Serge Gainsbourg (French:[sɛʁʒ(ə)ɡɛ̃zbuʁ]ⓘ; bornLucien Ginsburg;[a] 2 April 1928 – 2 March 1991) was a French singer-songwriter, actor, composer, and director. Regarded as one of the most important figures inFrench pop, he was renowned for often provocative releases which caused uproar in France, dividing public opinion.[2] His artistic output ranged from his early work injazz,chanson, andyé-yé to later efforts inrock,zouk,funk,reggae, andelectronica.[3] Gainsbourg's varied musical style and individuality make him difficult to categorise, although his legacy has been firmly established and he is often regarded as one of the world's most influential popular musicians.
Gainsbourg wrote over 550 songs,[4][5] which have been covered more than 1,000 times by diverse artists.[6] His lyrical works incorporatedwordplay, with humorous, bizarre, provocative, sexual, satirical or subversive overtones. Since his death from a secondheart attack in 1991, Gainsbourg's music has reached legendary stature in France. While controversial in his lifetime, he has become one of France's best-loved public figures.[7] He has also gained a cult following across the world with chart success in the United Kingdom and Belgium with "Je t'aime... moi non plus" and "Bonnie and Clyde", respectively.
Born Brucha Goda Besman (nicknamed Olia/Olga) inFeodosiya in 1894, Serge's mother was amezzo-soprano singer. Serge's father Joseph was born inConstantinople in theOttoman Empire of Ukrainian Jewish heritage in 1896. Originally interested in painting, he entered thePetrograd Conservatory and then theMoscow Conservatory to study music, becoming a classically trained pianist. He came toCrimea, where he met and married Olga in 1918. The couple fledOdessa for Paris viaGeorgia and thenIstanbul in the years following theRussian Revolution.[12] The couple arrived inMarseille in 1921, settling in Paris near Olga's brother, who worked for theLouis Dreyfus Bank. Joseph became a piano performer at bars, casinos, and cabarets, while Olga sang at theConservatoire Rachmaninoff.
Serge and his twin sister Liliane had an elder brother Marcel, born in 1922, who died at sixteen months of pneumonia. They also had an older sister Jacqueline, born in 1926.
The family lived in the working-class districts of Paris, first at 35 Rue de la Chine in the20th arrondissement, and then at 11 Rue Chaptal in the9th arrondissement. They obtained French nationality in 1932.[13] Joseph taught Serge and Liliane to play the piano.[4] At age 12, Serge enrolled at theÉcole Normale de Musique de Paris.
Gainsbourg's childhood was profoundly affected by theoccupation of France by Germany duringWorld War II. The identifyingyellow star that Jews were required to wear haunted Gainsbourg; in later years he was able to transmute this memory into creative inspiration.[12] Early in the summer of 1941, the family temporarily sought refuge in the commune ofCourgenard in theSarthe department, at a place called "La Bassetière," with Baptiste and Irma Dumur.[14]
During the occupation, as artistic professions were forbidden to Jews, his pianist father crossed toLimoges in 1942. At the time, Limoges was part ofzone libre, an area of France governed by theVichy regime that was not occupied by Germany, but it became unsafe for Jews after Germany eventuallyoccupied the area in 1942.[4] As police raids became more frequent, in January 1944, the rest of the family joined him, using forged documents. The family took refuge in the town of Grand Vedeix in the commune ofSaint Cyr in theHaute-Vienne department, using the name Guimbard. Jacqueline and Liliane were hidden with the nuns of the Sacré-Cœur school in Limoges and Lucien (Serge) in a public college, inSaint-Léonard-de-Noblat. He remained a boarder there for six months under his false identity. One evening, theGestapo raided the establishment to check that no Jewish children were hiding there. Warned, the boarding school officials sent him to hide alone in the forest, equipped with an axe to defend himself, where he spent the entire night in fear of being caught and killed.[15]
After theliberation of Paris, the family returned, living at 55 Avenue Bugeaud in the16th arrondissement. Serge attendedLycée Condorcet in Paris, but dropped out before completing hisBaccalauréat.[11][16] In 1945, Gainsbourg's father enrolled him inBeaux-Arts de Paris, a prestigious art school.[11] Serge later transferred to the Académie de Montmartre, where his professors included the likes ofAndré Lhote andFernand Léger.[17][18] There, Gainsbourg met his first wife, Elisabeth "Lize" Levitsky, the daughter ofRussian aristocrats and a part-time model.[11] Serge and Lize were married on November 3, 1951, and the marriage ended in divorce in 1957.[11]
In 1948, Serge was conscripted by the military for twelve months of service inCourbevoie. He never saw action, spending his time playing dirty songs on guitar, visiting prostitutes, and drinking. Serge later claimed that the military service turned him into an alcoholic.[11] Gainsbourg obtained work teaching music and painting at a school inLe Mesnil-le-Roi, just outside of Paris. The school was founded under the auspices of local rabbis to serve the orphaned children of murdered deportees. Here, Gainsbourg heard accounts of Nazi Germany's acts of persecution and genocide, and these stories inspired his songwriting several decades later.[12]
1957–1963: Early work as a pianist and chanson singer
Gainsbourg was disillusioned with his school painting gig and instead moved on to working odd jobs playing the piano in bars, usually as a stand-in for his father.[11] He soon became the venue pianist at the drag cabaret clubMadame Arthur.[19] Whilst filling in a form to join the songwriting societySACEM, Gainsbourg decided to change his first name to Serge. According to his future partnerJane Birkin, "Lucien reminded him of a hairdresser's assistant."[4] He chose Gainsbourg as his last name, an homage to the English painterThomas Gainsborough, whom he admired.
Gainsbourg had a revelation when he sawBoris Vian performing at the Milord l'Arsouille club, whose provocative and humorous songs would influence Serge's own compositions.[20] At the Milord l'Arsouille, Gainsbourg accompanied singer and club starMichèle Arnaud on the guitar.[17] In 1957, Arnaud and the club's director Francis Claude discovered Gainsbourg's compositions while visiting his home to see his paintings. The next day, Claude urged Gainsbourg to perform on stage on his own. Despite his stage fright, Gainsbourg performed his own repertoire, including "Le Poinçonneur des Lilas,"[21][22] which describes a day in the life of aParis Métro ticket man, whose job is to validate passenger tickets by stamping holes in them. In the song, the job is described as so monotonous, that the ticket man eventually thinks of putting a hole through his head and being buried in another hole.[23] After the debut, Serge was given a steady performance segment at the club, where he was eventually spotted by talent agentJacques Canetti, who helped advance Gainsbourg's career with a regular performance segment at the Théâtre des Trois Baudets, as well as by touring.[24] In 1958, Arnaud began recording several interpretations of Gainsbourg's songs.
His debut album,Du chant à la une !... (1958), was recorded in the summer of 1958, backed by arrangerAlain Goraguer and his orchestra, beginning a fruitful collaboration. It was released in September, becoming a commercial and critical failure, despite winning the grand prize atL'Academie Charles Cross and the praise of Boris Vian, who compared him toCole Porter.[25] His next album,N° 2 (1959), suffered a similar fate. He made his film debut in 1959 with a supporting role in the French-Italian co-productionCome Dance with Me, starring his future loverBrigitte Bardot.[26] In the following year, he featured as a Roman officer in the Italiansword-and-sandals epic-filmThe Revolt of the Slaves.[27] He would continue playing "nasty characters" in similar productions, includingSamson (1961) andThe Fury of Hercules (1962).[28] Gainsbourg's first commercial success came in 1960 with his single "L'Eau à la bouche", the title song from thefilm of the same name, for which he had composed the score.[29]L'Étonnant Serge Gainsbourg (1961), his third LP, included what would become one of his best known songs from this period, "La Chanson de Prévert", which lifted lyrics from theJacques Prévert poem "Les feuilles mortes".[30] After a night of drinking champagne and dancing with singerJuliette Gréco, Gainsbourg went home and wrote "La Javanaise" for her.[31] They would both release versions of the song in 1962, but it is Gainsbourg's rendition that has endured.[30] His fourth album,Serge Gainsbourg N° 4 was released in 1962, incorporating Latin and rock and roll influences whilst his next,Gainsbourg Confidentiel (1963), featured a more minimalistic jazz approach, accompanied only by a double bass and electric guitar.[32][33]
1963–1966: Eurovision and involvement in the yé-yé movement
Gainsbourg, Gall, and del Monaco at the Eurovision Song Contest, 20 March 1965
Despite initially mockingyé-yé, a style of French pop typically sung by young female singers, Gainsbourg would soon become one of its most important figures after writing a string of hits for artists like Brigitte Bardot,Petula Clark andFrance Gall.[34] He had met Gall after being introduced by a friend as they werePhilips Records labelmates,[35] thus beginning a successful collaboration that would produce hits like "N'écoute pas les idoles", the frequently covered "Laisse tomber les filles", and "Poupée de cire, poupée de son", the latter of which was theLuxembourgish winning entry at theEurovision Song Contest 1965.[36] Inspired by the 4th movement (Prestissimo in F minor) fromBeethoven'sPiano Sonata No. 1, the song featureddouble entendres and wordplay, a staple of Gainsbourg's lyrics.[37] The controversially risqué "Les sucettes" ("Lollipops"), featured references tooral sex, unbeknownst to the 18-year-old Gall, who thought the song was about lollipops.[36] In 2001, Gall expressed displeasure at Gainsbourg's earlier antics, stating she felt "betrayed by the adults around me."[38]
Gainsbourg married a second time on 7 January 1964, to Françoise-Antoinette "Béatrice" Pancrazzi, with whom he had two children: a daughter named Natacha (b. 8 August 1964) and a son, Paul (born in spring 1968).[39] He divorced Béatrice in February 1966.[39]
His next album,Gainsbourg Percussions (1964), was inspired by the rhythms and melodies of African musiciansMiriam Makeba andBabatunde Olatunji.[40] Olatunji later sued Gainsbourg for lifting three tracks from his 1960 albumDrums of Passion.[41] Nevertheless, the album has been hailed as being ahead of its time for its incorporation of world music and lyrical content depicting interracial love.[40] Between 1965 and 1966, Gainsbourg composed the music and sang the words of science fiction writerAndré Ruellan for several songs made for a series of animatedMarie-Mathematics shorts created byJean-Claude Forest.[42] He would reunite with Michèle Arnaud for the duet "Les Papillons noirs" from her 1966 comeback record.[43]
Bardot (left) pictured in 1968 and Birkin pictured in 1970
In 1967, Gainsbourg wrote the script and provided the soundtrack for the musical comedy television filmAnna starringAnna Karina in the titular role.[44][43] That same year, he composed the military march "The Sand and the Soldier" for theIsrael Defense Forces. Another Gainsbourg song, "Boum-Badaboum" byMinouche Barelli, was entered byMonaco in theEurovision Song Contest 1967, coming in fifth place.[43] In that year, Gainsbourg would have a brief but ardent love affair withBrigitte Bardot. One day she asked him to write the most beautiful love song he could imagine and, that night, he wrote the duets "Je t'aime... moi non plus" and "Bonnie and Clyde" for her.[45] The erotic yet cynical "Je t'aime", describing the hopelessness of physical love, was recorded by the pair in a small glass booth in Paris but after Bardot's husband, German businessmanGunter Sachs, became aware of the recording, he demanded it be withdrawn. Bardot pleaded with Gainsbourg not to release it, and he complied.[2]
Bardot's LPBrigitte Bardot Show 67 contained four songs penned by Gainsbourg, including duets such as the playful "Comic Strip" and the string-laden "Bonnie and Clyde", which tells the story of theAmerican criminal couple and was based on a poem written by Bonnie Parker herself.[1] His ownInitials B.B. (1968) included these duets and was his first album in nearly four years. It blended orchestral pop with the style of rock characteristic of London in theSwinging Sixties, where the album was largely recorded.[46] Gainsbourg borrowed heavily fromAntonín Dvořák'sNew World Symphony for the title track, named after and dedicated to Bardot.[30] Phillips subsidiaryFontana Records also issued the compilation LPBonnie and Clyde (1968) comprising their duets and other previously recorded material.[47]
His percussion-heavy 1968 single "Requiem pour un con" was performed onscreen by Gainsbourg in the crime filmLe Pacha, for which he was the composer.[48] Shortly after being left by Bardot, Gainsbourg was asked byFrançoise Hardy to write a French version of the song "It Hurts to Say Goodbye". The result was "Comment te dire adieu", which is notable for its uncommon rhymes and has become one of Hardy's signature songs.[49]
In mid-1968 Gainsbourg started a relationship with English singer and actressJane Birkin, 18 years his junior, whom he met when she was cast as his co-star inSlogan (1969).[4] In the film, Gainsbourg starred as a commercial director who has an affair behind the back of his pregnant wife with a younger woman, played by Birkin.[50] Gainsbourg also provided the soundtrack and dueted with Birkin on the title theme "La Chanson de Slogan". The relationship would last for over a decade.[51] In July 1971 they had a daughter,Charlotte, who would become an actress and singer.[52] Although many sources state that they were married,[53] according to Charlotte this was not the case.[51] After filmingSlogan, Gainsbourg asked Birkin to re-record "Je t'aime..." with him.[2] Her vocals were an octave higher than Bardot's, contained suggestive heavy breathing and culminated in simulated orgasm sounds. Released in February 1969, the song topped theUK Singles Chart after being temporarily banned due to its overtly sexual content. It was banned from the radio in several other countries, including Spain, Sweden, Italy and France before 11pm.[54] The song was even publicly denounced byThe Vatican.[55] It was included on the joint albumJane Birkin/Serge Gainsbourg, which also contained "Élisa" and new recordings of songs written for other artists including "Les sucettes", "L'anamour" and "Sous le soleil exactement". In 2017,Pitchfork named it the 44th best album of the 1960s.[46] He and Birkin would share the screen in another Gainsbourg-scored film,Cannabis (1970), in which he played an American gangster who falls in love with a girl from a wealthy family.[56]
Following the success of "Je t'aime... moi non plus", his record company had expected Gainsbourg to produce another hit. But after having already made a fortune, he was uninterested, deciding to "move onto something serious".[57] The result was his 1971 concept albumHistoire de Melody Nelson, which tells the story of an illicit relationship between the narrator and the teenage Melody Nelson after running her over in hisRolls-Royce Silver Ghost.[58] The album heavily features Gainsbourg's distinctive half-spoken, half-sung vocal delivery, loose drums, guitar, and bass evoking funk music, and lush string and choral arrangements byJean-Claude Vannier.[58] Despite only selling around 15,000 copies upon release, it has become highly influential and is often considered hismagnum opus.[58] An accompanying television special starring Gainsbourg and Birkin was also broadcast.[59]
He suffered a heart attack in May 1973, but refused to cut back on his smoking and drinking.[54] Gainsbourg's next recordVu de l'extérieur (1973) was not strictly a concept album like its predecessor and follow-ups, despite its focus onscatology throughout. It largely failed to connect with critics and listeners.[57][60] In that year, Gainsbourg also wrote all of the tracks on Birkin's debut solo albumDi doo dah and he would continue to write for her until his death.[61] In 1975, Gainsbourg released the darkly comic albumRock Around the Bunker, performed in an upbeat 1950s rock and roll style and written on the subject ofNazi Germany and theSecond World War, drawing from his experiences as a Jewish child in occupied France.[62] The next year saw the release of yet another concept album,L'Homme à tête de chou (The Cabbage Head Man), a nickname used by Gainsbourg himself in reference to his large ears.[63] This album marked Gainsbourg's first foray into the Jamaicanreggae genre, a style he would revisit for his next two albums.[64]
In 1976, Gainsbourg also made his directorial debut withJe t'aime moi non plus, an offbeat drama named after his song of the same name. It starred Birkin in the lead role, with American actorJoe Dallesandro playing the gay man she falls in love with.[65] The film received positive critical notices from the French press and acclaimed directorFrançois Truffaut.[65] Having previously turned down the offer to score the popularsoftcore pornography filmEmmanuelle (1974), he agreed to do so for one of its sequelsGoodbye Emmanuelle in 1977.[66]
In 1978, Gainsbourg dropped plans to record another concept album and contacted several Jamaican musicians including rhythm section playersSly and Robbie with the intention of recording a reggae album.[67] He set off forKingston, Jamaica in September to begin recordingAux armes et cætera (1979) with the likes of Sly and Robbie and the female backing singersThe I-Threes ofBob Marley and the Wailers;[64] thus making him the first white musician to record such an album in Jamaica.[68] The album was immensely popular, achievingplatinum status for selling over one million copies. But it was not without controversy, as the title track—a reggae version of the French national anthem "La Marseillaise"—received harsh criticism in the newspaperLe Figaro fromMichel Droit, who condemned the song and opined that it may cause a rise inantisemitism.[69] Gainsbourg also received death threats from right-wing veteran soldiers of theAlgerian War of Independence, who were opposed to their national anthem being arranged in reggae style.[70] In 1979, a show had to be cancelled, because an angry mob of French Army parachutists came to demonstrate in the audience. Alone onstage, Gainsbourg raised his fist and answered: "The true meaning of our national anthem is revolutionary" and sang ita cappella with the audience.[71]
Birkin left Gainsbourg in 1980, but the two remained close, with Gainsbourg becoming the godfather of Birkin andJacques Doillon's daughterLou and writing her next three albums.[72] His first live albumEnregistrement public au Théâtre Le Palace (1980), exhibited his reggae-influenced style at the time. Also in 1980, Gainsbourg dueted with actressCatherine Deneuve on the hit song "Dieu fumeur de havanes" from the filmJe vous aime and published a novella entitledEvguénie Sokolov, the tale of anavant-garde painter who exploits hisflatulence by creating a style known as "gasograms".[73] His final reggae recording,Mauvaises nouvelles des étoiles (1981), was recorded atCompass Point Studios in The Bahamas with the same personnel as its predecessor.[74]Bob Marley, husband to The I Threes singerRita Marley, was reportedly furious when he discovered that Gainsbourg had made his wife Rita sing erotic lyrics.[70] New posthumous dub mixes ofAux armes et cætera andMauvaises Nouvelles des Étoiles were released in 2003.[75] During this period, Gainsbourg also had success writing material for other artists, most notably "Manureva" forAlain Chamfort, a tribute to French sailorAlain Colas and the titulartrimaran he disappeared at sea with.[76]
1982–1991: Final years, Eurovision Again and death
In 1982, Gainsbourg contributed his songwriting to French rock singerAlain Bashung's fourth studio albumPlay blessures, which was a left turn creatively for Bashung and is often considered acult classic despite negative contemporary reviews.[77] His second film as a director,Équateur (1983), was adapted from the 1933 novelTropic Moon by Belgian writerGeorges Simenon and is set in colonialistFrench Equatorial Africa.[78]
Love on the Beat (1984) saw Gainsbourg move on from reggae and onto a more electronic,new wave inspired sound.[79] The album is known for addressing taboo sexual subject matters, with Gainsbourg dressed in drag on the cover and the highly controversial duet with his daughterCharlotte, "Lemon Incest", which seemed to clearly refer to his fantasy of wanting to make love to his child.[79][54] The music video for the song featured a half-naked Gainsbourg lying on a bed with Charlotte, leading to further controversy.[54] Nevertheless, it was Gainsbourg's highest-charting song in France. In March 1984, he illegallyburned three-quarters of a 500-French-franc bill on television to protest against taxes rising up to 74% of income.[4] In April 1986, onMichel Drucker's live Saturday evening television showChamps-Élysées, with the American singerWhitney Houston, he objected to Drucker's translating his comments to Houston and, in English, stated: "I said, I want to fuck her"—Drucker, utterly embarrassed, insisted that this meant "He says you are great..."[70] That same year, in another talk show interview, he appeared alongsideLes Rita Mitsouko singerCatherine Ringer. Gainsbourg spat out at her, "You're nothing but a filthy whore" to which Ringer replied, "Look at you, you're just a bitter old alcoholic... you've become a disgusting old parasite."[80]
Gainsbourg's final partner until his death was the modelCaroline Paulus, better known by her stage name Bambou.[39] They had a son, Lucien (b. 5 January 1986), who now goes by the name Lulu and is a musician.[39][81] His 1986 filmCharlotte for Ever further expanded on the themes found in "Lemon Incest". He starred in the film alongside Charlotte as a widowed, alcoholic father living with his daughter.[54] Analbum of the same name by Charlotte was also written by Gainsbourg.[82]
Tributes left at his gravesite
His sixteenth and final studio album,You're Under Arrest (1987), largely retained the funky new wave sound ofLove on the Beat, but also introducedhip hop elements.[83] A return to concept albums for Gainsbourg, it tells the story of an unnamed narrator and his drug-addicted girlfriend in New York City. The album's anti-drug message was exemplified by the single "Aux enfants de la chance".
In November 1988, Gainsbourg appeared on the showSébastien c'est fou ! onTF1,[84] and was surprised by the Petits Chanteurs d'Asnières boys' choir, who dressed up as him, with sunglasses,sport coats, jeans, painted-on stubble, andprop cigarettes and whiskey glasses;[85] they sang "Je suis venu te dire que je m'en vais" ('I came to tell you that I’m leaving'), changing the words to "On est venu te dire qu’on t’aime bien" ('We came to tell you that we love you').[86] A clip of the performance, in which Gainsbourg appeared to be deeplymoved by the children's tribute,[87] wentviral on the Internet in 2023–24, inspiringHalloween costumes andInternet memes.[88][89]
In December 1988, while a judge at a film festival inVal d'Isère, he was extremely intoxicated at a local theatre where he was to do a presentation. While on stage he began to tell an obscene story aboutBrigitte Bardot and a champagne bottle, only to stagger offstage and collapse in a nearby seat.[80] Subsequent years saw his health deteriorate, undergoing liver surgery in April 1989.[90] In his ill health, he retired to a private apartment inVézelay in July 1990, where he would spend six months.[91] He continued to write for other artists, including the lyrics to "White and Black Blues" byJoëlle Ursull, theFrench entry in theEurovision Song Contest 1990, coming in second place.[68] He similarly wrote all of the lyrics for popular singerVanessa Paradis's albumVariations sur le même t'aime (1990), declaring "Paradis is hell" after its release.[92] His final film,Stan the Flasher, starredClaude Berri as an English teacher who engages inexhibitionism.[93] Gainsbourg's last album of original material was Birkin'sAmours des feintes in 1990.[94]
Gainsbourg, who smoked five packs of unfilteredGitanes cigarettes a day,[95] died from a heart attack at his home on 2 March 1991, aged 62.[54] He was buried in the Jewish section of theMontparnasse Cemetery in Paris.[34] French PresidentFrançois Mitterrand paid tribute by saying, "He was ourBaudelaire, ourApollinaire ... He elevated the song to the level of art."[2] In her first interview after her father's death, his daughter Charlotte told Vanity Fair: "He was a poet. What he did was way ahead of its time. You can just read his lyrics—he plays with words in such a way that there are double meanings that don't work out in English. He was just so very authentic. He was so shy, and very touching. And he was very generous. Every time I get into a taxi [in Paris] I hear a story about my father, because he used to take taxis all day long and [the drivers] tell me how sweet he was. One day a taxi driver told me my father had paid for his teeth to be mended; somebody else's roof needed to be mended and he paid for that. He just had real relationships with people from the street. He was selfish in ways that artists can be, but there was no snobisme. He was always amazed at the fact that he had money. I remember going to lovely hotels with him and he was like . . . ‘Oooh, how fun this is.' He had the eyes of a child."[96]
Tribute graffiti covers the outer wall of Serge Gainsbourg's house on the rue de Verneuil in Paris, looked after byCharlotte Gainsbourg after her father's death
TheParisian house in which Gainsbourg lived from 1969 until 1991, at 5 bis Rue de Verneuil, remains a celebrated shrine, with his ashtrays and collections of various items, such as police badges and bullets, intact. The outside of the house is covered in graffiti dedicated to Gainsbourg, as well as with photographs of significant figures in his life, including Bardot and Birkin.[4] In 2008, Paris'sCité de la Musique held theGainsbourg 2008 exhibition, curated by sound artistFrédéric Sanchez.[104][105]
^Ginsburg is sometimes spelled Ginzburg in the media, including print encyclopaedias and dictionaries. Ginsburg is however the spelling onGainsbourg's grave; Lucien Ginsburg is the name by which Gainsbourg is referred to, as a performer, in theSACEM catalogue[1] (along withSerge Gainsbourg as the author/composer/adaptor)
^Short version: Olia, his mother's baptist name was Olga, as written onGainsbourg's grave
^Vincent Sermet,Les musiques soul rock and roll et funk : La France qui groove des années 1960 à nos jours, L'Harmattan, 2008, page 380.
^Bill Marshall; Cristina Johnston (2005).France and the Americas: Culture, politics, and history : a multidisciplinary encyclopedia. ABC-CLIO. p. 498.ISBN978-1851094110..
^Jeremy Simmonds (2008).The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches. Chicago Review Press. p. 268.ISBN978-1556527548..
