Paul Haspel’s books on Goodreads (3,682 books) (original) (raw)
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| | # | cover | title | author | isbn | isbn13 | asin | pages | rating | ratings | pub | (ed.) | rating | my rating | review | notes | | comments | votes | count | started | read | added
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| title Beyond a Boundary | author James, C.L.R. | isbn 022407427X | isbn13 9780224074278 | asin 022407427X | num pages 355pp | avg rating 4.11 | num ratings 1,473 | date pub 1963 | date pub edition Nov 22, 2005 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 30, 2024 | owned | format Paperback | actions view | | | |
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| title You Don't Play With Revolution: The Montreal Lectures of C.L.R. James | author James, C.L.R. | isbn 1904859933 | isbn13 9781904859932 | asin 1904859933 | num pages 256pp | avg rating 3.92 | num ratings 24 | date pub May 01, 2009 | date pub edition Nov 01, 2009 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 30, 2024 | owned | format Paperback | actions view | | | |
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| title Men at Play: A Working Understanding of Professional Hockey | author Robidoux, Michael A. | isbn 0773522204 | isbn13 9780773522206 | asin 0773522204 | num pages 232pp | avg rating 3.42 | num ratings 19 | date pub Feb 12, 2001 | date pub edition Feb 12, 2001 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 30, 2024 | owned | format Paperback | actions view | | | |
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| title The Cherokee Nation and the Trail of Tears: The Penguin Library of American Indian History series | author Perdue, Theda | isbn 067003150X | isbn13 9780670031504 | asin 067003150X | num pages 208pp | avg rating 3.78 | num ratings 447 | date pub Jul 05, 2007 | date pub edition Jul 05, 2007 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 26, 2024 | owned | format Hardcover | actions view | | | |
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| title The Church of Baseball: The Making of Bull Durham: Home Runs, Bad Calls, Crazy Fights, Big Swings, and a Hit | author Shelton, Ron | isbn 059331977X | isbn13 9780593319772 | asin 059331977X | num pages 256pp | avg rating 4.23 | num ratings 1,651 | date pub Jul 05, 2022 | date pub edition Jul 05, 2022 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 22, 2024 | owned | format Hardcover | actions view | | | |
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| title How to Write Groundhog Day | author Rubin, Danny | isbn 0937404756 | isbn13 9780937404751 | asin B0072PEV6U | num pages 287pp | avg rating 4.15 | num ratings 299 | date pub Jan 27, 2012 | date pub edition Jan 27, 2012 | Paul's rating really liked it | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review How are you doing today? How is your February going? Does your February 2nd seem likely to lead on to February 3rd and then February 4th, and so on an How are you doing today? How is your February going? Does your February 2nd seem likely to lead on to February 3rd and then February 4th, and so on and so forth – from one calendar day to the next, in the usual way? That’s good to hear. Then you’re not stuck in the time loop that ensnares Pittsburgh meteorologist Phil Connors in director Harold Ramis’s Groundhog Day (1993) – and therefore, you might be interested in reading screenwriter Danny Rubin’s How to Write Groundhog Day, a fun account of how a writer new to Hollywood ended up crafting the screenplay for a modest little film that, quite unexpectedly, changed global popular culture. Only after its release, after all, did we start using terms like “a Groundhog Day moment” to describe a cycle of unproductive repetition.Rubin recounts coming to Hollywood with a number of story scenarios, seeking industry connections, and trying to come up, after a couple of false starts and setbacks, with a viable idea for a film script. He found himself building from an early screenplay idea titled Time Machine, about a man who is stuck reliving the same day over and over again.After talking about his writing process, Rubin shares the entire original screenplay for Groundhog Day. There is no opening scene at a TV station in Pittsburgh; the screenplay begins in medias res, with Phil Connors explaining his predicament in voice-over: “Let me tell you right off – I have a secret. If I could just tell you right out, I would. But, believe me, you wouldn’t understand. And by tomorrow, you wouldn’t remember my secret. You wouldn’t even remember my name” (p. 50).The Phil Connors of the screenplay is young and hungry; as written by Rubin, the role seems as if it would be better-suited for a young actor of the time, like Robert Downey Jr. It is fortunate, in that regard, that Bill Murray eventually got the part. Murray was 42 years old at the time when Groundhog Day was filmed, and therefore there is a certain pathos to the scene early in the film when he smugly tells his Pittsburgh co-anchor that a national network is interested in him. In fact, however, the hypercompetitive, dog-eat-dog nature of television news means that a small-market weatherman in his forties is likely to stay in his small-market job. And suddenly, a plausible reason emerges for Phil Connors’s bitter negativity, his resentment at being sent to Punxsutawney for a fourth straight year of covering the Groundhog Day festivities. Such subtle considerations – things of which the viewer might not even be aware – can make an important contribution to whether a film works or not.Part of the fun of reading the screenplay for a favorite film involves following roads not taken by the filmmakers – experiencing aspects of the screenplay that were changed or discarded as the screenplay moved into production. Fans of the film will recall, for instance, that an unexpected blizzard strands Phil, his producer Rita, and their cameraman Larry in Punxsutawney after their coverage of the Groundhog Day festivities, setting the stage for Phil’s multiple repetitions of Groundhog Day. Yet in Rubin’s screenplay, Phil’s desperation eventually leads him to take a snowmobile from Punxsy to Altoona (56 miles!), resulting in the following exchange between Phil and a ticket agent at the Altoona airport:PHIL: Hi. Where do you fly between now and, say, one A.M.? AGENT: We have flights to Pittsburgh, Cleveland, and Washington, D.C. PHIL: Great! Send me to Pittsburgh, one-way. AGENT: Snowed in. PHIL: How about Cleveland? AGENT: Snowed in. PHIL: Is Washington snowed in? AGENT: No, sir. PHIL: Great! Washington, one-way. AGENT: Okay. Do you have a reservation? (p. 100)Phil “stares, crestfallen” (p. 100), realizing that his latest escape plan has failed. Personally, I think this scene would have filmed well.Eventually, after descending into a state of deshabille and despair, Phil finds himself interacting with, and actually listening to, fellow outcasts who are going through their own cycles of repetition – a homeless old man in front of the bank, a lady at the senior-care home who says she’s 1016 years old, a teenager who skips school every day to play pick-up basketball. The experience of truly listening and relating changes him. “All of my yesterdays,” he says, “had been about me. Tomorrow was going to be different. I was ready to leave myself and join the human race” (p. 159).And with that, Phil is off to his new life helping others – “I became the invisible hand of Punxsutawney, quietly removing pain wherever I could find it” (p. 162) – in scenes that are similar to, and in some ways different from, what one sees in the final film. He even, at one point, helps a patient in an emergency situation at the Punxsutawney hospital by serving as an anesthesiologist! That scene, of course, didn’t make it into the final film. Rubin thought the long cycle of repetitions meant that “It made perfect sense…that Phil could by now be a trained anesthesiologist”, but director Ramis disagreed: “I do remember having a spirited discussion with Harold over whether Phil could actually practice medicine. He didn’t think so” (p. 252).And the relationship between Rita and the emotionally-regenerated Phil moves forward, too – though the screenplay ends on much more of a _Twilight Zone_-style, surprise-ending note than the straightforward, happy resolution to Ramis’s film.After the screenplay, Rubin takes the reader through a motion picture’s development process – providing, in the process, a good sense of the collaborative nature of filmmaking. Rubin writes that “I would never label this script or anything I write as ‘dark,’ but there is an edge I’m not afraid to cross, and that edge allows characters to be a little bit more mean-spirited and selfish than, say, your average situation comedy TV character” (p. 202). He adds that Harold Ramis’s outlook on characterization tends to be different – “in general, his characters show more sweetness than mine”. Rubin concludes that “Luckily, it was clear to both of us that Phil’s nasty side was necessary for achieving the greatest impact”, and that “the casting of Bill Murray as a totally compelling nasty guy” (p. 203) made a vital contribution to the film’s success. Three talented people – screenwriter Rubin, director Ramis, and actor Murray – worked together productively, in a spirit of give-and-take – something that seems to have made an important contribution to the critical and commercial success of Groundhog Day.I liked Rubin’s reflection, toward the book’s conclusion, about the infinite range of possibilities facing each of us on any given day, and his suggestion that “we shape our own experience of the world far more than we often realize” (p. 272). When he talks about leaving Hollywood for Santa Fe, or about the joy he derives from teaching at Harvard and other universities, I got the sense that he might have wanted to make a Phil Connors-style break from his own unproductive routine – perhaps, for instance, the Writers’ Guild of America (WGA) scene of scrounging for rewrite jobs or fighting over screenwriting credits. (Ask a screenwriter, if you get the chance sometime, about the difference between an ampersand [“&”] and the word “and” between the names of two screenwriters in the credits for a film. You may be surprised at what you hear.)And if you read the book on a tablet, as I did, then the conclusion of the book provides a fun opportunity for some _Groundhog Day_-style repetition. Talk about mixing form and content!How to Read Groundhog Day may be of particular interest to aspiring screenwriters, students of popular culture, and current or former residents of Central Pennsylvania (I lived there for seven years). If you read it, I think you will find it to be a fast and pleasant reading experience. Whether you repeat-read it, and how many times you might repeat-read it, will of course be up to you…Merged review:How are you doing today? How is your February going? Does your February 2nd seem likely to lead on to February 3rd and then February 4th, and so on and so forth – from one calendar day to the next, in the usual way? That’s good to hear. Then you’re not stuck in the time loop that ensnares Pittsburgh meteorologist Phil Connors in director Harold Ramis’s Groundhog Day (1993) – and therefore, you might be interested in reading screenwriter Danny Rubin’s How to Write Groundhog Day, a fun account of how a writer new to Hollywood ended up crafting the screenplay for a modest little film that, quite unexpectedly, changed global popular culture. Only after its release, after all, did we start using terms like “a Groundhog Day moment” to describe a cycle of unproductive repetition.Rubin recounts coming to Hollywood with a number of story scenarios, seeking industry connections, and trying to come up, after a couple of false starts and setbacks, with a viable idea for a film script. He found himself building from an early screenplay idea titled Time Machine, about a man who is stuck reliving the same day over and over again.After talking about his writing process, Rubin shares the entire original screenplay for Groundhog Day. There is no opening scene at a TV station in Pittsburgh; the screenplay begins in medias res, with Phil Connors explaining his predicament in voice-over: “Let me tell you right off – I have a secret. If I could just tell you right out, I would. But, believe me, you wouldn’t understand. And by tomorrow, you wouldn’t remember my secret. You wouldn’t even remember my name” (p. 50).The Phil Connors of the screenplay is young and hungry; as written by Rubin, the role seems as if it would be better-suited for a young actor of the time, like Robert Downey Jr. It is fortunate, in that regard, that Bill Murray eventually got the part. Murray was 42 years old at the time when Groundhog Day was filmed, and therefore there is a certain pathos to the scene early in the film when he smugly tells his Pittsburgh co-anchor that a national network is interested in him. In fact, however, the hypercompetitive, dog-eat-dog nature of television news means that a small-market weatherman in his forties is likely to stay in his small-market job. And suddenly, a plausible reason emerges for Phil Connors’s bitter negativity, his resentment at being sent to Punxsutawney for a fourth straight year of covering the Groundhog Day festivities. Such subtle considerations – things of which the viewer might not even be aware – can make an important contribution to whether a film works or not.Part of the fun of reading the screenplay for a favorite film involves following roads not taken by the filmmakers – experiencing aspects of the screenplay that were changed or discarded as the screenplay moved into production. Fans of the film will recall, for instance, that an unexpected blizzard strands Phil, his producer Rita, and their cameraman Larry in Punxsutawney after their coverage of the Groundhog Day festivities, setting the stage for Phil’s multiple repetitions of Groundhog Day. Yet in Rubin’s screenplay, Phil’s desperation eventually leads him to take a snowmobile from Punxsy to Altoona (56 miles!), resulting in the following exchange between Phil and a ticket agent at the Altoona airport:PHIL: Hi. Where do you fly between now and, say, one A.M.? AGENT: We have flights to Pittsburgh, Cleveland, and Washington, D.C. PHIL: Great! Send me to Pittsburgh, one-way. AGENT: Snowed in. PHIL: How about Cleveland? AGENT: Snowed in. PHIL: Is Washington snowed in? AGENT: No, sir. PHIL: Great! Washington, one-way. AGENT: Okay. Do you have a reservation? (p. 100)Phil “stares, crestfallen” (p. 100), realizing that his latest escape plan has failed. Personally, I think this scene would have filmed well.Eventually, after descending into a state of deshabille and despair, Phil finds himself interacting with, and actually listening to, fellow outcasts who are going through their own cycles of repetition – a homeless old man in front of the bank, a lady at the senior-care home who says she’s 1016 years old, a teenager who skips school every day to play pick-up basketball. The experience of truly listening and relating changes him. “All of my yesterdays,” he says, “had been about me. Tomorrow was going to be different. I was ready to leave myself and join the human race” (p. 159).And with that, Phil is off to his new life helping others – “I became the invisible hand of Punxsutawney, quietly removing pain wherever I could find it” (p. 162) – in scenes that are similar to, and in some ways different from, what one sees in the final film. He even, at one point, helps a patient in an emergency situation at the Punxsutawney hospital by serving as an anesthesiologist! That scene, of course, didn’t make it into the final film. Rubin thought the long cycle of repetitions meant that “It made perfect sense…that Phil could by now be a trained anesthesiologist”, but director Ramis disagreed: “I do remember having a spirited discussion with Harold over whether Phil could actually practice medicine. He didn’t think so” (p. 252).And the relationship between Rita and the emotionally-regenerated Phil moves forward, too – though the screenplay ends on much more of a _Twilight Zone_-style, surprise-ending note than the straightforward, happy resolution to Ramis’s film.After the screenplay, Rubin takes the reader through a motion picture’s development process – providing, in the process, a good sense of the collaborative nature of filmmaking. Rubin writes that “I would never label this script or anything I write as ‘dark,’ but there is an edge I’m not afraid to cross, and that edge allows characters to be a little bit more mean-spirited and selfish than, say, your average situation comedy TV character” (p. 202). He adds that Harold Ramis’s outlook on characterization tends to be different – “in general, his characters show more sweetness than mine”. Rubin concludes that “Luckily, it was clear to both of us that Phil’s nasty side was necessary for achieving the greatest impact”, and that “the casting of Bill Murray as a totally compelling nasty guy” (p. 203) made a vital contribution to the film’s success. Three talented people – screenwriter Rubin, director Ramis, and actor Murray – worked together productively, in a spirit of give-and-take – something that seems to have made an important contribution to the critical and commercial success of Groundhog Day.I liked Rubin’s reflection, toward the book’s conclusion, about the infinite range of possibilities facing each of us on any given day, and his suggestion that “we shape our own experience of the world far more than we often realize” (p. 272). When he talks about leaving Hollywood for Santa Fe, or about the joy he derives from teaching at Harvard and other universities, I got the sense that he might have wanted to make a Phil Connors-style break from his own unproductive routine – perhaps, for instance, the Writers’ Guild of America (WGA) scene of scrounging for rewrite jobs or fighting over screenwriting credits. (Ask a screenwriter, if you get the chance sometime, about the difference between an ampersand [“&”] and the word “and” between the names of two screenwriters in the credits for a film. You may be surprised at what you hear.)And if you read the book on a tablet, as I did, then the conclusion of the book provides a fun opportunity for some _Groundhog Day_-style repetition. Talk about mixing form and content!How to Read Groundhog Day may be of particular interest to aspiring screenwriters, students of popular culture, and current or former residents of Central Pennsylvania (I lived there for seven years). If you read it, I think you will find it to be a fast and pleasant reading experience. Whether you repeat-read it, and how many times you might repeat-read it, will of course be up to you… ...more | notes Notes are private! | comments 0 | votes 0 | # times read 2 | date started Feb 02, 2023 not set | date read Feb 03, 2023 not set | date added Sep 21, 2024 | owned | format Kindle Edition | actions view (with text) | | | |
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| title Erasing History: How Fascists Rewrite the Past to Control the Future | author Stanley, Jason F. | isbn 1668056917 | isbn13 9781668056912 | asin 1668056917 | num pages 256pp | avg rating 4.28 | num ratings 75 | date pub unknown | date pub edition Sep 10, 2024 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 16, 2024 | owned | format Hardcover | actions view | | | |
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| title Keeping the Faith: God, Democracy, and the Trial That Riveted a Nation | author Wineapple, Brenda | isbn 0593229924 | isbn13 9780593229927 | asin 0593229924 | num pages 544pp | avg rating 4.40 | num ratings 159 | date pub Aug 13, 2024 | date pub edition Aug 13, 2024 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 15, 2024 | owned | format Hardcover | actions view | | | |
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| title The Armies of the Night: History as a Novel, The Novel as History | author Mailer, Norman | isbn 0452272793 | isbn13 9780452272798 | asin 0452272793 | num pages 304pp | avg rating 3.62 | num ratings 3,306 | date pub 1968 | date pub edition Jan 01, 1995 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 09, 2024 | owned | format Paperback | actions view | | | |
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| title The Executioner's Song | author Mailer, Norman | isbn 0375700811 | isbn13 9780375700811 | asin 0375700811 | num pages 1,056pp | avg rating 4.05 | num ratings 22,108 | date pub Oct 30, 1979 | date pub edition Apr 28, 1998 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 09, 2024 | owned | format Paperback | actions view | | | |
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| title The Holy Bible: King James Version | author Anonymous | isbn 1622456343 | isbn13 9781622456345 | asin B07V3291PY | num pages 2,140pp | avg rating 4.44 | num ratings 297,057 | date pub 1611 | date pub edition Jul 08, 2019 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 1 | date started Sep 06, 2024 | date read not set | date added Sep 06, 2024 | owned | format Kindle Edition | actions view | | | |
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| title Baltimore: Life in the City | author Levinson, Barry | isbn | isbn13 | asin B00120W64K | num pages 525pp | avg rating 5.00 | num ratings 1 | date pub Sep 2001 | date pub edition Jan 01, 2001 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 04, 2024 | owned | format Hardcover | actions view | | | |
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| title Flickering Treasures: Rediscovering Baltimore's Forgotten Movie Theaters | author Davis, Amy | isbn 1421422182 | isbn13 9781421422183 | asin 1421422182 | num pages 302pp | avg rating 4.60 | num ratings 15 | date pub unknown | date pub edition Sep 19, 2017 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 04, 2024 | owned | format Hardcover | actions view | | | |
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| title Three Screenplays: Avalon / Tin Men / Diner | author Levinson, Barry | isbn 0871134357 | isbn13 9780871134356 | asin 0871134357 | num pages 373pp | avg rating 4.37 | num ratings 19 | date pub Jan 21, 1990 | date pub edition Jan 21, 1990 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 04, 2024 | owned | format Paperback | actions view | | | |
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| title We Are Not You: First Nations and Canadian Modernity | author Denis, Claude | isbn 1551111187 | isbn13 9781551111186 | asin 1551111187 | num pages 192pp | avg rating 3.80 | num ratings 5 | date pub Oct 24, 1997 | date pub edition Oct 01, 1997 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 01, 2024 | owned | format Paperback | actions view | | | |
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| title Stickhandling through the Margins: First Nations Hockey in Canada | author Robidoux, Michael A. | isbn 1442613386 | isbn13 9781442613386 | asin 1442613386 | num pages 176pp | avg rating 3.86 | num ratings 7 | date pub Apr 04, 2012 | date pub edition Apr 04, 2012 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 1 | date started Sep 30, 2024 | date read not set | date added Sep 01, 2024 | owned | format Paperback | actions view | | | |
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| title Canada's First Nations: A History of Founding Peoples from Earliest Times | author Dickason, Olive Patricia | isbn 019541652X | isbn13 9780195416527 | asin 019541652X | num pages 576pp | avg rating 3.91 | num ratings 54 | date pub 1992 | date pub edition Nov 01, 2001 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Sep 01, 2024 | owned | format Paperback | actions view | | | |
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| title An Organizer's Tale: Speeches | author Chávez, César | isbn 0143105264 | isbn13 9780143105268 | asin 0143105264 | num pages 288pp | avg rating 4.20 | num ratings 69 | date pub Apr 29, 2008 | date pub edition Apr 29, 2008 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Aug 31, 2024 | owned | format Paperback | actions view | | | |
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| title Death on the Nile(Hercule Poirot, #18) | author Christie, Agatha | isbn 0425200469 | isbn13 9780425200469 | asin 0425200469 | num pages 420pp | avg rating 4.12 | num ratings 272,370 | date pub Nov 01, 1937 | date pub edition Aug 31, 2004 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 1 | date started Aug 22, 2024 | date read not set | date added Aug 22, 2024 | owned | format Mass Market Paperback | actions view | | | |
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| title This Was Chesapeake Bay | author Burgess, Robert H. | isbn 0870331256 | isbn13 9780870331251 | asin 0870331256 | num pages 218pp | avg rating 4.00 | num ratings 1 | date pub Jun 01, 1963 | date pub edition Jan 01, 1963 | Paul's rating | my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves | review None | notes Notes are private! | comments 0 | votes 0 | # times read 0 | date started not set | date read not set | date added Aug 19, 2024 | owned | format Hardcover | actions view | | | |
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