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Fun Home: A Family Tragicomic
(original 2006; edition 2007)
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Alison Bechdel grew up with a father who was alternatingly distant and angry, an English teacher and director of the local funeral home (or "Fun Home", as Alison and her siblings called it). Their relationship grew more and more complex until Alison was in college. Shortly after Alison had come out to her parents, she learned that her father was also gay... but before she had more than a brief chance to process that news, he was dead. Whether the accident that killed him had been truly an accident or a suicide, Alison would never know, just one of the many mysteries left by her father for Alison to slowly and painfully unravel here.
The "look at my terrible childhood" flavor of memoir is my least favorite flavor, and is responsible for me thinking I didn't like memoirs in general until relatively recently. I'll happily grant
an exception, however, even though it technically does fall into that category. There are several reasons that it sets itself apart from the rest of its peers, but I think the primary reason is that Bechdel is not using her the trauma of childhood for laughs (although there are some humorous touches throughout) or for dramatic potential (although there's certainly plenty of that as well). Instead, there's a very palpable sense that she's writing this memoir because she's really trying to figure out her relationship with her father, and what it meant, and that putting her memories down on paper is the best way she can hope to make sense of it all. The narrative flow does jump backwards and forwards through time, repeating some parts of the story from different angles as they come to bear on different topics, giving it a feeling of "thinking out loud," but even so, it doesn't come across as feeling scattered or unpolished.
It also helps that her analysis, both of her father and of herself, is extremely penetrating, with enough emotion to make it powerful but enough age and maturity to make it thoughtful. Bechdel's prose is similarly both elevated and immediate, verbose and vocabulary-ridden, but still clear and forceful. The book is rife with literary allusions and direct textual comparisons, some of which I got, some of which surely went over my head, but which certainly set the intellectual tone of the book. Bechdel's art is also great, and I really liked the juxtaposition of her own detailed drawings with the drawn reproduction of photographs, printed text, and her own diary entries.
Overall, this was a very thoughtful and penetrating book. I'm sure that there are layers of meaning about homosexuality and the process of coming out that I, as a straight person, didn't latch on to. But I think there's also a message that's applicable to everyone, about the secrets that our parents keep, and about who they really are, and how we, as children of our parents, can manifest those secrets without ever truly understanding them. 4 out of 5 stars.
Definitely recommended, particularly for people who like memoirs, but maybe even for people that think they don't.
| Jul 8, 2012 |
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There's a lot of I would love to say about this graphic memoir. First off, I must say I adore how the author decided to represent her father through the use of several different literary characters and authors that she believed her father saw himself as a part of. Admittedly, it was a little confusing at times, and it's quite obvious that Alison took her studies very seriously with the English language and the studying of worldly literature by the means of analyzing and interpretation. She came to many conclusions that I would have not come to myself.
The art, while at first, seemed rather simplified, actually slowly became more appropriate for this kind of story. The characters as they are drawn, don't seem to express very much emotion, but the intentions of Alison telling this story, was not to spill her emotions on the pages. Her intentions were to take all of her memories, diary entries, and stories told to her by someone, and place her father in the eyes of some sort of literature discussion group. Yet, it is clear when she expresses sadness and pieces of regret, it is also clear that she did not let these emotional tidbits control her thinking or largely affect her at all, if that.
As we know, this is a story focuses on her father. Other family members are mentioned, but it's not their time for this round. The relationship her father has with the family is complex, strained, and a lot of times absent. He wanted his children to be extensions of himself while he delved into his passions (restoration of their old Victorian-styled home, as one example); in other times, he wanted them completely devoid of his "other life" that didn't come to surface until much later in her life. Alison explains how she was given clues and hints to this secret nature, especially more so when she revealed that she, herself, was a lesbian. However, it was until just a few months before his death, did she learn of the truth and was only able to get out so much of her father before he died. While unfortunate, Alison also saw it as a chance to learn and strangely enough, build a connection with her father that she couldn't see before.
While we are limited to her brothers and mother with their thoughts, it does eventually come to surface that Alison and her father did have something in their familial relationship; there was an understanding between them. They just didn't come to this result until just before a tragedy fell upon them.
| Mar 16, 2016 |
This book has already had a lot written about it. I should have read it years ago. In the world of graphic memoirs, it doesn't get much better than this. Frank, bitter, beautiful, and occasionally disturbing, this is the strange story of Bechdel's relationship with her father and the family home in which she grew up, told one plainly drawn panel at a time. Another comic that's not for kids, but might just be essential reading for everybody else.
| Feb 28, 2016 |
Graphic Novel/Adult - Really emotional and interesting autobiography via graphic novel. Details the author's relationship with her father, a closeted gay man, her family dynamics, growing up in a small town and ultimately coming out as a lesbian in college. An in-depth look at her past and how her father's untimely death affected how she viewed all of her memories about him. Highly recommended.
| Feb 5, 2016 |
The author looks back on growing up with a distant father who was obsessed with restoring the family's Victorian home. Her lesbian identity develops over the years but it isn't until she outs herself to her parents as a college student that she learns her father has been gay all along. The book is her way of reconciling the father she knew as a child with the man he turned out to have been.
| Feb 2, 2016 |
An affectionate memoir of the author's life with her late closeted homosexual father and her eventual discovery that she was a lesbian. The medium of the graphic novel is used to great affect in the painting of a slightly unusual family and is presented with great wit and intellect. The fusion of memoir and comic book is inspired, and it succeeds in being one of the most notable examples of its kind.
| Jan 24, 2016 |
This is a book I decided randomly to get from the Bracken Library on my campus because I wanted to read a few graphic novels while reading "The Book Thief" for my Holocaust Literature course. I am pleased that I picked it up. This was one of those rare reads that offered me insight into my own life. There were several moments where I felt connected to Bechdel and her story. While I do not have a father that is similar to her own I have to say that moments like when she mentions some of the uneasiness of literature courses I felt a kinship that I wasn't expecting. Also these subtle moments of realizing that you are gay were beautifully mixed into this family story.
Bechdel creates a world that doesn't focus on her sexuality, but more so on the relationship between father and daughter. This makes the story smell like a rose to me. I came away from it feeling a deeper connection to a human being from this one story. It makes me interested in reading some of her other graphic novel work, such as Dykes to Watch Out For. Bechdel never seems to be apologizing for the things that she has to say about her family and I was thankful that at the end of the book she mentions that her family was okay with her writing about these things. It made it a little bit easier to read and less like I was intruding on her family business.
This was a book I would love to have others read because it showcases beautifully that sexuality is just one facet of our lives and at the end of the day we are all living our lives as best as we can. It showcases that we still have other things going on around us while we are dealing with our lives. I think so many people get caught up in the bedroom of sexuality that they forget that we still have families, but Bechdel here allows that to shine through. It makes me admire her work greatly!
| Jan 20, 2016 |
graphic novel, family relationships, suicide, humor, tragicomic
| Jan 17, 2016 |
Probably the first and last Graphic Novel I'll ever read. Didn't like it, not the story or the format, didn't like a thing.
| Jan 11, 2016 |
I first heard of Fun Home when I read an article about how it was on the summer reading list for incoming freshman at Duke University and a group of students were boycotting it. They said it was pornographic and that its homosexual themes violated their Christian moral beliefs. Learning a group is trying to ban or boycott a book is one sure way to get me interested in reading it.
Fun Home is Alison Bechdel’s graphic memoir of her life growing up. Fun home is what she and her brothers called the family-owned funeral home her dad ran. This was the first adult graphic novel I’ve read. (And by adult, I mean for grown-ups, NOT porn.) I was really surprised how drawn into it I was. I didn’t realize that characters could be so defined in the graphic format. I really felt for Alison, having to grow up with such distant, detached parents. Her pain and confusion over her father’s death jumps off the page.
The only way that Alison and her father relate to one another is through a mutual love of books and reading. Fun Home is peppered with literary references and comparisons that went completely over my head. Once again I’m pulling the “I was an accounting major so I didn’t read any classics in college card”. If you have, you may enjoy the references and Alison’s book will have even more meaning for you. However, I still liked this book a lot anyway.
There were a few nude drawings in this book, when Alison figures out she’s a lesbian and starts having relationships with women. However, Alison is a talented illustrator and they looked like works of art in my opinion. If the scenes had been described using words, they would have been much more graphic. I am applying Justice Potter Stewart’s “I know it when I see it” test of obscenity and this ain’t it.
As far as the homosexual themes in the book goes, yes this is a memoir written by a lesbian about her relationship with her gay dad. It’s a gay book. But isn’t one of the great things about reading learning about people who are different than you? Reading helps one develop a deep sense of empathy. Maybe you might even learn that people you once thought were evil are not. Maybe that’s a scary thought for some people and they would rather live in their insulated bubbles. I’m glad I’m not one of those people. However, I should thank the students at Duke for alerting me to this book’s existence.
Put Fun Home on your list of challenged books that must be read!
| Dec 9, 2015 |
BookRiot Read Harder Challenge 2015 | Task 5: author/character who is LGBTQ
| Nov 20, 2015 |
| Nov 18, 2015 |
Diese und weitere Rezensionen findet ihr auf
meinem Blog Anima Libri - Buchseele
Ich muss zugeben, mit Alison Bechdels „Fun Home: Eine Familie von Gezeichneten“ habe ich mich nun eine ganze Weile herumgeschlagen. Nicht, weil es schlecht oder zäh wäre, für mich war es einfach nichts, was ich am Stück hätte durchlesen können, dazu ist es auf Dauer doch etwas zu ermüdend. Und ganz entgegen des Namens ist an dieser Graphic Novel nicht allzu viel funny. Außerdem sind die Zeichnungen von Alison Bechdel teils sehr detailreich, sodass man sich da schon einmal ein wenig festschauen :)
Alison Bechdel erzählt in „Fun Home: Eine Familie von Gezeichneten“ aus ihrer Jugend und vor allem von ihrem Vater. Denn nach dessen vermutlichen Selbstmord sieht sie sich damit konfrontiert, ihre Kindheit und Jugend plötzlich in ganz anderem Licht zu sehen. Denn kurz vor seinem Tod, nur kurz nachdem Alison selbst sich ihren Eltern gegenüber als lesbisch geoutet hat, hat auch ihr Vater sich zu seiner Homosexualität bekannt.
In „Fun Home: Eine Familie von Gezeichneten“ setzt sich die Autorin mit diesen Ereignissen auseinander – oder eher sie betrachtet ihre Kinder- und Jugendjahre im Licht dieser Ereignisse. Was dabei herausgekommen ist, ist eine sehr eindringliche, intensive Graphic Novel, die zwar toll gezeichnet ist, für meinen Geschmack aber leider etwas zu konfus erzählt wird, denn Alison Bechdel erzählt die ganze Sache nicht chronologisch, sondern in sieben Kapiteln, was ich irgendwann etwas anstrengend fand.
Trotzdem hat mir Alison Bechdels „Fun Home: Eine Familie von Gezeichneten“ insgesamt sehr gut gefallen und ich bin jetzt auf der verzweifelten Suche nach deutschen Ausgaben ihrer Comicserie „Dykes to Watch Out For“…
| Nov 10, 2015 |
This is a graphic novel about a girl who finds out her father is gay only after she comes out as a lesbian. He dies shortly after, and she remembers her strange relationship with him, as well as her childhood growing up in and around funeral homes. There could have been a lot more emotion to the story, but I think telling it as a graphic novel kind of diminished that possibility. The drawings didn’t add much depth or insight, but it would have been a sparse story without them.
| Nov 4, 2015 |
| Oct 19, 2015 |
O hype da crítica é 100% justificado.
| Aug 26, 2015 |
An incredibly written memoir in graphic novel format.
| Aug 21, 2015 |
Probably one of the best graphic memoirs out there. The illustrations and text work together to create powerful storytelling.
Bechdel centers her story around her relationship with her difficult father, whom she loved despite his rages and eccentricities. Growing up with him as a father led to an unconventional childhood: first, in the family funeral home, where seeing dead bodies and playing with coffins with just another day. Then, in a rehabbed manor house thatt her father meticulously restores, not with his family's comfort in mind, but with aesthetically pleasing (and often impractical) furniture. Father and daughter clash: He, an impeccable dresser wants his daughter in fashionable clothes; She, more happy in boots and mismatched tops and bottoms. She comes to understand her in a different light as an adult, when it's revealed that he's been having affairs with teenage boys, and suddenly, his eccentricities start to finally have an explanation.
This shocking revelation, which Bechdel comes to know after her own coming-out in college, comes on the heels of family upheaval, culminating in her father's death by bread truck. This leads to a question that haunts Bechdel throughout her life: was his death an accident or suicide? It's interesting that Bechdel insists it was suicide, yet her artwork suggests otherwise. She's a fan of psychology and its theories on the subconscious -- I wonder if she's aware that her frequent drawings of the moment of her dad's death don't promote any indication of suicide? (They show him crossing the road, deep in thought, his vision blocked by the yard-work debris he is holding, corroborating the truck driver's claim that he crossed the road, was startled by something like perhaps a snake, and jumped backwards into the path of the truck.) So there's an interesting contrast between what Bechdel says and what she draws. All people who recall memories are unreliable narrators in a way; what we remember is so often tied up in emotions, and this is especially true for Bechdel. Perhaps she wants to believe he committed suicide as a way to reconcile why her father stayed in his small country town all his life, married a woman, and had children despite being in personality what Bechdel describes as an "aristocrat." Being gay herself, she may be perhaps projecting her own thoughts and feelings into what her father felt and thought as he lived a double life. Here, Bechdel does well to invoke references to Proust, with that author's metaphor of the two paths, and Joyce's "Ulysses," especially that delightful line about one character thinking about what the other character is thinking what they're thinking.
Reliable or not as a narrator, Bechdel brings a raw openness to her story that is compelling.
| Aug 12, 2015 |
Reread this about halfway through "Are You My Mother?" I just couldn't stand reading all the references to this book without having it fresh in my head. It's a perfect book and I hope she writes more, but I really miss Dykes To Watch Out For. (Yes, I get to say that. I bought *new* copies of every DTWOF book.)
| Aug 8, 2015 |
Fun home is an autobiographical comic about the author's relationship with her father. They ways they were close and the ways they were distant. They way they orbited each other and complemented each other and contrasted each other and pushed each other away. It's deeply introspective and thoughtful and the art is lovely.
| Jul 4, 2015 |
Bechdel’s coming of age memoir is profound, touching, intellectual, and most importantly, honest. Her own journey is one of discovering she is a lesbian, finding out what that means, and coming out to her family while she’s in college. Her father’s is one of running a funeral home, teaching high school English, having a love for interior decorating and literature, and leading a double life that sometimes involves teenage boys. When he commits suicide at age 44, when Bechdel was 20, it’s hard for her to process, and re-connecting to him through memories (which sometimes need to be reinterpreted) is what the book is all about.
Bechdel ability to be true to her sexuality is set side by side with his inability to do so, and yet, the story is not a simplistic tale of ‘look how far we’ve come’ by any means. Like all great writing, there is something specific here, but also, something which speaks universal truths. She’s connected to her father in her love of literature and ‘being different’ than the cultural norm, and yet, disconnected, as he was aloof and often a glowering presence in their home. All relationships are complicated, no one is perfect, and we lead our separate lives, even if we’re under the same roof. Sometimes it’s easier for us to express ourselves to others, strangers even, as opposed to family members who are supposed to be closest to us.
The book draws extensive references to Camus, Proust, Joyce, and Fitzgerald, yet also American culture of the 70s, and all of it in a light way, with poetic, funny touches. It’s never cloying or sentimental, and yet I found it quite poignant, especially in the scenes that end each chapter. Bechdel is a master in telling this story, touching upon happiness and sadness, truth and conjecture, and love and accepting the flaws of those around us all at the same time. Powerful stuff.
| Jul 4, 2015 |
Wow! I never thought a graphic novel (ok – a tragicomic) can pack such a wallop. It’s poignant, raw, heartfelt, honest, and humorous. In this autobiography, author/artist Alison Bechdel shares the journey of her youth, family, and her homosexuality. The complication of this tale is the discovery of her closeted gay father, who died (possible suicide) four weeks after learning of his daughter’s sexual orientation and two weeks after his wife asked for a divorce. This journey is richly told via four effective medium throughout the pages – 1) dialogue of the actual events, 2) background text of the events, 3) literary references, and 4) the graphic artwork.
The literary references in this book added an immense richness to the tales. Father and daughter are both readers using book characters to mirror thoughts, feelings, and characteristics. F. Scott Fitzgerald, James Joyce, Colette, Camus, and Marcel Proust were all featured in the book, as well as Oscar Wilde, whose indecent trial coincided with her mom’s theatrical role in “The Importance of Being Ernest”.
Not surprising, this book is very adult oriented with themes of sexual orientation, suicide, emotional abuse, and dysfunctional family life – but perfectly balanced with humor. The revelation of her father’s closeted homosexuality explained a lot of the latent angst in his behavior during their childhood. He was the antagonist of the story, and the book was dedicated to the protagonists – her Mom and her two brothers. Interestingly, the book became the author’s therapy and in her later interviews, she expressed an appreciation for the early generations of gays who led the path to her ability to smoothly come out of the closet even though her father never did. I will add this book was turned into a screen play which became the 2015 Tony Award for Best Musical of the Year, with a much more upbeat tone than the book. I hope the father will RIP knowing his daughter has expressed some forgiveness by having a more positive view of her past in this musical.
While I typically have no issues with books that jump back and forth in time, I ding this book somewhat for repeating images/aspects previously shared to align with a chapter’s theme. A bit more editing is warranted, especially the last chapter. Still, I decided it deserves the 5 star rating. It truly is a homerun.
P.S. “Fun Home” = Funeral Home, the father’s family business
On dysfunctional family dynamics:
“Sometimes, when thing were going well, I think my father actually enjoyed having a family. Or at least, the air of authenticity we lent to his exhibit. A sort of still life with children…… I grew to resent the way my father treated his furniture like children, and his children like furniture…… He used his skillful artifice not to make things, but to make things appear to be what they were not. That is to say, impeccable.”
“It could be argued that death is inherently absurd, and that grinning is not necessarily an inappropriate response. I mean absurd in the sense of ridiculous, unreasonable. One second a person is there, the next they’re not.”
Credited to Camus – “The Myth of Sisyphus”: “The subject of this essay is precisely this relationship between the absurd and suicide, the exact degree to which suicide is a solution to the absurd.”
“Proust refers to his explicitly homosexual characters as ‘inverts.’ I’ve always been fond of this antiquated clinical term. It’s imprecise and insufficient, defining the homosexual as a person whose gender expression is at odds with his or her sex. But in the admittedly limited sample comprising my father and me, perhaps it is sufficient. Not only were we inverts. We were inversions of one another.”
| Jul 4, 2015 |
EDIT: Abril, 2015
[Releyendo e a poquito. ¡Qué ganas de comprarlo en físico!]
: Enero 2015
Estoy un poco revolucionada, así que la siguiente reseña es un desvarío en pocos párrafos. Sepan disculpar.
"Not only we were inverts. We were inversions of one another. While I was trying to compensate for something unmanly in him. He was attempting to express something femenine through me."
Puede sonar absurdo decir que identificada me siento con esto, absurdo y cliché-- se me sale la voz infantil hablando soñadora, admitiendo esto. Pensé que había dejado las identificaciones en la adolescencia, que ya nada podría parecerme remotamente relativo a mi vida (salvo el ocasional personaje masculino que encuentro en alguna que otra ficción... si, suelo encontrarme en más hombres que en mujeres) y, sin embargo, lo que se dice y se muestra en esta novela gráfica es paralelo a mi propia vida (aunque sólo superficialmente la mayoría las veces).
Seguro esto que trato de explicar les debe haber pasado a las miles (de ahí lo
) de personas que se devoraron este recuento autobiográfico (y uso el verbo "devorar" porque se me hace la palabra ideal para describir mi experiencia con la vida de Bechdel y su padre... un sentimiento voraz, de no querer parar de leer, no querer parar de escuchar lo que la autora tiene para contar). Quien haya tenido padres ausentes/presentes, quien haya sentido descontento con los mandatos de género, cualquiera que haya buscado comparaciones en la ficción para aliviar o intentar explicar, a su propia familia (que, encima de todo, es precisamente lo que hace Alison Bechdel es Fun Home! Vaya casualidad!) va a
esta novela gráfica en una sentada.
Cualquiera va a ser capaz de verse en algún cuadro de esta no-ficcion ficcionada...pero no cualquiera tiene el talento para la poesía y la imagen que la propia Bechdel tiene. El refugio casi nostálgico (y quizás desesperado a veces) que la Alison adulta encuentra en las comparaciones que hace de sus padres con personajes de F. Scott Fitzgerald, Henry James; de ella misma en Colette y de su propia relación con el padre en James Joyce es sencillamente perfecto (sencillo y perfecto).
Y he ahí lo fascinante. El poder encontrar a sus seres queridos y querer entenderlos en los párrafos de otros (¿para sentirse cercana a lo que nunca pudo tener del todo?), es parte de su arte, su modo de luto, una declaración de cariño tardía.
Gran parte gira en torno a aquello que los hijos desconocen acerca de sus padres. Eso que cuando vas creciendo, vas suponiendo--presintiendo casi. Esos secretos que te duelen; ese descubrir que tus viejos son, al fin y al cabo, individuos, seres humanos que tienen una vida aparte de los hijos; cosas que, al entenderlas, el
completamente es lo que te empieza a cambiar a vos, como hijo.
Bechdel sabe de esto. Por ello presenta dos visiones distintas:
una ficción que abarca una cotidianidad un poco triste de ausencia paterna, y una dolorosa realidad. La primera, la vida en familia. La segunda, los padres más allá de los hijos. Las ficciones que ellos mismos inventaron en su descontento con lo que les tocó: el padre inmerso en sus libros, un homosexual reprimido (ante los ojos de la familia, la sociedad, pero no en la privacidad) y la madre multifunción, artista y ama de casa; ambos infelices, ambos ignorando a los hijos, a veces demasiado metidos en los sueños perdidos, los "tiempos perdidos".
Alison se ve en su padre, de algún modo se complementa con él.
Nosotros, lectores, probablemente nos reconozcamos en ellos también.
Me siento medio tarada, medio bastante incapaz de tratar de explicar lo que siento con esto que acabo de leer. Cualquier cosa que agrege ahora me va a parecer insuficiente, para nada a la altura y la fluidez de la prosa de Bechdel (ni que mencionar su talento artístico).
Así que voy a agregar nada más que es una de esas historias que te cambian un poco la vida.
IMPERDIBLE. A veces gracioso, pero más que nada triste. La historia de Bruce (padre) y Alison (hija) se empieza desde la incomprensión y la soledad, para terminar con un cuadro desgarrador pero al mismo tiempo, ya no tan solitario (al menos no absolutamente.) y claramente, basado en el entendimiento que en un principio causó tanta separación.
Una representación de los padres que nunca llegamos a conocer del todo.
| Jun 7, 2015 |
This is a very different kind of book, and the first graphic memoir that I have read. It tends to flow nicely, and the story is engrossing at times. Yet, I did not feel as though there was much insight gained. Overall, I could have taken or left it. Yet, there is quite a bit of depth to it regarding human sexuality and self-discovery.
| May 1, 2015 |
Interestingly enough, I have never had the occasion to read
Dykes to Watch Out For
, Bechdel's arguably more famous work. I picked up
based on her reputation, however, and was immediately absorbed.
is a painfully intimate look at Bechdel's father, and, I think more importantly, of her fraught relationship with him. There are no easy answers or waxing nostalgic in this piece, but a realistic look at a father-daughter relationship. At one point, her father, who is gay, recommends a book to her that delves heavily into homosexuality; Bechdel, also gay, once attempts to open a dialogue with him at this intersection of interests, but there is a generational barrier that she cannot quite overcome. Far from being what binds them together, they find that there is a wall between them that pushes them apart.
With intelligence and often brutal truth, Bechdel seamlessly quotes Proust and Joyce, drawing parallels between her intellectual education and her own maturation and exploration of her sexuality.
There is a conflation of gender performance and sexuality which, while perfectly acceptable, is not always true, and it is important to remember that this is a personal account of Bechdel and her father, and drawing generalizations from one person's biography and autobiography would be dangerous.
The art itself, while never quite reaching any transcendent beauty, is beyond serviceable, and often reveals more than the words themselves. The very cover shows her father and Bechdel sitting on the porch together, a close family portrait. Closer inspection, however, reveals that he is looking away from her and nowhere do they touch: a physical representation of the distance of their relationship.
Bechdel is honest, ruthless, but never bitter, as would be too easy to devolve into with an account such as hers, and while her realism often fades into what feel somewhat like flights of fancy regarding the parallels between her own life and the literary influences surrounding her, her prose is so well-written that it is hard to find fault.
| Apr 23, 2015 |
First read June 2011, second January 2014
| Mar 28, 2015 |
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