“The Bonjour Gene” by J.A. Marzan— A Latino Today

the bonjour gene

Marzan, J.A. “The Bonjour Gene”, The University of Wisconsin reprint, 2014. (originally published in 2004).

A Latino Today

Amos Lassen

Middle-aged Edgar Bonjour starts to drug-traffic with a motorcycle gang in the south Bronx, his old turf. When the news of his murder is published, the stage is set for other Bonjours to think about him and even those who did not know him, they look at his return to his past life was something of a family curse. After all, he became involved in the drug trade through a young woman who was a gang member. The Bonjours are descended from three French brothers who settled in Puerto Rico and there are extended Bonjour branches with some of the family settled in New York City.  They are removed in varying degrees yet “remain connected by the lore that only one island family possesses their surname, and that starting with the three brothers—sowers of a legacy of adultery and abandonment—every Bonjour male carries a reckless, womanizing gene”.

Though extended generations of the Bonjours dispersed, some settling in New York, they remain connected by the shared lore of their ancestry, that starting with the three original Bonjour brothers—all rampant adulterers—every descendant Bonjour male carries a reckless, womanizing gene.

The family is haunted by lineage and legend. Daisy who hardly knew her father is now past her best years, has secretly fallen in love with the maid who paid her to marry him so that he could get a green card.

 Lineage and legend of lineage haunt but do not make these lives predictable. So Daisy, who hardly knew her father and has passed her prime without much interest in marriage, secretly falls in love with the man who paid her to marry him so he could get a green card. Ten-year-old Marco does not know: that his visiting, divorced Bonjour father is gay. Recently married Gabriel just buried his father in Puerto Rico meets an African American down from Georgia who he learns is his embittered brother. The stories here are interconnected just as the Bonjour family is and they are unpredictable and unforgettable as are their characters.

We are a plane where ethnicity becomes universality. Many families are complicated but this one is wonderful in its complicity. In Puerto Rico, everyone seemed to be related and is from this that author J.A. Marzan draws his story and adds a new way to look at Latino literature.

“Marzán displays the kind of wit and intellectual verve rarely seen in contemporary literature . . . this is a book that will surely entertain and enlighten its readers.”



“Arkansas: Three Novellas” by David Leavitt— Escape and Exile


Leavitt, David. “Arkansas: Three Novellas”,  Houghton Mifflin, 2007.

Escape and Exile

Amos Lassen

In this  collection of three novellas “Arkansas”, David Leavitt new territory. And these surprising, and very sexy, new pieces might shock and startle the reader. In “The Term Paper Artist,” a writer named David Leavitt writes school papers for cute undergraduates in exchange for sexual favors, and in “Saturn Street.” a gay man who delivers lunches to homebound people with AIDS falls in love with one of his clients and in “The Wooden Anniversary,” Nathan and Celia – familiar characters from Leavitt’s story collections – reunite after a five-year separation. Escape and exile are  the themes.

“The Term Paper Artist” a famous writer cures a creative block by writing term papers in return for sex and Leavitt makes this personal by naming the writer “David Leavitt,” who shares much of his recent history and backlist with his creator and by doing so he creates 15 minutes of sensationalism. (The real) Leavitt has not patiently assured each interviewer that, he’s never written papers for UCLA hunks in return for a close-up of their tan lines, and that the personal elements provide the jumping off point for fiction and not memoir. The author here indulges himself in a little fantasy and shameless defense on behalf of controversy raised by one of his novels. This is a very good, slightly literary piece of gay erotica.

 “The Wooden Anniversary” is about Celia and Nathan Leavitt who are in Celia’s cooking class in Tuscany where Nathan falls for Celia’s chef who is straight. This causes several problems. Celia and Nathan have been separated for five years and now they totally misunderstand each other. Celia loves Nathan who is gay and has done so for many years. She finally was able to break away and start her own cooking school. When Nathan comes for a visit he is awestruck by Mauro, Celia’s handsome young Italian chef, and out of simple lust, or boredom (and, perhaps, with the masochistic Celia’s unconscious assistance) sets a devastating farce in motion.

 “Saturn Street” is touching. It follows a New York writer who, in the aftermath of his lover’s suicide, is hiding out in L.A. and delivering meals to homebound AIDS patients. Here we see Leavitt’s talent for creating men of different generations. Jerry is a young, deeply disaffected writer in Los Angeles who is increasingly attracted to Phil, a handsome, blithe, and dying of AIDS. Leavitt chillingly captures the sense of a devastated gay community in which everyone now “operates from fear.”

“Arkansas”, the title of the collection refers to a place of exile and Leavitt takes it from what author Oscar Wilde had to say about it. Having lived recently in Arkansas for seven years, I can tell you that it is indeed like being exiled from society, gay people, thinking and life.

“Sally Field Can Play the Transsexual: Or I Was Cursed by Polly Holliday” by Leslie L. Smith— David Matthews, Male Escort

sally field

Smith, Leslie L. “Sally Field Can Play the Transsexual: Or I Was Cursed by Polly Holliday”, PressLess, LLC, 2014.

David Matthews, Male Escort

Amos Lassen

David Matthews is a male escort who does not want emotion or responsibility and the further away he keeps them, the happier he is. His mentor Robert died of AIDS and David had to struggle with the morning process and it became very complicated because he was left a small fortune. He is pained at the loss of Robert and is unsure how to react to his inheritance. On top of that, his mother is dying in Arkansas and he must go to see her. He is not looking forward to leaving New York to head to the South (and as one who recently lived in Arkansas for seven years, I do not blame him a bit.

As he travels he realizes that the ghost of Robert is with him and monitoring his moves and bent on challenging David and the narrow way he looks at life, love, intimacy and safe sex. As David travels, he meets a bevy of interesting and fascinating people, all of whom play some part in pushing him toward adulthood. Leslie Smith takes a good look at the challenges facing us today as gay people ands he does so through comedy and with sensitivity in this very clever book. We laugh, we cry, we agree and we disagree but there are some important and valuable lessons here on how to live in today’s world.

One of the important aspects of gay life has undoubtedly been the AIDS epidemic and we should never allow ourselves to forget it. While it is a major part of our past, it is also an important part of our present. For those of us who were around and made it through, we should make it our job to educate others on how it was and what it meant to lose almost an entire generation of gay men. The way Leslie Smith does it here is an example of how we can read and talk about it and I commend him for that. In reading his book, I realized that he put into words what so many of us have felt and indeed still feel. Gay people are complicated to a degree and we tend to cover ourselves with issues that the non-gay person has no idea about. Too often we are defined by our sexuality and not by our personhood and it takes a strong person to stand up and say that he is not who he sleeps with. To me that is the merit of this book.

Smith is an excellent writer and he is clever. It is a bold move to write of one’s journey to adulthood especially during the time that David lived. Yet Smith manages to give us a story that is emotional, poignant and funny. I must admit that the title had me a bit worried as I had no idea what to expect. I was totally surprised as I began to read. Despite what I feel is a supercilious title, this is a novel that takes on a journey of redemption and doesn’t shy away from going straight to the issues of being gay in this country. Even though I know this is fiction, it reads like an autobiography and I am sure that some of it is autobiographical (or the product of a wonderful imagination). What is not imaginary is the brutal honesty with which this book was written.

”— Taxi Driver, Street Photographer Matt Weber

more than the rainbow


Taxi Driver, Street Photographer Matt Weber

Amos Lassen

Matt Weber has been photographing New York City for thirty years and he has seen it all. This new film, “More Than a Rainbow” is a chronicle of his life but it is also a conversation about photography, artistic expression and New York City. Weber has attempted to capture many, many stories since he first stated taking photos from the window of the cab he used to drive. He is devoted to candidly showing New Yorkers and their lives (especially those on the fringes of society) and he presents us with a document of his town that most will never have the chance to experience.


The film brings verite, still photography and interviews together against a background of wonderful music by Thelonious Monk. The interviews are with other photographers including Ralph Gibson, Zoe Strauss, and Eric Kroll, as well as designer Todd Oldham.

Weber retired from driving a cab so he could devote himself to taking pictures of the streets of New York and the video here is much like those streets in the way that it rambles and scatters. There are times that the film just goes along seeming to have no idea of where it is heading but that does not affect the idea that here is a man who is fulfilling his dreams.


The other photographers that we meet here are competitive yet supportive of one another but they are also critical. They talk about things like the merits of film versus digital and the importance of finding one’s voice. The filmmaker interviews most people one-on-one, but segments are edited deftly together to make the film feel like a good conversation, moving seamlessly from one topic to the next. 


We see many of Weber’s photos, learn a bit about his past, and watch him go to work. The film camera tends to mirror Weber’s still one, gliding close to the ground behind him as he hunts for a shot, as if to get the same view as the camera hanging around his neck, or shooting just what he’s shooting, ending with a freeze frame that then turns black and white and becomes  one of his photos. And when Weber starts to experiment with shooting in color and talks about how some things look better that way, the filmmakers prove his point by showing us a shot he took at Yankee Stadium, first in subdued black and white and then in lively color, which does a much better job of conveying the ballpark’s energy. This is quite an effective way to use moving pictures to demonstrate something fundamental about still photography, and it’s typical of how this thoughtful movie uses one man’s story to explore the medium in which he works.


The work here is also of the director Dan Weschler who describes the quest of all photographers for that perfect alchemy of subject and form, composition and timing, that makes one image stand apart from thousands of mere snapshots. Weber discusses the elusive pursuit of this at length.

Weber’s photos speak for themselves— they are uncanny glimpses of the city in its “decrepitude, brittle poetry, tireless bustle and rugged beauty”. Weber prefers black-and-white 35mm film that he develops himself in his home studio.

“MODERN LIFE”— Facing the Contemporary World

modern life


Facing the Contemporary World

Amos Lassen

Raymond Depardon is a filmmaker and photographer noted for his documentation of the French countryside. In this new documentary, “Modern Life”, he focuses on a small group of farmers that face the problems and challenges of modern contemporary life. They are suspicious of it and what they want to do is to keep the old traditions and methods.

The film is set in the Cévennes region in southern France, a region of hilly passes, lonely farms and lonelier farmers. There we meet the elder bachelor brothers Marcel and Raymond Privat, whose old-fashioned shepherding methods and primitive farming techniques lead them into contention with their younger nephew and his ‘outsider’ wife from Calais. There are also the dairy farmers Germaine and Marcel Challaye, who struggle to maintain their diminishing flock with no help from their numerous children, and chain-smoking solitary farmer Paul Argaud who is the epitome of disillusion and governmental disinheritance. Last is the Jeanroy family who offer a bleak picture of those that stay against the odds and whose son Daniel, who would much rather be doing anything else. Through these people, the film is a witness to lives, stories and values.

The film opens silently with the credits and we are soon reminded that rural life is slow and does not take to bells and whistles—it moves at its own pace.
 The narration begins thus, 
”At the start, there is always a country road, and at the end of the road, a farm”. We watch that road unfold and it goes its way through hills far away from city sounds. It’s 9:30 P.M. on a summer evening and 88-year-old shepherd Marcel Privat is bringing his sheep home from pasture.  Depardon approaches respectfully and elegantly, he does not want to frighten the animals but he does want to capture what he sees.


The movie is made up of quiet interviews with farmers whose lifestyle is on the verge of extinction. Each interview begins in the same way—with a country road during which we are aware of the beauty of the countryside and the fragility of the area. The interviews are awkward; the camera is a modern invention and it is invading the countryside and therefore it is a threat. Depardon uses long takes and the truth that is revealed seems to be accidental.

The objective of the film is to begin a dialogue via film but a dialogue in which each is able to form his own opinions. The film is important not only because it is about a world that is disappearing. It also brings ambiguous feelings forward; feelings about family and about tradition in  ways that are both thought provoking and edifying. 

The landscape of the Cevennes region is stunning in its beauty, whether in spring, summer, autumn and especially winter, but the exodus of the young folk will, before too long, see the disappearance almost completely of all the small to medium sized farms as well as the people who live and work there.

In one small village there are only two families now and people from urban areas use the rest of the houses as holiday homes.

Filming over a period of twenty years, Depardon used a simple structural approach. He began each new section in a similar way, by filming his approach to each farm from his car. This leads to the viewer feeling an empathy with the natural surroundings and the climate at that time.

Depardon interviews and film fives families – all under imminent threat of losing their livelihoods. The saddest, in the true sense of the word, of the individuals shown was sheep farmer Marcel Privat. Eighty-eight years of age, he knew he was nearing the end of his life, having worked on the mountains since he was a boy. He gazed into the distance perhaps reflecting on what life he had lived there. He said he was not afraid to die but he looked a very unhappy and lonely man.

 Depardon grew up in a rural farming community, so he knows about farmers and their connection with the land, the seasons, and animals – and it shows. His empathy and sincerity is real and understandable. The film is essentially a series of portraits shot in locked-off single takes (with the occasional editorial cut), each separated by traveling shots filmed front-on from the roof of a car. These shots are stunningly hypnotic, and act as a formally compelling counterpoint to the static interior interviews. Shot in widescreen, Depardon’s long-take compositions are impressive, but they also serve an important formal function. Apart from giving the participants all the room (and dignity) necessary to speak in their own time and in their own way, it gives the viewer what Depardon calls “reading time”, the liberty to explore the frame and discover things for themselves, and rightly so. “Modern Life” requires  that we be fully engaged and perceptive.

We meet proud people (in the best sense) in the film and we sense the filmmaker’s affection and admiration and it is contagious. They have no use for pity, and there is no place for it. We are invited  to see beyond the hardship and struggle in the hope that we will see ourselves in these people. This film is a love-letter, not only to those in the film, but also to those watching. The film gives a small isolated group of people the opportunity of expressing themselves, and (crucially) to be heard. The film is about how we live today as we look toward the future.

“DREAM DECEIVERS”— The Story Behind James Vance vs. Judas Priest

dream deceivers


The Story Behind James Vance vs. Judas Priest

Amos Lassen

Two young men shoot themselves in a churchyard and one dies—Ray Belknap. The other, James Vance lives but is disfigured severely. The young men’s parents take the heavy metal band Judas Priest to court and sue them. They claim that the band has ”mesmerized” their sons. The trial that follows is totally unique and one of the results is this documentary film that was nominated for an Emmy.

David Van Taylor’s film which was released in 1992 is quite a revealing look at Judas Priest. He shot the 1990 subliminal message trial during which the band defended itself against claims and allegations that they sent secret commands out in their songs and these led to two teens in Reno, Nevada to try to commit suicide with a 12-gauge shotgun. Belknap succeeded in taking his own life but James Vance was unsuccessful.

We see Vance’s face and hear his lisping and these interviews with him alternate with footage from the court. Rob Halford from Judas Priest is seen in a suit and mysteriously, in one scene, does a few bars of “Better by You, Better Than Me” from the witness stand. Later, Halford pegs the extreme fandom thing as largely being about a desire for approval. “I think of the judge like I guess the fans think of us,” says Halford, keyed up after his testimony. “To be close to him like that was a real experience.”

I am just not sure how to take this film—it is well done but the subject matter is quite strange. Everything from the band, to the parents, to the kids, and to the judicial system are on trial before the camera. It’s actually quite sad.  We see here a showdown between the generations and get a look at the lack of spirituality in modern America. I love what Interview Magazine had to say about this film, “ A nightmare glimpse into America’s spiritual drought and the way people fill that void with diametrically opposed faiths.” 
There are surprises here and a look at an America that we rarely see.

“A Critical Introduction to Religion in the Americas: Bridging the Liberation Theology and Religious Studies Divide” by Michelle A. Gonzalez— Religion and Marginalization

critical intro

Gonzalez, Michelle A. “A Critical Introduction to Religion in the Americas: Bridging the Liberation Theology and Religious Studies Divide”, NYU Press, 2014.

Religion and Marginalization

Amos Lassen

 Michelle A. Gonzalez argues in “A Critical Introduction to Religion in the Americas” that we cannot understand religion in the Americas without understanding America’s marginalized communities. She says that theology, and particularly liberation theology, is still useful, but it must be reframed to attend to the ways in which religion is actually experienced on the ground. In other words, “a liberation theology that assumes a need to work on behalf of the poor can seem out of touch with a population experiencing huge Pentecostal and Charismatic growth, where the focus is not on inequality or social action but on individual relationships with the divine”. It is not enough to be a theologian—-it is necessary to experience religion the way others do, face on and as members of a flock.

The book gives us a basic introduction to the study of religion among marginalized groups and here we are speaking about Latino/a, Black and Latin American contexts. To do so it is necessary to look at historical and ethnographic sources and both religion and theology must be considered. In this way, theology is reframed so that we get a better idea of the religious concerns of religious studies and those that the theologians’ work is represented by. Gonzalez uses dialogue partners throughout her book and she presents us with a hemispheric approach to religious movements. She does not ignore or dismiss liberation theologies but she is critical of their past and the challenges that they present to the future. She does offer suggestions to prevent their demise and it becomes clear that liberation theology of today will not become liberation theology of tomorrow. This book is an attempt to bridge the liberation theology and religious studies divide. Gonzalez speaks loudly and clearly and she is a voice that cannot be ignored. The book is especially important when we consider how we investigate  and what we accomplish.

 ”Contributes to a lively conversation within liberation theologies about intellectual and social communities of accountability. Gonzalez is a strong young voice in these discussions; her work will be noticed, read, and debated. This book is a must-read for every student of religion.”-Margaret R. Miles, University of California Berkeley

 ”Thoroughly interrogates methodological presuppositions in contemporary studies of theology and religion. I strongly recommend this book to scholars from either discipline who desire to honestly appraise how we investigate our subjects and what we intend to accomplish in our work.”-Timothy Matovina, University of Notre Dame

 “A great resource for introducing the interdisciplinary study of religion in the Americas, with a focus on the relevance of the reflected faith experience and religious practices of marginalized populations for the academic study of religion. Presenting a hemispheric landscape, this book argues for constructive relationships and collaborative methodologies between theology and religious studies in the interest of both engaging today’s lived religion and affirming the necessity of Liberation Theologies in today’s world.”-Maria Pilar Aquino, University of San Diego

“We Shall Bear Witness: Life Narratives and Human Rights” edited by Meg Jensen and Margaretta Jolly— Personal Testimonies

we shall bear witness

Jensen, Meg and Margaretta Jolly, editors. “We Shall Bear Witness: Life Narratives and Human Rights”, (Wisconsin Studies in Autobiography)”, University of Wisconsin Press, 2014.

Personal Testimonies

Amos Lassen

“We Shall Bear Witness” is a collection of writings by those who have had to endure persecution, imprisonment, and torture; meditations on experiences of injustice and protest by creative writers and filmmakers as well as innovative research on ways that digital media, commodification, and geopolitics are shaping what is possible to hear and say. We are well aware that personal testimony is the life force of the human rights movement and the claims for human rights have brought power to the way we write about our lives. In this book we look at the connections and conversations that exist between human rights and writing about life. What we have is an international collection of essays by survivor-writers, scholars, and human rights advocates.

The book is divided into five major sections—- testimony, recognition, representation, and justice and these are the key stages “in turning experience into a human rights life story and attend to such diverse and varied arts as autobiography, documentary film, report, oral history, blog, and verbatim theater”.

In the writings here we sensitively examine how life and rights narratives have become so powerfully part of each other. Additionally there is an innovative guide to teaching human rights and life narrative in the classroom.

The value of this book is tremendous and it appeals to all those interested in human rights wherever they may be—“prison, the field, the court, the stage or gallery, or even the classroom”.  In reading this we are able to see that “cultural, scholarly, and pedagogical tendencies  see human rights from a legalistic perspective by drawing attention to the deeply important, but also contradictory and complex, role that life narrative plays in the practical realization of human rights.”—James Dawes, author of Evil Men


wet behind the ears

“Wet Behind the Ears”

The Real World

Amos Lassen

Samantha Phelps (Margaret Keane Williams) graduates from college and discovers, like so many other college grads, that the world is not awaiting her. She and her best friend, Vicky (Jessica Piervicenti), are ready to meet the world but the world does not seem to care. Vicky has better luck than Samantha and lands a job at a corporate public relations firm while Samantha ends up in the very slow unemployment line. She can no longer afford the rent so she breaks a lease and moves back home with mom and dad. She is forced to take a job that pays minimum wage and working from an enemy from her high school days. Vicky needs a roommate and is stuck with interviewing a bunch of strange people.


The girls begin to get desperate and go to Dean, a friend from high school who offers then a quick way to change things—- video piracy. This is a new kind of coming-of-age story. Samantha’s job search yields no job and so, she thinks, here she is, a college graduate, selling ice cream. Vicky feels alone and abandoned; she has lost her roommate and her boss is an egomaniac who makes unreasonable demands on her. Samantha convinces Vicky to use her position in corporate relations to engage in a shady business and this puts quite a strain on their friendship. Now Samantha has two goals with getting her friend back as important as getting the right job.

 Sloan Copland directed the film and co-wrote the screenplay with Amanda Williams. They wanted to explore what happens after college graduation. Samantha struggles with what she wants to do with her life and she fights just to be able to make a salary. Vicky, on the other hand, has to learn to survive in the corporate world. While this is a comedy, it looks at a very serious problem in America today. Finding employment is a challenging and sometimes frightening experience and now that 50% of American college graduates are unemployed, we are well aware of the problem but we only really feel it when it touches us directly. This film shows us that experience. We see here that sometimes we have to look in places that we might not have ever considered; today a college degree is not an automatic meal ticket.

The film has been on the festival circuit and has been racking up awards which include several best picture wins as well awards for the actresses.

Winner – Best Feature – Golden Door International Film Festival

Winner – Best Feature – Philadelphia Independent Film Festival

Winner – Best Feature – Toronto Independent Film Festival

Winner – Best Comedic Feature – Studio City Film Festival

Winner – Audience Award – Real To Reel Film Festival

Winner – Audience Award – SoHo International Film Festival

Winner – Screeners Choice Award – Indie Spirit Film Festival

Winner – Directors Choice Award – Northeast Film Festival

Winner – Best Actress – New York City International Film Festival

Winner – Best Actress in Comedic Feature – Studio City Film Festival

Winner – Best Supporting Actress – Golden Door International Film Festival

Winner – Best Supporting Actor – Long Island International Film Expo

Winner – Gold Award – Long Island International Film Expo

Winner – Best Editing – Golden Door International Film Festival

Winner – Golden Ace Award – Las Vegas Film Festival

cinema libre

Bruno Gmunder New in August


New in August




Rod Bellamy




Unwanted and abandoned by his Mississippi River plantation-owning daddy, young Jeff got by as best he could in a torrid world of prostitution and vice where the whole neighborhood used him as a cheap sex-toy. And then, out of the blue, came an airline ticket to distant Hawaii , where his wealthy daddy enjoyed a decadent high-life of unbridled lust. Was this his father finally showing him he cared…? There he met Mohammed — a man who seemed to appreciate him. But that was when troubles really began. Twisted desires and murderous jealousy put his very life in jeopardy — could young Mississippi Hustler survive and find true love?




320 pages

Softcover, 5 ¼ x 7 ½” ( 13 x 19 cm)

€ 15,99 / US$ 17.99 / £ 11.99

ISBN 978-3-86787-784-8








Within a few years, inkedKenny (born 1967) developed into one of the most successful photographers of gay culture. His stylized photography shows a desirous view on the beauty of an idealized men’s world. After numerous publications in anthologies such as TurnOn: Sneax, Hair, or Raunch, this is his first monography.




128 pages, full color

Hardcover with dust jacket, 8 ½ x 11 ¼“ (21, 5 x 28 ,5 cm)

€ 39,99 / US$ 59.99 / £ 39.99

ISBN 978-3-86787-759-6








This is the story of Evan and Rick. Fast and close friends since their kindergarten days in a small town, their friendship evolves into the love of their lives. They move to the big city where they meet Billy and Charlie and these four friends are soon inseparable. Mioki presents a moving portrait of gay life with all its highs and lows. Drawn in a sure style and masterfully incisive, Mioki’s comic is a joy to read, is moving and the sex also doesn’t get short shrift. A charming comic for the young and the young-at-heart. This is the bundle of two previously published hardcover books by Bruno Gmünder before.




240 pages, full color

Softcover with flaps, 6 ¾ x 9 ¼“ (17,0 x 23,5 cm)

€ 24,99 / US$ 39.99 / £ 24.99

ISBN 978-3-86787-770-1




Winston Gieseke (Ed.)




Why do we go weak in the knees for a man in uniform? He could be a police officer, a military man, a fire fighter, or one of those guys in sexy brown pants who delivers nice packages (both in a box and in his pants!) to your door—something about the uniform makes us stop and stare. A uniform transforms an everyday guy into a modern-day Superman, one who stands straighter, prouder. And one we can’t wait to get naked. Because the only thing sexier than a man in uniform is a man out of uniform.




208 pages

Softcover, 5 ¼ x 7 ½“ (13,0 x 19,0 cm)

€ 15,99 / US$ 17.99 / £ 15.99

ISBN 978-3-86787-786-2