Name: Madonna in a Fur Coat
Rating: 4.11340206185567 (97 reviews)
ISBN: 9781590518809

Sabahattin Ali

"A shy young man leaves his home in rural Turkey to learn a trade and discover life in 1920s Berlin. There, amid the city's bustling streets, elegant museums, passionate politics and seedy cabarets, a chance meeting transforms his life forever. Caught between his desire for freedom and his yearning to belong, he struggles to hold on to the new life he has found"--

Madonna in a Fur Coat

grace

The pension's dark stairwell now seemed quite charming and the corridor's stale air almost sweet.

Unsure of what to say, I thought for a time before saying: 'If a person truly has the ability to love, then he can never monopolize his beloved. And neither can his beloved monopolize him. The more he spreads his love, the more he adores his one and only true love. When love spreads, it does not diminish.'

angel abad cesa 

"'Its just that we shouldn't shy away from speaking openly about things that could hurt our relationship later. If we find we cannot get along, then we'll just say goodbye and go our separate ways... Where's the tragedy in that? The essence of life is in solitude - wouldn't you agree? All unions are built on falsehood. People can only get to know each other up to a point and then they make up the rest, until one day, seeing their mistake, turn their backs on sadness and run away... ...we would never, whatever the cost agree to live on a lie."

Anna Jasmine

“Had I been spared this chance encounter, I might have carried on living as before, oblivious to the truth. You were the one who taught me that another life was possible, and that I had a soul. And it is not your fault that it ended too soon … Thank you for giving me the chance to be truly alive. Those few months were worth a few lifetimes, don’t you think?”

the understanding ,, the intimacy ✋🏻😭🤧❤️‍🔥

“Last night he’d said to me, ‘We never got the chance to sit down and talk.’ But now I knew differently. Last night we’d spoken for many long hours.

That same night, he’d left his life behind and entered mine. And there he would remain, truly alive – more so than anyone I’d ever known. Wherever I went, he’d be there at my side.”

gitsa

“For me, love is something else entirely. It’s beyond all logic and impossible to describe or define. It’s one thing to like someone. To be consumed, body and soul, by desire is quite another. That’s what love is to me – desire that’s all-consuming. Desire that’s impossible to resist!”

lilith

“Thank you for giving me the chance to be truly alive. Those few months were worth a few lifetimes, don’t you think?”

علي

We have no choice but to accept such accidents for what they are, along with all the others that life thrusts upon us.

Only now did I begin to understand why it was not always through words that people sought each other out and came to understand each other, and why some poets went to such lengths to seek out companions who could, like them, contemplate the beauties of nature in silence.

I was willing, perhaps to an extreme, to be my true self, for all to see: but always on condition that I left the heart of the matter untouched.

Anlo

A soul only came forward when it found its twin, when it felt no need to rely on mere words to explain itself ... It was only then that we truly began to live - live with our soul. At that moment, all doubts and shame could be set aside. All rules could be broken, as two souls joined in embrace.

The bestselling Turkish classic of love and loss in a changing world, with a new introduction by David Selim Sayers 'A heart-breaker . . . it has the kind of indefinably powerful impact of The Great Gatsby' Observer 'It is, perhaps, easier to dismiss a man whose face gives no indication of an inner life. And what a pity that is: a dash of curiosity is all it takes to stumble upon treasures we never expected.' A shy young man leaves his home in rural Turkey to learn a trade in 1920s Berlin. The city's crowded streets, thriving arts scene, passionate politics and seedy cabarets provide the backdrop for a chance meeting with a woman, which will haunt him for the rest of his life. Emotionally powerful, intensely atmospheric and touchingly profound, Madonna in a Fur Coat is an unforgettable novel about new beginnings and the unfathomable nature of the human soul. 'A miniature masterpiece' The National 'A gorgeously melancholic romance' Irish Times

quite modern in its translated reading and amorous in its scenes. i can see why its had a resurgence in popularity. raif efendi's perspective was fatiguing at times and encompassed the loneliness of young adulthood so well i felt like reading about my own shadow. maria's feigned knowledge and her secret naivety was darling in dialogue. there are so many beautiful images of Berlin to keep in my mind like a locket. i love the tender approach to romance and stoicism.

kate 

baku

Let me just say this: I thought I knew yearning. I thought I knew the ache of missed chances, of love that comes too late, of lives spent quietly unraveling in the shadows. I thought I knew all of that, and then I read Madonna in a Fur Coat. And it didn’t just prove me wrong, it undid me. This book… This book gave me things. Things I didn’t know I needed, didn’t think I was missing. It gave me Maria. It gave me Raif. And in giving them, it gave me a version of love that is so soft and private and devastating that I almost felt like an intruder reading it. Raif is not a man who leaps off the page. At first, he blends into the background like wallpaper: quiet, hesitant, unremarkable. He’s one of those people you pass on the street and forget five seconds later. But then, in Berlin, in a gallery filled with color and light, he sees a portrait of a woman in a fur coat. And something happens. Not in the dramatic way novels tend to insist upon—but in the subtle, irreversible way real lives are changed. That painting cracks his world open. Maria, fierce and wild-eyed in oil paint, pulls him from the mire of his numbness. Not with declarations or spectacle, but simply by being. And isn't that sometimes all it takes? Maria is unlike any woman Raif (or we) have ever seen. She is not a dream girl, not a vessel for anyone else’s redemption. She sees men differently. She moves through the world with autonomy, with something jagged and glowing in her spirit. She's the kind of person who could either destroy you or save you, or do both in a single evening. And Raif, gentle and ridiculous and entirely sincere, falls. He falls completely. And for once, he lets himself be seen. Their love (if you can even call it that, because it resists every easy category) is poetic and strange and so real. It is not neat. It is not resolved. It is a series of ellipses and absences. What they build exists in that fragile, suspended state where everything is just beginning and just about to end. And when it does end, it’s not with a grand tragic twist, but with the quiet horror of almost. Almost stayed. Almost loved. Almost lived differently. What Sabahattin Ali does here is not simply tell a story. He unfolds a soul. Raif is the patron saint of people who feel too much and say too little. Of those who live on the sidelines, convinced they are unworthy of the main plot. He is sensitive to a fault, hesitant, inward-turning, and still, he holds this immense capacity for love that hurts to witness. I recognized myself in him more than I wanted to admit. And the writing? It’s surgical in its precision and completely devastating in its understatement. Ali doesn't need melodrama. His weapon is melancholy. He knows that it's the unspoken that really ruins us: the long pause before a goodbye, the letter never sent, the chance never taken. And this novel is built entirely out of those moments. I think what wrecked me the most is that this isn’t a story of heartbreak in the traditional sense. It’s a story of haunting. Raif doesn’t just lose Maria, he loses the only version of himself that ever felt real. And that version stays with him. Echoes through his every mundane movement, his quiet office days, his stilted conversations, the dead air of years slipping by. And as readers, we feel that emptiness humming beneath everything. We feel how the past isn't past at all—it’s alive, clawing its way back every time he closes his eyes. Some books change how you read. Others change how you feel. This one changed how I remember. And maybe that’s the highest compliment I can pay it: I don’t just love this book—I carry it with me. “She had swept me away from my dark and silent world, delivering me to the land of truth and light. And now she had vanished, offering no reasons, and as suddenly as she’d come.” What a cruel thing it is, to be awakened to joy, only to be asked to live without it. This was my favorite five-star of the year, and maybe the only one that truly earned it. I will defend this book as if it were my own heart.

The bestselling Turkish classic of love and longing in a changing world, available in English for the first time. 'It is, perhaps, easier to dismiss a man whose face gives no indication of an inner life. And what a pity that is: a dash of curiosity is all it takes to stumble upon treasures we never expected.' A shy young man leaves his home in rural Turkey to learn a trade in 1920s Berlin. The city's crowded streets, thriving arts scene, passionate politics and seedy cabarets provide the backdrop for a chance meeting with a woman, which will haunt him for the rest of his life. Emotionally powerful, intensely atmospheric and touchingly profound, Madonna in a Fur Coat is an unforgettable novel about new beginnings and the unfathomable nature of the human soul. 'Passionate but clear . . . Ali's success [is in ] his ability to describe the emergence of a feeling, seemingly straightforward from the outside but swinging back and forth between opposite extremes at its core, revealing the tensions that accompanies such rise and fall.' Atilla Ozkirimli, writer and literary historian"

Stella M

This is yearning, loving and stoicism so profoundly written.

What a devastating read!

 Very beautifully written romantic book, though very tragic. Its hard to find words for this book but it was moving and very emotional. This book portrays the sides of wanting a future filled with love and someone who really wants to love but wants to focus on the present and remain caution really well. If youre into classic romance and tragedies, well recommended

Aarush Arora

The bestselling Turkish classic of love and longing in a changing world, available in English for the first time. 'It is, perhaps, easier to dismiss a man whose face gives no indication of an inner life. And what a pity that is: a dash of curiosity is all it takes to stumble upon treasures we never expected.' A shy young man leaves his home in rural Turkey to learn a trade in 1920s Berlin. The city's crowded streets, thriving arts scene, passionate politics and seedy cabarets provide the backdrop for a chance meeting with a woman, which will haunt him for the rest of his life. Emotionally powerful, intensely atmospheric and touchingly profound, Madonna in a Fur Coat is an unforgettable novel about new beginnings and the unfathomable nature of the human soul. 'Passionate but clear . . . Ali's success is in ] his ability to describe the emergence of a feeling, seemingly straightforward from the outside but swinging back and forth between opposite extremes at its core, revealing the tensions that accompanies such rise and fall.' Atilla zkirimli, writer and literary historian

thya

The writing is SO FUCKING GOOD it took me FOREVER to read this even though it was only a few pages because I had to stop every 10 pages to savour the writing !!!! Anyways, one star gone because honestly I did not even felt like they were in love until the last few pages. It felt like they were a burden to eachother throughout the whole book.... I don't know I felt like I was deeply getting spoonfed their relationship l lol. But what a beautiful story !!!

Romy

Is this some alternate universe where the Holocaust doesn’t exist?

Brynn Sklar

A beautifully heartbreaking love story, shining a light into what it’s like to be consumed by the love you have for another human 

Riley Lawes

First time rating a piece of translated fiction this low so I don’t know if it’s right for me to do so ?

I can’t comment on the writing style since I didn’t read from the original text, but it’s maybe the only thing I liked or kept me going (lol (it’s “readable”)) so props to the translator I guess. At first I didn’t like how slow it read for a book that’s less than 200 pages, but I came to realize that that will be the less of my concerns when I actually got to the real story.

I like unlikeable characters and narrators in any form of media, but Raif and Maria …. They took “kindred souls” too literally.

Their voices are exactly the same ! If you erase their names in dialogue parts, you wouldn’t know who’s talking ? Not sure if that’s Ali’s writing style or is it the translator ? None of them had any redeeming qualities for me to care about their asses. And that’s saying a lot as someone who just finished Angel by Elizabeth Taylor recently (and I loved Angel as a character). Both Raif and Maria are hypocritical in their monologues like, every time they go on a tangent about love and their life it’s going to contradict in the 5th sentence or the more they go on and I just want to rip my hair out. The whole Berlin bit is just very, VERY repetitive.

Filled with romantic verses but I don’t see the romance ? Raif tells about this “meaningful conversations” they have and same with their letters later on but ??? Where is it ??? One of my pet peeves especially in romance novels is when a character (or the writer) claims they have this insane chemistry or thinks alike or “this character is so smart” but.. then they act like they don’t have any of those when I continue reading and I’m just arghhhhh WHERE ??

Also, they are NOT complicated characters. Raif says he doesn’t have any relationships because it doesn’t work out when it’s a him problem ?? Throughout the whole book, all the characters you get introduced to tries to connect with him yet he’s the one who doesn’t even try. He complains about his family and how he is always shadowed but they’re always there for him or helping him out ??? Girl … bffr. Same goes with Maria. The only thing that’s complicated with them (especially Maria) is that they’re homophobic and xenophobic. 😐

I liked the story better in the beginning with the unnamed narrator and Raif. This was the most unromantic romance novel I’ve ever read. 

Nica

First time rating a piece of translated fiction this low so I don’t know if it’s right for me to do so ?

I can’t comment on the writing style since I didn’t read from the original text, but it’s maybe the only thing I liked or kept me going (lol (it’s “readable”)) so props to the translator I guess. At first I didn’t like how slow it read for a book that’s less than 200 pages, but I came to realize that that will be the less of my concerns when I actually got to the real story.

I like unlikeable characters and narrators in any form of media, but Raif and Maria …. They took “kindred souls” too literally.

Their voices are exactly the same ! If you erase their names in dialogue parts, you wouldn’t know who’s talking ? Not sure if that’s Ali’s writing style or is it the translator ? None of them had any redeeming qualities for me to care about their asses. And that’s saying a lot as someone who just finished Angel by Elizabeth Taylor recently (and I loved Angel as a character). Both Raif and Maria are hypocritical in their monologues like, every time they go on a tangent about love and their life it’s going to contradict in the 5th sentence or the more they go on and I just want to rip my hair out. The whole Berlin bit is just very, VERY repetitive.

Filled with romantic verses but I don’t see the romance ? Raif tells about this “meaningful conversations” they have and same with their letters later on but ??? Where is it ??? One of my pet peeves especially in romance novels is when a character (or the writer) claims they have this insane chemistry or thinks alike or “this character is so smart” but.. then they act like they don’t have any of those when I continue reading and I’m just arghhhhh WHERE ??

Also, they are NOT complicated characters. Raif says he doesn’t have any relationships because it doesn’t work out when it’s a him problem ?? Throughout the whole book, all the characters you get introduced to tries to connect with him yet he’s the one who doesn’t even try. He complains about his family and how he is always shadowed but they’re always there for him or helping him out ??? Girl … bffr. Same goes with Maria. The only thing that’s complicated with them (especially Maria) is that they’re homophobic and xenophobic. 😐

I liked the story better in the beginning with the unnamed narrator and Raif. This was the most unromantic romance novel I’ve ever read. 

buddy read with @jellypoppd !

U do not know yearning until you read Madonna in a fur coat!!!!

Puhyu

Silva

I know understand why everybody's telling me to read this book. I'm so glad I went in without reading any reviews or summaries. I'm pretty sure this will be one of my best reads this year.

Bibi

marlisa

i truly, truly get it now, why the people i know read this. i’m glad i was able to find this book through those people. 

kite

Devotion, limerence, longing, solitude — all were felt deeply in this novel.

I couldn't even say a word when I finished this.. I felt solitude wash over my soul.

beautiful writing + always fun to indulge in an All Consuming Love story.

 did feel a little too Written by a Man in the 40s for me

petrina

beautiful writing + always fun to indulge in an All Consuming Love story.

 did feel a little too Written by a Man in the 40s for me

I didn't think I'd like this book. Stories about lonely, introverted, hopeless romantic guys aren't usually my thing, but this one was so beautifully written.

It's a Turkish novel from the 1940s. The story follows Raif, a man who feels a lot but struggles to express himself. One day, he comes across a painting of a woman in a fur coat, and he's completely captivated. He ends up spending hours, even days, just staring at it.

If I'm going to talk about love, it'll turn into a 20-page deep dive where I lay everything bare, so I'd rather just keep it to myself.

I didn't think I'd like this book. Stories about lonely, introverted, hopeless romantic guys aren't usually my thing, but this one was so beautifully written.

It's a Turkish novel from the 1940s. The story follows Raif, a man who feels a lot but struggles to express himself. One day, he comes across a painting of a woman in a fur coat, and he's completely captivated. He ends up spending hours, even days, just staring at it.

If I'm going to talk about love, it'll turn into a 20-page deep dive where I lay everything bare, so I'd rather just keep it to myself.

love, love, love! this book is my favourite i have every read. it’s sooo good. i could not recommend this enough. the writing is fantastic. it’s soo sad though.

Olivia

Madonna in a Fur Coat was a super quick and insightful book. The book gives the readers a glimpse of the pivotal moments of Raif and Maria's story which is their budding relationship with each other. Rather than a love story, I felt like the characters were representatives of a series of "what ifs" and how a single person can impact your life. While I did enjoy the story itself, I found it difficult to fully understand and comprehend Raif's actions and thoughts. In modern times, Raif would be considered a sad boy but the timeline in the story made him into a male yearner. 

Lane Loyola

None of us have experienced true yearning...

shaymaa

One of my favourite things about reading and writing reviews is the diversity of perspectives a person can naturally take when approaching a piece of work. Hence, I have seen Madonna in a Fur Coat, a novel by Turkish author Sabahattin Ali bounce around various corners of my timeline with both praise for its yearning romance and derision for its principal protagonists. Regardless, most of the analysis centres on the romantic psychology between its two love interests: what do we gain when we allow ourselves to open up, to allow someone access to us completely? What do we risk? And while it is true the romance in this book cuts deep and festers, I found myself more drawn to the novel’s peripheries, with the net effect being me enjoying this novel mostly in a way which surprised even myself.

Madonna begins in 1940s Turkey. An unnamed narrator is fired from his job at a bank, and during his brief period of depressed unemployment, manages to gain access to a sinecure out of nepotism. It is during this job he meets the firm’s translator, Raif Efendi, a despondent old man who happily takes abuse from both his colleagues and his family, and this subservience arouses a curiosity in the narrator, who befriends him during a spell of sickness. When Raif’s sickness worsens, the narrator is tasked to retrieve his journal, and through the reading of this journal we are provided with the main narrative frame of the novel.

The journal is simply one entry describing Raif Efendi’s entire life (and so there is no real epistolary element here). He grows up in the Ottoman Empire in a state of violence and upheaval, and his childhood is spent nurturing an isolation from people and a shyness that prevents him from forming any connections. His only interest is art, but he discovers that getting good at art requires revealing something of his soul, and this fear of intimacy prevents him from committing to it properly. He much prefers the fictional world over the real, much to the disappointment of his family.

He is sent to Germany to study the business of soap manufacturing. It is there he falls in love with a self-portrait lovingly described by an art critic as the ‘Madonna in a Fur Coat’, likening the woman in the portrait’s sadness and depth to the Virgin Mary depicted in ‘Madonna of the Harpies.’ Raif is obsessed with the painting, an obsession bordering on the pathological, and through a series of compulsions he comes to meet the artist, Maria Puder, and is instantly smitten. However, it is, from the start, a doomed union. The man filled with secrets but afraid of intimacy has fallen in love with a completely open but unreachable woman, and his solution is to therefore follow her like a dog, never revealing anything, anxious in preserving her love like sand slipping through fingers. Attached to an almost suicidal degree, her love has opened within him his generalised love for humanity, and a temporary connection to the world around him. It is a house of cards though—how long can the relationship last before collapse?

To me, strangely, this main romantic relationship was one of my least favourite parts of the novel. Not for any moralistic reasons, and in general I like the dynamic of Maria having power over Raif and being able to define what she looks for in love on her own terms (a kind of progressive view for the time the novel was written). And the beats do elicit that painful, yearning feeling. But my criticism is more that the love story doesn’t seek to do anything new—its timeline of tragedy was described as ‘cliche’ in the introduction to the novel and I can’t say I disagree (which doesn’t necessarily mean it is bad!)

But, as mentioned, it’s in the periphery where the novel shines. Sabahattin Ali belongs to the realist school of literature, and you'll find his style and focus very similar to a Dostoevsky or Hamsun. Short, incisive sentences, bleakness and greyness everywhere, the social realities of poverty always given centre stage, abusive and corrupt power structures, the breakdown of the familial unit, and a high-strung psychological style of dialogue can all be found in this novel. I loved the portrayal of The Ottoman Empire/Turkey and Germany—it's a complete disillusionment of European romanticism, and wonderfully reflects the narrator’s depressed state of mind. The tone added to the novel through this depiction was wonderful; the fantastic introduction by David Salim Sayers helped me ground the novel in its historical context. 

Sabahattin Ali was a Communist (and was potentially assassinated because of this) and this sense of working-class solidarity between people trapped in the system is a theme that arises very early in the novel. In this sense, I would probably say that the frame narrative and the narrator’s relationship with Raif Efendi moved me more than Raif Efendi’s relationship with Maria Puder. For with Raif and Maria you are already given the novel’s ending from the beginning. But it is this singular continuity between the depressive life of the narrator and the depressing end-state of Raif which really made me feel.

What is beautiful about this novel is therefore that the sense of ‘opening up’ to people isn’t confined to romantic relationships—we can all open up to one another, and behind every normal person who seems a brutish automaton, there is a vivid composite human to be discovered. All it takes, Sabahattin Ali poses, is the courage to connect, and the courage to be intimate. For through just one connection, romantic or otherwise, one begins to properly perceive the world’s beauty. And it is only from there one can begin to live.

shain

One of my favourite things about reading and writing reviews is the diversity of perspectives a person can naturally take when approaching a piece of work. Hence, I have seen Madonna in a Fur Coat, a novel by Turkish author Sabahattin Ali bounce around various corners of my timeline with both praise for its yearning romance and derision for its principal protagonists. Regardless, most of the analysis centres on the romantic psychology between its two love interests: what do we gain when we allow ourselves to open up, to allow someone access to us completely? What do we risk? And while it is true the romance in this book cuts deep and festers, I found myself more drawn to the novel’s peripheries, with the net effect being me enjoying this novel mostly in a way which surprised even myself.

Madonna begins in 1940s Turkey. An unnamed narrator is fired from his job at a bank, and during his brief period of depressed unemployment, manages to gain access to a sinecure out of nepotism. It is during this job he meets the firm’s translator, Raif Efendi, a despondent old man who happily takes abuse from both his colleagues and his family, and this subservience arouses a curiosity in the narrator, who befriends him during a spell of sickness. When Raif’s sickness worsens, the narrator is tasked to retrieve his journal, and through the reading of this journal we are provided with the main narrative frame of the novel.

The journal is simply one entry describing Raif Efendi’s entire life (and so there is no real epistolary element here). He grows up in the Ottoman Empire in a state of violence and upheaval, and his childhood is spent nurturing an isolation from people and a shyness that prevents him from forming any connections. His only interest is art, but he discovers that getting good at art requires revealing something of his soul, and this fear of intimacy prevents him from committing to it properly. He much prefers the fictional world over the real, much to the disappointment of his family.

He is sent to Germany to study the business of soap manufacturing. It is there he falls in love with a self-portrait lovingly described by an art critic as the ‘Madonna in a Fur Coat’, likening the woman in the portrait’s sadness and depth to the Virgin Mary depicted in ‘Madonna of the Harpies.’ Raif is obsessed with the painting, an obsession bordering on the pathological, and through a series of compulsions he comes to meet the artist, Maria Puder, and is instantly smitten. However, it is, from the start, a doomed union. The man filled with secrets but afraid of intimacy has fallen in love with a completely open but unreachable woman, and his solution is to therefore follow her like a dog, never revealing anything, anxious in preserving her love like sand slipping through fingers. Attached to an almost suicidal degree, her love has opened within him his generalised love for humanity, and a temporary connection to the world around him. It is a house of cards though—how long can the relationship last before collapse?

To me, strangely, this main romantic relationship was one of my least favourite parts of the novel. Not for any moralistic reasons, and in general I like the dynamic of Maria having power over Raif and being able to define what she looks for in love on her own terms (a kind of progressive view for the time the novel was written). And the beats do elicit that painful, yearning feeling. But my criticism is more that the love story doesn’t seek to do anything new—its timeline of tragedy was described as ‘cliche’ in the introduction to the novel and I can’t say I disagree (which doesn’t necessarily mean it is bad!)

But, as mentioned, it’s in the periphery where the novel shines. Sabahattin Ali belongs to the realist school of literature, and you'll find his style and focus very similar to a Dostoevsky or Hamsun. Short, incisive sentences, bleakness and greyness everywhere, the social realities of poverty always given centre stage, abusive and corrupt power structures, the breakdown of the familial unit, and a high-strung psychological style of dialogue can all be found in this novel. I loved the portrayal of The Ottoman Empire/Turkey and Germany—it's a complete disillusionment of European romanticism, and wonderfully reflects the narrator’s depressed state of mind. The tone added to the novel through this depiction was wonderful; the fantastic introduction by David Salim Sayers helped me ground the novel in its historical context. 

Sabahattin Ali was a Communist (and was potentially assassinated because of this) and this sense of working-class solidarity between people trapped in the system is a theme that arises very early in the novel. In this sense, I would probably say that the frame narrative and the narrator’s relationship with Raif Efendi moved me more than Raif Efendi’s relationship with Maria Puder. For with Raif and Maria you are already given the novel’s ending from the beginning. But it is this singular continuity between the depressive life of the narrator and the depressing end-state of Raif which really made me feel.

What is beautiful about this novel is therefore that the sense of ‘opening up’ to people isn’t confined to romantic relationships—we can all open up to one another, and behind every normal person who seems a brutish automaton, there is a vivid composite human to be discovered. All it takes, Sabahattin Ali poses, is the courage to connect, and the courage to be intimate. For through just one connection, romantic or otherwise, one begins to properly perceive the world’s beauty. And it is only from there one can begin to live.

Que leitura linda! Acho que se tornou o meu favorito! Mal posso esperar pra reler!

Madonna in a Fur Coat

Reviews

Highlights