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12/26/2019 c8 Sue Hunt
Please do write more about the fascinating sexy but deformed Erik. We can pull out a true love relationship for Erik with christine or another woman,. He has always been an animal person, horses always, cats, dogs, along with Persia, opera house, love. I love the characters with him, the Persian, Mad. Gery, meg, christine, the rat catcher. So much story!
12/22/2019 c6 Sue Hunt
Definently different. Never heard much about what you've written. Could you be from Asia, Japan, India, Persia, Pakistan etc.? You're doing a good job. Lots of research. Certainly Erik was freaky, innocent.,naive, yet intelligent. What a life. Wish he could have healed some of those skin issues.
6/5/2017 c8 41AmadErik
Just finished your story. I am speechless and I can only say you won my heart with it- favorited forever. Thank you.
5/30/2017 c1 AmadErik
I can't believe you write about Erik's childhood. What an interesting idea you write him siblings. It is even more complicated, and even though, I agree with more children in that time period myself, I never pictured siblings for Erik, but it works so well.
10/12/2016 c1 LemonSweetTea
Amazing...instant favorite. This is such a detailed back story and I love it.
10/10/2016 c1 16Child of Dreams
Etienne, not Etennie.
9/4/2016 c1 ScrollMage
Wow, this is amazingly accurate to the details that Leroux wrote. I love how you expanded on the details he provided in the epilogue, Amazing work, and amazingly researched. Kudos.
8/1/2016 c8 38Mizamour
Your work is phenomenal! You are a brilliant writer and I can't wait to read more of this!
3/24/2016 c8 Igenlode
It is ironic that the screams of the innkeeper and his servant are not caused by the realisation that they have a dead man on the premises, but by the living one :-(

"cursing my idea with the false blood. It was not too easy to remove from his coat, real blood would have been easier" - we won't ask how Erik knows that :-(

"he was taller than me, not much, but he was" - yes, Leroux mentions that Erik and the Persian were about the same height... which means that if Erik in this story is unusually tall, so too must the other man have been!
I've seen a number of close-up photographs of Syrian children in the newspapers recently with pale green eyes, which always reminds me of the Daroga. Though of course nobody really has 'ebony' skin, at least not outside the blue-black depths of Africa.

Oh dear - it hadn't occurred to me to connect Chang's words about serving an Emperor with the Shah :-(
But of course Erik feels that he is obeying his mentor's last wishes for him... and he looks forward to being able to do harmless clown magic for the little sultana. If only he knew!

(I wonder what happened to the swords? A pair of Japanese swords would have been very distinctive, but he never seems to use them again. I thought perhaps Erik would have buried them with Chang, but presumably he lost them in Persia somewhere. And at what point does this Erik have his adventures with the pirates of Tonkin?)

To be honest I think you would have done better to have split this chapter; you would have got more reviews, probably mentioning more individual aspects of the story, and you would certainly have got this one many weeks earlier :-(

Having Erik narrating the story to C├ęsar certainly explains the obsessive focus on apple-eating, which was beginning to become rather puzzling! It also explains why we never hear the supposed responses of the other party in the conversation; I used a similar trick when I had Micaela revealed as talking to a gravestone at the end of my Carmen story.
It feels like cheating, though, because Erik's half of the conversation is so obviously designed to mislead and doesn't always make sense in retrospect if applied to a horse. You can't tell a grey gelding that he "will need a new belt" if he eats too much, for example; and if Erik has already stolen the horse and is keeping him down in the cellars of the Opera House, as implied by this chapter, then why does he have to escape every time the sun comes up for fear of their being seen together? Not everything can be explained away as Erik's imagination supplying both sides of the dialogue...

Comparing this chapter with those first few chapters, let alone the beginning of "Madness and Hope", it is amazing how much your English has improved and how much more sophisticated your usage has become; I am beginning to feel obsolete as a translator ;-)
(And it's a sad reminder that the only way to improve my languages would be to use them constantly and to worry less about mistakes. But I don't.)
3/24/2016 c8 45Igenlode Wordsmith
"It can be a wonderful memory you will enjoy or it can torment you for the rest of your life" - I've never been able to forget, or look elsewhere :-(

"somehow my voice had a new quality to it. I could not really control it then, but my magic show and my music dulled men's wits and made them easier to bargain with" - this is evidently the first signs of the power that we see Erik use on Christine, and which Raoul too experiences

kath leaves are... what we know as the Arabic qat, I would guess?

I love the idea of Erik carefully explaining that the idea of meeting a thousand enemies outside your house was of course metaphorical, just in case one should attempt to visualise it literally ;-p

"an old man who might be right in his teachings for an actual spy and assassin, but I was neither " - it's true that he isn't *actually* acting as a ninja; he is simply combining Chang's training with his own skills as a magician and confidence trickster in order to make money and survive. He has no mission to carry out, no allegiance and no employer.

Ah, I'd always wondered about those hints in Leroux that Christine is *not* the first woman in Erik's life - that there had been others down there who failed to survive. "You women are so curious"... "when a woman has seen me, then she is mine for ever"... "she was as beautiful as a dead woman"... "I took off my mask, and she didn't die"...
So here we have the origin of Erik's conviction that he can kill a woman simply by kissing her (or by her seeing his face). The drugged woman's heart gives out from sheer horror when she opens her eyes and sees the identity of her final 'client' in the moonlight; she probably believes that Death himself has come for her.

And poor fifteen-year-old Erik thinks he can make everything better by marrying her and thus regularising the situation!

Unsurprisingly it's pretty traumatising finding yourself copulating with a corpse... I'm assuming that Erik is undergoing some kind of post-traumatic stress reaction here.

So there were female ninja teachers?

"If you ever happen to have a pupil, Erik, never even think of taking advantage of him or her" - foreshadowing, of course :-(

"I could prove my superiority over the great architects of the glorious ancient times. They never thought about the obvious task of preserving the lives of the inhabitants of their buildings" - how shockingly neglectful of them to omit deathtraps and hidden weapons from their masterpieces :-p

"My show that time started with the beheading trick. That had to come first for I could barely see with my head covered in my cloak" - ah, that's what I was wondering about in the previous chapter...

"I removed this from the manager's desk, they mustn't read this one, we can use it" - so Erik has been censoring the managers' in-tray? ;-)

"when you try it - try it in the bathroom until you got the knack" - I tried it in the kitchen sink. It worked... for a couple of seconds ;-D

"if you ever tell that persisting dolt I admitted to this" - so this is *not* the Daroga he is talking to, then. At least I can't see anybody else in Erik's life whom he is likely to describe as a persisting dolt in a moral context!

I had a look for Akhal-Teke horses on the Internet (and ended up spending the whole evening exploring the breed), and yes, some of them really do look quite extraordinary in colour: I saw the pictures of the famous horse "Kambar" and he really appears the colour of pure metal.

"I was honest enough to pay him" - Erik's idea of honesty consists of forcing the man to accept his money under pain of death :-)
He is taking a big risk, though. If there is a stud book and the horse carries a unique brand, surely as soon as Erik has gone the trader could report the stallion as stolen so that anyone who ever checks will know that he is not Erik's property?
Not that anyone *is* likely to check back in Turkmenistan once a set of plausible papers is waved under their noses... Erik could probably just have faked something, if he'd known what it ought to look like :-p

Given Erik's expressed earlier reluctance to travel by ship, I wonder if Chang suspected that by spending their passage-money on a horse his apprentice was hoping to force him to travel inland around the edge of the Caspian Sea instead?

"He wanted me to commit suicide to erase the shame" - given my (scanty) knowledge of Japanese ritual suicide customs, I was assuming that Chang expected Erik actually to kill himself at this point!

"But you will repay me trice, understood?" - does he mean twice or thrice (three times over)?

Ooops - I had always assumed that Deinos was the same as DEIMOS (Deimos and Phobos, the sons of the war-god Ares). I had no idea there was a female DEINOS!

It's an interesting question as to just what Chang was waiting for before he was prepared to take Erik back as his pupil. Not a sufficient sum of money, evidently (and since the money that Erik took was the property of both of them and was destined solely for the purpose of paying for their sea passage, that debt was presumably repaid when he had earned enough to buy the passage again). Not for them to reach a specific location where they could safely part company. Was he waiting for the boy to demonstrate a sufficient degree of humility and regret? He ignores Erik when he tries to practise alone, gets into bad habits and injures himself - which is a hard thing for any teacher to watch happening...
Presumably he wasn't simply waiting for Erik to offer up his most valuable possession, for if that were the case he could have made this demand much earlier when Erik first asked. I'm not clear whether he finally makes that response because he is relenting towards the boy and wants to give him a chance to make amends, or in order to stop his incessant demands by presenting him with an impossible condition - or whether he is actually intentionally prompting Erik into a philosophical test by challenging him to name his most valuable possession, and judging him on the nature of the response.

Was he consciously waiting for Erik somehow to demonstrate "great wisdom far beyond your years" before forgiving him? Or was he spontaneously overwhelmed by the nature of Erik's response?
(One wonders what on earth would Chang have done if the boy had indeed offered him the horse, which was the most obvious "most precious possession" which he had treasured and suffered for above all else!)

I note that Deinos takes off Erik's mask and nuzzles his face to show affection, of course showing no fear - echoes again of that final scene with Christine. (Although I'm not sure whether the horse deliberately unmasks Erik, or whether it is simply a side-effect of his habit of nibbling on the boy's hair...)

It's hard for me not to contrast Erik's relationship with the boy Boris in this story to his much more successful relationship with the street orphan in "die Flucht"; of course that was an older child, and a much older (in experience if not in years) Erik, who was actually dependent on his young ally for a successful escape. In the case of Boris, Erik is clearly repeating the model of his own relationship with Ivan, to disastrous effect. It's not as if it was a particularly successful approach even where Erik himself was concerned - but with a younger and less precociously talented boy it rapidly descends into pure abuse.

It's sad but perhaps (in the light of his later history) inevitable that Erik blames himself as the owner when his animals do not perform perfectly, but is not capable of taking responsibility for the quality of his teaching when his pupils fail to meet his expectations...

The results of cross-breeding "small but very strong" Mongolian ponies with an Akhal-Teke stallion must have been interesting :-p

Nizhny-Novogorod is older than Moscow, I believe; the earliest Russian princedoms were those in the fertile south, the 'Golden Ring' of ancient cities. But they were too vulnerable to the open steppes.
(N.B. Borshch is *not* the famous Russian cabbage soup - that's shchi, traditionally made with vast quantities of sauerkraut, though one can make a 'green shchi' with fresh cabbage. Borshch is the famous Ukrainian beetroot soup, which is bright red in colour; a little beetroot goes a long way!)

I'm surprised that Chang was so relaxed about Erik's killing people for practice in Nizhny-Novogorod simply in order "to get a real challenge", given his strict prohibition on doing so when they were in Samarkand and Erik played a 'game' involving assassinating people with a piece of chalk. I suppose this training wasn't exactly "killing for sport", of which we are specifically told that Chang disapproved, but the previous game was described as training as well.

Chang really loves Erik very much if he is prepared to undergo a painful and humiliating decline: "Why fight when you already know you have lost?" has more than one meaning here, I think, but in order to make Erik happier he is willing to enter that pointless struggle...
But like everyone else to whom Erik has ever attached himself in his childhood, Chang ends up by leaving him.
2/20/2016 c7 Igenlode Wordsmith
This is not what I was expecting from the end of the last chapter - I had got the impression that Erik was breaking off in his story because he wanted to avoid talking about the imminent death of Chang Lee, but in fact his 'sensei' survives the entire chapter; it is other people who die ;-p

Of course to an English eye this chapter immediately recalls Rudyard Kipling and his stories set among the 'hill people'; the setting is very much recognisable. Proof that both authors did the same research (or in Kipling's case, possibly visited the area: he lived in Lahore, after all).

"it looks horrible, but... what do you think it will look like after we've eaten it?" - this is what my mother used to say when we complained about her food ;-D

So Erik (inadvertently) teaches a ninja to pick pockets ;-)
Of course the first thing that Erik would want to do with *real* magic would be to change himself...

I'm surprised that he was so nervous at stealing portable valuables from the houses of the English; that was more or less what he had been doing earlier on when he was a gentleman-adventurer's assistant. Presumably actually breaking in to a house was more of a challenge than simply having himself delivered there and waiting to be sure his accomplice had distracted the owners downstairs.

Erik's 'first kill' is a frightening botched job; it is much harder to strangle a strong man than to break a chicken's neck :-( And it's something you can't change your mind about halfway. Once you've tried to murder a man, it becomes a question of your life or his, his silence or your death, like fighting a mortally wounded tiger.
And the killing in itself is a sign of failure, when he set out to steal horses undetected rather than to be caught. But apparently it doesn't occur to Erik, eager as he is to try out his new skills, to melt into the shadows and simply slip away out of the stable once his initial attempt fails: he wants to use his lasso. And it doesn't work out quite as neatly as he had thought.

I'm not surprised that he feels no guilt, though - in fact, it came as quite a surprise to realise that this was in fact the first time in the story that he had personally killed anybody, despite his long familiarity with the dead and increasing detachment from those surrounding him. He has lived by regarding humanity as his prey already, and then he has been trained to fight and kill according to a utilitarian code. His teacher blames him not for killing, not even for killing inefficiently, but for killing without need and without orders.

It seems strange that Erik is nervous at doing his 'scary magician' act again, though. This is something he was doing professionally years ago with Ivan; is it puberty problems (self-conscious about his voice, etc.)?

"If I did not want to do it, he threatened to force me to go naked or even to tie me up and leave me naked for the people to find me" - and what would he have done if Erik had said that the worst thing he could imagine was to be found naked by the people here?
Which apparently was the worst thing he could imagine, since Chang Lee used it as an example of "always something worse..."

"if I did not just fear everyone as if he or she was a bloodthirsty predator but just observed and planned how I could defeat them" - this explains a lot about Erik's subsquent behaviour towards humanity, of course :-(

"I landed on my feet, surprised by how easily I had killed him" - so when Chang Lee gives him that slight nod of encouragement, is that the signal that he has decided that Erik is ready for a fight to the death this time, after blaming him the last time for trying to use his skills when he was not yet ready?

I suspect that the reason, oddly enough, why Erik is so much more moved by this killing than the previous one, may be that this one felt *too easy*: the last time, all the horror and fear that he was capable of experiencing were poured out on his own account during the struggle to finish the fight, leaving him drained of any reaction to the death save relief that it was finally over. This time there was far too little effort put in for such a decisive outcome, and the disproportion of the experience brings on the reaction.

So Erik doesn't just boil the robber's skull clean this time; he deliberately sets out to mummify it in order to make its face resemble his own.
Given that he probably knows nothing about mummification and has little access to the necessary materials, I imagine the result is shortlived and pretty gruesome :-(

I'm amazed that he is able to juggle fiery balls while keeping his head out of sight and balancing the skull on his shoulders, though!

Erik hones his skills as a confidence trickster and supernatural being among the hill people - which again will come in useful later on :-(
Of course, the advantage of his appearance is that no-one can really be sure whether he is a European or an Afghan or an Indian - barely sure of anything beyond 'alive', and not always that :-p
Chang Lee is always going to be very obviously foreign, but since he is posing as a servant the 'Chinese cook' is not all that strange. Though I wonder how many people in Afghanistan had ever seen one...

One wonders how Erik knows that he can make an elephant disappear - evidently at some point in his life he was in a position to try it! :-D
"Making the dust burn when I spilled water" is presumably Ivan's old flare-powder trick: the one that nearly killed the trapeze artists :-(

If the lapis lazuli merchant in particular doubted that Erik was a real magician and kept trying to catch him out, why did he go to the trouble of seeking him out and employing him to accompany his caravan in the first place?

I like Erik's cynically practical view of the burka - "they hinder the view and make it impossible to run or fight, how can this be 'protection?" - which betrays that he is utterly oblivious to the intended nature of the protection in question :-p
And the idea that the job of foiling this robbery will simply be useful practice, since he and Chang don't really care in the slightest whether the caravan actually gets robbed or not, so if Erik fails they can just run away!

It's interesting that it apparently never occurs to Erik to turn bandit himself, and to use his magic and his demonic face to terrorize passing travellers out of their possessions - like the tiger preying on the water buffalo ;-D (I note that by this stage he doesn't even care whether he has killed one of the men he is trying to protect or one of their attackers; innocent or guilty, the man is dead either way and his death serves Erik's purpose at that moment.)

Presumably the pickings in these mountains would not have been very good for banditry anyhow; few people travel with wealth. Now Samarkand, on the other hand...

It's interesting to see a story which has Erik travel from India northwards, rather than east around the Mediterranean. (I do wonder how he is going to end up paying that visit to the Mekong Delta at this rate, though :-)
2/8/2016 c6 Igenlode Wordsmith
Ah - *this* must be the great inspiration that you said was triggered off by my PMs! I remember coming across the Japanese nagenawa when I was trying to find illustrations of Leroux's 'fil du Pendjab', but it certainly never occurred to me to connect Erik with a fully-trained ninja ;-D
Ironic that he travels to the Punjab and comes away specialising in a weapon from Japan... which people then attribute to an Indian origin!

I'd say that Erik clearly learned his sense of humour from this master as well, save that we've already seen examples of it earlier ;-p

Is it really so difficult to hear a needle fall? I've tried it both on a hard floor and on carpet, which I would expect to deaden the sound, and the main difficulty seems to be finding the needle again once you've heard it drop! But I'm not in a position to try it on sand...

"But singing had become more and more difficult that autumn and I didn't know why" - I assumed when I read this that his voice was breaking, but in fact that doesn't seem to happen until some time afterwards.

"O, I'm sorry. Did I offend you?"
I think Erik is definitely talking to a man here - I really can't see him having this particular discussion with a woman :-(

I find it quite hard to picture Erik suffering with spots as an adolescent - I suppose I always thought of his skin as quite papery and dried-up, not greasy and swollen. (It actually occurs to me that, far from his imaginings, he may have looked *more* normal in this condition than previously: very few ghouls have pimples ;-p But I suppose he probably just looked like a plague victim rather than a mummy...)

Yes, Erik does seem much more childish in this chapter than the self-reliant boy who built his own circus act and slept among the corpses in the Capuchins' catacombs: I wonder if it may have something to do with the fact that he does have a father-figure now and is able to be more self-indulgent in the subconscious faith that there is someone else who will look out for him.

Naturally a ninja would have very different views on suicide from those of a Christian European...

And naturally the only thing regarded with more loathing than a monstrous freak is a monstrous freak with designs on women :-(
2/6/2016 c5 Igenlode Wordsmith
"you do not drink wine" - hmm, now that suggests the Daroga as his companion again...

Erik's problem is that he is essentially offering luxury to people who have barely enough to live on - and probably live in what is basically a barter economy anyway. (He might have had more luck trading his performances for food rather than cash.) I wonder how the circus survived in these districts; I suppose they were travelling faster and had supplies and a destination in mind.

It's hard to blame the man who assumed that he'd found a good blanket being wasted on a dried up corpse ;-p
Although since Erik looks at first glance as if he has been dead for a while, the thief clearly wasn't too fussy about the potential smell...

Ah yes, he gets on much better by entertaining people for food in the inns than by begging for cash from peasants. And an endless supply of cheap wine is an all-too-obvious temptation to keep warm and blot out the future and the present :-(

"I swore to myself never to get drunk again.
Cheers!" - and so much for that :-p

I'm a bit confused by the apple pie here; I thought Erik had brought fresh apples from the market at the start of the chapter?

He is very lucky to arrive by chance at the city of the mummies :-)
Though I'm surprised nobody detects him because he *does* smell - the sweat-and-ammonia reek of a street vagrant is very different from anything one would expect to find in a catacomb, and when a beggar comes into the building the smell steadily announces itself...

In a way he is lucky that his experiences with Ivan have so desensitised him to headling the dead: at least these corpses are not earth-slimed or decaying. Quite neat and clean, really. And the catacombs form such a promising hiding-place for a living boy to conceal himself in that no-one would think of searching among the dead as well - they would just assume that he has hidden himself somewhere around the next corner and keep rushing past.

Picking pockets must be a bit risky for Erik because of his mask; people will tend to notice him when he is near them in a crowd, which is of course the last thing that a pickpocket wants!

"I watched him through nearly closed eyelids" - oh, it hadn't occurred to me to wonder about the eyes; of course if people see Erik's healthy flesh that will give the whole game away.
If the gentleman is poking at the mummies in the hopes of detecting a fraud, why is he so horrified when Erik moves? Does he just assume that the thief has concealed himself behind the mummies somehow, or is it the difference between suspecting something and being confronted with the living reality of it?

"He was just a thief like me but with better clothing and better behaviour" - yes, I suspected that he was a 'Raffles'-type by his reactions from the start ;-) An innocent man would have made a fuss when starting the chase rather than taking swift and ruthless private action...

So Erik actually poses *as* a miraculous mummy? Brilliant!
(And obviously not a fraud that one can repeat very often in the enlightened nineteenth century, even in Italy - selling saints' finger-bones is one thing, selling an entire saint is bound to attract attention!)

Of course it makes perfect sense that it is as a consequence of being in the company of an Englishman that Erik ends up in British India: it never occurred to me to wonder about that, but it's not at all an obvious destination when there were all the French possessions in the Levant, Vietnam, North Africa etc. which might have been more familiar to his world...

I like Erik's use of a 'caravan' as a measuring unit! (Does his bed really occupy a quarter of the whole room, though? Either an extremely large bed or a somewhat crowded chamber.)

The idea of the mummy that comes to life and robs its owner's household sounds like something out of a 1930s horror film. "Of course no one thought about arresting his mummy" ;-D

Ironic that Erik, the ugliest man in the world, discovers that he can make a successful living by attracting passing men! I suppose they don't notice his weird eyes from behind the shadow of the niqab, just as Christine doesn't notice anything odd behind his mask. And if he is just using this as an excuse to pick the pockets of his 'customers', then he doesn't need to get paid. During his travels I imagine he probably started a few legends about a nightmare succubus who makes an appearance to punish those who act on lustful thoughts, though :-p

But it was inevitable that sooner or later someone was going to react badly to the deception.

"the most beautiful boys are dressed in women's clothes and have to dance for their masters" - this story makes me think of Mary Renault's novel "The Persian Boy", where the protagonist is a young man in ancient Persia who was castrated in order to preserve his good looks for sexual purposes, and who was mentioned in historical accounts of the time... I always remember a boy whom I knew as a refugee from the Iran/Iraq war in the 1980s, who was quite the most beautiful child I had ever seen; he will be a middle-aged man now and no doubt heavy and blue-jowled :-p

"his masters threw him out whenever he soiled the bed" - a problem for Erik also, if they are sleeping together :-(

"Stealing from Europeans involved less risk" - yes, the Europeans simply exist as a resource to be exploited by the ingenious :-p

"He would teach me, if I would bow down to him, submissively obey him and follow his instructions without ever questioning him" - this old man reminds me of the martial arts teachers in old kung fu stories... and you can see how the powers he is described as using on Erik here are the same that Erik will eventually use to influence Christine. "One day you will find the perfect instrument..." :-(

I note that 'circus artist' is the highest praise that Erik knows :-)

Erik is lucky to find a translating job among Europeans in a place where he doesn't speak the local language - most translators, of course, will simply be translating into the Indian languages, but he is actually needed to translate one European language into another here.

"It was I who abandoned him and it made me feel powerful" - this is the lesson that Erik has learned from his life so far: always be the first to leave, and you stay in control. And I should think that the child's life was extremely short thereafter; but it really wouldn't have been in character for Erik suddenly to start sacrificing himself for a clinging dependent at this point. Nothing in his history has made him likely to do so, and I don't think any other street beggar in Lahore would have acted differently.

(Oh, so it's apples *and* an apple pie...)
2/2/2016 c8 Azhi D
The chapter was great, this is one of the best stories I've read.
The events really explain the behavior of Erik and everything makes sense.
I was sorry to see how Erik went to live one of the happiest moments of his life while traveling with Chang to watch him die and lose the only father figure he had.
I hope that soon you get the inspiration to be able to continue with Persia.
Cesar was really unexpected.
2/1/2016 c8 MyNina
So Erik tells his story to the only friend in the whole wide world would never denounce him... I felt very sad for the poor man that this partner is his horse, although it makes perfectly sense - horses have always been associates and solace for him!
Although there have been so many horrible events in his life, I believe that the woman deceasing because of his kiss was the most traumatic so far. How cruel that his mother' s prophecy became true, perfectly fitting to the Leroux novel! Erik' s relationship to Chang changed rapidly due to his insubordinate behaviour (stealing from his teacher and cheating him), but Erik was still a teenager then - even I often forgot this while reading...
The shows in Nijnii Novgorod were described very interesting, extremely high standard for the mid of the 19th century... so I was not surprised that his reputation was known even outside Russia. So everything could have turned out to fit into some kind of normal life if not the next cruel stroke of fate occured! Chang was Eriks "father", much more than any other person in his life. His grief is horrible, but luckily he heeds to his partner' s advice and continues for Chang' s sake. But if his decision to follow the Persian is the right decision? We will see...
Best regards, Nina
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