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