The Glass Blowers
by Daphne du Maurier
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The world of the glass-blowers has its own traditions, its own language - and its own rules. 'If you marry into glass' Pierre Labbe warns his daughter, 'you will say goodbye to everything familiar, and enter a closed world'. But crashing into this world comes the violence and terror of the French Revolution, against which the family struggles to survive. Years later, Sophie Duval reveals to her long-lost nephew the tragic story of a family of master craftsmen in eighteenth-century France. show more Drawing on her own family's tale of tradition and sorrow, Daphne du Maurier weaves an unforgettable saga of beauty, war, and family. show lessTags
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Sophie Busson is the daughter of Mathurin Busson, a master glass maker in central France, and this is the story of her family, spanning nearly 100 years: starting with the year of her parents’ marriage, all through the turbulent years of the events leading up to and including the Revolution, the brief years of the Republic, until the rise of Napoleon Bonaparte and his coronation as Emperor, and the restoration of the monarchy.
Based on Daphne du Maurier’s own French forebears, in the novel Sophie writes down the history of the Bussons, a family of glass blowers, for the benefit of her nephew Louis-Mathurin Busson, who grew up in England and is ignorant of his true family history. The first half of the book is not only provincial in show more perspective, but positively pedestrian, but du Maurier manages to create an evocative impression of rural France in the latter half of the eighteenth century, with the descriptions of the glass-blowing industry particularly vivid. Finally, in the 1780s, we can actually read about real events deserving of the name, as the political situation in France deteriorates, with riots and uprisings throughout the country, and the royal family having to make more and more concessions to the people to keep the peace. The passages detailing the riots in Paris and in Loir-et-Cher, the area where Sophie and her family live, the fear and suspicion after the fall of the ancien régime and the terror of the subsequent civil war are among the most powerful in the novel and for once shift the usual central perspective focused on Paris during those years to the provinces, where unspeakable atrocities took place that are much less known. The chapter about the Vendéans taking Le Mans, with its potent images of utter dehumanisation, will stay with me a long time; there is a still-relevant message to be found in these pages. By the end, each character had grown on me, as I had come to know all their individual stories, and I felt sorry I had to take my leave.
This will not be everyone’s cup of tea, and a lot will probably give up long before they make it to the halfway point, but there is a definite reward to be had for those who persevere. show less
Based on Daphne du Maurier’s own French forebears, in the novel Sophie writes down the history of the Bussons, a family of glass blowers, for the benefit of her nephew Louis-Mathurin Busson, who grew up in England and is ignorant of his true family history. The first half of the book is not only provincial in show more perspective, but positively pedestrian, but du Maurier manages to create an evocative impression of rural France in the latter half of the eighteenth century, with the descriptions of the glass-blowing industry particularly vivid. Finally, in the 1780s, we can actually read about real events deserving of the name, as the political situation in France deteriorates, with riots and uprisings throughout the country, and the royal family having to make more and more concessions to the people to keep the peace. The passages detailing the riots in Paris and in Loir-et-Cher, the area where Sophie and her family live, the fear and suspicion after the fall of the ancien régime and the terror of the subsequent civil war are among the most powerful in the novel and for once shift the usual central perspective focused on Paris during those years to the provinces, where unspeakable atrocities took place that are much less known. The chapter about the Vendéans taking Le Mans, with its potent images of utter dehumanisation, will stay with me a long time; there is a still-relevant message to be found in these pages. By the end, each character had grown on me, as I had come to know all their individual stories, and I felt sorry I had to take my leave.
This will not be everyone’s cup of tea, and a lot will probably give up long before they make it to the halfway point, but there is a definite reward to be had for those who persevere. show less
I adore novels of the French Revolution and this one takes an relatively unusual perspective, that of the countryside. Although the revolution centred around Paris, where the great political personalities clashed, the monarchy were deposed, and the people rioted, its impact outside the capital is also very interesting. Du Maurier's novel is really a family saga set during the revolution. Although its upheavals impinge significantly upon the family's fortunes, they themselves are in no sense central to it. The differing political viewpoints of the siblings are well-presented, though, as are the roles they take on (National Guard, Émigré, etc).
It took me about a hundred pages to really get into 'The Glass-Blowers', but once I did I read show more it compulsively. The section about the 'Grand Peur', a period in which rural France was swept with rumours of brigands and disaster, was especially vivid. It highlighted how poor communications were at that time, with unreliable word of mouth all that those outside Paris had to go regarding the status of their government. The all-pervasive fear of chaos seems ironically more powerful as a rumour than when it later becomes a fact, during the revolt of the Vendée and subsequent civil war. The latter is also evoked very powerfully. It is also notable that the Terror is of relative unimportance by comparison, which is another reminder of differing rural and urban experiences. After all, it was the French Revolution, not the Parisian Revolution.
I found the depiction of women in this novel especially striking, and very moving. The deaths in childbirth and the terrible levels of infant mortality are too often swept aside in historical novels. 'The Glass-Blowers' is narrated by a woman, whose mother is depicted as its most steadfast, strong, and wise character. There is little explicit discussion of women's rights, but their importance is made very clear. I came to care about the characters very much. Although the narrator, Sophie, is in some senses the least vivid of her siblings, that is perhaps due to it being her voice trying to tell the truth of the family story. Overall, I really enjoyed this novel, both as a moving family drama and as an account of the late 18th century and early 19th in rural France. show less
It took me about a hundred pages to really get into 'The Glass-Blowers', but once I did I read show more it compulsively. The section about the 'Grand Peur', a period in which rural France was swept with rumours of brigands and disaster, was especially vivid. It highlighted how poor communications were at that time, with unreliable word of mouth all that those outside Paris had to go regarding the status of their government. The all-pervasive fear of chaos seems ironically more powerful as a rumour than when it later becomes a fact, during the revolt of the Vendée and subsequent civil war. The latter is also evoked very powerfully. It is also notable that the Terror is of relative unimportance by comparison, which is another reminder of differing rural and urban experiences. After all, it was the French Revolution, not the Parisian Revolution.
I found the depiction of women in this novel especially striking, and very moving. The deaths in childbirth and the terrible levels of infant mortality are too often swept aside in historical novels. 'The Glass-Blowers' is narrated by a woman, whose mother is depicted as its most steadfast, strong, and wise character. There is little explicit discussion of women's rights, but their importance is made very clear. I came to care about the characters very much. Although the narrator, Sophie, is in some senses the least vivid of her siblings, that is perhaps due to it being her voice trying to tell the truth of the family story. Overall, I really enjoyed this novel, both as a moving family drama and as an account of the late 18th century and early 19th in rural France. show less
I'm always surprised by just how prolific Daphne Du Maurier really was; she is known for writing gothic novels like 'Rebecca' and 'Jamaica Inn', but also wrote short stories (such as 'The Birds', later made into a film) and non-fiction about herself and her family. 'The Glass Blowers' is a fictionalisation of the lives of her French ancestors, glass blowers from the Loir-et-Cher region of northern France, set during the Revolution. In fact, I first started this book a few years back, when I was obsessed with anything to with eighteenth century France because of my love for the Pimpernel novels by Orczy, but abandoned it midway through. This was my chance to rectify my hasty neglect of one of Du Maurier's subtler works, and to read the show more book on its own merits, not for a tenuous link with history, and I enjoyed the story.
Told in retrospect, through a manuscript of letters from Sophie Duval to her long-lost nephew, Du Maurier constructs a historic yet private account of her ancestor, 'Robert Busson' and his brothers and sisters, the children of a master glass-maker. Robert is an 'incorrigible farceur', an opportunist and a gambler, always seeking to better himself, whether with words or risks. His money-making schemes and delusions of grandeur lead him into the thick of the action in Paris, when the Revolution comes, but also bring personal and financial ruin. Although Sophie is the storyteller, Robert captures the reader's attention and sympathy, because unlike Sophie's bloodless recounting of political violence and personal tragedy, Robert makes his own history. He is impulsive, selfish and never satisfied, but engaging and personable. Robert and Sophie's brothers, Michel and Pierre, embody the forceful reality and the idealistic theory of the Revolution respectively, and sister Edme is the standard Du Maurier feminist ('I always said she should have been born a man. Her brains and tenacity were wasted in a woman'). Their mother, the widowed matriarch of the Busson family, provides silent strength and support, unmoved by revolution and governed by good sense ('St Christophe might become Rabriant, Madame Busson a 'citoyenne', kings, queens and princes go to their death and the whole country change; but my mother had held fast to her own timeless world'). I admired both her and Robert, for entirely different reasons!
The story is split between Chesne-Bidault, the glass foundry, and Paris; the domestic and public versions of the Revolution. In her introduction, Michelle de Kretser calls the Paris chapters, or Du Maurier's attempt to deal with the unwieldy dates and legends of history, 'stiffly self-conscious', and I would have to agree. Sophie reports rumours and visits Robert in the capital city, but the descriptions are loaded with clunky explanations and biographies that might have been clipped straight from a textbook: 'Like many others of my generation, I had never heard of the States-General, and it was Pierre who had to explain to me that they were deputies representing the entire nation, divided into three separate bodies ...' Also, Robespierre is name-dropped rather comically - 'Depend upon it, we shall hear more of this fellow' - and Sophie, recalling Bastille Day, can't remember if it was the thirteenth or the fourteenth of July ... I know that recounting certain names, dates and events is imperative when covering such an important chapter of history, but rather than adding tension and building the action, this part of the book feels disconnected from the story of the Busson family. Stronger and more gripping are the personal tragedies, such as the loss of babies and the divisions between brothers and sisters, and the effect of the Revolution on those at home. The Vendean uprising experienced by Sophie and Pierre's family brings to life the terror and poverty of war far more than trying to convey in one line the republican and royalist sentiments of Paris during 1789. Learning about the closed communities of glass blowers and sharing the secrets of Sophie and Robert's family are what make this book both an education and a delight to read, not a potted history of the French Revolution.
Michelle de Kretser also compares this book to Orczy's Pimpernel series, and although Du Maurier takes the more acceptable republican perspective, and is perhaps less sensationalist, what unites both is the strength of the characters. I don't know how much is fact and how much is fiction, but Sophie and Robert, and Mme Busson and the children, were a joy to read about. show less
Told in retrospect, through a manuscript of letters from Sophie Duval to her long-lost nephew, Du Maurier constructs a historic yet private account of her ancestor, 'Robert Busson' and his brothers and sisters, the children of a master glass-maker. Robert is an 'incorrigible farceur', an opportunist and a gambler, always seeking to better himself, whether with words or risks. His money-making schemes and delusions of grandeur lead him into the thick of the action in Paris, when the Revolution comes, but also bring personal and financial ruin. Although Sophie is the storyteller, Robert captures the reader's attention and sympathy, because unlike Sophie's bloodless recounting of political violence and personal tragedy, Robert makes his own history. He is impulsive, selfish and never satisfied, but engaging and personable. Robert and Sophie's brothers, Michel and Pierre, embody the forceful reality and the idealistic theory of the Revolution respectively, and sister Edme is the standard Du Maurier feminist ('I always said she should have been born a man. Her brains and tenacity were wasted in a woman'). Their mother, the widowed matriarch of the Busson family, provides silent strength and support, unmoved by revolution and governed by good sense ('St Christophe might become Rabriant, Madame Busson a 'citoyenne', kings, queens and princes go to their death and the whole country change; but my mother had held fast to her own timeless world'). I admired both her and Robert, for entirely different reasons!
The story is split between Chesne-Bidault, the glass foundry, and Paris; the domestic and public versions of the Revolution. In her introduction, Michelle de Kretser calls the Paris chapters, or Du Maurier's attempt to deal with the unwieldy dates and legends of history, 'stiffly self-conscious', and I would have to agree. Sophie reports rumours and visits Robert in the capital city, but the descriptions are loaded with clunky explanations and biographies that might have been clipped straight from a textbook: 'Like many others of my generation, I had never heard of the States-General, and it was Pierre who had to explain to me that they were deputies representing the entire nation, divided into three separate bodies ...' Also, Robespierre is name-dropped rather comically - 'Depend upon it, we shall hear more of this fellow' - and Sophie, recalling Bastille Day, can't remember if it was the thirteenth or the fourteenth of July ... I know that recounting certain names, dates and events is imperative when covering such an important chapter of history, but rather than adding tension and building the action, this part of the book feels disconnected from the story of the Busson family. Stronger and more gripping are the personal tragedies, such as the loss of babies and the divisions between brothers and sisters, and the effect of the Revolution on those at home. The Vendean uprising experienced by Sophie and Pierre's family brings to life the terror and poverty of war far more than trying to convey in one line the republican and royalist sentiments of Paris during 1789. Learning about the closed communities of glass blowers and sharing the secrets of Sophie and Robert's family are what make this book both an education and a delight to read, not a potted history of the French Revolution.
Michelle de Kretser also compares this book to Orczy's Pimpernel series, and although Du Maurier takes the more acceptable republican perspective, and is perhaps less sensationalist, what unites both is the strength of the characters. I don't know how much is fact and how much is fiction, but Sophie and Robert, and Mme Busson and the children, were a joy to read about. show less
Although the backdrop for the book is the French Revolution, the real story is about the siblings making the journey from the world that was, through revolution and life, each in their own way, into the new world order. A young couple, devoted to each other, understand their world and their place in it as they raise their five children. They are comfortable in their lives until revolution comes to France, until their country and their family begin to unravel.
The oldest son dreams of becoming a member of the new aristocracy, only to lose everything he has again and again, without learning any lessons, without valuing the great gifts he has already been given, always wanting more.
The second son breezes through life without building much show more for the future, but he wants to help his fellow man. He finds his niches that give him temporary satisfaction but pays no attention to building a lasting life and legacy. His dreams are destroyed by the ongoing unrest as well as his inability to plan ahead.
The third son, who has been neglected and discounted, eagerly dives into the revolution, only to find that overturning the old regime does not lead to lasting wealth and the recognition that he craves. There is only continuing destruction and a newfound willingness to engage in behavior that would have previously been unthinkable, earning his family's disdain.
The younger daughter's determination to secure a marriage with an older man who will guarantee her future financial security does not lead to that, only to her contempt and abandonment of him after he has lost everything materially, the only reason she had married him. She rediscovers her devotion to her family and returns to care for her siblings.
The infants that die, siblings and the children of the narrating older daughter, could be the stillborn hopes and dreams of both the old regime and the new one. Life goes on and the narrator makes concessions enough to survive and finish with a satisfactory, if not perfect life. The parts about glass making were interesting and I recognized the turning points and major events in the French Revolution, but this is no more about the French Revolution than Rebecca was about a housefire. This allegory could be a story of any time and place, before or after this historical event, a story of men and women on a journey throughout history. show less
The oldest son dreams of becoming a member of the new aristocracy, only to lose everything he has again and again, without learning any lessons, without valuing the great gifts he has already been given, always wanting more.
The second son breezes through life without building much show more for the future, but he wants to help his fellow man. He finds his niches that give him temporary satisfaction but pays no attention to building a lasting life and legacy. His dreams are destroyed by the ongoing unrest as well as his inability to plan ahead.
The third son, who has been neglected and discounted, eagerly dives into the revolution, only to find that overturning the old regime does not lead to lasting wealth and the recognition that he craves. There is only continuing destruction and a newfound willingness to engage in behavior that would have previously been unthinkable, earning his family's disdain.
The younger daughter's determination to secure a marriage with an older man who will guarantee her future financial security does not lead to that, only to her contempt and abandonment of him after he has lost everything materially, the only reason she had married him. She rediscovers her devotion to her family and returns to care for her siblings.
The infants that die, siblings and the children of the narrating older daughter, could be the stillborn hopes and dreams of both the old regime and the new one. Life goes on and the narrator makes concessions enough to survive and finish with a satisfactory, if not perfect life. The parts about glass making were interesting and I recognized the turning points and major events in the French Revolution, but this is no more about the French Revolution than Rebecca was about a housefire. This allegory could be a story of any time and place, before or after this historical event, a story of men and women on a journey throughout history. show less
"Somehow, we no longer seemed to preach the brotherhood of man".
In this book du Maurier recounts the tale of her forebears, the Busson family of master glass-blowers leading up to and through the French Revolution. Told through the POV of Sophie as she looks back on her life, daughter of master glass-blower Mathurin Busson and his formidable (in a good way) wife Magdaleine and her siblings Robert, Pierre, Michel and Edmé. For Robert, the eldest working his craft in the countryside is not enough and he dreams of greatness in Paris - but unable to manage his spending he always ends up in financial disaster and bankruptcy and he depends on his family to bail him out time and again.
The countryside where the Busson family lives is not show more greatly affected by the first stirrings of the revolution in the cities, but that soon changes when Michel and Sophie's husband Francois become National Guardsman and find themselves slowly being caught up in the nationalist fervor sweeping the country. At first Sophie is horrified at the behavior of her brother and husband as they join others in sacking the manor houses and churches -
"The people were mad. They had to have a victim. No single one of them was to blame, it was like a fever sweeping them."
Eventually she too finds herself buying into the revolutionary ideals as the madness continues to grow and suspicion and rumor grip the countryside. In the end a new and "stable" government takes control but it is never enough. Eventually Sophie and her family are swept up in the War in the Vendée, a little known but horrific footnote in history (do go to Wik and read up on it). Once The Terror is over the Busson siblings rebuild their lives and eventually things come full circle with the return of Robert - who fled to England as an émigré to avoid the debts of his last business debacle.
While this novel is a bit slower paced at times (although the scenes from the Vendée were downright unputdownable) and might not appeal to all readers, I enjoyed it a great deal. A refreshing change seeing the Revolution from the countryside - major events such as the taking of the Bastille, the Women's March on Versailles and the executions of Louis and Marie were events that happened far away. As maddening as he was in his doomed financial efforts, Robert was great fun and I loved the way the author worked in the "birth" of the family name in England - du Maurier. Definitely recommended for du Maurier fans or those interested in the history of the Revolution. show less
In this book du Maurier recounts the tale of her forebears, the Busson family of master glass-blowers leading up to and through the French Revolution. Told through the POV of Sophie as she looks back on her life, daughter of master glass-blower Mathurin Busson and his formidable (in a good way) wife Magdaleine and her siblings Robert, Pierre, Michel and Edmé. For Robert, the eldest working his craft in the countryside is not enough and he dreams of greatness in Paris - but unable to manage his spending he always ends up in financial disaster and bankruptcy and he depends on his family to bail him out time and again.
The countryside where the Busson family lives is not show more greatly affected by the first stirrings of the revolution in the cities, but that soon changes when Michel and Sophie's husband Francois become National Guardsman and find themselves slowly being caught up in the nationalist fervor sweeping the country. At first Sophie is horrified at the behavior of her brother and husband as they join others in sacking the manor houses and churches -
"The people were mad. They had to have a victim. No single one of them was to blame, it was like a fever sweeping them."
Eventually she too finds herself buying into the revolutionary ideals as the madness continues to grow and suspicion and rumor grip the countryside. In the end a new and "stable" government takes control but it is never enough. Eventually Sophie and her family are swept up in the War in the Vendée, a little known but horrific footnote in history (do go to Wik and read up on it). Once The Terror is over the Busson siblings rebuild their lives and eventually things come full circle with the return of Robert - who fled to England as an émigré to avoid the debts of his last business debacle.
While this novel is a bit slower paced at times (although the scenes from the Vendée were downright unputdownable) and might not appeal to all readers, I enjoyed it a great deal. A refreshing change seeing the Revolution from the countryside - major events such as the taking of the Bastille, the Women's March on Versailles and the executions of Louis and Marie were events that happened far away. As maddening as he was in his doomed financial efforts, Robert was great fun and I loved the way the author worked in the "birth" of the family name in England - du Maurier. Definitely recommended for du Maurier fans or those interested in the history of the Revolution. show less
A gripping and well written family story of glass-blowers before, during and after the French Revolution. The author conveys very well the drama, horror and idealism of the time and the mixed sense of wild optimism and shocked dislocation that the narrator, and surely many of her contemporaries, would have felt. A number of babies and young people tragically die and there is a poignant sense of loss through the latter part of the story. Great stuff.
Using her own family history as inspiration, Du Maurier gives us the aging Sophie Duval, who has promised her nephew that she will tell the story of their family, starting with her mother marrying into the local community of glass blowers.
The story starts with Sophie's mother getting married in the 1770s in rural France, where the glass blowers are situated beside the forests that provide the fuel for the furnaces.
Sophie herself gets married in 1788 in a joint wedding with her younger sister. It's not long before the issues building up in Paris spills out into the countryside. The storming of the Bastille and other important events is told via gossip and second hand scare mongering as panic spreads across the land, and thieves and show more brigands are seen in every shadow, ready to burn crops and steal wood.
Over the next few years, we see how the revolution happening in the bigger towns and cities filters down into the countryside, where neighbour can turn against neighbour and family fortunes can be made and lost by a word in the wrong place.
Sophie's family is directly affected where one brother, who gambles with his money and reputation, emigrates to England having been declared bankrupt too many times, and stakes his living (badly) with the other french emigres.
Pierre becomes a notary, Edme works first with Pierre and then Michel as local leaders in the revolution. Both men die in their old age, tired and worn out, and Edme is left to continue her fight for a revolution that has long lost it's spark. Sophie lives into her old age where her nephew (Michel's son) has become the mayor of the local town and we're back to where the story started.
The book is sub-400 pages long in this edition, so this is not an in depth detailed look at the French Revolution. du Maurier has chosen some set pieces to highlight on and there is much that is told briefly (or not at all). Therefore this is not a book for someone looking for a non-fictionalised account of the Revolution, should be seen more as a lead-in story.
This is another example of du Maurier's skill is telling historical fiction, and should be much better known than it is. show less
The story starts with Sophie's mother getting married in the 1770s in rural France, where the glass blowers are situated beside the forests that provide the fuel for the furnaces.
Sophie herself gets married in 1788 in a joint wedding with her younger sister. It's not long before the issues building up in Paris spills out into the countryside. The storming of the Bastille and other important events is told via gossip and second hand scare mongering as panic spreads across the land, and thieves and show more brigands are seen in every shadow, ready to burn crops and steal wood.
Over the next few years, we see how the revolution happening in the bigger towns and cities filters down into the countryside, where neighbour can turn against neighbour and family fortunes can be made and lost by a word in the wrong place.
Sophie's family is directly affected where one brother, who gambles with his money and reputation, emigrates to England having been declared bankrupt too many times, and stakes his living (badly) with the other french emigres.
Pierre becomes a notary, Edme works first with Pierre and then Michel as local leaders in the revolution. Both men die in their old age, tired and worn out, and Edme is left to continue her fight for a revolution that has long lost it's spark. Sophie lives into her old age where her nephew (Michel's son) has become the mayor of the local town and we're back to where the story started.
The book is sub-400 pages long in this edition, so this is not an in depth detailed look at the French Revolution. du Maurier has chosen some set pieces to highlight on and there is much that is told briefly (or not at all). Therefore this is not a book for someone looking for a non-fictionalised account of the Revolution, should be seen more as a lead-in story.
This is another example of du Maurier's skill is telling historical fiction, and should be much better known than it is. show less
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Daphne Du Maurier was born in London on May 13, 1907 and educated in Paris. In 1932, she married Lieutenant-General Sir Frederick Browning. She began writing short stories of mystery and suspense for magazines in 1928, a collection of which appeared as The Apple Tree in 1952. Her first novel, The Loving Spirit, was published in 1931. Her tightly show more woven, highly suspenseful plots and her strong characters make her stories perfect for adaptation to film or television. Among her many novels that were made into successful films are Jamaica Inn (1936), Rebecca (1938), Frenchman's Creek (1941), Hungry Hill (1943), My Cousin Rachel (1952), and The Scapegoat (1957). Her short story, The Birds (1953), was brought to the screen by director Alfred Hitchcock in a treatment that has become a classic horror-suspense film. She died on April 19, 1989 at the age of 81. (Bowker Author Biography) show less
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- Canonical title
- The Glass Blowers
- Original title
- The Glass-Blowers
- Original publication date
- 1963
- People/Characters
- Sophie Duval
- Important places
- Paris, Île-de-France, France; Le Mans, Sarthe, Pays de la Loire, France
- Dedication
- To my forbears, the master glass-blowers of la Brulonnerie, Cherigny, la Pierre and le Chesne-Bidault.
- First words
- One day in the June of 1844 Madame Sophie Duval, nee Busson, eighty years of age and mother of the mayor of Vibraye, a small commune in the departement of Sarthe, rose from her chair in the salon of her property at le Gue de ... (show all)Launay, chose her favourite walking-stick from a stand in the hall, and calling to her dog made her way, as was her custom at this hour of the afternoon every Tuesday, down the short approach drive to the entrance gate.
- Last words
- (Click to show. Warning: May contain spoilers.)The men would be going on night-shift at la Pierre and at le Chesne-Bidault, and the women preparing coffee; and even if she herself no longer lived amongst them, the spirit of the past was with her still.
- Original language
- English UK
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- 9 — Czech, Dutch, English, Finnish, French, German, Italian, Romanian, Spanish
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- Paper, Audiobook, Ebook
- ISBNs
- 26
- ASINs
- 39
