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17 | <body> | |
4222507d | 18 | <h1>A Not So Fancy Listing of Books</h1> |
023ad63c | 19 | <div class="contents"> |
20 | <dl> | |
4222507d | 21 | <dt> |
22 | <a href="#sec1">Douglas Adams</a> | |
23 | </dt> | |
24 | <dd> | |
25 | <dl> | |
26 | <dt> | |
27 | <a href="#sec2">Hitchiker's Guide to the Galaxy (collected)</a> | |
28 | </dt> | |
29 | <dt> | |
30 | <a href="#sec3">The Long Dark Tea-Time of the Soul</a> | |
31 | </dt> | |
32 | </dl> | |
33 | </dd> | |
34 | <dt> | |
35 | <a href="#sec4">Aeschylus</a> | |
36 | </dt> | |
37 | <dd> | |
38 | <dl> | |
39 | <dt> | |
40 | <a href="#sec5">Oresteia</a> | |
41 | </dt> | |
42 | <dt> | |
43 | <a href="#sec6">Prometheus Bound</a> | |
44 | </dt> | |
45 | <dt> | |
46 | <a href="#sec7">The Persians</a> | |
47 | </dt> | |
48 | </dl> | |
49 | </dd> | |
50 | <dt> | |
51 | <a href="#sec8">John Allison</a> | |
52 | </dt> | |
53 | <dd> | |
54 | <dl> | |
55 | <dt> | |
56 | <a href="#sec9">Looks, Brains and Everything</a> | |
57 | </dt> | |
58 | <dt> | |
59 | <a href="#sec10">Blame the Sky</a> | |
60 | </dt> | |
61 | <dt> | |
62 | <a href="#sec11">Skellington</a> | |
63 | </dt> | |
64 | <dt> | |
65 | <a href="#sec12">The Retribution Index</a> | |
66 | </dt> | |
67 | <dt> | |
68 | <a href="#sec13">Great Aches</a> | |
69 | </dt> | |
70 | <dt> | |
71 | <a href="#sec14">Ahoy Hoy!</a> | |
72 | </dt> | |
73 | <dt> | |
74 | <a href="#sec15">Heavy Metal Hearts and Flowers</a> | |
75 | </dt> | |
76 | <dt> | |
77 | <a href="#sec16">Ghosts</a> | |
78 | </dt> | |
79 | </dl> | |
80 | </dd> | |
81 | <dt> | |
82 | <a href="#sec17">Anonymous</a> | |
83 | </dt> | |
84 | <dd> | |
85 | <dl> | |
86 | <dt> | |
87 | <a href="#sec18">Chymical Wedding of Christian Rosenkreutz</a> | |
88 | </dt> | |
89 | </dl> | |
90 | </dd> | |
91 | <dt> | |
92 | <a href="#sec19">Aristophanes</a> | |
93 | </dt> | |
94 | <dd> | |
95 | <dl> | |
96 | <dt> | |
97 | <a href="#sec20">The Frogs</a> | |
98 | </dt> | |
99 | <dt> | |
100 | <a href="#sec21">The Clouds</a> | |
101 | </dt> | |
102 | <dt> | |
103 | <a href="#sec22">Ecclesiazusae</a> | |
104 | </dt> | |
105 | </dl> | |
106 | </dd> | |
107 | <dt> | |
108 | <a href="#sec23">Aristotle</a> | |
109 | </dt> | |
110 | <dd> | |
111 | <dl> | |
112 | <dt> | |
113 | <a href="#sec24">Ethics</a> | |
114 | </dt> | |
115 | <dt> | |
116 | <a href="#sec25">Categories</a> | |
117 | </dt> | |
118 | <dt> | |
119 | <a href="#sec26">Poetics</a> | |
120 | </dt> | |
121 | <dt> | |
122 | <a href="#sec27">Rhetoric</a> | |
123 | </dt> | |
124 | </dl> | |
125 | </dd> | |
126 | <dt> | |
127 | <a href="#sec28">Marcus Aurelius</a> | |
128 | </dt> | |
129 | <dd> | |
130 | <dl> | |
131 | <dt> | |
132 | <a href="#sec29">Meditations</a> | |
133 | </dt> | |
134 | </dl> | |
135 | </dd> | |
136 | <dt> | |
137 | <a href="#sec30">William Blake</a> | |
138 | </dt> | |
139 | <dd> | |
140 | <dl> | |
141 | <dt> | |
142 | <a href="#sec31">The Four Zoas</a> | |
143 | </dt> | |
144 | <dt> | |
145 | <a href="#sec32">Jerusalem</a> | |
146 | </dt> | |
147 | </dl> | |
148 | </dd> | |
149 | <dt> | |
3c59982c | 150 | <a href="#sec33">Mike Carey</a> |
4222507d | 151 | </dt> |
152 | <dd> | |
153 | <dl> | |
154 | <dt> | |
3c59982c | 155 | <a href="#sec34">Lucifer (series)</a> |
4222507d | 156 | </dt> |
157 | </dl> | |
158 | </dd> | |
159 | <dt> | |
3c59982c | 160 | <a href="#sec35">Confucius</a> |
4222507d | 161 | </dt> |
162 | <dd> | |
163 | <dl> | |
164 | <dt> | |
3c59982c | 165 | <a href="#sec36">Analects</a> |
4222507d | 166 | </dt> |
167 | </dl> | |
168 | </dd> | |
169 | <dt> | |
3c59982c | 170 | <a href="#sec37">Neil Gaiman</a> |
4222507d | 171 | </dt> |
172 | <dd> | |
173 | <dl> | |
174 | <dt> | |
3c59982c | 175 | <a href="#sec38">The Sandman (series)</a> |
4222507d | 176 | </dt> |
177 | <dt> | |
3c59982c | 178 | <a href="#sec39">Good Omens</a> |
4222507d | 179 | </dt> |
180 | </dl> | |
181 | </dd> | |
182 | <dt> | |
3c59982c | 183 | <a href="#sec40">John Taylor Gatto</a> |
4222507d | 184 | </dt> |
185 | <dd> | |
186 | <dl> | |
187 | <dt> | |
3c59982c | 188 | <a href="#sec41">Underground History of American Education</a> |
4222507d | 189 | </dt> |
190 | </dl> | |
191 | </dd> | |
192 | <dt> | |
3c59982c | 193 | <a href="#sec42">Kahlil Gibran</a> |
4222507d | 194 | </dt> |
195 | <dd> | |
196 | <dl> | |
197 | <dt> | |
3c59982c | 198 | <a href="#sec43">A Tear and a Smile</a> |
4222507d | 199 | </dt> |
200 | <dt> | |
3c59982c | 201 | <a href="#sec44">The Prophet</a> |
4222507d | 202 | </dt> |
203 | <dt> | |
3c59982c | 204 | <a href="#sec45">Sand and Foam</a> |
4222507d | 205 | </dt> |
206 | <dt> | |
3c59982c | 207 | <a href="#sec46">The Madman</a> |
4222507d | 208 | </dt> |
209 | </dl> | |
210 | </dd> | |
211 | <dt> | |
3c59982c | 212 | <a href="#sec47">Homer</a> |
4222507d | 213 | </dt> |
214 | <dd> | |
215 | <dl> | |
216 | <dt> | |
3c59982c | 217 | <a href="#sec48">The Odyssey</a> |
4222507d | 218 | </dt> |
219 | </dl> | |
220 | </dd> | |
221 | <dt> | |
3c59982c | 222 | <a href="#sec49">Aldous Huxley</a> |
4222507d | 223 | </dt> |
224 | <dd> | |
225 | <dl> | |
226 | <dt> | |
3c59982c | 227 | <a href="#sec50">The Doors of Perception</a> |
4222507d | 228 | </dt> |
229 | <dt> | |
3c59982c | 230 | <a href="#sec51">Heaven and Hell</a> |
4222507d | 231 | </dt> |
232 | </dl> | |
233 | </dd> | |
234 | <dt> | |
3c59982c | 235 | <a href="#sec52">William James</a> |
4222507d | 236 | </dt> |
237 | <dd> | |
238 | <dl> | |
239 | <dt> | |
3c59982c | 240 | <a href="#sec53">The Varieties of Religious Experience</a> |
4222507d | 241 | </dt> |
242 | <dt> | |
3c59982c | 243 | <a href="#sec54">The PhD Octopus</a> |
4222507d | 244 | </dt> |
245 | </dl> | |
246 | </dd> | |
247 | <dt> | |
3c59982c | 248 | <a href="#sec55">Henry James</a> |
4222507d | 249 | </dt> |
250 | <dd> | |
251 | <dl> | |
252 | <dt> | |
3c59982c | 253 | <a href="#sec56">The Altar of the Dead</a> |
4222507d | 254 | </dt> |
255 | </dl> | |
256 | </dd> | |
257 | <dt> | |
3c59982c | 258 | <a href="#sec57">Gregor Kiczales</a> |
4222507d | 259 | </dt> |
260 | <dd> | |
261 | <dl> | |
262 | <dt> | |
3c59982c | 263 | <a href="#sec58">The Art of the Metaobject Protocol</a> |
4222507d | 264 | </dt> |
265 | </dl> | |
266 | </dd> | |
267 | <dt> | |
3c59982c | 268 | <a href="#sec59">Søren Kierkegaard</a> |
4222507d | 269 | </dt> |
270 | <dd> | |
271 | <dl> | |
272 | <dt> | |
3c59982c | 273 | <a href="#sec60">Sickness Unto Death</a> |
4222507d | 274 | </dt> |
275 | <dt> | |
3c59982c | 276 | <a href="#sec61">Either/Or</a> |
4222507d | 277 | </dt> |
278 | <dt> | |
3c59982c | 279 | <a href="#sec62">Fear and Trembling</a> |
4222507d | 280 | </dt> |
281 | <dt> | |
3c59982c | 282 | <a href="#sec63">Repetition</a> |
4222507d | 283 | </dt> |
284 | </dl> | |
285 | </dd> | |
286 | <dt> | |
3c59982c | 287 | <a href="#sec64">Alisa Kwitney</a> |
4222507d | 288 | </dt> |
289 | <dd> | |
290 | <dl> | |
291 | <dt> | |
3c59982c | 292 | <a href="#sec65">Destiny: A Chronicle of Deaths Foretold</a> |
4222507d | 293 | </dt> |
294 | </dl> | |
295 | </dd> | |
296 | <dt> | |
3c59982c | 297 | <a href="#sec66">David Lamkins</a> |
4222507d | 298 | </dt> |
299 | <dd> | |
300 | <dl> | |
301 | <dt> | |
3c59982c | 302 | <a href="#sec67">Successful Lisp</a> |
4222507d | 303 | </dt> |
304 | </dl> | |
305 | </dd> | |
306 | <dt> | |
3c59982c | 307 | <a href="#sec68">Mencius</a> |
4222507d | 308 | </dt> |
309 | <dd> | |
310 | <dl> | |
311 | <dt> | |
3c59982c | 312 | <a href="#sec69">Mencius</a> |
4222507d | 313 | </dt> |
314 | </dl> | |
315 | </dd> | |
316 | <dt> | |
3c59982c | 317 | <a href="#sec70">Walter Miller</a> |
4222507d | 318 | </dt> |
319 | <dd> | |
320 | <dl> | |
321 | <dt> | |
3c59982c | 322 | <a href="#sec71">A Canticle for Leibowitz</a> |
4222507d | 323 | </dt> |
324 | </dl> | |
325 | </dd> | |
326 | <dt> | |
3c59982c | 327 | <a href="#sec72">Alan Moore</a> |
4222507d | 328 | </dt> |
329 | <dd> | |
330 | <dl> | |
331 | <dt> | |
3c59982c | 332 | <a href="#sec73">Watchmen</a> |
4222507d | 333 | </dt> |
4222507d | 334 | <dt> |
3c59982c | 335 | <a href="#sec74">V for Vendetta</a> |
4222507d | 336 | </dt> |
337 | </dl> | |
338 | </dd> | |
339 | <dt> | |
3c59982c | 340 | <a href="#sec75">Thomas More</a> |
4222507d | 341 | </dt> |
342 | <dd> | |
343 | <dl> | |
344 | <dt> | |
3c59982c | 345 | <a href="#sec76">Utopia</a> |
4222507d | 346 | </dt> |
347 | </dl> | |
348 | </dd> | |
349 | <dt> | |
3c59982c | 350 | <a href="#sec77">Friedrich Nietzsche</a> |
4222507d | 351 | </dt> |
352 | <dd> | |
353 | <dl> | |
354 | <dt> | |
3c59982c | 355 | <a href="#sec78">Beyond Good and Evil</a> |
4222507d | 356 | </dt> |
357 | <dt> | |
3c59982c | 358 | <a href="#sec79">On the Geneaology of Morals</a> |
4222507d | 359 | </dt> |
360 | <dt> | |
3c59982c | 361 | <a href="#sec80">Ecce Homo</a> |
4222507d | 362 | </dt> |
363 | </dl> | |
364 | </dd> | |
365 | <dt> | |
3c59982c | 366 | <a href="#sec81">George Orwell</a> |
4222507d | 367 | </dt> |
368 | <dd> | |
369 | <dl> | |
370 | <dt> | |
3c59982c | 371 | <a href="#sec82">1984</a> |
4222507d | 372 | </dt> |
373 | <dt> | |
3c59982c | 374 | <a href="#sec83">Animal Farm</a> |
4222507d | 375 | </dt> |
376 | </dl> | |
377 | </dd> | |
378 | <dt> | |
3c59982c | 379 | <a href="#sec84">Plato</a> |
4222507d | 380 | </dt> |
381 | <dd> | |
382 | <dl> | |
383 | <dt> | |
3c59982c | 384 | <a href="#sec85">Symposium</a> |
4222507d | 385 | </dt> |
386 | <dt> | |
3c59982c | 387 | <a href="#sec86">Euthyphro</a> |
4222507d | 388 | </dt> |
389 | <dt> | |
3c59982c | 390 | <a href="#sec87">Apology</a> |
4222507d | 391 | </dt> |
392 | <dt> | |
3c59982c | 393 | <a href="#sec88">Crito</a> |
4222507d | 394 | </dt> |
4222507d | 395 | <dt> |
3c59982c | 396 | <a href="#sec89">Phaedo</a> |
4222507d | 397 | </dt> |
4222507d | 398 | <dt> |
3c59982c | 399 | <a href="#sec90">Protagoras</a> |
4222507d | 400 | </dt> |
401 | </dl> | |
402 | </dd> | |
403 | <dt> | |
3c59982c | 404 | <a href="#sec91">Luke Rhinehardt</a> |
4222507d | 405 | </dt> |
406 | <dd> | |
407 | <dl> | |
408 | <dt> | |
3c59982c | 409 | <a href="#sec92">The Dice Man</a> |
4222507d | 410 | </dt> |
411 | </dl> | |
412 | </dd> | |
413 | <dt> | |
3c59982c | 414 | <a href="#sec93">Neal Stephenson</a> |
4222507d | 415 | </dt> |
416 | <dd> | |
417 | <dl> | |
418 | <dt> | |
3c59982c | 419 | <a href="#sec94">Snow Crash</a> |
4222507d | 420 | </dt> |
421 | <dt> | |
3c59982c | 422 | <a href="#sec95">Cryptonomicon</a> |
4222507d | 423 | </dt> |
424 | </dl> | |
425 | </dd> | |
426 | <dt> | |
3c59982c | 427 | <a href="#sec96">Bjarne Stroustrup</a> |
4222507d | 428 | </dt> |
429 | <dd> | |
430 | <dl> | |
431 | <dt> | |
3c59982c | 432 | <a href="#sec97">The C++ Programming Language (3rd edition)</a> |
4222507d | 433 | </dt> |
434 | </dl> | |
435 | </dd> | |
436 | <dt> | |
3c59982c | 437 | <a href="#sec98">JRR Tolkien</a> |
4222507d | 438 | </dt> |
439 | <dd> | |
440 | <dl> | |
441 | <dt> | |
3c59982c | 442 | <a href="#sec99">The Lord of the Rings</a> |
4222507d | 443 | </dt> |
444 | <dt> | |
3c59982c | 445 | <a href="#sec100">The Silmarillion</a> |
4222507d | 446 | </dt> |
4222507d | 447 | <dt> |
3c59982c | 448 | <a href="#sec101">The Lost Tales</a> |
4222507d | 449 | </dt> |
450 | </dl> | |
451 | </dd> | |
452 | <dt> | |
3c59982c | 453 | <a href="#sec102">H.G. Wells</a> |
4222507d | 454 | </dt> |
455 | <dd> | |
456 | <dl> | |
457 | <dt> | |
3c59982c | 458 | <a href="#sec103">The Island of Dr Moreau</a> |
4222507d | 459 | </dt> |
460 | </dl> | |
461 | </dd> | |
023ad63c | 462 | </dl> |
463 | </div> | |
464 | ||
465 | ||
11f9bd69 CE |
466 | <!-- Page published by Emacs Muse begins here --> |
467 | <h2><a name="sec1" id="sec1"></a> | |
4222507d | 468 | Douglas Adams</h2> |
469 | ||
470 | ||
471 | ||
472 | <h3><a name="sec2" id="sec2"></a> | |
473 | Hitchiker's Guide to the Galaxy (collected)</h3> | |
474 | ||
475 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
476 | ||
477 | ||
478 | ||
479 | ||
480 | ||
481 | <h3><a name="sec3" id="sec3"></a> | |
482 | The Long Dark Tea-Time of the Soul</h3> | |
483 | ||
484 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> | |
485 | ||
486 | ||
487 | ||
488 | ||
489 | ||
490 | ||
491 | <h2><a name="sec4" id="sec4"></a> | |
492 | Aeschylus</h2> | |
493 | ||
494 | ||
495 | ||
496 | <h3><a name="sec5" id="sec5"></a> | |
497 | Oresteia</h3> | |
498 | ||
499 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
500 | ||
501 | ||
502 | ||
503 | ||
504 | ||
505 | <h3><a name="sec6" id="sec6"></a> | |
506 | Prometheus Bound</h3> | |
507 | ||
508 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
509 | ||
510 | ||
511 | ||
512 | ||
513 | ||
514 | <h3><a name="sec7" id="sec7"></a> | |
515 | The Persians</h3> | |
516 | ||
517 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
518 | ||
519 | ||
520 | ||
521 | ||
522 | ||
523 | ||
524 | <h2><a name="sec8" id="sec8"></a> | |
525 | John Allison</h2> | |
526 | ||
527 | <p class="first">The author of the rather amazing <a href="http://scarygoround.com">Scary Go Round</a>. | |
528 | I highly recommend procuring the printed collections; the printing | |
529 | quality is superb (full color on glossy paper), and the long story | |
530 | arcs are much easier to read.</p> | |
531 | ||
532 | <h3><a name="sec9" id="sec9"></a> | |
533 | Looks, Brains and Everything</h3> | |
534 | ||
535 | <p><em>Fiction</em></p> | |
536 | ||
537 | ||
538 | ||
539 | ||
540 | ||
541 | <h3><a name="sec10" id="sec10"></a> | |
542 | Blame the Sky</h3> | |
543 | ||
544 | <p><em>Fiction</em></p> | |
545 | ||
546 | ||
547 | ||
548 | ||
549 | ||
550 | <h3><a name="sec11" id="sec11"></a> | |
551 | Skellington</h3> | |
552 | ||
553 | <p><em>Fiction</em></p> | |
554 | ||
555 | ||
556 | ||
557 | ||
558 | ||
559 | <h3><a name="sec12" id="sec12"></a> | |
560 | The Retribution Index</h3> | |
561 | ||
562 | <p><em>Fiction</em></p> | |
563 | ||
564 | ||
565 | ||
566 | ||
567 | ||
568 | <h3><a name="sec13" id="sec13"></a> | |
569 | Great Aches</h3> | |
570 | ||
571 | <p><em>Fiction</em></p> | |
572 | ||
573 | ||
574 | ||
575 | ||
576 | ||
577 | <h3><a name="sec14" id="sec14"></a> | |
578 | Ahoy Hoy!</h3> | |
579 | ||
580 | <p><em>Fiction</em></p> | |
581 | ||
582 | ||
583 | ||
584 | ||
585 | ||
586 | <h3><a name="sec15" id="sec15"></a> | |
587 | Heavy Metal Hearts and Flowers</h3> | |
588 | ||
589 | <p><em>Fiction</em></p> | |
590 | ||
591 | ||
592 | ||
593 | ||
594 | ||
595 | <h3><a name="sec16" id="sec16"></a> | |
596 | Ghosts</h3> | |
597 | ||
598 | <p><em>Fiction</em></p> | |
599 | ||
600 | ||
601 | ||
602 | ||
603 | ||
604 | ||
605 | <h2><a name="sec17" id="sec17"></a> | |
606 | Anonymous</h2> | |
607 | ||
608 | ||
609 | ||
610 | <h3><a name="sec18" id="sec18"></a> | |
611 | Chymical Wedding of Christian Rosenkreutz</h3> | |
612 | ||
613 | <p><em>Fiction</em></p> | |
614 | ||
615 | ||
616 | ||
617 | ||
618 | ||
619 | ||
620 | <h2><a name="sec19" id="sec19"></a> | |
621 | Aristophanes</h2> | |
622 | ||
623 | ||
624 | ||
625 | <h3><a name="sec20" id="sec20"></a> | |
626 | The Frogs</h3> | |
627 | ||
628 | <p><em>Fiction</em></p> | |
629 | ||
630 | ||
631 | ||
632 | ||
633 | ||
634 | <h3><a name="sec21" id="sec21"></a> | |
635 | The Clouds</h3> | |
636 | ||
637 | <p><em>Fiction</em></p> | |
638 | ||
639 | ||
640 | ||
641 | ||
642 | ||
643 | <h3><a name="sec22" id="sec22"></a> | |
644 | Ecclesiazusae</h3> | |
645 | ||
646 | <p><em>Fiction</em></p> | |
647 | ||
648 | ||
649 | ||
650 | ||
651 | ||
652 | ||
653 | <h2><a name="sec23" id="sec23"></a> | |
654 | Aristotle</h2> | |
655 | ||
656 | ||
657 | ||
658 | <h3><a name="sec24" id="sec24"></a> | |
659 | Ethics</h3> | |
660 | ||
661 | <p><em>Nonfiction</em></p> | |
662 | ||
663 | ||
664 | ||
665 | ||
666 | ||
667 | <h3><a name="sec25" id="sec25"></a> | |
668 | Categories</h3> | |
669 | ||
670 | <p><em>Nonfiction</em></p> | |
671 | ||
672 | ||
673 | ||
674 | ||
675 | ||
676 | <h3><a name="sec26" id="sec26"></a> | |
677 | Poetics</h3> | |
678 | ||
679 | <p><em>Nonfiction</em></p> | |
680 | ||
681 | ||
682 | ||
683 | ||
684 | ||
685 | <h3><a name="sec27" id="sec27"></a> | |
686 | Rhetoric</h3> | |
687 | ||
688 | <p><em>Nonfiction</em></p> | |
689 | ||
690 | ||
691 | ||
692 | ||
693 | ||
694 | ||
695 | <h2><a name="sec28" id="sec28"></a> | |
696 | Marcus Aurelius</h2> | |
697 | ||
698 | ||
699 | ||
700 | <h3><a name="sec29" id="sec29"></a> | |
701 | Meditations</h3> | |
702 | ||
703 | <p><em>Rating:</em> <span class="rating-good"> ••••</span><span class="rating-bad">•••••• </span> (4) / <em>Nonfiction</em></p> | |
704 | ||
705 | <p>At the time, I enjoyed reading this collection of meditations on | |
706 | Stoic philosophy, and it was a fairly quick read (fifteen minutes a | |
707 | day over the course of two weeks for me). Nowadays I've read | |
708 | Epictetus, and I suggest reading his <em>Discourses</em> instead.</p> | |
709 | ||
710 | ||
711 | ||
712 | ||
713 | <h2><a name="sec30" id="sec30"></a> | |
714 | William Blake</h2> | |
715 | ||
716 | <p class="first">Blake is my <a href="William%20Blake.html">favorite</a> of the English poets. His | |
717 | unique use of relief etching and watercoloring makes for very | |
718 | interesting Illuminated works. There is a very high quality | |
719 | <a href="http://blakearchive.org">complete archive of Blake's works</a> online | |
720 | with high resolution plate scans and full transcriptions among other | |
721 | things.</p> | |
722 | ||
723 | <h3><a name="sec31" id="sec31"></a> | |
724 | The Four Zoas</h3> | |
725 | ||
726 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
727 | ||
728 | <p>The unfinished manuscript of Blake's longest apocalypse. The | |
729 | Four Zoas divide from Albion and rage through the ages of dismal woe | |
730 | to bring about the end of the cycle of Ulro and restore the cycle of | |
731 | Beulah.</p> | |
732 | ||
733 | ||
734 | ||
735 | <h3><a name="sec32" id="sec32"></a> | |
736 | Jerusalem</h3> | |
737 | ||
738 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
739 | ||
740 | <p>The finest of Blake's Illuminated works.</p> | |
741 | ||
742 | ||
743 | ||
744 | ||
745 | <h2><a name="sec33" id="sec33"></a> | |
4222507d | 746 | Mike Carey</h2> |
747 | ||
748 | ||
749 | ||
3c59982c | 750 | <h3><a name="sec34" id="sec34"></a> |
4222507d | 751 | Lucifer (series)</h3> |
752 | ||
753 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> | |
754 | ||
755 | <p>Of the <em>Sandman</em> spinoffs, <em>Lucifer</em> stands out as the best for | |
756 | the first half, but then the writer appears to take on far too great a | |
757 | task, and, with the introduction of some disagreeable character | |
758 | relations, fails to execute the story as well as it could have | |
759 | been. Still, it was worth reading to the end even though most of the | |
760 | stories after issue 35 or so were merely ok. If you like Kierkegaard I | |
761 | suggest issues 2, 3, and 62—they show the form of the incommensurable | |
762 | relation of the single individual to the absolute perfectly.</p> | |
763 | ||
764 | ||
765 | ||
766 | ||
3c59982c | 767 | <h2><a name="sec35" id="sec35"></a> |
4222507d | 768 | Confucius</h2> |
769 | ||
770 | ||
771 | ||
3c59982c | 772 | <h3><a name="sec36" id="sec36"></a> |
4222507d | 773 | Analects</h3> |
774 | ||
775 | <p><em>Nonfiction</em></p> | |
776 | ||
777 | ||
778 | ||
779 | ||
780 | ||
781 | ||
3c59982c | 782 | <h2><a name="sec37" id="sec37"></a> |
4222507d | 783 | Neil Gaiman</h2> |
784 | ||
785 | ||
786 | ||
3c59982c | 787 | <h3><a name="sec38" id="sec38"></a> |
4222507d | 788 | The Sandman (series)</h3> |
789 | ||
790 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
791 | ||
792 | <p>Perhaps the best comic book series of all time; I would say <em>The | |
793 | Sandman</em> as a whole ranks higher than anything even Alan Moore has | |
794 | written.</p> | |
795 | ||
796 | ||
797 | ||
3c59982c | 798 | <h3><a name="sec39" id="sec39"></a> |
4222507d | 799 | Good Omens</h3> |
800 | ||
801 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
802 | ||
803 | <p>A friend of a friend decided one evening that I needed to read | |
804 | so-called <em>normal people books</em>, and so she lent me <em>Good Omens</em>. It | |
805 | was an enjoyable read and unearthed vague memories of comic book | |
806 | magazines I read when I was small and the name <em>Sandman</em>; thus through | |
807 | one book I found something far greater.</p> | |
808 | ||
809 | ||
810 | ||
4222507d | 811 | |
3c59982c | 812 | <h2><a name="sec40" id="sec40"></a> |
4222507d | 813 | John Taylor Gatto</h2> |
814 | ||
815 | <p class="first">Former teacher and now author-activist.</p> | |
816 | ||
3c59982c | 817 | <h3><a name="sec41" id="sec41"></a> |
4222507d | 818 | Underground History of American Education</h3> |
819 | ||
820 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> | |
821 | ||
822 | <p>An interesting <em>underground</em> history of the American education | |
823 | system. Available | |
824 | <a href="http://www.johntaylorgatto.com/underground/">online for free</a>.</p> | |
825 | ||
826 | ||
827 | ||
828 | ||
3c59982c | 829 | <h2><a name="sec42" id="sec42"></a> |
4222507d | 830 | Kahlil Gibran</h2> |
831 | ||
832 | <p class="first">Kahlil Gibran is fairly interesting; his earlier works do not | |
833 | agree with my æsthetic sense (blah blah), but <em>The Madman</em> onward are | |
834 | all rather nice. A few of his works are | |
835 | <a href="http://leb.net/~mira/">online</a>, but I recommend scouting used book | |
836 | stores for old hardcover editions. The (late 90s onward at least) | |
837 | <em>hardcover</em> versions from <em>Alfred A. Knopf</em> are in fact permabound | |
838 | paperbacks with a hardcasing, and are of seriously inferior quality to | |
839 | the editions from the 50s and 60s (and cost quite a bit more, | |
840 | naturally).</p> | |
841 | ||
3c59982c | 842 | <h3><a name="sec43" id="sec43"></a> |
4222507d | 843 | A Tear and a Smile</h3> |
844 | ||
845 | <p><em>Rating:</em> <span class="rating-good"> •••</span><span class="rating-bad">••••••• </span> (3) / <em>Fiction</em></p> | |
846 | ||
847 | <p>One of Kahlil Gibran's earlier works, I did not much like <em>A | |
848 | Tear and a Smile</em> excepting the last poem ("A Poet's Voice").</p> | |
849 | ||
850 | ||
851 | ||
3c59982c | 852 | <h3><a name="sec44" id="sec44"></a> |
4222507d | 853 | The Prophet</h3> |
854 | ||
855 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
856 | ||
857 | ||
858 | ||
859 | ||
860 | ||
3c59982c | 861 | <h3><a name="sec45" id="sec45"></a> |
4222507d | 862 | Sand and Foam</h3> |
863 | ||
864 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
865 | ||
866 | <p>An interesting little book of aphorisms.</p> | |
867 | ||
868 | ||
869 | ||
3c59982c | 870 | <h3><a name="sec46" id="sec46"></a> |
4222507d | 871 | The Madman</h3> |
872 | ||
873 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
874 | ||
875 | ||
876 | ||
877 | ||
878 | ||
879 | ||
3c59982c | 880 | <h2><a name="sec47" id="sec47"></a> |
4222507d | 881 | Homer</h2> |
882 | ||
883 | ||
884 | ||
3c59982c | 885 | <h3><a name="sec48" id="sec48"></a> |
4222507d | 886 | The Odyssey</h3> |
887 | ||
888 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
889 | ||
890 | ||
891 | ||
892 | ||
893 | ||
894 | ||
3c59982c | 895 | <h2><a name="sec49" id="sec49"></a> |
4222507d | 896 | Aldous Huxley</h2> |
897 | ||
898 | <p class="first">Perhaps the most overrated modern writer. Other people have written | |
899 | everything he has to write better and many years before he got around | |
900 | to it.</p> | |
901 | ||
3c59982c | 902 | <h3><a name="sec50" id="sec50"></a> |
4222507d | 903 | The Doors of Perception</h3> |
904 | ||
905 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> | |
906 | ||
907 | <p>Huxley stains the name of Blake by naming this horrible | |
908 | pseudo-scientific and pseudo-poetic essay after a line from <em>The | |
909 | Marriage of Heaven and Hell</em>. Subjectivity and objectivity are | |
910 | incommensurable; his attempt and being subjectively objective is | |
911 | utterly worthless.</p> | |
912 | ||
913 | ||
914 | ||
3c59982c | 915 | <h3><a name="sec51" id="sec51"></a> |
4222507d | 916 | Heaven and Hell</h3> |
917 | ||
918 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> | |
919 | ||
920 | <p>Blah blah LSD blah blah Mushrooms blah blah Peyote blah blah I'm | |
921 | Aldous Huxley I'm a pretentious jerk. Don't bother.</p> | |
922 | ||
923 | ||
924 | ||
4222507d | 925 | |
3c59982c | 926 | <h2><a name="sec52" id="sec52"></a> |
4222507d | 927 | William James</h2> |
928 | ||
929 | ||
930 | ||
3c59982c | 931 | <h3><a name="sec53" id="sec53"></a> |
4222507d | 932 | The Varieties of Religious Experience</h3> |
933 | ||
934 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> | |
935 | ||
936 | <p><a href="William%20James%20-%20The%20Varieties%20of%20Religious%20Experience.html">A partially finished extended summary</a></p> | |
937 | ||
938 | ||
939 | ||
3c59982c | 940 | <h3><a name="sec54" id="sec54"></a> |
4222507d | 941 | The PhD Octopus</h3> |
942 | ||
943 | <p><em>Nonfiction</em></p> | |
944 | ||
945 | <blockquote> | |
946 | <p class="quoted"> | |
947 | America is thus as a nation rapidly drifting towards a state of things | |
948 | in which no man of science or letters will be accounted respectable | |
949 | unless some kind of badge or diploma is stamped upon him, and in which | |
950 | bare personality will be a mark of outcast estate. It seems to me high | |
951 | time to rouse ourselves to consciousness, and to cast a critical eye | |
952 | upon this decidedly grotesque tendency. Other nations suffer terribly | |
953 | from the Mandarin disease. Are we doomed to suffer like the rest?</p> | |
954 | ||
955 | </blockquote> | |
956 | ||
957 | <p><a href="William%20James%20-%20The%20PhD%20Octopus.html">Full Text</a></p> | |
958 | ||
959 | ||
960 | ||
961 | ||
3c59982c | 962 | <h2><a name="sec55" id="sec55"></a> |
4222507d | 963 | Henry James</h2> |
964 | ||
965 | <p class="first">The novelist brother of William James; I've not read many (read: | |
966 | one) of his books, but what I did was decent.</p> | |
967 | ||
3c59982c | 968 | <h3><a name="sec56" id="sec56"></a> |
4222507d | 969 | The Altar of the Dead</h3> |
970 | ||
971 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
972 | ||
973 | <p>A short novella about a man who maintained an altar in a church | |
974 | for all of his lost loved ones on the surface, but something a bit | |
975 | more beneath.</p> | |
976 | ||
977 | ||
978 | ||
979 | ||
3c59982c | 980 | <h2><a name="sec57" id="sec57"></a> |
4222507d | 981 | Gregor Kiczales</h2> |
982 | ||
983 | ||
984 | ||
3c59982c | 985 | <h3><a name="sec58" id="sec58"></a> |
4222507d | 986 | The Art of the Metaobject Protocol</h3> |
987 | ||
988 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
989 | ||
990 | <p>AMOP is useful as a reference to the CLOS MOP (although less so with | |
991 | the online MOP spec), but the true value of the book lies in the first | |
992 | half of the book. It presents the design of the CLOS MOP through a | |
993 | series of revisions that fix limitations of earlier implementations | |
994 | and gradually work toward a generic and well designed MOP for | |
995 | CLOS. Through that process one is made more aware of a few general | |
996 | object protocol design skills, and gains insight into how to cleanly | |
997 | make mapping decisions customizable.</p> | |
998 | ||
999 | ||
1000 | ||
1001 | ||
3c59982c | 1002 | <h2><a name="sec59" id="sec59"></a> |
4222507d | 1003 | Søren Kierkegaard</h2> |
1004 | ||
1005 | <p class="first">Kierkegaard was a master of style and philosophy; his writing is | |
1006 | interesting even if one finds the theistic extentialism espoused | |
1007 | disagreeable.</p> | |
1008 | ||
3c59982c | 1009 | <h3><a name="sec60" id="sec60"></a> |
4222507d | 1010 | Sickness Unto Death</h3> |
1011 | ||
1012 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1013 | ||
1014 | <p>I purchased this when I was looking through books at a store after | |
1015 | being unable to find the book I really wanted, and I must say that it | |
1016 | was better for me to have found this one.</p> | |
1017 | ||
1018 | <p>Contained within is a beautiful analysis of despair in the context of | |
1019 | Christianity (really theism in general). Even if the argument offends, | |
1020 | the presentation cannot. The dialectical nature of despair is | |
1021 | reflected in every aspect of the work, and the method of presentation | |
1022 | forces reflection.</p> | |
1023 | ||
1024 | ||
1025 | ||
3c59982c | 1026 | <h3><a name="sec61" id="sec61"></a> |
4222507d | 1027 | Either/Or</h3> |
1028 | ||
1029 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1030 | ||
1031 | <p>Composed of two portions, <em>Either/Or</em> is a rather lengthy but | |
1032 | rewarding read. The first book is a series of essays and a diary of a | |
1033 | young esthetician; the second is a pair of long letters from an older | |
1034 | ethicist friend to this esthetician. You are then left to resolve the | |
1035 | conflict between the views.</p> | |
1036 | ||
1037 | ||
1038 | ||
3c59982c | 1039 | <h3><a name="sec62" id="sec62"></a> |
4222507d | 1040 | Fear and Trembling</h3> |
1041 | ||
1042 | <p><em>Nonfiction</em></p> | |
1043 | ||
1044 | <p>An interesting dialectical lyric contrasting Despair and Faith.</p> | |
1045 | ||
1046 | ||
1047 | ||
3c59982c | 1048 | <h3><a name="sec63" id="sec63"></a> |
4222507d | 1049 | Repetition</h3> |
1050 | ||
1051 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1052 | ||
1053 | <p>He who despairs of esthetic repetition gets none; he who despairs | |
1054 | of ethical repetition receieves the esthetic. Is it true then that no | |
1055 | repetition exists? Is transition all one can hope for?</p> | |
1056 | ||
1057 | ||
1058 | ||
4222507d | 1059 | |
3c59982c | 1060 | <h2><a name="sec64" id="sec64"></a> |
4222507d | 1061 | Alisa Kwitney</h2> |
1062 | ||
1063 | ||
1064 | ||
3c59982c | 1065 | <h3><a name="sec65" id="sec65"></a> |
4222507d | 1066 | Destiny: A Chronicle of Deaths Foretold</h3> |
1067 | ||
1068 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
1069 | ||
1070 | ||
1071 | ||
1072 | ||
1073 | ||
1074 | ||
3c59982c | 1075 | <h2><a name="sec66" id="sec66"></a> |
4222507d | 1076 | David Lamkins</h2> |
1077 | ||
1078 | ||
1079 | ||
3c59982c | 1080 | <h3><a name="sec67" id="sec67"></a> |
4222507d | 1081 | Successful Lisp</h3> |
1082 | ||
1083 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> | |
1084 | ||
1085 | <p>After learning Scheme, I read <em>Successful Lisp</em> and was able to | |
1086 | pick up Common Lisp fairly easily.</p> | |
1087 | ||
1088 | ||
1089 | ||
1090 | ||
3c59982c | 1091 | <h2><a name="sec68" id="sec68"></a> |
4222507d | 1092 | Mencius</h2> |
1093 | ||
1094 | ||
1095 | ||
3c59982c | 1096 | <h3><a name="sec69" id="sec69"></a> |
4222507d | 1097 | Mencius</h3> |
1098 | ||
1099 | <p><em>Nonfiction</em></p> | |
1100 | ||
1101 | ||
1102 | ||
1103 | ||
1104 | ||
1105 | ||
3c59982c | 1106 | <h2><a name="sec70" id="sec70"></a> |
4222507d | 1107 | Walter Miller</h2> |
1108 | ||
1109 | ||
1110 | ||
3c59982c | 1111 | <h3><a name="sec71" id="sec71"></a> |
4222507d | 1112 | A Canticle for Leibowitz</h3> |
1113 | ||
1114 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1115 | ||
1116 | ||
1117 | ||
1118 | ||
1119 | ||
1120 | ||
3c59982c | 1121 | <h2><a name="sec72" id="sec72"></a> |
4222507d | 1122 | Alan Moore</h2> |
1123 | ||
1124 | ||
1125 | ||
3c59982c | 1126 | <h3><a name="sec73" id="sec73"></a> |
4222507d | 1127 | Watchmen</h3> |
1128 | ||
1129 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
1130 | ||
1131 | ||
1132 | ||
1133 | ||
1134 | ||
3c59982c | 1135 | <h3><a name="sec74" id="sec74"></a> |
4222507d | 1136 | V for Vendetta</h3> |
1137 | ||
1138 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1139 | ||
1140 | ||
1141 | ||
1142 | ||
1143 | ||
1144 | ||
3c59982c | 1145 | <h2><a name="sec75" id="sec75"></a> |
4222507d | 1146 | Thomas More</h2> |
1147 | ||
1148 | ||
1149 | ||
3c59982c | 1150 | <h3><a name="sec76" id="sec76"></a> |
4222507d | 1151 | Utopia</h3> |
1152 | ||
1153 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1154 | ||
1155 | <p>I read most of Utopia in high school with the TI-89 ebook reader, but | |
1156 | the way the book was split up made it a bit difficult to grasp the | |
1157 | overall structure. I found a copy at a used book store one day, and so | |
1158 | I read it again, and found it much more comprehensible. It is a quick | |
1159 | read, and decent piece of literature. The interesting social system | |
1160 | espoused resembles resembles state communism (even if perhaps as a | |
1161 | negative ideal), but with an strange blend of 14th century European | |
1162 | social customs.</p> | |
1163 | ||
1164 | ||
1165 | ||
1166 | ||
3c59982c | 1167 | <h2><a name="sec77" id="sec77"></a> |
4222507d | 1168 | Friedrich Nietzsche</h2> |
1169 | ||
1170 | <p class="first">A bit acerbic and esoteric, Nietzsche is for me a good <em>secular</em> | |
1171 | counterpart to Kierkegaard's theistic philosophy. Nietzsche's | |
1172 | polemical works raise important questions for anyone who reads works | |
1173 | on ethics. As such it is a shame that he has gotten a bad reputation | |
1174 | by being read by far too many angsty teenagers who see (and relay) | |
1175 | only Nietzsche the asshole rather than Nietzsche the master of the | |
1176 | polemic.</p> | |
1177 | ||
3c59982c | 1178 | <h3><a name="sec78" id="sec78"></a> |
4222507d | 1179 | Beyond Good and Evil</h3> |
1180 | ||
1181 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> | |
1182 | ||
1183 | <p>A somewhat more comprehensible, if a bit less aesthetically | |
1184 | pleasing, presentation of much of the philosophy found in <em>Thus Spoke | |
1185 | Zarathustra</em> in the negative form. The final chapters are very | |
1186 | important (not to detract from the value of the rest of the work) if | |
1187 | one wishes to understand <em>On the Genealogy of Morals</em>.</p> | |
1188 | ||
1189 | ||
1190 | ||
3c59982c | 1191 | <h3><a name="sec79" id="sec79"></a> |
4222507d | 1192 | On the Geneaology of Morals</h3> |
1193 | ||
1194 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> | |
1195 | ||
1196 | <p><em>On the Geneaology of Morals</em> is a wonderful book of three | |
1197 | polemical essays on the origin of moral/ethical valuations, and the | |
1198 | blindness of modern philosphers whose very thinking is tainted by | |
1199 | these valuations unknowingly.</p> | |
1200 | ||
1201 | ||
1202 | ||
3c59982c | 1203 | <h3><a name="sec80" id="sec80"></a> |
4222507d | 1204 | Ecce Homo</h3> |
1205 | ||
1206 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> | |
1207 | ||
1208 | <p><em>Ecce Homo</em> is Nietzsche's very strange autobiography and | |
1209 | explanation of his own works. At points it is clear that it could have | |
1210 | used a bit more editing (prevented by Nietzsche ... falling into a | |
1211 | catatonic state and all), but is still a very useful book to read as | |
1212 | Nietzsche explains the overall structure of his works.</p> | |
1213 | ||
1214 | ||
1215 | ||
1216 | ||
3c59982c | 1217 | <h2><a name="sec81" id="sec81"></a> |
4222507d | 1218 | George Orwell</h2> |
1219 | ||
1220 | ||
1221 | ||
3c59982c | 1222 | <h3><a name="sec82" id="sec82"></a> |
4222507d | 1223 | 1984</h3> |
1224 | ||
1225 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1226 | ||
1227 | ||
1228 | ||
1229 | ||
1230 | ||
3c59982c | 1231 | <h3><a name="sec83" id="sec83"></a> |
4222507d | 1232 | Animal Farm</h3> |
1233 | ||
1234 | <p><em>Fiction</em></p> | |
1235 | ||
1236 | ||
1237 | ||
1238 | ||
1239 | ||
1240 | ||
3c59982c | 1241 | <h2><a name="sec84" id="sec84"></a> |
4222507d | 1242 | Plato</h2> |
1243 | ||
1244 | ||
1245 | ||
3c59982c | 1246 | <h3><a name="sec85" id="sec85"></a> |
4222507d | 1247 | Symposium</h3> |
1248 | ||
1249 | <p><em>Fiction</em></p> | |
1250 | ||
1251 | ||
1252 | ||
1253 | ||
1254 | ||
3c59982c | 1255 | <h3><a name="sec86" id="sec86"></a> |
4222507d | 1256 | Euthyphro</h3> |
1257 | ||
1258 | <p><em>Fiction</em></p> | |
1259 | ||
1260 | ||
1261 | ||
1262 | ||
1263 | ||
3c59982c | 1264 | <h3><a name="sec87" id="sec87"></a> |
4222507d | 1265 | Apology</h3> |
1266 | ||
1267 | <p><em>Nonfiction</em></p> | |
1268 | ||
1269 | ||
1270 | ||
1271 | ||
1272 | ||
3c59982c | 1273 | <h3><a name="sec88" id="sec88"></a> |
4222507d | 1274 | Crito</h3> |
1275 | ||
1276 | <p><em>Fiction</em></p> | |
1277 | ||
1278 | ||
1279 | ||
1280 | ||
1281 | ||
3c59982c | 1282 | <h3><a name="sec89" id="sec89"></a> |
4222507d | 1283 | Phaedo</h3> |
1284 | ||
1285 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> | |
1286 | ||
1287 | ||
1288 | ||
1289 | ||
1290 | ||
3c59982c | 1291 | <h3><a name="sec90" id="sec90"></a> |
4222507d | 1292 | Protagoras</h3> |
1293 | ||
1294 | <p><em>Fiction</em></p> | |
1295 | ||
1296 | ||
1297 | ||
1298 | ||
1299 | ||
1300 | ||
3c59982c | 1301 | <h2><a name="sec91" id="sec91"></a> |
4222507d | 1302 | Luke Rhinehardt</h2> |
1303 | ||
1304 | ||
1305 | ||
3c59982c | 1306 | <h3><a name="sec92" id="sec92"></a> |
4222507d | 1307 | The Dice Man</h3> |
1308 | ||
1309 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1310 | ||
1311 | <blockquote> | |
1312 | <p class="quoted"> | |
1313 | And it's his illusions about what | |
1314 | constitutes the real world which are | |
1315 | inhibiting him... | |
1316 | His reality, his reason, his society | |
1317 | ...these are what must be destroyed</p> | |
1318 | ||
1319 | </blockquote> | |
1320 | ||
1321 | <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 | |
1322 | this book; at worst it would be a waste of time. Much reward was found | |
1323 | in this random stab in the dark. The book is framed as an | |
1324 | autobiography of the author as a psychoanalyst, and his progression | |
1325 | through life as a Dice Man after deciding to live his life through | |
1326 | random chance.</p> | |
1327 | ||
1328 | <p>The style, plot, and content are equally neurotic; part comedy, part | |
1329 | attack on psychoanalysis, and part deep philosophy. It was often | |
1330 | difficult to put down, and was read in under a week of spare time.</p> | |
1331 | ||
1332 | ||
1333 | ||
1334 | ||
3c59982c | 1335 | <h2><a name="sec93" id="sec93"></a> |
4222507d | 1336 | Neal Stephenson</h2> |
1337 | ||
1338 | ||
1339 | ||
3c59982c | 1340 | <h3><a name="sec94" id="sec94"></a> |
4222507d | 1341 | Snow Crash</h3> |
1342 | ||
1343 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
1344 | ||
1345 | <p>As one must read the <em>Bible</em> to understand English literature, so one | |
1346 | must read <em>Snow Crash</em> today to be a nerd. In the realm of modern pop | |
1347 | fiction this is one of the better books I've read; it was devoured in | |
1348 | a mere four nights. Neal Stepheson may not be Milton, but he does come | |
1349 | up with enganging tales. <em>Snow Crash</em> has a nice undertone of (quite | |
1350 | accurate) political and social commentary that makes it worth reading | |
1351 | as more than mere cyberpunk fiction.</p> | |
1352 | ||
1353 | ||
1354 | ||
3c59982c | 1355 | <h3><a name="sec95" id="sec95"></a> |
4222507d | 1356 | Cryptonomicon</h3> |
1357 | ||
1358 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> | |
1359 | ||
1360 | <p>I read <em>Cryptonomicon</em> when it was new, and at the time I thought it was | |
1361 | good. It could have lost a hundred or so pages without detracting from | |
1362 | the plot, but it was easy reading and didn't take very long to | |
1363 | finish. The story was enganging, and the continual switching between | |
1364 | the 1940s and present day slowly unravelled the tale in a nice way.</p> | |
1365 | ||
1366 | <p>I'd still have to recommend <em>Snow Crash</em> if one wished to read only one | |
1367 | Stephenson novel.</p> | |
1368 | ||
1369 | ||
1370 | ||
1371 | ||
3c59982c | 1372 | <h2><a name="sec96" id="sec96"></a> |
4222507d | 1373 | Bjarne Stroustrup</h2> |
1374 | ||
1375 | ||
1376 | ||
3c59982c | 1377 | <h3><a name="sec97" id="sec97"></a> |
4222507d | 1378 | The C++ Programming Language (3rd edition)</h3> |
1379 | ||
1380 | <p><em>Nonfiction</em></p> | |
1381 | ||
1382 | <p>Once upon a time I was fifteen and I read this book. It was more | |
1383 | or less what taught me how to write programs just large enough to do | |
1384 | useful things, and so shall forever be remembered by me. A year and a | |
1385 | half later I stumbled upon a little language called Scheme and fell | |
1386 | down the rabbit hole.</p> | |
1387 | ||
1388 | ||
1389 | ||
1390 | ||
3c59982c | 1391 | <h2><a name="sec98" id="sec98"></a> |
4222507d | 1392 | JRR Tolkien</h2> |
1393 | ||
1394 | ||
1395 | ||
3c59982c | 1396 | <h3><a name="sec99" id="sec99"></a> |
4222507d | 1397 | The Lord of the Rings</h3> |
1398 | ||
1399 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> | |
1400 | ||
1401 | ||
1402 | ||
1403 | ||
1404 | ||
3c59982c | 1405 | <h3><a name="sec100" id="sec100"></a> |
4222507d | 1406 | The Silmarillion</h3> |
1407 | ||
1408 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> | |
1409 | ||
1410 | ||
1411 | ||
1412 | ||
1413 | ||
3c59982c | 1414 | <h3><a name="sec101" id="sec101"></a> |
4222507d | 1415 | The Lost Tales</h3> |
1416 | ||
1417 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1418 | ||
1419 | ||
1420 | ||
1421 | ||
1422 | ||
1423 | ||
3c59982c | 1424 | <h2><a name="sec102" id="sec102"></a> |
4222507d | 1425 | H.G. Wells</h2> |
1426 | ||
1427 | ||
1428 | ||
3c59982c | 1429 | <h3><a name="sec103" id="sec103"></a> |
4222507d | 1430 | The Island of Dr Moreau</h3> |
1431 | ||
1432 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> | |
1433 | ||
1434 | ||
1435 | ||
4222507d | 1436 | <!-- Page published by Emacs Muse ends here --> |
023ad63c | 1437 | |
1438 | <p class="cke-buttons"> | |
1439 | <!-- validating badges, any browser, etc --> | |
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1447 | ||
3c59982c | 1448 | <a href="https://www.debian.org/"><img |
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1454 | </a> | |
1455 | ||
3c59982c | 1456 | <a href="https://www.fsf.org/register_form?referrer=114"> |
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1458 | alt="[ FSF Associate Member ]" /> | |
1459 | </a> | |
1460 | </p> | |
1461 | ||
11f9bd69 | 1462 | <p class="cke-footer"><captain_krunk> ntk is currently using "telnet fyodor 25" to send email |
023ad63c | 1463 | </p> |
1464 | <p class="cke-timestamp">Last Modified: | |
3c59982c | 1465 | May 9, 2019</p> |
023ad63c | 1466 | </body> |
1467 | </html> |