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15 | <body> |
1509746a |
16 | <h1>A Not So Fancy Listing of Books</h1> |
023ad63c |
17 | <div class="contents"> |
18 | <dl> |
1509746a |
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> |
5f1212da |
80 | <a href="#sec17">Anonymous</a> |
1509746a |
81 | </dt> |
82 | <dd> |
83 | <dl> |
84 | <dt> |
5f1212da |
85 | <a href="#sec18">Chymical Wedding of Christian Rosenkreutz</a> |
1509746a |
86 | </dt> |
5f1212da |
87 | </dl> |
88 | </dd> |
89 | <dt> |
90 | <a href="#sec19">Aristophanes</a> |
91 | </dt> |
92 | <dd> |
93 | <dl> |
1509746a |
94 | <dt> |
5f1212da |
95 | <a href="#sec20">The Frogs</a> |
1509746a |
96 | </dt> |
97 | <dt> |
5f1212da |
98 | <a href="#sec21">The Clouds</a> |
99 | </dt> |
100 | <dt> |
101 | <a href="#sec22">Ecclesiazusae</a> |
1509746a |
102 | </dt> |
103 | </dl> |
104 | </dd> |
105 | <dt> |
5f1212da |
106 | <a href="#sec23">Aristotle</a> |
1509746a |
107 | </dt> |
108 | <dd> |
109 | <dl> |
110 | <dt> |
5f1212da |
111 | <a href="#sec24">Ethics</a> |
1509746a |
112 | </dt> |
113 | <dt> |
5f1212da |
114 | <a href="#sec25">Categories</a> |
1509746a |
115 | </dt> |
116 | <dt> |
5f1212da |
117 | <a href="#sec26">Poetics</a> |
1509746a |
118 | </dt> |
119 | <dt> |
5f1212da |
120 | <a href="#sec27">Rhetoric</a> |
1509746a |
121 | </dt> |
122 | </dl> |
123 | </dd> |
124 | <dt> |
5f1212da |
125 | <a href="#sec28">Marcus Aurelius</a> |
1509746a |
126 | </dt> |
127 | <dd> |
128 | <dl> |
129 | <dt> |
5f1212da |
130 | <a href="#sec29">Meditations</a> |
1509746a |
131 | </dt> |
132 | </dl> |
133 | </dd> |
134 | <dt> |
5f1212da |
135 | <a href="#sec30">William Blake</a> |
1509746a |
136 | </dt> |
137 | <dd> |
138 | <dl> |
139 | <dt> |
5f1212da |
140 | <a href="#sec31">The Four Zoas</a> |
1509746a |
141 | </dt> |
142 | <dt> |
5f1212da |
143 | <a href="#sec32">Jerusalem</a> |
1509746a |
144 | </dt> |
145 | </dl> |
146 | </dd> |
147 | <dt> |
3eccada4 |
148 | <a href="#sec33">Albert Camus</a> |
1509746a |
149 | </dt> |
150 | <dd> |
151 | <dl> |
152 | <dt> |
3eccada4 |
153 | <a href="#sec34">The Plague</a> |
1509746a |
154 | </dt> |
155 | </dl> |
156 | </dd> |
157 | <dt> |
3eccada4 |
158 | <a href="#sec35">Mike Carey</a> |
1509746a |
159 | </dt> |
160 | <dd> |
161 | <dl> |
162 | <dt> |
3eccada4 |
163 | <a href="#sec36">Lucifer (series)</a> |
1509746a |
164 | </dt> |
165 | </dl> |
166 | </dd> |
167 | <dt> |
3eccada4 |
168 | <a href="#sec37">Confucius</a> |
1509746a |
169 | </dt> |
170 | <dd> |
171 | <dl> |
172 | <dt> |
3eccada4 |
173 | <a href="#sec38">Analects</a> |
1509746a |
174 | </dt> |
3eccada4 |
175 | </dl> |
176 | </dd> |
3cb3fdfc |
177 | <dt> |
3eccada4 |
178 | <a href="#sec39">Neil Gaiman</a> |
3cb3fdfc |
179 | </dt> |
3eccada4 |
180 | <dd> |
181 | <dl> |
831dfbdc |
182 | <dt> |
3eccada4 |
183 | <a href="#sec40">The Sandman (series)</a> |
184 | </dt> |
185 | <dt> |
186 | <a href="#sec41">Good Omens</a> |
187 | </dt> |
188 | <dt> |
189 | <a href="#sec42">American Gods</a> |
831dfbdc |
190 | </dt> |
1509746a |
191 | </dl> |
192 | </dd> |
193 | <dt> |
3eccada4 |
194 | <a href="#sec43">John Taylor Gatto</a> |
1509746a |
195 | </dt> |
196 | <dd> |
197 | <dl> |
198 | <dt> |
3eccada4 |
199 | <a href="#sec44">Underground History of American Education</a> |
1509746a |
200 | </dt> |
5f1212da |
201 | </dl> |
202 | </dd> |
1509746a |
203 | <dt> |
3eccada4 |
204 | <a href="#sec45">Kahlil Gibran</a> |
5f1212da |
205 | </dt> |
206 | <dd> |
207 | <dl> |
208 | <dt> |
3eccada4 |
209 | <a href="#sec46">A Tear and a Smile</a> |
5f1212da |
210 | </dt> |
211 | <dt> |
3eccada4 |
212 | <a href="#sec47">The Prophet</a> |
1509746a |
213 | </dt> |
214 | <dt> |
3eccada4 |
215 | <a href="#sec48">Sand and Foam</a> |
1509746a |
216 | </dt> |
217 | <dt> |
3eccada4 |
218 | <a href="#sec49">The Madman</a> |
1509746a |
219 | </dt> |
220 | </dl> |
221 | </dd> |
222 | <dt> |
3eccada4 |
223 | <a href="#sec50">Homer</a> |
1509746a |
224 | </dt> |
225 | <dd> |
226 | <dl> |
227 | <dt> |
3eccada4 |
228 | <a href="#sec51">The Odyssey</a> |
1509746a |
229 | </dt> |
230 | </dl> |
231 | </dd> |
232 | <dt> |
3eccada4 |
233 | <a href="#sec52">Aldous Huxley</a> |
1509746a |
234 | </dt> |
235 | <dd> |
236 | <dl> |
237 | <dt> |
3eccada4 |
238 | <a href="#sec53">The Doors of Perception</a> |
1509746a |
239 | </dt> |
240 | <dt> |
3eccada4 |
241 | <a href="#sec54">Heaven and Hell</a> |
1509746a |
242 | </dt> |
139f0eca |
243 | <dt> |
3eccada4 |
244 | <a href="#sec55">Brave New World</a> |
139f0eca |
245 | </dt> |
1509746a |
246 | </dl> |
247 | </dd> |
248 | <dt> |
3eccada4 |
249 | <a href="#sec56">William James</a> |
1509746a |
250 | </dt> |
251 | <dd> |
252 | <dl> |
253 | <dt> |
3eccada4 |
254 | <a href="#sec57">The Varieties of Religious Experience</a> |
1509746a |
255 | </dt> |
256 | <dt> |
3eccada4 |
257 | <a href="#sec58">The PhD Octopus</a> |
1509746a |
258 | </dt> |
259 | </dl> |
260 | </dd> |
261 | <dt> |
3eccada4 |
262 | <a href="#sec59">Henry James</a> |
1509746a |
263 | </dt> |
264 | <dd> |
265 | <dl> |
266 | <dt> |
3eccada4 |
267 | <a href="#sec60">The Altar of the Dead</a> |
1509746a |
268 | </dt> |
269 | </dl> |
270 | </dd> |
271 | <dt> |
3eccada4 |
272 | <a href="#sec61">Gregor Kiczales</a> |
1509746a |
273 | </dt> |
274 | <dd> |
275 | <dl> |
276 | <dt> |
3eccada4 |
277 | <a href="#sec62">The Art of the Metaobject Protocol</a> |
1509746a |
278 | </dt> |
279 | </dl> |
280 | </dd> |
281 | <dt> |
3eccada4 |
282 | <a href="#sec63">Søren Kierkegaard</a> |
1509746a |
283 | </dt> |
284 | <dd> |
285 | <dl> |
286 | <dt> |
3eccada4 |
287 | <a href="#sec64">Sickness Unto Death</a> |
1509746a |
288 | </dt> |
289 | <dt> |
3eccada4 |
290 | <a href="#sec65">Either/Or</a> |
1509746a |
291 | </dt> |
292 | <dt> |
3eccada4 |
293 | <a href="#sec66">Fear and Trembling</a> |
1509746a |
294 | </dt> |
295 | <dt> |
3eccada4 |
296 | <a href="#sec67">Repetition</a> |
1509746a |
297 | </dt> |
4863a6da |
298 | <dt> |
3eccada4 |
299 | <a href="#sec68">The Concept of Anxiety</a> |
4863a6da |
300 | </dt> |
1509746a |
301 | </dl> |
302 | </dd> |
303 | <dt> |
3eccada4 |
304 | <a href="#sec69">Alisa Kwitney</a> |
1509746a |
305 | </dt> |
5f1212da |
306 | <dd> |
307 | <dl> |
1509746a |
308 | <dt> |
3eccada4 |
309 | <a href="#sec70">Destiny: A Chronicle of Deaths Foretold</a> |
5f1212da |
310 | </dt> |
311 | </dl> |
312 | </dd> |
313 | <dt> |
3eccada4 |
314 | <a href="#sec71">David Lamkins</a> |
5f1212da |
315 | </dt> |
316 | <dd> |
317 | <dl> |
318 | <dt> |
3eccada4 |
319 | <a href="#sec72">Successful Lisp</a> |
5f1212da |
320 | </dt> |
321 | </dl> |
322 | </dd> |
323 | <dt> |
3eccada4 |
324 | <a href="#sec73">Mencius</a> |
1509746a |
325 | </dt> |
326 | <dd> |
327 | <dl> |
328 | <dt> |
3eccada4 |
329 | <a href="#sec74">Mencius</a> |
1509746a |
330 | </dt> |
331 | </dl> |
332 | </dd> |
333 | <dt> |
3eccada4 |
334 | <a href="#sec75">Walter Miller</a> |
1509746a |
335 | </dt> |
336 | <dd> |
337 | <dl> |
338 | <dt> |
3eccada4 |
339 | <a href="#sec76">A Canticle for Leibowitz</a> |
1509746a |
340 | </dt> |
341 | </dl> |
342 | </dd> |
343 | <dt> |
3eccada4 |
344 | <a href="#sec77">John Milton</a> |
1509746a |
345 | </dt> |
346 | <dd> |
347 | <dl> |
348 | <dt> |
3eccada4 |
349 | <a href="#sec78">Paradise Lost</a> |
1509746a |
350 | </dt> |
ad38099a |
351 | </dl> |
352 | </dd> |
353 | <dt> |
3eccada4 |
354 | <a href="#sec79">Alan Moore</a> |
ad38099a |
355 | </dt> |
356 | <dd> |
357 | <dl> |
1509746a |
358 | <dt> |
3eccada4 |
359 | <a href="#sec80">Watchmen</a> |
ad38099a |
360 | </dt> |
361 | <dt> |
3eccada4 |
362 | <a href="#sec81">V for Vendetta</a> |
1509746a |
363 | </dt> |
364 | </dl> |
365 | </dd> |
366 | <dt> |
3eccada4 |
367 | <a href="#sec82">Thomas More</a> |
1509746a |
368 | </dt> |
369 | <dd> |
370 | <dl> |
371 | <dt> |
3eccada4 |
372 | <a href="#sec83">Utopia</a> |
1509746a |
373 | </dt> |
374 | </dl> |
375 | </dd> |
376 | <dt> |
3eccada4 |
377 | <a href="#sec84">Friedrich Nietzsche</a> |
1509746a |
378 | </dt> |
379 | <dd> |
380 | <dl> |
381 | <dt> |
3eccada4 |
382 | <a href="#sec85">Thus Spoke Zarathustra</a> |
1509746a |
383 | </dt> |
384 | <dt> |
3eccada4 |
385 | <a href="#sec86">Beyond Good and Evil</a> |
1509746a |
386 | </dt> |
387 | <dt> |
3eccada4 |
388 | <a href="#sec87">On the Geneaology of Morals</a> |
ad38099a |
389 | </dt> |
390 | <dt> |
3eccada4 |
391 | <a href="#sec88">Ecce Homo</a> |
1509746a |
392 | </dt> |
393 | </dl> |
394 | </dd> |
395 | <dt> |
3eccada4 |
396 | <a href="#sec89">George Orwell</a> |
1509746a |
397 | </dt> |
398 | <dd> |
399 | <dl> |
400 | <dt> |
3eccada4 |
401 | <a href="#sec90">1984</a> |
1509746a |
402 | </dt> |
403 | <dt> |
3eccada4 |
404 | <a href="#sec91">Animal Farm</a> |
1509746a |
405 | </dt> |
406 | </dl> |
407 | </dd> |
408 | <dt> |
3eccada4 |
409 | <a href="#sec92">Plato</a> |
1509746a |
410 | </dt> |
411 | <dd> |
412 | <dl> |
413 | <dt> |
3eccada4 |
414 | <a href="#sec93">Symposium</a> |
831dfbdc |
415 | </dt> |
416 | <dt> |
3eccada4 |
417 | <a href="#sec94">Euthyphro</a> |
1509746a |
418 | </dt> |
419 | <dt> |
3eccada4 |
420 | <a href="#sec95">Apology</a> |
1509746a |
421 | </dt> |
422 | <dt> |
3eccada4 |
423 | <a href="#sec96">Crito</a> |
1509746a |
424 | </dt> |
425 | <dt> |
3eccada4 |
426 | <a href="#sec97">Phaedo</a> |
1509746a |
427 | </dt> |
428 | <dt> |
3eccada4 |
429 | <a href="#sec98">Protagoras</a> |
1509746a |
430 | </dt> |
831dfbdc |
431 | </dl> |
432 | </dd> |
433 | <dt> |
3eccada4 |
434 | <a href="#sec99">Edgar Allan Poe</a> |
831dfbdc |
435 | </dt> |
436 | <dd> |
437 | <dl> |
1509746a |
438 | <dt> |
3eccada4 |
439 | <a href="#sec100">Tales of Mystery and Suspense</a> |
1509746a |
440 | </dt> |
441 | </dl> |
442 | </dd> |
443 | <dt> |
3eccada4 |
444 | <a href="#sec101">Luke Rhinehardt</a> |
1509746a |
445 | </dt> |
446 | <dd> |
447 | <dl> |
448 | <dt> |
3eccada4 |
449 | <a href="#sec102">The Dice Man</a> |
1509746a |
450 | </dt> |
451 | </dl> |
452 | </dd> |
453 | <dt> |
3eccada4 |
454 | <a href="#sec103">Neal Stephenson</a> |
1509746a |
455 | </dt> |
456 | <dd> |
457 | <dl> |
458 | <dt> |
3eccada4 |
459 | <a href="#sec104">Snow Crash</a> |
1509746a |
460 | </dt> |
461 | <dt> |
3eccada4 |
462 | <a href="#sec105">Cryptonomicon</a> |
1509746a |
463 | </dt> |
464 | </dl> |
465 | </dd> |
466 | <dt> |
3eccada4 |
467 | <a href="#sec106">Bjarne Stroustrup</a> |
1509746a |
468 | </dt> |
469 | <dd> |
470 | <dl> |
471 | <dt> |
3eccada4 |
472 | <a href="#sec107">The C++ Programming Language (3rd edition)</a> |
1509746a |
473 | </dt> |
474 | </dl> |
475 | </dd> |
476 | <dt> |
3eccada4 |
477 | <a href="#sec108">JRR Tolkien</a> |
1509746a |
478 | </dt> |
479 | <dd> |
480 | <dl> |
481 | <dt> |
3eccada4 |
482 | <a href="#sec109">The Lord of the Rings</a> |
139f0eca |
483 | </dt> |
484 | <dt> |
3eccada4 |
485 | <a href="#sec110">The Silmarillion</a> |
139f0eca |
486 | </dt> |
487 | <dt> |
3eccada4 |
488 | <a href="#sec111">The Lost Tales</a> |
1509746a |
489 | </dt> |
139f0eca |
490 | </dl> |
491 | </dd> |
1509746a |
492 | <dt> |
3eccada4 |
493 | <a href="#sec112">Kurt Vonnegut</a> |
1509746a |
494 | </dt> |
139f0eca |
495 | <dd> |
496 | <dl> |
1509746a |
497 | <dt> |
3eccada4 |
498 | <a href="#sec113">Cat's Cradle</a> |
1509746a |
499 | </dt> |
500 | </dl> |
501 | </dd> |
502 | <dt> |
3eccada4 |
503 | <a href="#sec114">H.G. Wells</a> |
1509746a |
504 | </dt> |
505 | <dd> |
506 | <dl> |
507 | <dt> |
3eccada4 |
508 | <a href="#sec115">The Island of Dr Moreau</a> |
ad38099a |
509 | </dt> |
510 | </dl> |
511 | </dd> |
512 | <dt> |
3eccada4 |
513 | <a href="#sec116">Robert Anton Wilson</a> |
ad38099a |
514 | </dt> |
515 | <dd> |
516 | <dl> |
517 | <dt> |
3eccada4 |
518 | <a href="#sec117">The Illuminatus! Trilogy</a> |
831dfbdc |
519 | </dt> |
520 | </dl> |
521 | </dd> |
522 | <dt> |
3eccada4 |
523 | <a href="#sec118">Yevgeny Zamyatin</a> |
831dfbdc |
524 | </dt> |
525 | <dd> |
526 | <dl> |
527 | <dt> |
3eccada4 |
528 | <a href="#sec119">We</a> |
1509746a |
529 | </dt> |
530 | </dl> |
531 | </dd> |
023ad63c |
532 | </dl> |
533 | </div> |
534 | |
535 | |
1509746a |
536 | <!-- Page published by Emacs Muse begins here --><h2><a name="sec1" id="sec1"></a> |
537 | Douglas Adams</h2> |
538 | |
539 | |
540 | |
541 | <h3><a name="sec2" id="sec2"></a> |
542 | Hitchiker's Guide to the Galaxy (collected)</h3> |
543 | |
544 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
545 | |
546 | |
547 | |
548 | |
549 | |
550 | <h3><a name="sec3" id="sec3"></a> |
551 | The Long Dark Tea-Time of the Soul</h3> |
552 | |
553 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> |
554 | |
555 | |
556 | |
557 | |
558 | |
559 | |
560 | <h2><a name="sec4" id="sec4"></a> |
561 | Aeschylus</h2> |
562 | |
563 | |
564 | |
565 | <h3><a name="sec5" id="sec5"></a> |
566 | Oresteia</h3> |
567 | |
568 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
569 | |
570 | |
571 | |
572 | |
573 | |
574 | <h3><a name="sec6" id="sec6"></a> |
575 | Prometheus Bound</h3> |
576 | |
577 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
578 | |
579 | |
580 | |
581 | |
582 | |
583 | <h3><a name="sec7" id="sec7"></a> |
584 | The Persians</h3> |
585 | |
586 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
587 | |
588 | |
589 | |
590 | |
591 | |
592 | |
593 | <h2><a name="sec8" id="sec8"></a> |
594 | John Allison</h2> |
595 | |
5f1212da |
596 | <p class="first">The author of the rather amazing <a href="http://scarygoround.com">Scary Go Round</a>. |
1509746a |
597 | I highly recommend procuring the printed collections; the printing |
598 | quality is superb (full color on glossy paper), and the long story |
599 | arcs are much easier to read.</p> |
600 | |
601 | <h3><a name="sec9" id="sec9"></a> |
602 | Looks, Brains and Everything</h3> |
603 | |
604 | <p><em>Fiction</em></p> |
605 | |
606 | |
607 | |
608 | |
609 | |
610 | <h3><a name="sec10" id="sec10"></a> |
611 | Blame the Sky</h3> |
612 | |
613 | <p><em>Fiction</em></p> |
614 | |
615 | |
616 | |
617 | |
618 | |
619 | <h3><a name="sec11" id="sec11"></a> |
620 | Skellington</h3> |
621 | |
622 | <p><em>Fiction</em></p> |
623 | |
624 | |
625 | |
626 | |
627 | |
628 | <h3><a name="sec12" id="sec12"></a> |
629 | The Retribution Index</h3> |
630 | |
631 | <p><em>Fiction</em></p> |
632 | |
633 | |
634 | |
635 | |
636 | |
637 | <h3><a name="sec13" id="sec13"></a> |
638 | Great Aches</h3> |
639 | |
640 | <p><em>Fiction</em></p> |
641 | |
642 | |
643 | |
644 | |
645 | |
646 | <h3><a name="sec14" id="sec14"></a> |
647 | Ahoy Hoy!</h3> |
648 | |
649 | <p><em>Fiction</em></p> |
650 | |
651 | |
652 | |
653 | |
654 | |
655 | <h3><a name="sec15" id="sec15"></a> |
656 | Heavy Metal Hearts and Flowers</h3> |
657 | |
658 | <p><em>Fiction</em></p> |
659 | |
660 | |
661 | |
662 | |
663 | |
664 | <h3><a name="sec16" id="sec16"></a> |
665 | Ghosts</h3> |
666 | |
667 | <p><em>Fiction</em></p> |
668 | |
669 | |
670 | |
671 | |
672 | |
673 | |
674 | <h2><a name="sec17" id="sec17"></a> |
5f1212da |
675 | Anonymous</h2> |
1509746a |
676 | |
677 | |
678 | |
679 | <h3><a name="sec18" id="sec18"></a> |
5f1212da |
680 | Chymical Wedding of Christian Rosenkreutz</h3> |
681 | |
682 | <p><em>Fiction</em></p> |
683 | |
684 | |
685 | |
686 | |
687 | |
688 | |
689 | <h2><a name="sec19" id="sec19"></a> |
690 | Aristophanes</h2> |
691 | |
692 | |
693 | |
694 | <h3><a name="sec20" id="sec20"></a> |
1509746a |
695 | The Frogs</h3> |
696 | |
697 | <p><em>Fiction</em></p> |
698 | |
699 | |
700 | |
701 | |
702 | |
5f1212da |
703 | <h3><a name="sec21" id="sec21"></a> |
1509746a |
704 | The Clouds</h3> |
705 | |
706 | <p><em>Fiction</em></p> |
707 | |
708 | |
709 | |
710 | |
711 | |
5f1212da |
712 | <h3><a name="sec22" id="sec22"></a> |
1509746a |
713 | Ecclesiazusae</h3> |
714 | |
715 | <p><em>Fiction</em></p> |
716 | |
717 | |
718 | |
719 | |
720 | |
721 | |
5f1212da |
722 | <h2><a name="sec23" id="sec23"></a> |
1509746a |
723 | Aristotle</h2> |
724 | |
725 | |
726 | |
5f1212da |
727 | <h3><a name="sec24" id="sec24"></a> |
1509746a |
728 | Ethics</h3> |
729 | |
730 | <p><em>Nonfiction</em></p> |
731 | |
732 | |
733 | |
734 | |
735 | |
5f1212da |
736 | <h3><a name="sec25" id="sec25"></a> |
1509746a |
737 | Categories</h3> |
738 | |
739 | <p><em>Nonfiction</em></p> |
740 | |
741 | |
742 | |
743 | |
744 | |
5f1212da |
745 | <h3><a name="sec26" id="sec26"></a> |
1509746a |
746 | Poetics</h3> |
747 | |
748 | <p><em>Nonfiction</em></p> |
749 | |
750 | |
751 | |
752 | |
753 | |
5f1212da |
754 | <h3><a name="sec27" id="sec27"></a> |
1509746a |
755 | Rhetoric</h3> |
756 | |
757 | <p><em>Nonfiction</em></p> |
758 | |
759 | |
760 | |
761 | |
762 | |
763 | |
5f1212da |
764 | <h2><a name="sec28" id="sec28"></a> |
1509746a |
765 | Marcus Aurelius</h2> |
766 | |
767 | |
768 | |
5f1212da |
769 | <h3><a name="sec29" id="sec29"></a> |
1509746a |
770 | Meditations</h3> |
771 | |
772 | <p><em>Rating:</em> <span class="rating-good"> ••••</span><span class="rating-bad">•••••• </span> (4) / <em>Nonfiction</em></p> |
773 | |
774 | <p>At the time, I enjoyed reading this collection of meditations on |
775 | Stoic philosophy, and it was a fairly quick read (fifteen minutes a |
776 | day over the course of two weeks for me). Nowadays I've read |
777 | Epictetus, and I suggest reading his <em>Discourses</em> instead.</p> |
778 | |
779 | |
780 | |
781 | |
5f1212da |
782 | <h2><a name="sec30" id="sec30"></a> |
1509746a |
783 | William Blake</h2> |
784 | |
785 | <p class="first">Blake is my <a href="William%20Blake.html">favorite</a> of the English poets. His |
786 | unique use of relief etching and watercoloring makes for very |
787 | interesting Illuminated works. There is a very high quality |
788 | <a href="http://blakearchive.org">complete archive of Blake's works</a> online |
789 | with high resolution plate scans and full transcriptions among other |
790 | things.</p> |
791 | |
5f1212da |
792 | <h3><a name="sec31" id="sec31"></a> |
1509746a |
793 | The Four Zoas</h3> |
794 | |
795 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
796 | |
797 | <p>The unfinished manuscript of Blake's longest apocalypse. The |
798 | Four Zoas divide from Albion and rage through the ages of dismal woe |
799 | to bring about the end of the cycle of Ulro and restore the cycle of |
800 | Beulah.</p> |
801 | |
802 | |
803 | |
5f1212da |
804 | <h3><a name="sec32" id="sec32"></a> |
1509746a |
805 | Jerusalem</h3> |
806 | |
807 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
808 | |
809 | <p>The finest of Blake's Illuminated works.</p> |
810 | |
811 | |
812 | |
813 | |
5f1212da |
814 | <h2><a name="sec33" id="sec33"></a> |
3eccada4 |
815 | Albert Camus</h2> |
5f1212da |
816 | |
817 | |
818 | |
819 | <h3><a name="sec34" id="sec34"></a> |
3eccada4 |
820 | The Plague</h3> |
821 | |
822 | <p><em>Fiction</em></p> |
823 | |
824 | |
825 | |
826 | |
827 | |
828 | |
829 | <h2><a name="sec35" id="sec35"></a> |
830 | Mike Carey</h2> |
831 | |
832 | |
833 | |
834 | <h3><a name="sec36" id="sec36"></a> |
5f1212da |
835 | Lucifer (series)</h3> |
836 | |
837 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> |
838 | |
839 | <p>Of the <em>Sandman</em> spinoffs, <em>Lucifer</em> stands out as the best for |
840 | the first half, but then the writer appears to take on far too great a |
841 | task, and, with the introduction of some disagreeable character |
842 | relations, fails to execute the story as well as it could have |
843 | been. Still, it was worth reading to the end even though most of the |
844 | stories after issue 35 or so were merely ok. If you like Kierkegaard I |
845 | suggest issues 2, 3, and 62—they show the form of the incommensurable |
846 | relation of the single individual to the absolute perfectly.</p> |
847 | |
848 | |
849 | |
850 | |
3eccada4 |
851 | <h2><a name="sec37" id="sec37"></a> |
1509746a |
852 | Confucius</h2> |
853 | |
854 | |
855 | |
3eccada4 |
856 | <h3><a name="sec38" id="sec38"></a> |
1509746a |
857 | Analects</h3> |
858 | |
859 | <p><em>Nonfiction</em></p> |
860 | |
861 | |
862 | |
863 | |
864 | |
865 | |
3eccada4 |
866 | <h2><a name="sec39" id="sec39"></a> |
1509746a |
867 | Neil Gaiman</h2> |
868 | |
869 | |
870 | |
3eccada4 |
871 | <h3><a name="sec40" id="sec40"></a> |
1509746a |
872 | The Sandman (series)</h3> |
873 | |
874 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
875 | |
876 | <p>Perhaps the best comic book series of all time; I would say <em>The |
877 | Sandman</em> as a whole ranks higher than anything even Alan Moore has |
878 | written.</p> |
879 | |
880 | |
881 | |
3eccada4 |
882 | <h3><a name="sec41" id="sec41"></a> |
3cb3fdfc |
883 | Good Omens</h3> |
884 | |
885 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
886 | |
887 | <p>A friend of a friend decided one evening that I needed to read |
888 | so-called <em>normal people books</em>, and so she lent me <em>Good Omens</em>. It |
889 | was an enjoyable read and unearthed vague memories of comic book |
890 | magazines I read when I was small and the name <em>Sandman</em>; thus through |
891 | one book I found something far greater.</p> |
1509746a |
892 | |
3cb3fdfc |
893 | |
894 | |
3eccada4 |
895 | <h3><a name="sec42" id="sec42"></a> |
831dfbdc |
896 | American Gods</h3> |
897 | |
898 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> |
899 | |
900 | <p>Entertaining, but the end was a bit much rushed.</p> |
901 | |
902 | |
903 | |
3cb3fdfc |
904 | |
3eccada4 |
905 | <h2><a name="sec43" id="sec43"></a> |
1509746a |
906 | John Taylor Gatto</h2> |
907 | |
908 | <p class="first">Former teacher and now author-activist.</p> |
909 | |
3eccada4 |
910 | <h3><a name="sec44" id="sec44"></a> |
1509746a |
911 | Underground History of American Education</h3> |
912 | |
913 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> |
914 | |
915 | <p>An interesting <em>underground</em> history of the American education |
916 | system. Available |
917 | <a href="http://www.johntaylorgatto.com/underground/">online for free</a>.</p> |
918 | |
919 | |
920 | |
921 | |
3eccada4 |
922 | <h2><a name="sec45" id="sec45"></a> |
1509746a |
923 | Kahlil Gibran</h2> |
924 | |
925 | <p class="first">Kahlil Gibran is fairly interesting; his earlier works do not |
926 | agree with my æsthetic sense (blah blah), but <em>The Madman</em> onward are |
927 | all rather nice. A few of his works are |
928 | <a href="http://leb.net/~mira/">online</a>, but I recommend scouting used book |
929 | stores for old hardcover editions. The (late 90s onward at least) |
930 | <em>hardcover</em> versions from <em>Alfred A. Knopf</em> are in fact permabound |
931 | paperbacks with a hardcasing, and are of seriously inferior quality to |
932 | the editions from the 50s and 60s (and cost quite a bit more, |
933 | naturally).</p> |
934 | |
3eccada4 |
935 | <h3><a name="sec46" id="sec46"></a> |
1509746a |
936 | A Tear and a Smile</h3> |
937 | |
938 | <p><em>Rating:</em> <span class="rating-good"> •••</span><span class="rating-bad">••••••• </span> (3) / <em>Fiction</em></p> |
939 | |
940 | <p>One of Kahlil Gibran's earlier works, I did not much like <em>A |
941 | Tear and a Smile</em> excepting the last poem ("A Poet's Voice").</p> |
942 | |
943 | |
944 | |
3eccada4 |
945 | <h3><a name="sec47" id="sec47"></a> |
1509746a |
946 | The Prophet</h3> |
947 | |
948 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
949 | |
950 | |
951 | |
952 | |
953 | |
3eccada4 |
954 | <h3><a name="sec48" id="sec48"></a> |
1509746a |
955 | Sand and Foam</h3> |
956 | |
957 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
958 | |
959 | <p>An interesting little book of aphorisms.</p> |
960 | |
961 | |
962 | |
3eccada4 |
963 | <h3><a name="sec49" id="sec49"></a> |
1509746a |
964 | The Madman</h3> |
965 | |
966 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
967 | |
968 | |
969 | |
970 | |
971 | |
972 | |
3eccada4 |
973 | <h2><a name="sec50" id="sec50"></a> |
1509746a |
974 | Homer</h2> |
975 | |
976 | |
977 | |
3eccada4 |
978 | <h3><a name="sec51" id="sec51"></a> |
1509746a |
979 | The Odyssey</h3> |
980 | |
981 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
982 | |
983 | |
984 | |
985 | |
986 | |
987 | |
3eccada4 |
988 | <h2><a name="sec52" id="sec52"></a> |
1509746a |
989 | Aldous Huxley</h2> |
990 | |
991 | <p class="first">Perhaps the most overrated modern writer. Other people have written |
992 | everything he has to write better and many years before he got around |
993 | to it.</p> |
994 | |
3eccada4 |
995 | <h3><a name="sec53" id="sec53"></a> |
1509746a |
996 | The Doors of Perception</h3> |
997 | |
998 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> |
999 | |
1000 | <p>Huxley stains the name of Blake by naming this horrible |
1001 | pseudo-scientific and pseudo-poetic essay after a line from <em>The |
1002 | Marriage of Heaven and Hell</em>. Subjectivity and objectivity are |
1003 | incommensurable; his attempt and being subjectively objective is |
1004 | utterly worthless.</p> |
1005 | |
1006 | |
1007 | |
3eccada4 |
1008 | <h3><a name="sec54" id="sec54"></a> |
1509746a |
1009 | Heaven and Hell</h3> |
1010 | |
1011 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> |
1012 | |
3cb3fdfc |
1013 | <p>Blah blah LSD blah blah Mushrooms blah blah Peyote blah blah I'm |
1509746a |
1014 | Aldous Huxley I'm a pretentious jerk. Don't bother.</p> |
1015 | |
1016 | |
1017 | |
3eccada4 |
1018 | <h3><a name="sec55" id="sec55"></a> |
139f0eca |
1019 | Brave New World</h3> |
1020 | |
1021 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1022 | |
1023 | <p>A nice light read; the story is obvious and by the hundreth page |
1024 | the ending is clear, but it provided a bit of a break from heavier |
1025 | reading for me. I must say that anyone who has read <em>Brave New World</em> |
1026 | and does not despise modern society has the intellectual capacity of |
1027 | an <em>Epsilon</em>. <em>1984</em> is perhaps easily misread, but <em>Brave New World</em> |
1028 | is very clear with its message and is a bit like being smacked upside |
1029 | the head with a hammer.</p> |
1030 | |
1509746a |
1031 | |
139f0eca |
1032 | |
1033 | |
3eccada4 |
1034 | <h2><a name="sec56" id="sec56"></a> |
1509746a |
1035 | William James</h2> |
1036 | |
1037 | |
1038 | |
3eccada4 |
1039 | <h3><a name="sec57" id="sec57"></a> |
1509746a |
1040 | The Varieties of Religious Experience</h3> |
1041 | |
1042 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> |
1043 | |
1044 | <p><a href="William%20James%20-%20The%20Varieties%20of%20Religious%20Experience.html">A partially finished extended summary</a></p> |
1045 | |
1046 | |
1047 | |
3eccada4 |
1048 | <h3><a name="sec58" id="sec58"></a> |
1509746a |
1049 | The PhD Octopus</h3> |
1050 | |
1051 | <p><em>Nonfiction</em></p> |
1052 | |
1053 | <blockquote> |
1054 | <p class="quoted"> |
1055 | America is thus as a nation rapidly drifting towards a state of things |
1056 | in which no man of science or letters will be accounted respectable |
1057 | unless some kind of badge or diploma is stamped upon him, and in which |
1058 | bare personality will be a mark of outcast estate. It seems to me high |
1059 | time to rouse ourselves to consciousness, and to cast a critical eye |
1060 | upon this decidedly grotesque tendency. Other nations suffer terribly |
1061 | from the Mandarin disease. Are we doomed to suffer like the rest?</p> |
1062 | |
1063 | </blockquote> |
1064 | |
1065 | <p><a href="William%20James%20-%20The%20PhD%20Octopus.html">Full Text</a></p> |
1066 | |
1067 | |
1068 | |
1069 | |
3eccada4 |
1070 | <h2><a name="sec59" id="sec59"></a> |
1509746a |
1071 | Henry James</h2> |
1072 | |
1073 | <p class="first">The novelist brother of William James; I've not read many (read: |
1074 | one) of his books, but what I did was decent.</p> |
1075 | |
3eccada4 |
1076 | <h3><a name="sec60" id="sec60"></a> |
1509746a |
1077 | The Altar of the Dead</h3> |
1078 | |
1079 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1080 | |
1081 | <p>A short novella about a man who maintained an altar in a church |
1082 | for all of his lost loved ones on the surface, but something a bit |
1083 | more beneath.</p> |
1084 | |
1085 | |
1086 | |
1087 | |
3eccada4 |
1088 | <h2><a name="sec61" id="sec61"></a> |
1509746a |
1089 | Gregor Kiczales</h2> |
1090 | |
1091 | |
1092 | |
3eccada4 |
1093 | <h3><a name="sec62" id="sec62"></a> |
1509746a |
1094 | The Art of the Metaobject Protocol</h3> |
1095 | |
1096 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1097 | |
1098 | <p>AMOP is useful as a reference to the CLOS MOP (although less so with |
1099 | the online MOP spec), but the true value of the book lies in the first |
1100 | half of the book. It presents the design of the CLOS MOP through a |
1101 | series of revisions that fix limitations of earlier implementations |
1102 | and gradually work toward a generic and well designed MOP for |
1103 | CLOS. Through that process one is made more aware of a few general |
1104 | object protocol design skills, and gains insight into how to cleanly |
1105 | make mapping decisions customizable.</p> |
1106 | |
1107 | |
1108 | |
1109 | |
3eccada4 |
1110 | <h2><a name="sec63" id="sec63"></a> |
1509746a |
1111 | Søren Kierkegaard</h2> |
1112 | |
1113 | <p class="first">Kierkegaard was a master of style and philosophy; his writing is |
1114 | interesting even if one finds the theistic extentialism espoused |
1115 | disagreeable.</p> |
1116 | |
3eccada4 |
1117 | <h3><a name="sec64" id="sec64"></a> |
1509746a |
1118 | Sickness Unto Death</h3> |
1119 | |
1120 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1121 | |
1122 | <p>I purchased this when I was looking through books at a store after |
1123 | being unable to find the book I really wanted, and I must say that it |
1124 | was better for me to have found this one.</p> |
1125 | |
1126 | <p>Contained within is a beautiful analysis of despair in the context of |
1127 | Christianity (really theism in general). Even if the argument offends, |
1128 | the presentation cannot. The dialectical nature of despair is |
1129 | reflected in every aspect of the work, and the method of presentation |
1130 | forces reflection.</p> |
1131 | |
1132 | |
1133 | |
3eccada4 |
1134 | <h3><a name="sec65" id="sec65"></a> |
1509746a |
1135 | Either/Or</h3> |
1136 | |
1137 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1138 | |
1139 | <p>Composed of two portions, <em>Either/Or</em> is a rather lengthy but |
1140 | rewarding read. The first book is a series of essays and a diary of a |
1141 | young esthetician; the second is a pair of long letters from an older |
1142 | ethicist friend to this esthetician. You are then left to resolve the |
1143 | conflict between the views.</p> |
1144 | |
1145 | |
1146 | |
3eccada4 |
1147 | <h3><a name="sec66" id="sec66"></a> |
1509746a |
1148 | Fear and Trembling</h3> |
1149 | |
1150 | <p><em>Nonfiction</em></p> |
1151 | |
1152 | <p>An interesting dialectical lyric contrasting Despair and Faith.</p> |
1153 | |
1154 | |
1155 | |
3eccada4 |
1156 | <h3><a name="sec67" id="sec67"></a> |
1509746a |
1157 | Repetition</h3> |
1158 | |
1159 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1160 | |
1161 | <p>He who despairs of esthetic repetition gets none; he who despairs |
1162 | of ethical repetition receieves the esthetic. Is it true then that no |
1163 | repetition exists? Is transition all one can hope for?</p> |
1164 | |
1165 | |
1166 | |
3eccada4 |
1167 | <h3><a name="sec68" id="sec68"></a> |
4863a6da |
1168 | The Concept of Anxiety</h3> |
1169 | |
1170 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> |
1171 | |
1172 | <p>...Very clearly an early work of Kierkegaard. It is rather formal |
1173 | and difficult to get through. I'd recommend reading a lot of other |
1174 | Kierkegaard before this.</p> |
1175 | |
1176 | |
1509746a |
1177 | |
4863a6da |
1178 | |
3eccada4 |
1179 | <h2><a name="sec69" id="sec69"></a> |
5f1212da |
1180 | Alisa Kwitney</h2> |
1181 | |
1182 | |
1183 | |
3eccada4 |
1184 | <h3><a name="sec70" id="sec70"></a> |
5f1212da |
1185 | Destiny: A Chronicle of Deaths Foretold</h3> |
1186 | |
1187 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1188 | |
1189 | |
1190 | |
1191 | |
1192 | |
1193 | |
3eccada4 |
1194 | <h2><a name="sec71" id="sec71"></a> |
1509746a |
1195 | David Lamkins</h2> |
1196 | |
1509746a |
1197 | |
1198 | |
3eccada4 |
1199 | <h3><a name="sec72" id="sec72"></a> |
5f1212da |
1200 | Successful Lisp</h3> |
1201 | |
1202 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> |
1203 | |
1204 | <p>After learning Scheme, I read <em>Successful Lisp</em> and was able to |
1205 | pick up Common Lisp fairly easily.</p> |
1206 | |
1207 | |
1208 | |
1209 | |
3eccada4 |
1210 | <h2><a name="sec73" id="sec73"></a> |
1509746a |
1211 | Mencius</h2> |
1212 | |
1213 | |
1214 | |
3eccada4 |
1215 | <h3><a name="sec74" id="sec74"></a> |
1509746a |
1216 | Mencius</h3> |
1217 | |
1218 | <p><em>Nonfiction</em></p> |
1219 | |
1220 | |
1221 | |
1222 | |
1223 | |
1224 | |
3eccada4 |
1225 | <h2><a name="sec75" id="sec75"></a> |
1509746a |
1226 | Walter Miller</h2> |
1227 | |
1228 | |
1229 | |
3eccada4 |
1230 | <h3><a name="sec76" id="sec76"></a> |
1509746a |
1231 | A Canticle for Leibowitz</h3> |
1232 | |
1233 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1234 | |
1235 | |
1236 | |
1237 | |
1238 | |
1239 | |
3eccada4 |
1240 | <h2><a name="sec77" id="sec77"></a> |
ad38099a |
1241 | John Milton</h2> |
1509746a |
1242 | |
1243 | |
1244 | |
3eccada4 |
1245 | <h3><a name="sec78" id="sec78"></a> |
ad38099a |
1246 | Paradise Lost</h3> |
1247 | |
1248 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1249 | |
1250 | |
1251 | |
1252 | |
1253 | |
1254 | |
3eccada4 |
1255 | <h2><a name="sec79" id="sec79"></a> |
ad38099a |
1256 | Alan Moore</h2> |
1257 | |
1258 | |
1259 | |
3eccada4 |
1260 | <h3><a name="sec80" id="sec80"></a> |
1509746a |
1261 | Watchmen</h3> |
1262 | |
1263 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1264 | |
1265 | |
1266 | |
1267 | |
1268 | |
3eccada4 |
1269 | <h3><a name="sec81" id="sec81"></a> |
1509746a |
1270 | V for Vendetta</h3> |
1271 | |
1272 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1273 | |
1274 | |
1275 | |
1276 | |
1277 | |
1278 | |
3eccada4 |
1279 | <h2><a name="sec82" id="sec82"></a> |
1509746a |
1280 | Thomas More</h2> |
1281 | |
1282 | |
1283 | |
3eccada4 |
1284 | <h3><a name="sec83" id="sec83"></a> |
1509746a |
1285 | Utopia</h3> |
1286 | |
1287 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1288 | |
1289 | <p>I read most of Utopia in high school with the TI-89 ebook reader, but |
1290 | the way the book was split up made it a bit difficult to grasp the |
1291 | overall structure. I found a copy at a used book store one day, and so |
1292 | I read it again, and found it much more comprehensible. It is a quick |
1293 | read, and decent piece of literature. The interesting social system |
1294 | espoused resembles resembles state communism (even if perhaps as a |
1295 | negative ideal), but with an strange blend of 14th century European |
1296 | social customs.</p> |
1297 | |
1298 | |
1299 | |
1300 | |
3eccada4 |
1301 | <h2><a name="sec84" id="sec84"></a> |
1509746a |
1302 | Friedrich Nietzsche</h2> |
1303 | |
1304 | <p class="first">A bit acerbic and esoteric, Nietzsche is for me a good <em>secular</em> |
1305 | counterpart to Kierkegaard's theistic philosophy. Nietzsche's |
1306 | polemical works raise important questions for anyone who reads works |
1307 | on ethics. As such it is a shame that he has gotten a bad reputation |
1308 | by being read by far too many angsty teenagers who see (and relay) |
1309 | only Nietzsche the asshole rather than Nietzsche the master of the |
1310 | polemic.</p> |
1311 | |
3eccada4 |
1312 | <h3><a name="sec85" id="sec85"></a> |
ad38099a |
1313 | Thus Spoke Zarathustra</h3> |
1314 | |
1315 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1316 | |
1317 | <p>A masterpiece of indirect communication depsite the occasional |
1318 | flaw and overly dramatic passage. Certainly a book worth reading many |
1319 | times over the course of one's life.</p> |
1320 | |
1321 | |
1322 | |
3eccada4 |
1323 | <h3><a name="sec86" id="sec86"></a> |
1509746a |
1324 | Beyond Good and Evil</h3> |
1325 | |
1326 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> |
1327 | |
1328 | <p>A somewhat more comprehensible, if a bit less aesthetically |
1329 | pleasing, presentation of much of the philosophy found in <em>Thus Spoke |
1330 | Zarathustra</em> in the negative form. The final chapters are very |
1331 | important (not to detract from the value of the rest of the work) if |
1332 | one wishes to understand <em>On the Genealogy of Morals</em>.</p> |
1333 | |
1334 | |
1335 | |
3eccada4 |
1336 | <h3><a name="sec87" id="sec87"></a> |
1509746a |
1337 | On the Geneaology of Morals</h3> |
1338 | |
1339 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> |
1340 | |
1341 | <p><em>On the Geneaology of Morals</em> is a wonderful book of three |
3cb3fdfc |
1342 | polemical essays on the origin of moral/ethical valuations, and the |
1509746a |
1343 | blindness of modern philosphers whose very thinking is tainted by |
1344 | these valuations unknowingly.</p> |
1345 | |
1346 | |
1347 | |
3eccada4 |
1348 | <h3><a name="sec88" id="sec88"></a> |
1509746a |
1349 | Ecce Homo</h3> |
1350 | |
1351 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> |
1352 | |
1353 | <p><em>Ecce Homo</em> is Nietzsche's very strange autobiography and |
1354 | explanation of his own works. At points it is clear that it could have |
1355 | used a bit more editing (prevented by Nietzsche ... falling into a |
1356 | catatonic state and all), but is still a very useful book to read as |
1357 | Nietzsche explains the overall structure of his works.</p> |
1358 | |
1359 | |
1360 | |
1361 | |
3eccada4 |
1362 | <h2><a name="sec89" id="sec89"></a> |
1509746a |
1363 | George Orwell</h2> |
1364 | |
1365 | |
1366 | |
3eccada4 |
1367 | <h3><a name="sec90" id="sec90"></a> |
1509746a |
1368 | 1984</h3> |
1369 | |
1370 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1371 | |
1372 | |
1373 | |
1374 | |
1375 | |
3eccada4 |
1376 | <h3><a name="sec91" id="sec91"></a> |
1509746a |
1377 | Animal Farm</h3> |
1378 | |
1379 | <p><em>Fiction</em></p> |
1380 | |
1381 | |
1382 | |
1383 | |
1384 | |
1385 | |
3eccada4 |
1386 | <h2><a name="sec92" id="sec92"></a> |
1509746a |
1387 | Plato</h2> |
1388 | |
1389 | |
1390 | |
3eccada4 |
1391 | <h3><a name="sec93" id="sec93"></a> |
1509746a |
1392 | Symposium</h3> |
1393 | |
1394 | <p><em>Fiction</em></p> |
1395 | |
1396 | |
1397 | |
1398 | |
1399 | |
3eccada4 |
1400 | <h3><a name="sec94" id="sec94"></a> |
1509746a |
1401 | Euthyphro</h3> |
1402 | |
1403 | <p><em>Fiction</em></p> |
1404 | |
1405 | |
1406 | |
1407 | |
1408 | |
3eccada4 |
1409 | <h3><a name="sec95" id="sec95"></a> |
1509746a |
1410 | Apology</h3> |
1411 | |
1412 | <p><em>Nonfiction</em></p> |
1413 | |
1414 | |
1415 | |
1416 | |
1417 | |
3eccada4 |
1418 | <h3><a name="sec96" id="sec96"></a> |
1509746a |
1419 | Crito</h3> |
1420 | |
1421 | <p><em>Fiction</em></p> |
1422 | |
1423 | |
1424 | |
1425 | |
1426 | |
3eccada4 |
1427 | <h3><a name="sec97" id="sec97"></a> |
1509746a |
1428 | Phaedo</h3> |
1429 | |
1430 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1431 | |
1432 | |
1433 | |
1434 | |
1435 | |
3eccada4 |
1436 | <h3><a name="sec98" id="sec98"></a> |
1509746a |
1437 | Protagoras</h3> |
1438 | |
1439 | <p><em>Fiction</em></p> |
1440 | |
1441 | |
1442 | |
1443 | |
1444 | |
1445 | |
3eccada4 |
1446 | <h2><a name="sec99" id="sec99"></a> |
831dfbdc |
1447 | Edgar Allan Poe</h2> |
1448 | |
1449 | <p class="first">ULTRAGOTHIK</p> |
1450 | |
3eccada4 |
1451 | <h3><a name="sec100" id="sec100"></a> |
831dfbdc |
1452 | Tales of Mystery and Suspense</h3> |
1453 | |
1454 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> |
1455 | |
1456 | <p>This is when I learned that I still don't really like late 1800s |
1457 | American literature all that much. Some of the tales were worth |
1458 | reading, but most of it was not in a style I like all that much.</p> |
1459 | |
1460 | |
1461 | |
1462 | |
3eccada4 |
1463 | <h2><a name="sec101" id="sec101"></a> |
1509746a |
1464 | Luke Rhinehardt</h2> |
1465 | |
1466 | |
1467 | |
3eccada4 |
1468 | <h3><a name="sec102" id="sec102"></a> |
1509746a |
1469 | The Dice Man</h3> |
1470 | |
1471 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1472 | |
1473 | <blockquote> |
1474 | <p class="quoted"> |
1475 | And it's his illusions about what |
1476 | constitutes the real world which are |
1477 | inhibiting him... |
1478 | His reality, his reason, his society |
1479 | ...these are what must be destroyed</p> |
1480 | |
1481 | </blockquote> |
1482 | |
1483 | <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 |
1484 | this book; at worst it would be a waste of time. Much reward was found |
1485 | in this random stab in the dark. The book is framed as an |
1486 | autobiography of the author as a psychoanalyst, and his progression |
1487 | through life as a Dice Man after deciding to live his life through |
1488 | random chance.</p> |
1489 | |
1490 | <p>The style, plot, and content are equally neurotic; part comedy, part |
1491 | attack on psychoanalysis, and part deep philosophy. It was often |
1492 | difficult to put down, and was read in under a week of spare time.</p> |
1493 | |
1494 | |
1495 | |
1496 | |
3eccada4 |
1497 | <h2><a name="sec103" id="sec103"></a> |
1509746a |
1498 | Neal Stephenson</h2> |
1499 | |
1500 | |
1501 | |
3eccada4 |
1502 | <h3><a name="sec104" id="sec104"></a> |
1509746a |
1503 | Snow Crash</h3> |
1504 | |
1505 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
1506 | |
1507 | <p>As one must read the <em>Bible</em> to understand English literature, so one |
1508 | must read <em>Snow Crash</em> today to be a nerd. In the realm of modern pop |
1509 | fiction this is one of the better books I've read; it was devoured in |
1510 | a mere four nights. Neal Stepheson may not be Milton, but he does come |
1511 | up with enganging tales. <em>Snow Crash</em> has a nice undertone of (quite |
1512 | accurate) political and social commentary that makes it worth reading |
1513 | as more than mere cyberpunk fiction.</p> |
1514 | |
1515 | |
1516 | |
3eccada4 |
1517 | <h3><a name="sec105" id="sec105"></a> |
1509746a |
1518 | Cryptonomicon</h3> |
1519 | |
1520 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1521 | |
1522 | <p>I read <em>Cryptonomicon</em> when it was new, and at the time I thought it was |
1523 | good. It could have lost a hundred or so pages without detracting from |
1524 | the plot, but it was easy reading and didn't take very long to |
1525 | finish. The story was enganging, and the continual switching between |
1526 | the 1940s and present day slowly unravelled the tale in a nice way.</p> |
1527 | |
1528 | <p>I'd still have to recommend <em>Snow Crash</em> if one wished to read only one |
1529 | Stephenson novel.</p> |
1530 | |
1531 | |
1532 | |
1533 | |
3eccada4 |
1534 | <h2><a name="sec106" id="sec106"></a> |
1509746a |
1535 | Bjarne Stroustrup</h2> |
1536 | |
1537 | |
1538 | |
3eccada4 |
1539 | <h3><a name="sec107" id="sec107"></a> |
1509746a |
1540 | The C++ Programming Language (3rd edition)</h3> |
1541 | |
1542 | <p><em>Nonfiction</em></p> |
1543 | |
1544 | <p>Once upon a time I was fifteen and I read this book. It was more |
1545 | or less what taught me how to write programs just large enough to do |
1546 | useful things, and so shall forever be remembered by me. A year and a |
1547 | half later I stumbled upon a little language called Scheme and fell |
1548 | down the rabbit hole.</p> |
1549 | |
1550 | |
1551 | |
1552 | |
3eccada4 |
1553 | <h2><a name="sec108" id="sec108"></a> |
1509746a |
1554 | JRR Tolkien</h2> |
1555 | |
1556 | |
1557 | |
3eccada4 |
1558 | <h3><a name="sec109" id="sec109"></a> |
1509746a |
1559 | The Lord of the Rings</h3> |
1560 | |
1561 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
1562 | |
1563 | |
1564 | |
1565 | |
1566 | |
3eccada4 |
1567 | <h3><a name="sec110" id="sec110"></a> |
1509746a |
1568 | The Silmarillion</h3> |
1569 | |
1570 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1571 | |
1572 | |
1573 | |
1574 | |
1575 | |
3eccada4 |
1576 | <h3><a name="sec111" id="sec111"></a> |
1509746a |
1577 | The Lost Tales</h3> |
1578 | |
1579 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1580 | |
1581 | |
1582 | |
1583 | |
1584 | |
1585 | |
3eccada4 |
1586 | <h2><a name="sec112" id="sec112"></a> |
139f0eca |
1587 | Kurt Vonnegut</h2> |
1588 | |
1589 | |
1590 | |
3eccada4 |
1591 | <h3><a name="sec113" id="sec113"></a> |
139f0eca |
1592 | Cat's Cradle</h3> |
1593 | |
1594 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
1595 | |
1596 | <p>There are few books that I have started to read before sleeping |
1597 | and found myself watching the sun rise after finishing. <em>Cat's Cradle</em> |
1598 | is definitely required nerd reading.</p> |
1599 | |
1600 | |
1601 | |
1602 | |
3eccada4 |
1603 | <h2><a name="sec114" id="sec114"></a> |
1509746a |
1604 | H.G. Wells</h2> |
1605 | |
1606 | |
1607 | |
3eccada4 |
1608 | <h3><a name="sec115" id="sec115"></a> |
1509746a |
1609 | The Island of Dr Moreau</h3> |
1610 | |
1611 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1612 | |
1613 | |
1614 | |
ad38099a |
1615 | |
1616 | |
1617 | |
3eccada4 |
1618 | <h2><a name="sec116" id="sec116"></a> |
831dfbdc |
1619 | Robert Anton Wilson</h2> |
1620 | |
1621 | <p class="first">Or rather, Robert Anton Wilson and Robert Shea (but my book script |
1622 | updating thing doesn't do multiple authors</p> |
1623 | |
3eccada4 |
1624 | <h3><a name="sec117" id="sec117"></a> |
831dfbdc |
1625 | The Illuminatus! Trilogy</h3> |
1626 | |
1627 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1628 | |
1629 | <p>e-cash MP5K-SD Adriatic Bellcore Lon Horiuchi 9705 Samford Road |
1630 | jihad New World Order AVN FTS2000 ANZUS subversive SAPO PET Armani</p> |
1631 | |
1632 | |
1633 | |
1634 | |
3eccada4 |
1635 | <h2><a name="sec118" id="sec118"></a> |
ad38099a |
1636 | Yevgeny Zamyatin</h2> |
1637 | |
1638 | |
1639 | |
3eccada4 |
1640 | <h3><a name="sec119" id="sec119"></a> |
ad38099a |
1641 | We</h3> |
1642 | |
1643 | <p><em>Fiction</em></p> |
1644 | |
1645 | |
1646 | |
1509746a |
1647 | <!-- Page published by Emacs Muse ends here --> |
023ad63c |
1648 | |
1649 | <p class="cke-buttons"> |
1650 | <!-- validating badges, any browser, etc --> |
1651 | <a href="http://validator.w3.org/check/referer"><img |
1652 | src="http://www.w3.org/Icons/valid-xhtml10" |
1653 | alt="Valid XHTML 1.0!" /></a> |
1654 | |
1655 | <a href="http://www.anybrowser.org/campaign/"><img |
1656 | src="img/buttons/w3c_ab.png" alt="[ Viewable With Any Browser |
1657 | ]" /></a> |
1658 | |
1659 | <a href="http://www.debian.org/"><img |
1660 | src="img/buttons/debian.png" alt="[ Powered by Debian ]" /></a> |
1661 | |
1662 | <a href="http://hcoop.net/"> |
1663 | <img src="img/buttons/hcoop.png" |
1664 | alt="[ Hosted by HCoop]" /> |
1665 | </a> |
1666 | |
1667 | <a href="http://www.fsf.org/register_form?referrer=114"> |
1668 | <img src="img/buttons/fsf_member.png" |
1669 | alt="[ FSF Associate Member ]" /> |
1670 | </a> |
1671 | </p> |
1672 | |
3eccada4 |
1673 | <p class="cke-footer">I'm just thinking aloud; isn't thinking allowed? |
023ad63c |
1674 | </p> |
1675 | <p class="cke-timestamp">Last Modified: |
3eccada4 |
1676 | November 5, 2010</p> |
023ad63c |
1677 | </body> |
1678 | </html> |