (television series), 29–30n3

*Lonely Crowd, The*, 13

*Lost Weekend, The* (novel and film), 285

Lucky Strike. *See* advertising: of cigarettes; smoking

Lukács, Georg, 113, 322–24, 341

Madison Avenue. *See* advertising

*Mad Magazine*, 38

*Mad Men* (television series), episodes of: “The Arrangements” (3.4), 178, 290; “Babylon” (1.6), 5, 14, 277n14, 318n10, 330–37, 370–71; “The Beautiful Girls” (4.9), 36, 84, 297; “The Benefactor” (2.3), 4, 18, 98, 100, 167, 225, 243; “Blowing Smoke” (4.12), 44, 348; “Chinese Wall” (4.11), 48, 107, 297–98, 344n5, 372, 379; “The Chrysanthemum and the Sword” (4.5), 24, 51, 318n9, 318n11; “The Color Blue” (3.10), 188, 350; “Far Away Places” (5.6), 344n11; “5G” (1.5), 125, 266; “Flight 1” (2.2), 83, 314, 318n12; “The Fog” (3.5), 19, 31n21, 75–76, 143, 267, 273, 318n10, 376; “For Those Who Think Young” (2.1), 121, 219, 262, 309, 332, 341, 355; “The Gold Violin” (2.7), 51n1, 141, 185, 282, 344n14; “The Grown-Ups” (3.12), 252, 368; “Guy Walks into an Advertising Agency” (3.6), 273; “The Gypsy and the Hobo” (3.11), 209; “Hands and Knees” (4.10), 43, 86, 88, 371; “Hilton” (3.9), 333; “The Hobo Code” (1.8), 16,

183–84, 188, 266, 268, 374; “Indian Summer” (1.11), 176; “The Inheritance” (2.10), 77, 223, 318n12; “The Jet Set” (2.11), 70–71, 77, 207, 280–81, 293, 316, 366–67, 373; “Ladies Room” (1.2), 27, 82–83, 115, 168, 276n12, 326; “A Little Kiss” (5.1), 91n1; “Long Weekend” (1.10), 295–96, 336, 339; “Love among the Ruins” (3.2), 16, 267; “Maidenform” (2.6), 176, 239, 266, 364, 375; “Marriage of Figaro” (1.3), 14, 43, 247, 263, 311–12, 326; “Meditations in an Emergency” (2.13), 28, 234n20; “The Mountain King” (2.12), 77, 176, 267, 268; “My Old Kentucky Home” (3.3), 91, 126, 178, 305; “Mystery Date” (5.4), 91n2, 299; “New Amsterdam” (1.4), 85, 125; “The New Girl” (2.5), 176, 192; “A Night to Remember” (2.8), 140, 169, 174, 188; “Nixon vs. Kennedy” (1.12), 145, 207, 251, 255, 266, 267, 336; “Out of Town” (3.1), 31n21, 207, 265, 267, 283–88, 313–14, 366; “Public Relations” (4.1), 103, 145, 262; “Red in the Face” (1.7), 168–69, 225, 264; “The Rejected” (4.4), 15, 42, 79, 178, 296, 344n5; “Seven Twenty Three” (3.7), 42, 146–47, 156, 159–60; “Shoot” (1.9), 51n1, 168; “Shut the Door. Have a Seat” (3.13), 209, 296, 327; “Six Month Leave” (2.9), 3, 81, 292, 305; “Smoke Gets in Your Eyes” (1.1), 12, 36, 94, 119–20, 175, 221, 258–59, 261, 274, 281, 282–83, 295, 306–7, 327, 333–36, 341; “Souvenir” (3.8), 192, 196, 227, 266, 310, 333, 373; “The Suitcase” (4.7), 43, 344n10, 355–56; “The Summer Man” (4.8), 72n9, 174, 371, 372, 378; “Tomorrowland” (4.13), 28, 82, 298; “Waldorf Stories” (4.6), 44, 356; “Wee Small Hours” (3.9), 225–26, 290, 333, 356; “The Wheel” (1.13), 5, 15, 181, 217, 300, 343

*“Mad Men” Yourself.* *See* fandom madness, 36–39, 50–51; women and, 45–46, 338

mafia and mob genre. See *Goodfellas*; *Sopranos*, *The*

“magic negro,” 19–20
Maharis, George, 331

Maidenform, 242-43

Mailer, Norman: "The White Negro," 85-86,
120

*Manchild in the Promised Land*, 78

*Man from U.N.C.L.E., The* (television series),
24

*Man in the Gray Flannel Suit, The* (novel and film), 3-4, 12, 13, 40, 86, 160n4, 246

Marxist critique, 133, 223, 322; commodity relations and fetishism, 114, 122-23, 150-51, 188

masculinity, 84-85, 262; and conformity,
4-5, 35-36, 38, 40-41, 85-86; and dandy-
ism, 147-54

M*A*S*S*H (television series), 28

Mason, James, 154

McLuhan, Marshall, 3

*Meditations in an Emergency*. See O'Hara,
Frank

Mendelsohn, Daniel, 8, 10-12

Menken, Rachel, 10, 67, 120, 251, 261-62,
264, 267, 315, 327, 333-37. *See also* Jews
and Jewish identity

Miller, Faye, 4, 15, 277n16, 327-28

Mineo, Sal: in *Exodus*, 331

Mittell, Jason, 9, 23-25, 321, 356

Monroe, Marilyn: and Maidenform adver-
tising campaign in *Mad Men*, 240-43

Moss, Elisabeth, 22. *See also* Olson, Peggy

*Mr. Blandings Builds His Dream House*
(film), 62

Mulvey, Laura: on visual pleasure, 238-39

naturalism, 3, 30n6, 323, 329, 339, 341

Newman, Paul, 331

*New York Times*, 1, 2

Nixon, Richard, 15, 41, 43

Ogilvy, David, 12-13, 358

O'Hara, Frank, 3, 115, 358

Olson, Peggy, 47-48, 60-61, 242-44, 291-93, 338, 379; Abe (boyfriend), 48, 297; and the pill, 94-96; pregnancy of, 96, 105, 196; racial attitudes of, 91n2; styling of, 175-79, 293

*One Flew Over the Cuckoo's Nest* (novel),
273-74

*Organization Man, The*, 13

Ossining, New York, 64, 79. *See also* sub-
uria

O'Sullivan, Sean, 24-25, 321

Packard, Vance, 40; *The Hidden Persuaders*,
13; *The Status Seekers*, 68

Peck, Gregory, 3-4

period detail. *See television: authenticity
and historicism of*

Peterson, Latoya, 18, 302, 349-50

*Peyton Place* (novel), 3

Phillips, Herman "Duck," 121-22, 234n20,
256n7

photography, 181-84. *See also* Kodak Car-
ousel

*Playboy* (magazine) and the Playboy Club,
86, 87-89

Playtex, 242-43

*Pleasantville* (film), 300, 347

Polan, Dana, 115, 323

pollution and littering, 141-42, 345-46

Potter, Claire B., 18

Pryce, Lane, 88, 223

psychiatry, 39, 52n3, 335. *See also* Freud,
Sigmund

queerness, 30n7, 226; and representations of
lesbians, 294-99; and patriarchal capital-
ism, 291; and single women, 291-94. *See
also* Romano, Salvatore

race, 66-67, 87; and labor, 123-27, 308; rep-
resentations of Asians and Asian Ameri-
cans, 20, 311-12. *See also* African Ameri-
cans; Jews and Jewish identity

*Raisin in the Sun*, A, 78

Ramsey, Joyce, 296-99

realism: historical, 11, 25, 30n6, 320-24, 329-
30, 337, 341-43. *See also* television: novel-
istic qualities of

Reeves, Rosser, 12-13, 14

*Revolutionary Road* (film), 41

*Revolutionary Road* (novel), 13, 70
Roiphe, Katie, 18

Rolling Stones, the, 41, 371

Romano, Salvatore, 16–17; as archetypal
closeted homosexual, 280–82, 291, 293;
sexual harassment of, 11–12, 225–26,
290–91

Rosenberg, Ethel, 344n7

Rothko, Mark, 185–88

Route 66 (television series), 331

Rumsen, Freddy, 292, 337

Saint, Eva Marie, 154, 331, 334

Schudson, Michael, 11, 341, 343, 353. *See also*
advertising

Schwarz, Benjamin, 8

Searchers, The (film), 374

Seconds (film), 43, 46

secretarial pool, 44–45, 124; gendered space
of, 5, 59–62; sexual objectification of, 59,
61–62, 243. *See also* Harris, Joan; Olson,
Peggy

Sellers, Peter: *I Love You, Alice B. Toklas*, 45

seriality, 3, 24–26, 342–43; of television,
24–29, 253, 255, 321–25, 337–43

*Sesame Street* (television series), 213–15, 218,
230, 332

Silverman, Kaja: retro fashion, 163, 170

Simon, David. See *Wire, The*

Simone, Nina, 86

Sirk, Douglas, 7–8, 367

“slash fiction,” 31n16

smoking, 44, 48, 95, 276n3, 344n12, 368–69.

*See also* Freud, Sigmund: death wish

Sopranos, The (television series), 18, 21,
35, 40, 42, 92–93, 97, 111–16, 118–19, 123,
134–35, 261, 266, 271–72, 321–22, 362–63,
369–70

space age, 27–28

*Star Trek* (television series), 26, 31n20,
235n22

Sterling, Roger, 15, 126–27, 318n9; and Jane
Sterling (née Siegel), 372; and Joan
Holloway (Harris), 84, 337–38

Sterling Cooper (advertising firm in *Mad Men*), 14; spatial arrangement of, 54–62;

and transition to Sterling Cooper Draper

Pryce, 90–91, 209

*Stranger in a Strange Land* (novel), 344n11

suburbia, 62–64, 69–70, 79, 188–89

Ted Bates (advertising firm), 12–13

television, 43, 46–47, 75, 77, 276n10; authen-
ticity and historicism of, 2–3, 11–12, 27,
29–30n3, 39–40, 42, 70–71, 80, 93, 104,
161, 179, 218, 240, 258, 272–73, 275n1,
302, 305–6, 367–69; extratelevisual and
critical responses to, 1–2, 8–10, 18–19,
27, 41, 44, 51, 52n2, 74, 97, 137–38, 214,
270, 275n1, 302–3, 345–47, 349–51, 363;
novelistic qualities of, 24–26, 113, 133–34,
320–21, 370, 374; “quality” series, 18, 21,
24–25, 111–13, 115–16, 220, 320–21; self-
referentiality of, 16, 113, 122, 125, 127,
180nn1–3, 190–91, 214, 220–21, 227, 353;
showrunner as *auteur*, 112; use of flash-
back in, 44, 145, 265, 268, 289, 329, 374;
use of montage in, 337–38

Tillich, Paul, 268–69

*To Kill a Mockingbird* (film), 4

Trollope, Anthony, 3, 25, 321–22, 326–29

uncanny, 16–17, 137, 139, 144

Vargas-Cooper, Natasha: *The Footnotes of*
*Mad Men*, 3

Victorian literature. *See* television: novelis-
tic qualities of

Vietnam War, 27, 37, 278n25

Warhol, Andy, 187–88, 190

Warhol, Robyn, 25–26, 321

Warner, Michael: the counterpublic, 31n18

Weiner, Matthew (showrunner of *Mad Men*), 25, 111, 113, 122–24, 126, 127, 129, 234n11, 255n2, 327–28, 363–64, 366, 369–71, 374, 376–77

Whitman, Dick. *See* Draper, Don

Wicke, Jennifer, 341–42

Wilde, Oscar, 156, 344n13; *The Importance of Being Earnest*, 148–49; *The Picture of Dorian Gray*, 145–46, 149, 270, 338
Williams, Raymond: on advertising, 341;
television flow, 24, 214–16, 253

*Wire, The* (television series), 18, 42, 113, 119,
134–35, 277n19, 373; as Dickensian, 322–23

women: and abortion, 98–103; and career-
ism, 5–7, 10, 140–41, 171, 291–93; margin-
alized depictions of working-class and
nonwhite, 92–93, 108–9, 314; and medical
authority, 92–96, 99, 143

X, Malcolm, 79

Yates, Richard, 13, 70

Zionism, 328, 330–32, 335–36. See also
*Exodus* (novel and film); Israel; Jews and
Jewish identity

Žižek, Slavoj, 17, 159, 195

Zola, Emile, 323
LAUREN M. E. GOODLAD is associate professor of English at the University of Illinois, Urbana-Champaign, and director of the Unit for Criticism and Interpretive Theory. She is the coeditor of *Goth: Undead Subculture* (2007) and the author of *The Victorian Geopolitical Aesthetic: Realism, Sovereignty, and Transnational Experience* (forthcoming).

LILYA KAGANOVSKY is associate professor of Slavic, comparative literature, and media and cinema studies at the University of Illinois, Urbana-Champaign. She is the author of *How the Soviet Man Was Unmade* (2008).

ROBERT A. RUSHING is associate professor of Italian and comparative literature at the University of Illinois, Urbana-Champaign. He is the author of *Resisting Arrest: Detective Fiction and Popular Culture* (2007).

Library of Congress Cataloging-in-Publication Data

Mad men, mad world : sex, politics, style, and the 1960s /

Lauren M. E. Goodlad, Lilya Kaganovsky, and Robert A. Rushing, eds.

p. cm.

Includes bibliographical references and index.

ISBN 978-0-8223-5402-4 (cloth : alk. paper)

ISBN 978-0-8223-5418-5 (pbk. : alk. paper)

1. Mad men (Television program). 2. Television programs — Social aspects — United States. 3. Television programs — United States — History and criticism. 1. Goodlad, Lauren M. E. 11. Kaganovsky, Lilya.

111. Rushing, Robert A.

PN1992.77.M226M337 2013

791.45'72 — dc23 2012033726