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4222507d | 6 | <title>A Not So Fancy Listing of Books</title> |
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15 | <body> | |
4222507d | 16 | <h1>A Not So Fancy Listing of Books</h1> |
023ad63c | 17 | <div class="contents"> |
18 | <dl> | |
4222507d | 19 | <dt> |
20 | <a href="#sec1">Douglas Adams</a> | |
21 | </dt> | |
22 | <dd> | |
23 | <dl> | |
24 | <dt> | |
25 | <a href="#sec2">Hitchiker's Guide to the Galaxy (collected)</a> | |
26 | </dt> | |
27 | <dt> | |
28 | <a href="#sec3">The Long Dark Tea-Time of the Soul</a> | |
29 | </dt> | |
30 | </dl> | |
31 | </dd> | |
32 | <dt> | |
33 | <a href="#sec4">Aeschylus</a> | |
34 | </dt> | |
35 | <dd> | |
36 | <dl> | |
37 | <dt> | |
38 | <a href="#sec5">Oresteia</a> | |
39 | </dt> | |
40 | <dt> | |
41 | <a href="#sec6">Prometheus Bound</a> | |
42 | </dt> | |
43 | <dt> | |
44 | <a href="#sec7">The Persians</a> | |
45 | </dt> | |
46 | </dl> | |
47 | </dd> | |
48 | <dt> | |
49 | <a href="#sec8">John Allison</a> | |
50 | </dt> | |
51 | <dd> | |
52 | <dl> | |
53 | <dt> | |
54 | <a href="#sec9">Looks, Brains and Everything</a> | |
55 | </dt> | |
56 | <dt> | |
57 | <a href="#sec10">Blame the Sky</a> | |
58 | </dt> | |
59 | <dt> | |
60 | <a href="#sec11">Skellington</a> | |
61 | </dt> | |
62 | <dt> | |
63 | <a href="#sec12">The Retribution Index</a> | |
64 | </dt> | |
65 | <dt> | |
66 | <a href="#sec13">Great Aches</a> | |
67 | </dt> | |
68 | <dt> | |
69 | <a href="#sec14">Ahoy Hoy!</a> | |
70 | </dt> | |
71 | <dt> | |
72 | <a href="#sec15">Heavy Metal Hearts and Flowers</a> | |
73 | </dt> | |
74 | <dt> | |
75 | <a href="#sec16">Ghosts</a> | |
76 | </dt> | |
77 | </dl> | |
78 | </dd> | |
79 | <dt> | |
80 | <a href="#sec17">Anonymous</a> | |
81 | </dt> | |
82 | <dd> | |
83 | <dl> | |
84 | <dt> | |
85 | <a href="#sec18">Chymical Wedding of Christian Rosenkreutz</a> | |
86 | </dt> | |
87 | </dl> | |
88 | </dd> | |
89 | <dt> | |
90 | <a href="#sec19">Aristophanes</a> | |
91 | </dt> | |
92 | <dd> | |
93 | <dl> | |
94 | <dt> | |
95 | <a href="#sec20">The Frogs</a> | |
96 | </dt> | |
97 | <dt> | |
98 | <a href="#sec21">The Clouds</a> | |
99 | </dt> | |
100 | <dt> | |
101 | <a href="#sec22">Ecclesiazusae</a> | |
102 | </dt> | |
103 | </dl> | |
104 | </dd> | |
105 | <dt> | |
106 | <a href="#sec23">Aristotle</a> | |
107 | </dt> | |
108 | <dd> | |
109 | <dl> | |
110 | <dt> | |
111 | <a href="#sec24">Ethics</a> | |
112 | </dt> | |
113 | <dt> | |
114 | <a href="#sec25">Categories</a> | |
115 | </dt> | |
116 | <dt> | |
117 | <a href="#sec26">Poetics</a> | |
118 | </dt> | |
119 | <dt> | |
120 | <a href="#sec27">Rhetoric</a> | |
121 | </dt> | |
122 | </dl> | |
123 | </dd> | |
124 | <dt> | |
125 | <a href="#sec28">Marcus Aurelius</a> | |
126 | </dt> | |
127 | <dd> | |
128 | <dl> | |
129 | <dt> | |
130 | <a href="#sec29">Meditations</a> | |
131 | </dt> | |
132 | </dl> | |
133 | </dd> | |
134 | <dt> | |
135 | <a href="#sec30">William Blake</a> | |
136 | </dt> | |
137 | <dd> | |
138 | <dl> | |
139 | <dt> | |
140 | <a href="#sec31">The Four Zoas</a> | |
141 | </dt> | |
142 | <dt> | |
143 | <a href="#sec32">Jerusalem</a> | |
144 | </dt> | |
145 | </dl> | |
146 | </dd> | |
147 | <dt> | |
3c59982c | 148 | <a href="#sec33">Mike Carey</a> |
4222507d | 149 | </dt> |
150 | <dd> | |
151 | <dl> | |
152 | <dt> | |
3c59982c | 153 | <a href="#sec34">Lucifer (series)</a> |
4222507d | 154 | </dt> |
155 | </dl> | |
156 | </dd> | |
157 | <dt> | |
3c59982c | 158 | <a href="#sec35">Confucius</a> |
4222507d | 159 | </dt> |
160 | <dd> | |
161 | <dl> | |
162 | <dt> | |
3c59982c | 163 | <a href="#sec36">Analects</a> |
4222507d | 164 | </dt> |
165 | </dl> | |
166 | </dd> | |
167 | <dt> | |
3c59982c | 168 | <a href="#sec37">Neil Gaiman</a> |
4222507d | 169 | </dt> |
170 | <dd> | |
171 | <dl> | |
172 | <dt> | |
3c59982c | 173 | <a href="#sec38">The Sandman (series)</a> |
4222507d | 174 | </dt> |
175 | <dt> | |
3c59982c | 176 | <a href="#sec39">Good Omens</a> |
4222507d | 177 | </dt> |
178 | </dl> | |
179 | </dd> | |
180 | <dt> | |
3c59982c | 181 | <a href="#sec40">John Taylor Gatto</a> |
4222507d | 182 | </dt> |
183 | <dd> | |
184 | <dl> | |
185 | <dt> | |
3c59982c | 186 | <a href="#sec41">Underground History of American Education</a> |
4222507d | 187 | </dt> |
188 | </dl> | |
189 | </dd> | |
190 | <dt> | |
3c59982c | 191 | <a href="#sec42">Kahlil Gibran</a> |
4222507d | 192 | </dt> |
193 | <dd> | |
194 | <dl> | |
195 | <dt> | |
3c59982c | 196 | <a href="#sec43">A Tear and a Smile</a> |
4222507d | 197 | </dt> |
198 | <dt> | |
3c59982c | 199 | <a href="#sec44">The Prophet</a> |
4222507d | 200 | </dt> |
201 | <dt> | |
3c59982c | 202 | <a href="#sec45">Sand and Foam</a> |
4222507d | 203 | </dt> |
204 | <dt> | |
3c59982c | 205 | <a href="#sec46">The Madman</a> |
4222507d | 206 | </dt> |
207 | </dl> | |
208 | </dd> | |
209 | <dt> | |
3c59982c | 210 | <a href="#sec47">Homer</a> |
4222507d | 211 | </dt> |
212 | <dd> | |
213 | <dl> | |
214 | <dt> | |
3c59982c | 215 | <a href="#sec48">The Odyssey</a> |
4222507d | 216 | </dt> |
217 | </dl> | |
218 | </dd> | |
219 | <dt> | |
3c59982c | 220 | <a href="#sec49">Aldous Huxley</a> |
4222507d | 221 | </dt> |
222 | <dd> | |
223 | <dl> | |
224 | <dt> | |
3c59982c | 225 | <a href="#sec50">The Doors of Perception</a> |
4222507d | 226 | </dt> |
227 | <dt> | |
3c59982c | 228 | <a href="#sec51">Heaven and Hell</a> |
4222507d | 229 | </dt> |
230 | </dl> | |
231 | </dd> | |
232 | <dt> | |
3c59982c | 233 | <a href="#sec52">William James</a> |
4222507d | 234 | </dt> |
235 | <dd> | |
236 | <dl> | |
237 | <dt> | |
3c59982c | 238 | <a href="#sec53">The Varieties of Religious Experience</a> |
4222507d | 239 | </dt> |
240 | <dt> | |
3c59982c | 241 | <a href="#sec54">The PhD Octopus</a> |
4222507d | 242 | </dt> |
243 | </dl> | |
244 | </dd> | |
245 | <dt> | |
3c59982c | 246 | <a href="#sec55">Henry James</a> |
4222507d | 247 | </dt> |
248 | <dd> | |
249 | <dl> | |
250 | <dt> | |
3c59982c | 251 | <a href="#sec56">The Altar of the Dead</a> |
4222507d | 252 | </dt> |
253 | </dl> | |
254 | </dd> | |
255 | <dt> | |
3c59982c | 256 | <a href="#sec57">Gregor Kiczales</a> |
4222507d | 257 | </dt> |
258 | <dd> | |
259 | <dl> | |
260 | <dt> | |
3c59982c | 261 | <a href="#sec58">The Art of the Metaobject Protocol</a> |
4222507d | 262 | </dt> |
263 | </dl> | |
264 | </dd> | |
265 | <dt> | |
3c59982c | 266 | <a href="#sec59">Søren Kierkegaard</a> |
4222507d | 267 | </dt> |
268 | <dd> | |
269 | <dl> | |
270 | <dt> | |
3c59982c | 271 | <a href="#sec60">Sickness Unto Death</a> |
4222507d | 272 | </dt> |
273 | <dt> | |
3c59982c | 274 | <a href="#sec61">Either/Or</a> |
4222507d | 275 | </dt> |
276 | <dt> | |
3c59982c | 277 | <a href="#sec62">Fear and Trembling</a> |
4222507d | 278 | </dt> |
279 | <dt> | |
3c59982c | 280 | <a href="#sec63">Repetition</a> |
4222507d | 281 | </dt> |
282 | </dl> | |
283 | </dd> | |
284 | <dt> | |
3c59982c | 285 | <a href="#sec64">Alisa Kwitney</a> |
4222507d | 286 | </dt> |
287 | <dd> | |
288 | <dl> | |
289 | <dt> | |
3c59982c | 290 | <a href="#sec65">Destiny: A Chronicle of Deaths Foretold</a> |
4222507d | 291 | </dt> |
292 | </dl> | |
293 | </dd> | |
294 | <dt> | |
3c59982c | 295 | <a href="#sec66">David Lamkins</a> |
4222507d | 296 | </dt> |
297 | <dd> | |
298 | <dl> | |
299 | <dt> | |
3c59982c | 300 | <a href="#sec67">Successful Lisp</a> |
4222507d | 301 | </dt> |
302 | </dl> | |
303 | </dd> | |
304 | <dt> | |
3c59982c | 305 | <a href="#sec68">Mencius</a> |
4222507d | 306 | </dt> |
307 | <dd> | |
308 | <dl> | |
309 | <dt> | |
3c59982c | 310 | <a href="#sec69">Mencius</a> |
4222507d | 311 | </dt> |
312 | </dl> | |
313 | </dd> | |
314 | <dt> | |
3c59982c | 315 | <a href="#sec70">Walter Miller</a> |
4222507d | 316 | </dt> |
317 | <dd> | |
318 | <dl> | |
319 | <dt> | |
3c59982c | 320 | <a href="#sec71">A Canticle for Leibowitz</a> |
4222507d | 321 | </dt> |
322 | </dl> | |
323 | </dd> | |
324 | <dt> | |
3c59982c | 325 | <a href="#sec72">Alan Moore</a> |
4222507d | 326 | </dt> |
327 | <dd> | |
328 | <dl> | |
329 | <dt> | |
3c59982c | 330 | <a href="#sec73">Watchmen</a> |
4222507d | 331 | </dt> |
4222507d | 332 | <dt> |
3c59982c | 333 | <a href="#sec74">V for Vendetta</a> |
4222507d | 334 | </dt> |
335 | </dl> | |
336 | </dd> | |
337 | <dt> | |
3c59982c | 338 | <a href="#sec75">Thomas More</a> |
4222507d | 339 | </dt> |
340 | <dd> | |
341 | <dl> | |
342 | <dt> | |
3c59982c | 343 | <a href="#sec76">Utopia</a> |
4222507d | 344 | </dt> |
345 | </dl> | |
346 | </dd> | |
347 | <dt> | |
3c59982c | 348 | <a href="#sec77">Friedrich Nietzsche</a> |
4222507d | 349 | </dt> |
350 | <dd> | |
351 | <dl> | |
352 | <dt> | |
3c59982c | 353 | <a href="#sec78">Beyond Good and Evil</a> |
4222507d | 354 | </dt> |
355 | <dt> | |
3c59982c | 356 | <a href="#sec79">On the Geneaology of Morals</a> |
4222507d | 357 | </dt> |
358 | <dt> | |
3c59982c | 359 | <a href="#sec80">Ecce Homo</a> |
4222507d | 360 | </dt> |
361 | </dl> | |
362 | </dd> | |
363 | <dt> | |
3c59982c | 364 | <a href="#sec81">George Orwell</a> |
4222507d | 365 | </dt> |
366 | <dd> | |
367 | <dl> | |
368 | <dt> | |
3c59982c | 369 | <a href="#sec82">1984</a> |
4222507d | 370 | </dt> |
371 | <dt> | |
3c59982c | 372 | <a href="#sec83">Animal Farm</a> |
4222507d | 373 | </dt> |
374 | </dl> | |
375 | </dd> | |
376 | <dt> | |
3c59982c | 377 | <a href="#sec84">Plato</a> |
4222507d | 378 | </dt> |
379 | <dd> | |
380 | <dl> | |
381 | <dt> | |
3c59982c | 382 | <a href="#sec85">Symposium</a> |
4222507d | 383 | </dt> |
384 | <dt> | |
3c59982c | 385 | <a href="#sec86">Euthyphro</a> |
4222507d | 386 | </dt> |
387 | <dt> | |
3c59982c | 388 | <a href="#sec87">Apology</a> |
4222507d | 389 | </dt> |
390 | <dt> | |
3c59982c | 391 | <a href="#sec88">Crito</a> |
4222507d | 392 | </dt> |
4222507d | 393 | <dt> |
3c59982c | 394 | <a href="#sec89">Phaedo</a> |
4222507d | 395 | </dt> |
4222507d | 396 | <dt> |
3c59982c | 397 | <a href="#sec90">Protagoras</a> |
4222507d | 398 | </dt> |
399 | </dl> | |
400 | </dd> | |
401 | <dt> | |
3c59982c | 402 | <a href="#sec91">Luke Rhinehardt</a> |
4222507d | 403 | </dt> |
404 | <dd> | |
405 | <dl> | |
406 | <dt> | |
3c59982c | 407 | <a href="#sec92">The Dice Man</a> |
4222507d | 408 | </dt> |
409 | </dl> | |
410 | </dd> | |
411 | <dt> | |
3c59982c | 412 | <a href="#sec93">Neal Stephenson</a> |
4222507d | 413 | </dt> |
414 | <dd> | |
415 | <dl> | |
416 | <dt> | |
3c59982c | 417 | <a href="#sec94">Snow Crash</a> |
4222507d | 418 | </dt> |
419 | <dt> | |
3c59982c | 420 | <a href="#sec95">Cryptonomicon</a> |
4222507d | 421 | </dt> |
422 | </dl> | |
423 | </dd> | |
424 | <dt> | |
3c59982c | 425 | <a href="#sec96">Bjarne Stroustrup</a> |
4222507d | 426 | </dt> |
427 | <dd> | |
428 | <dl> | |
429 | <dt> | |
3c59982c | 430 | <a href="#sec97">The C++ Programming Language (3rd edition)</a> |
4222507d | 431 | </dt> |
432 | </dl> | |
433 | </dd> | |
434 | <dt> | |
3c59982c | 435 | <a href="#sec98">JRR Tolkien</a> |
4222507d | 436 | </dt> |
437 | <dd> | |
438 | <dl> | |
439 | <dt> | |
3c59982c | 440 | <a href="#sec99">The Lord of the Rings</a> |
4222507d | 441 | </dt> |
442 | <dt> | |
3c59982c | 443 | <a href="#sec100">The Silmarillion</a> |
4222507d | 444 | </dt> |
4222507d | 445 | <dt> |
3c59982c | 446 | <a href="#sec101">The Lost Tales</a> |
4222507d | 447 | </dt> |
448 | </dl> | |
449 | </dd> | |
450 | <dt> | |
3c59982c | 451 | <a href="#sec102">H.G. Wells</a> |
4222507d | 452 | </dt> |
453 | <dd> | |
454 | <dl> | |
455 | <dt> | |
3c59982c | 456 | <a href="#sec103">The Island of Dr Moreau</a> |
4222507d | 457 | </dt> |
458 | </dl> | |
459 | </dd> | |
023ad63c | 460 | </dl> |
461 | </div> | |
462 | ||
463 | ||
4222507d | 464 | <!-- Page published by Emacs Muse begins here --><h2><a name="sec1" id="sec1"></a> |
465 | Douglas Adams</h2> | |
466 | ||
467 | ||
468 | ||
469 | <h3><a name="sec2" id="sec2"></a> | |
470 | Hitchiker's Guide to the Galaxy (collected)</h3> | |
471 | ||
472 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
473 | ||
474 | ||
475 | ||
476 | ||
477 | ||
478 | <h3><a name="sec3" id="sec3"></a> | |
479 | The Long Dark Tea-Time of the Soul</h3> | |
480 | ||
481 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> | |
482 | ||
483 | ||
484 | ||
485 | ||
486 | ||
487 | ||
488 | <h2><a name="sec4" id="sec4"></a> | |
489 | Aeschylus</h2> | |
490 | ||
491 | ||
492 | ||
493 | <h3><a name="sec5" id="sec5"></a> | |
494 | Oresteia</h3> | |
495 | ||
496 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
497 | ||
498 | ||
499 | ||
500 | ||
501 | ||
502 | <h3><a name="sec6" id="sec6"></a> | |
503 | Prometheus Bound</h3> | |
504 | ||
505 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
506 | ||
507 | ||
508 | ||
509 | ||
510 | ||
511 | <h3><a name="sec7" id="sec7"></a> | |
512 | The Persians</h3> | |
513 | ||
514 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
515 | ||
516 | ||
517 | ||
518 | ||
519 | ||
520 | ||
521 | <h2><a name="sec8" id="sec8"></a> | |
522 | John Allison</h2> | |
523 | ||
524 | <p class="first">The author of the rather amazing <a href="http://scarygoround.com">Scary Go Round</a>. | |
525 | I highly recommend procuring the printed collections; the printing | |
526 | quality is superb (full color on glossy paper), and the long story | |
527 | arcs are much easier to read.</p> | |
528 | ||
529 | <h3><a name="sec9" id="sec9"></a> | |
530 | Looks, Brains and Everything</h3> | |
531 | ||
532 | <p><em>Fiction</em></p> | |
533 | ||
534 | ||
535 | ||
536 | ||
537 | ||
538 | <h3><a name="sec10" id="sec10"></a> | |
539 | Blame the Sky</h3> | |
540 | ||
541 | <p><em>Fiction</em></p> | |
542 | ||
543 | ||
544 | ||
545 | ||
546 | ||
547 | <h3><a name="sec11" id="sec11"></a> | |
548 | Skellington</h3> | |
549 | ||
550 | <p><em>Fiction</em></p> | |
551 | ||
552 | ||
553 | ||
554 | ||
555 | ||
556 | <h3><a name="sec12" id="sec12"></a> | |
557 | The Retribution Index</h3> | |
558 | ||
559 | <p><em>Fiction</em></p> | |
560 | ||
561 | ||
562 | ||
563 | ||
564 | ||
565 | <h3><a name="sec13" id="sec13"></a> | |
566 | Great Aches</h3> | |
567 | ||
568 | <p><em>Fiction</em></p> | |
569 | ||
570 | ||
571 | ||
572 | ||
573 | ||
574 | <h3><a name="sec14" id="sec14"></a> | |
575 | Ahoy Hoy!</h3> | |
576 | ||
577 | <p><em>Fiction</em></p> | |
578 | ||
579 | ||
580 | ||
581 | ||
582 | ||
583 | <h3><a name="sec15" id="sec15"></a> | |
584 | Heavy Metal Hearts and Flowers</h3> | |
585 | ||
586 | <p><em>Fiction</em></p> | |
587 | ||
588 | ||
589 | ||
590 | ||
591 | ||
592 | <h3><a name="sec16" id="sec16"></a> | |
593 | Ghosts</h3> | |
594 | ||
595 | <p><em>Fiction</em></p> | |
596 | ||
597 | ||
598 | ||
599 | ||
600 | ||
601 | ||
602 | <h2><a name="sec17" id="sec17"></a> | |
603 | Anonymous</h2> | |
604 | ||
605 | ||
606 | ||
607 | <h3><a name="sec18" id="sec18"></a> | |
608 | Chymical Wedding of Christian Rosenkreutz</h3> | |
609 | ||
610 | <p><em>Fiction</em></p> | |
611 | ||
612 | ||
613 | ||
614 | ||
615 | ||
616 | ||
617 | <h2><a name="sec19" id="sec19"></a> | |
618 | Aristophanes</h2> | |
619 | ||
620 | ||
621 | ||
622 | <h3><a name="sec20" id="sec20"></a> | |
623 | The Frogs</h3> | |
624 | ||
625 | <p><em>Fiction</em></p> | |
626 | ||
627 | ||
628 | ||
629 | ||
630 | ||
631 | <h3><a name="sec21" id="sec21"></a> | |
632 | The Clouds</h3> | |
633 | ||
634 | <p><em>Fiction</em></p> | |
635 | ||
636 | ||
637 | ||
638 | ||
639 | ||
640 | <h3><a name="sec22" id="sec22"></a> | |
641 | Ecclesiazusae</h3> | |
642 | ||
643 | <p><em>Fiction</em></p> | |
644 | ||
645 | ||
646 | ||
647 | ||
648 | ||
649 | ||
650 | <h2><a name="sec23" id="sec23"></a> | |
651 | Aristotle</h2> | |
652 | ||
653 | ||
654 | ||
655 | <h3><a name="sec24" id="sec24"></a> | |
656 | Ethics</h3> | |
657 | ||
658 | <p><em>Nonfiction</em></p> | |
659 | ||
660 | ||
661 | ||
662 | ||
663 | ||
664 | <h3><a name="sec25" id="sec25"></a> | |
665 | Categories</h3> | |
666 | ||
667 | <p><em>Nonfiction</em></p> | |
668 | ||
669 | ||
670 | ||
671 | ||
672 | ||
673 | <h3><a name="sec26" id="sec26"></a> | |
674 | Poetics</h3> | |
675 | ||
676 | <p><em>Nonfiction</em></p> | |
677 | ||
678 | ||
679 | ||
680 | ||
681 | ||
682 | <h3><a name="sec27" id="sec27"></a> | |
683 | Rhetoric</h3> | |
684 | ||
685 | <p><em>Nonfiction</em></p> | |
686 | ||
687 | ||
688 | ||
689 | ||
690 | ||
691 | ||
692 | <h2><a name="sec28" id="sec28"></a> | |
693 | Marcus Aurelius</h2> | |
694 | ||
695 | ||
696 | ||
697 | <h3><a name="sec29" id="sec29"></a> | |
698 | Meditations</h3> | |
699 | ||
700 | <p><em>Rating:</em> <span class="rating-good"> ••••</span><span class="rating-bad">•••••• </span> (4) / <em>Nonfiction</em></p> | |
701 | ||
702 | <p>At the time, I enjoyed reading this collection of meditations on | |
703 | Stoic philosophy, and it was a fairly quick read (fifteen minutes a | |
704 | day over the course of two weeks for me). Nowadays I've read | |
705 | Epictetus, and I suggest reading his <em>Discourses</em> instead.</p> | |
706 | ||
707 | ||
708 | ||
709 | ||
710 | <h2><a name="sec30" id="sec30"></a> | |
711 | William Blake</h2> | |
712 | ||
713 | <p class="first">Blake is my <a href="William%20Blake.html">favorite</a> of the English poets. His | |
714 | unique use of relief etching and watercoloring makes for very | |
715 | interesting Illuminated works. There is a very high quality | |
716 | <a href="http://blakearchive.org">complete archive of Blake's works</a> online | |
717 | with high resolution plate scans and full transcriptions among other | |
718 | things.</p> | |
719 | ||
720 | <h3><a name="sec31" id="sec31"></a> | |
721 | The Four Zoas</h3> | |
722 | ||
723 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
724 | ||
725 | <p>The unfinished manuscript of Blake's longest apocalypse. The | |
726 | Four Zoas divide from Albion and rage through the ages of dismal woe | |
727 | to bring about the end of the cycle of Ulro and restore the cycle of | |
728 | Beulah.</p> | |
729 | ||
730 | ||
731 | ||
732 | <h3><a name="sec32" id="sec32"></a> | |
733 | Jerusalem</h3> | |
734 | ||
735 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
736 | ||
737 | <p>The finest of Blake's Illuminated works.</p> | |
738 | ||
739 | ||
740 | ||
741 | ||
742 | <h2><a name="sec33" id="sec33"></a> | |
4222507d | 743 | Mike Carey</h2> |
744 | ||
745 | ||
746 | ||
3c59982c | 747 | <h3><a name="sec34" id="sec34"></a> |
4222507d | 748 | Lucifer (series)</h3> |
749 | ||
750 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> | |
751 | ||
752 | <p>Of the <em>Sandman</em> spinoffs, <em>Lucifer</em> stands out as the best for | |
753 | the first half, but then the writer appears to take on far too great a | |
754 | task, and, with the introduction of some disagreeable character | |
755 | relations, fails to execute the story as well as it could have | |
756 | been. Still, it was worth reading to the end even though most of the | |
757 | stories after issue 35 or so were merely ok. If you like Kierkegaard I | |
758 | suggest issues 2, 3, and 62—they show the form of the incommensurable | |
759 | relation of the single individual to the absolute perfectly.</p> | |
760 | ||
761 | ||
762 | ||
763 | ||
3c59982c | 764 | <h2><a name="sec35" id="sec35"></a> |
4222507d | 765 | Confucius</h2> |
766 | ||
767 | ||
768 | ||
3c59982c | 769 | <h3><a name="sec36" id="sec36"></a> |
4222507d | 770 | Analects</h3> |
771 | ||
772 | <p><em>Nonfiction</em></p> | |
773 | ||
774 | ||
775 | ||
776 | ||
777 | ||
778 | ||
3c59982c | 779 | <h2><a name="sec37" id="sec37"></a> |
4222507d | 780 | Neil Gaiman</h2> |
781 | ||
782 | ||
783 | ||
3c59982c | 784 | <h3><a name="sec38" id="sec38"></a> |
4222507d | 785 | The Sandman (series)</h3> |
786 | ||
787 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
788 | ||
789 | <p>Perhaps the best comic book series of all time; I would say <em>The | |
790 | Sandman</em> as a whole ranks higher than anything even Alan Moore has | |
791 | written.</p> | |
792 | ||
793 | ||
794 | ||
3c59982c | 795 | <h3><a name="sec39" id="sec39"></a> |
4222507d | 796 | Good Omens</h3> |
797 | ||
798 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
799 | ||
800 | <p>A friend of a friend decided one evening that I needed to read | |
801 | so-called <em>normal people books</em>, and so she lent me <em>Good Omens</em>. It | |
802 | was an enjoyable read and unearthed vague memories of comic book | |
803 | magazines I read when I was small and the name <em>Sandman</em>; thus through | |
804 | one book I found something far greater.</p> | |
805 | ||
806 | ||
807 | ||
4222507d | 808 | |
3c59982c | 809 | <h2><a name="sec40" id="sec40"></a> |
4222507d | 810 | John Taylor Gatto</h2> |
811 | ||
812 | <p class="first">Former teacher and now author-activist.</p> | |
813 | ||
3c59982c | 814 | <h3><a name="sec41" id="sec41"></a> |
4222507d | 815 | Underground History of American Education</h3> |
816 | ||
817 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> | |
818 | ||
819 | <p>An interesting <em>underground</em> history of the American education | |
820 | system. Available | |
821 | <a href="http://www.johntaylorgatto.com/underground/">online for free</a>.</p> | |
822 | ||
823 | ||
824 | ||
825 | ||
3c59982c | 826 | <h2><a name="sec42" id="sec42"></a> |
4222507d | 827 | Kahlil Gibran</h2> |
828 | ||
829 | <p class="first">Kahlil Gibran is fairly interesting; his earlier works do not | |
830 | agree with my æsthetic sense (blah blah), but <em>The Madman</em> onward are | |
831 | all rather nice. A few of his works are | |
832 | <a href="http://leb.net/~mira/">online</a>, but I recommend scouting used book | |
833 | stores for old hardcover editions. The (late 90s onward at least) | |
834 | <em>hardcover</em> versions from <em>Alfred A. Knopf</em> are in fact permabound | |
835 | paperbacks with a hardcasing, and are of seriously inferior quality to | |
836 | the editions from the 50s and 60s (and cost quite a bit more, | |
837 | naturally).</p> | |
838 | ||
3c59982c | 839 | <h3><a name="sec43" id="sec43"></a> |
4222507d | 840 | A Tear and a Smile</h3> |
841 | ||
842 | <p><em>Rating:</em> <span class="rating-good"> •••</span><span class="rating-bad">••••••• </span> (3) / <em>Fiction</em></p> | |
843 | ||
844 | <p>One of Kahlil Gibran's earlier works, I did not much like <em>A | |
845 | Tear and a Smile</em> excepting the last poem ("A Poet's Voice").</p> | |
846 | ||
847 | ||
848 | ||
3c59982c | 849 | <h3><a name="sec44" id="sec44"></a> |
4222507d | 850 | The Prophet</h3> |
851 | ||
852 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
853 | ||
854 | ||
855 | ||
856 | ||
857 | ||
3c59982c | 858 | <h3><a name="sec45" id="sec45"></a> |
4222507d | 859 | Sand and Foam</h3> |
860 | ||
861 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
862 | ||
863 | <p>An interesting little book of aphorisms.</p> | |
864 | ||
865 | ||
866 | ||
3c59982c | 867 | <h3><a name="sec46" id="sec46"></a> |
4222507d | 868 | The Madman</h3> |
869 | ||
870 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
871 | ||
872 | ||
873 | ||
874 | ||
875 | ||
876 | ||
3c59982c | 877 | <h2><a name="sec47" id="sec47"></a> |
4222507d | 878 | Homer</h2> |
879 | ||
880 | ||
881 | ||
3c59982c | 882 | <h3><a name="sec48" id="sec48"></a> |
4222507d | 883 | The Odyssey</h3> |
884 | ||
885 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
886 | ||
887 | ||
888 | ||
889 | ||
890 | ||
891 | ||
3c59982c | 892 | <h2><a name="sec49" id="sec49"></a> |
4222507d | 893 | Aldous Huxley</h2> |
894 | ||
895 | <p class="first">Perhaps the most overrated modern writer. Other people have written | |
896 | everything he has to write better and many years before he got around | |
897 | to it.</p> | |
898 | ||
3c59982c | 899 | <h3><a name="sec50" id="sec50"></a> |
4222507d | 900 | The Doors of Perception</h3> |
901 | ||
902 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> | |
903 | ||
904 | <p>Huxley stains the name of Blake by naming this horrible | |
905 | pseudo-scientific and pseudo-poetic essay after a line from <em>The | |
906 | Marriage of Heaven and Hell</em>. Subjectivity and objectivity are | |
907 | incommensurable; his attempt and being subjectively objective is | |
908 | utterly worthless.</p> | |
909 | ||
910 | ||
911 | ||
3c59982c | 912 | <h3><a name="sec51" id="sec51"></a> |
4222507d | 913 | Heaven and Hell</h3> |
914 | ||
915 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> | |
916 | ||
917 | <p>Blah blah LSD blah blah Mushrooms blah blah Peyote blah blah I'm | |
918 | Aldous Huxley I'm a pretentious jerk. Don't bother.</p> | |
919 | ||
920 | ||
921 | ||
4222507d | 922 | |
3c59982c | 923 | <h2><a name="sec52" id="sec52"></a> |
4222507d | 924 | William James</h2> |
925 | ||
926 | ||
927 | ||
3c59982c | 928 | <h3><a name="sec53" id="sec53"></a> |
4222507d | 929 | The Varieties of Religious Experience</h3> |
930 | ||
931 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> | |
932 | ||
933 | <p><a href="William%20James%20-%20The%20Varieties%20of%20Religious%20Experience.html">A partially finished extended summary</a></p> | |
934 | ||
935 | ||
936 | ||
3c59982c | 937 | <h3><a name="sec54" id="sec54"></a> |
4222507d | 938 | The PhD Octopus</h3> |
939 | ||
940 | <p><em>Nonfiction</em></p> | |
941 | ||
942 | <blockquote> | |
943 | <p class="quoted"> | |
944 | America is thus as a nation rapidly drifting towards a state of things | |
945 | in which no man of science or letters will be accounted respectable | |
946 | unless some kind of badge or diploma is stamped upon him, and in which | |
947 | bare personality will be a mark of outcast estate. It seems to me high | |
948 | time to rouse ourselves to consciousness, and to cast a critical eye | |
949 | upon this decidedly grotesque tendency. Other nations suffer terribly | |
950 | from the Mandarin disease. Are we doomed to suffer like the rest?</p> | |
951 | ||
952 | </blockquote> | |
953 | ||
954 | <p><a href="William%20James%20-%20The%20PhD%20Octopus.html">Full Text</a></p> | |
955 | ||
956 | ||
957 | ||
958 | ||
3c59982c | 959 | <h2><a name="sec55" id="sec55"></a> |
4222507d | 960 | Henry James</h2> |
961 | ||
962 | <p class="first">The novelist brother of William James; I've not read many (read: | |
963 | one) of his books, but what I did was decent.</p> | |
964 | ||
3c59982c | 965 | <h3><a name="sec56" id="sec56"></a> |
4222507d | 966 | The Altar of the Dead</h3> |
967 | ||
968 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
969 | ||
970 | <p>A short novella about a man who maintained an altar in a church | |
971 | for all of his lost loved ones on the surface, but something a bit | |
972 | more beneath.</p> | |
973 | ||
974 | ||
975 | ||
976 | ||
3c59982c | 977 | <h2><a name="sec57" id="sec57"></a> |
4222507d | 978 | Gregor Kiczales</h2> |
979 | ||
980 | ||
981 | ||
3c59982c | 982 | <h3><a name="sec58" id="sec58"></a> |
4222507d | 983 | The Art of the Metaobject Protocol</h3> |
984 | ||
985 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
986 | ||
987 | <p>AMOP is useful as a reference to the CLOS MOP (although less so with | |
988 | the online MOP spec), but the true value of the book lies in the first | |
989 | half of the book. It presents the design of the CLOS MOP through a | |
990 | series of revisions that fix limitations of earlier implementations | |
991 | and gradually work toward a generic and well designed MOP for | |
992 | CLOS. Through that process one is made more aware of a few general | |
993 | object protocol design skills, and gains insight into how to cleanly | |
994 | make mapping decisions customizable.</p> | |
995 | ||
996 | ||
997 | ||
998 | ||
3c59982c | 999 | <h2><a name="sec59" id="sec59"></a> |
4222507d | 1000 | Søren Kierkegaard</h2> |
1001 | ||
1002 | <p class="first">Kierkegaard was a master of style and philosophy; his writing is | |
1003 | interesting even if one finds the theistic extentialism espoused | |
1004 | disagreeable.</p> | |
1005 | ||
3c59982c | 1006 | <h3><a name="sec60" id="sec60"></a> |
4222507d | 1007 | Sickness Unto Death</h3> |
1008 | ||
1009 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1010 | ||
1011 | <p>I purchased this when I was looking through books at a store after | |
1012 | being unable to find the book I really wanted, and I must say that it | |
1013 | was better for me to have found this one.</p> | |
1014 | ||
1015 | <p>Contained within is a beautiful analysis of despair in the context of | |
1016 | Christianity (really theism in general). Even if the argument offends, | |
1017 | the presentation cannot. The dialectical nature of despair is | |
1018 | reflected in every aspect of the work, and the method of presentation | |
1019 | forces reflection.</p> | |
1020 | ||
1021 | ||
1022 | ||
3c59982c | 1023 | <h3><a name="sec61" id="sec61"></a> |
4222507d | 1024 | Either/Or</h3> |
1025 | ||
1026 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1027 | ||
1028 | <p>Composed of two portions, <em>Either/Or</em> is a rather lengthy but | |
1029 | rewarding read. The first book is a series of essays and a diary of a | |
1030 | young esthetician; the second is a pair of long letters from an older | |
1031 | ethicist friend to this esthetician. You are then left to resolve the | |
1032 | conflict between the views.</p> | |
1033 | ||
1034 | ||
1035 | ||
3c59982c | 1036 | <h3><a name="sec62" id="sec62"></a> |
4222507d | 1037 | Fear and Trembling</h3> |
1038 | ||
1039 | <p><em>Nonfiction</em></p> | |
1040 | ||
1041 | <p>An interesting dialectical lyric contrasting Despair and Faith.</p> | |
1042 | ||
1043 | ||
1044 | ||
3c59982c | 1045 | <h3><a name="sec63" id="sec63"></a> |
4222507d | 1046 | Repetition</h3> |
1047 | ||
1048 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1049 | ||
1050 | <p>He who despairs of esthetic repetition gets none; he who despairs | |
1051 | of ethical repetition receieves the esthetic. Is it true then that no | |
1052 | repetition exists? Is transition all one can hope for?</p> | |
1053 | ||
1054 | ||
1055 | ||
4222507d | 1056 | |
3c59982c | 1057 | <h2><a name="sec64" id="sec64"></a> |
4222507d | 1058 | Alisa Kwitney</h2> |
1059 | ||
1060 | ||
1061 | ||
3c59982c | 1062 | <h3><a name="sec65" id="sec65"></a> |
4222507d | 1063 | Destiny: A Chronicle of Deaths Foretold</h3> |
1064 | ||
1065 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
1066 | ||
1067 | ||
1068 | ||
1069 | ||
1070 | ||
1071 | ||
3c59982c | 1072 | <h2><a name="sec66" id="sec66"></a> |
4222507d | 1073 | David Lamkins</h2> |
1074 | ||
1075 | ||
1076 | ||
3c59982c | 1077 | <h3><a name="sec67" id="sec67"></a> |
4222507d | 1078 | Successful Lisp</h3> |
1079 | ||
1080 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> | |
1081 | ||
1082 | <p>After learning Scheme, I read <em>Successful Lisp</em> and was able to | |
1083 | pick up Common Lisp fairly easily.</p> | |
1084 | ||
1085 | ||
1086 | ||
1087 | ||
3c59982c | 1088 | <h2><a name="sec68" id="sec68"></a> |
4222507d | 1089 | Mencius</h2> |
1090 | ||
1091 | ||
1092 | ||
3c59982c | 1093 | <h3><a name="sec69" id="sec69"></a> |
4222507d | 1094 | Mencius</h3> |
1095 | ||
1096 | <p><em>Nonfiction</em></p> | |
1097 | ||
1098 | ||
1099 | ||
1100 | ||
1101 | ||
1102 | ||
3c59982c | 1103 | <h2><a name="sec70" id="sec70"></a> |
4222507d | 1104 | Walter Miller</h2> |
1105 | ||
1106 | ||
1107 | ||
3c59982c | 1108 | <h3><a name="sec71" id="sec71"></a> |
4222507d | 1109 | A Canticle for Leibowitz</h3> |
1110 | ||
1111 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1112 | ||
1113 | ||
1114 | ||
1115 | ||
1116 | ||
1117 | ||
3c59982c | 1118 | <h2><a name="sec72" id="sec72"></a> |
4222507d | 1119 | Alan Moore</h2> |
1120 | ||
1121 | ||
1122 | ||
3c59982c | 1123 | <h3><a name="sec73" id="sec73"></a> |
4222507d | 1124 | Watchmen</h3> |
1125 | ||
1126 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
1127 | ||
1128 | ||
1129 | ||
1130 | ||
1131 | ||
3c59982c | 1132 | <h3><a name="sec74" id="sec74"></a> |
4222507d | 1133 | V for Vendetta</h3> |
1134 | ||
1135 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1136 | ||
1137 | ||
1138 | ||
1139 | ||
1140 | ||
1141 | ||
3c59982c | 1142 | <h2><a name="sec75" id="sec75"></a> |
4222507d | 1143 | Thomas More</h2> |
1144 | ||
1145 | ||
1146 | ||
3c59982c | 1147 | <h3><a name="sec76" id="sec76"></a> |
4222507d | 1148 | Utopia</h3> |
1149 | ||
1150 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1151 | ||
1152 | <p>I read most of Utopia in high school with the TI-89 ebook reader, but | |
1153 | the way the book was split up made it a bit difficult to grasp the | |
1154 | overall structure. I found a copy at a used book store one day, and so | |
1155 | I read it again, and found it much more comprehensible. It is a quick | |
1156 | read, and decent piece of literature. The interesting social system | |
1157 | espoused resembles resembles state communism (even if perhaps as a | |
1158 | negative ideal), but with an strange blend of 14th century European | |
1159 | social customs.</p> | |
1160 | ||
1161 | ||
1162 | ||
1163 | ||
3c59982c | 1164 | <h2><a name="sec77" id="sec77"></a> |
4222507d | 1165 | Friedrich Nietzsche</h2> |
1166 | ||
1167 | <p class="first">A bit acerbic and esoteric, Nietzsche is for me a good <em>secular</em> | |
1168 | counterpart to Kierkegaard's theistic philosophy. Nietzsche's | |
1169 | polemical works raise important questions for anyone who reads works | |
1170 | on ethics. As such it is a shame that he has gotten a bad reputation | |
1171 | by being read by far too many angsty teenagers who see (and relay) | |
1172 | only Nietzsche the asshole rather than Nietzsche the master of the | |
1173 | polemic.</p> | |
1174 | ||
3c59982c | 1175 | <h3><a name="sec78" id="sec78"></a> |
4222507d | 1176 | Beyond Good and Evil</h3> |
1177 | ||
1178 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> | |
1179 | ||
1180 | <p>A somewhat more comprehensible, if a bit less aesthetically | |
1181 | pleasing, presentation of much of the philosophy found in <em>Thus Spoke | |
1182 | Zarathustra</em> in the negative form. The final chapters are very | |
1183 | important (not to detract from the value of the rest of the work) if | |
1184 | one wishes to understand <em>On the Genealogy of Morals</em>.</p> | |
1185 | ||
1186 | ||
1187 | ||
3c59982c | 1188 | <h3><a name="sec79" id="sec79"></a> |
4222507d | 1189 | On the Geneaology of Morals</h3> |
1190 | ||
1191 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> | |
1192 | ||
1193 | <p><em>On the Geneaology of Morals</em> is a wonderful book of three | |
1194 | polemical essays on the origin of moral/ethical valuations, and the | |
1195 | blindness of modern philosphers whose very thinking is tainted by | |
1196 | these valuations unknowingly.</p> | |
1197 | ||
1198 | ||
1199 | ||
3c59982c | 1200 | <h3><a name="sec80" id="sec80"></a> |
4222507d | 1201 | Ecce Homo</h3> |
1202 | ||
1203 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> | |
1204 | ||
1205 | <p><em>Ecce Homo</em> is Nietzsche's very strange autobiography and | |
1206 | explanation of his own works. At points it is clear that it could have | |
1207 | used a bit more editing (prevented by Nietzsche ... falling into a | |
1208 | catatonic state and all), but is still a very useful book to read as | |
1209 | Nietzsche explains the overall structure of his works.</p> | |
1210 | ||
1211 | ||
1212 | ||
1213 | ||
3c59982c | 1214 | <h2><a name="sec81" id="sec81"></a> |
4222507d | 1215 | George Orwell</h2> |
1216 | ||
1217 | ||
1218 | ||
3c59982c | 1219 | <h3><a name="sec82" id="sec82"></a> |
4222507d | 1220 | 1984</h3> |
1221 | ||
1222 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1223 | ||
1224 | ||
1225 | ||
1226 | ||
1227 | ||
3c59982c | 1228 | <h3><a name="sec83" id="sec83"></a> |
4222507d | 1229 | Animal Farm</h3> |
1230 | ||
1231 | <p><em>Fiction</em></p> | |
1232 | ||
1233 | ||
1234 | ||
1235 | ||
1236 | ||
1237 | ||
3c59982c | 1238 | <h2><a name="sec84" id="sec84"></a> |
4222507d | 1239 | Plato</h2> |
1240 | ||
1241 | ||
1242 | ||
3c59982c | 1243 | <h3><a name="sec85" id="sec85"></a> |
4222507d | 1244 | Symposium</h3> |
1245 | ||
1246 | <p><em>Fiction</em></p> | |
1247 | ||
1248 | ||
1249 | ||
1250 | ||
1251 | ||
3c59982c | 1252 | <h3><a name="sec86" id="sec86"></a> |
4222507d | 1253 | Euthyphro</h3> |
1254 | ||
1255 | <p><em>Fiction</em></p> | |
1256 | ||
1257 | ||
1258 | ||
1259 | ||
1260 | ||
3c59982c | 1261 | <h3><a name="sec87" id="sec87"></a> |
4222507d | 1262 | Apology</h3> |
1263 | ||
1264 | <p><em>Nonfiction</em></p> | |
1265 | ||
1266 | ||
1267 | ||
1268 | ||
1269 | ||
3c59982c | 1270 | <h3><a name="sec88" id="sec88"></a> |
4222507d | 1271 | Crito</h3> |
1272 | ||
1273 | <p><em>Fiction</em></p> | |
1274 | ||
1275 | ||
1276 | ||
1277 | ||
1278 | ||
3c59982c | 1279 | <h3><a name="sec89" id="sec89"></a> |
4222507d | 1280 | Phaedo</h3> |
1281 | ||
1282 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1283 | ||
1284 | ||
1285 | ||
1286 | ||
1287 | ||
3c59982c | 1288 | <h3><a name="sec90" id="sec90"></a> |
4222507d | 1289 | Protagoras</h3> |
1290 | ||
1291 | <p><em>Fiction</em></p> | |
1292 | ||
1293 | ||
1294 | ||
1295 | ||
1296 | ||
1297 | ||
3c59982c | 1298 | <h2><a name="sec91" id="sec91"></a> |
4222507d | 1299 | Luke Rhinehardt</h2> |
1300 | ||
1301 | ||
1302 | ||
3c59982c | 1303 | <h3><a name="sec92" id="sec92"></a> |
4222507d | 1304 | The Dice Man</h3> |
1305 | ||
1306 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1307 | ||
1308 | <blockquote> | |
1309 | <p class="quoted"> | |
1310 | And it's his illusions about what | |
1311 | constitutes the real world which are | |
1312 | inhibiting him... | |
1313 | His reality, his reason, his society | |
1314 | ...these are what must be destroyed</p> | |
1315 | ||
1316 | </blockquote> | |
1317 | ||
1318 | <p>A quotation from one of my <a href="http://en.wikipedia.org/wiki/Slaughter_of_the_Soul">favorite metal songs</a> inspired me to grab | |
1319 | this book; at worst it would be a waste of time. Much reward was found | |
1320 | in this random stab in the dark. The book is framed as an | |
1321 | autobiography of the author as a psychoanalyst, and his progression | |
1322 | through life as a Dice Man after deciding to live his life through | |
1323 | random chance.</p> | |
1324 | ||
1325 | <p>The style, plot, and content are equally neurotic; part comedy, part | |
1326 | attack on psychoanalysis, and part deep philosophy. It was often | |
1327 | difficult to put down, and was read in under a week of spare time.</p> | |
1328 | ||
1329 | ||
1330 | ||
1331 | ||
3c59982c | 1332 | <h2><a name="sec93" id="sec93"></a> |
4222507d | 1333 | Neal Stephenson</h2> |
1334 | ||
1335 | ||
1336 | ||
3c59982c | 1337 | <h3><a name="sec94" id="sec94"></a> |
4222507d | 1338 | Snow Crash</h3> |
1339 | ||
1340 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
1341 | ||
1342 | <p>As one must read the <em>Bible</em> to understand English literature, so one | |
1343 | must read <em>Snow Crash</em> today to be a nerd. In the realm of modern pop | |
1344 | fiction this is one of the better books I've read; it was devoured in | |
1345 | a mere four nights. Neal Stepheson may not be Milton, but he does come | |
1346 | up with enganging tales. <em>Snow Crash</em> has a nice undertone of (quite | |
1347 | accurate) political and social commentary that makes it worth reading | |
1348 | as more than mere cyberpunk fiction.</p> | |
1349 | ||
1350 | ||
1351 | ||
3c59982c | 1352 | <h3><a name="sec95" id="sec95"></a> |
4222507d | 1353 | Cryptonomicon</h3> |
1354 | ||
1355 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
1356 | ||
1357 | <p>I read <em>Cryptonomicon</em> when it was new, and at the time I thought it was | |
1358 | good. It could have lost a hundred or so pages without detracting from | |
1359 | the plot, but it was easy reading and didn't take very long to | |
1360 | finish. The story was enganging, and the continual switching between | |
1361 | the 1940s and present day slowly unravelled the tale in a nice way.</p> | |
1362 | ||
1363 | <p>I'd still have to recommend <em>Snow Crash</em> if one wished to read only one | |
1364 | Stephenson novel.</p> | |
1365 | ||
1366 | ||
1367 | ||
1368 | ||
3c59982c | 1369 | <h2><a name="sec96" id="sec96"></a> |
4222507d | 1370 | Bjarne Stroustrup</h2> |
1371 | ||
1372 | ||
1373 | ||
3c59982c | 1374 | <h3><a name="sec97" id="sec97"></a> |
4222507d | 1375 | The C++ Programming Language (3rd edition)</h3> |
1376 | ||
1377 | <p><em>Nonfiction</em></p> | |
1378 | ||
1379 | <p>Once upon a time I was fifteen and I read this book. It was more | |
1380 | or less what taught me how to write programs just large enough to do | |
1381 | useful things, and so shall forever be remembered by me. A year and a | |
1382 | half later I stumbled upon a little language called Scheme and fell | |
1383 | down the rabbit hole.</p> | |
1384 | ||
1385 | ||
1386 | ||
1387 | ||
3c59982c | 1388 | <h2><a name="sec98" id="sec98"></a> |
4222507d | 1389 | JRR Tolkien</h2> |
1390 | ||
1391 | ||
1392 | ||
3c59982c | 1393 | <h3><a name="sec99" id="sec99"></a> |
4222507d | 1394 | The Lord of the Rings</h3> |
1395 | ||
1396 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
1397 | ||
1398 | ||
1399 | ||
1400 | ||
1401 | ||
3c59982c | 1402 | <h3><a name="sec100" id="sec100"></a> |
4222507d | 1403 | The Silmarillion</h3> |
1404 | ||
1405 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1406 | ||
1407 | ||
1408 | ||
1409 | ||
1410 | ||
3c59982c | 1411 | <h3><a name="sec101" id="sec101"></a> |
4222507d | 1412 | The Lost Tales</h3> |
1413 | ||
1414 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1415 | ||
1416 | ||
1417 | ||
1418 | ||
1419 | ||
1420 | ||
3c59982c | 1421 | <h2><a name="sec102" id="sec102"></a> |
4222507d | 1422 | H.G. Wells</h2> |
1423 | ||
1424 | ||
1425 | ||
3c59982c | 1426 | <h3><a name="sec103" id="sec103"></a> |
4222507d | 1427 | The Island of Dr Moreau</h3> |
1428 | ||
1429 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1430 | ||
1431 | ||
1432 | ||
4222507d | 1433 | <!-- Page published by Emacs Muse ends here --> |
023ad63c | 1434 | |
1435 | <p class="cke-buttons"> | |
1436 | <!-- validating badges, any browser, etc --> | |
3c59982c | 1437 | <a href="https://validator.w3.org/check/referer"><img |
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023ad63c | 1439 | alt="Valid XHTML 1.0!" /></a> |
1440 | ||
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1443 | ]" /></a> | |
1444 | ||
3c59982c | 1445 | <a href="https://www.debian.org/"><img |
023ad63c | 1446 | src="img/buttons/debian.png" alt="[ Powered by Debian ]" /></a> |
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3c59982c | 1448 | <a href="https://hcoop.net/"> |
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1450 | alt="[ Hosted by HCoop]" /> | |
1451 | </a> | |
1452 | ||
3c59982c | 1453 | <a href="https://www.fsf.org/register_form?referrer=114"> |
023ad63c | 1454 | <img src="img/buttons/fsf_member.png" |
1455 | alt="[ FSF Associate Member ]" /> | |
1456 | </a> | |
1457 | </p> | |
1458 | ||
98266870 CE |
1459 | <p class="cke-footer">And did those feet in ancient times |
1460 | Walk bare upon these lonely streets like mine? | |
1461 | Does God watch us from that penthouse high above | |
1462 | His children down below who live on air and love? | |
023ad63c | 1463 | </p> |
1464 | <p class="cke-timestamp">Last Modified: | |
3c59982c | 1465 | May 9, 2019</p> |
023ad63c | 1466 | </body> |
1467 | </html> |