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15 | <body> |
16 | <h1>A Not So Fancy Listing of Books</h1> |
17 | <div class="contents"> |
18 | <dl> |
19 | <dt> |
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20 | <a href="#sec1">William Blake</a> |
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21 | </dt> |
22 | <dd> |
23 | <dl> |
24 | <dt> |
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25 | <a href="#sec2">The Four Zoas</a> |
26 | </dt> |
27 | <dt> |
28 | <a href="#sec3">Jerusalem</a> |
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29 | </dt> |
30 | </dl> |
31 | </dd> |
32 | <dt> |
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33 | <a href="#sec4">Kahlil Gibran</a> |
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34 | </dt> |
35 | <dd> |
36 | <dl> |
37 | <dt> |
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38 | <a href="#sec5">A Tear and a Smile</a> |
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39 | </dt> |
40 | <dt> |
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41 | <a href="#sec6">The Prophet</a> |
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42 | </dt> |
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43 | <dt> |
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44 | <a href="#sec7">Sand and Foam</a> |
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45 | </dt> |
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46 | <dt> |
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47 | <a href="#sec8">The Madman</a> |
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48 | </dt> |
49 | </dl> |
50 | </dd> |
51 | <dt> |
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52 | <a href="#sec9">John Taylor Gatto</a> |
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53 | </dt> |
54 | <dd> |
55 | <dl> |
56 | <dt> |
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57 | <a href="#sec10">Underground History of American Education</a> |
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58 | </dt> |
59 | </dl> |
60 | </dd> |
61 | <dt> |
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62 | <a href="#sec11">Luke Rhinehardt</a> |
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63 | </dt> |
64 | <dd> |
65 | <dl> |
66 | <dt> |
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67 | <a href="#sec12">The Dice Man</a> |
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68 | </dt> |
69 | </dl> |
70 | </dd> |
71 | <dt> |
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72 | <a href="#sec13">Neal Stephenson</a> |
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73 | </dt> |
74 | <dd> |
75 | <dl> |
76 | <dt> |
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77 | <a href="#sec14">Snow Crash</a> |
78 | </dt> |
79 | <dt> |
80 | <a href="#sec15">Cryptonomicon</a> |
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81 | </dt> |
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82 | </dl> |
83 | </dd> |
84 | <dt> |
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85 | <a href="#sec16">Marcus Aurelius</a> |
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86 | </dt> |
87 | <dd> |
88 | <dl> |
89 | <dt> |
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90 | <a href="#sec17">Meditations</a> |
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91 | </dt> |
92 | </dl> |
93 | </dd> |
94 | <dt> |
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95 | <a href="#sec18">Søren Kierkegaard</a> |
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96 | </dt> |
97 | <dd> |
98 | <dl> |
99 | <dt> |
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100 | <a href="#sec19">Sickness Unto Death</a> |
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101 | </dt> |
102 | <dt> |
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103 | <a href="#sec20">Either/Or</a> |
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104 | </dt> |
105 | </dl> |
106 | </dd> |
107 | <dt> |
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108 | <a href="#sec21">Thomas More</a> |
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109 | </dt> |
110 | <dd> |
111 | <dl> |
112 | <dt> |
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113 | <a href="#sec22">Utopia</a> |
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114 | </dt> |
115 | </dl> |
116 | </dd> |
117 | <dt> |
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118 | <a href="#sec23">William James</a> |
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119 | </dt> |
120 | <dd> |
121 | <dl> |
122 | <dt> |
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123 | <a href="#sec24">The Varieties of Religious Experience</a> |
124 | </dt> |
125 | <dt> |
126 | <a href="#sec25">The PhD Octopus</a> |
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127 | </dt> |
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128 | </dl> |
129 | </dd> |
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130 | <dt> |
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131 | <a href="#sec26">Henry James</a> |
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132 | </dt> |
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133 | <dd> |
134 | <dl> |
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135 | <dt> |
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136 | <a href="#sec27">The Altar of the Dead</a> |
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137 | </dt> |
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138 | </dl> |
139 | </dd> |
140 | <dt> |
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141 | <a href="#sec28">Gregor Kiczales</a> |
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142 | </dt> |
143 | <dd> |
144 | <dl> |
145 | <dt> |
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146 | <a href="#sec29">The Art of the Metaobject Protocol</a> |
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147 | </dt> |
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148 | </dl> |
149 | </dd> |
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150 | <dt> |
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151 | <a href="#sec30">Friedrich Nietzsche</a> |
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152 | </dt> |
153 | <dd> |
154 | <dl> |
155 | <dt> |
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156 | <a href="#sec31">Beyond Good and Evil</a> |
157 | </dt> |
158 | <dt> |
159 | <a href="#sec32">On the Geneaology of Morals</a> |
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160 | </dt> |
161 | <dt> |
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162 | <a href="#sec33">Ecce Homo</a> |
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163 | </dt> |
164 | </dl> |
165 | </dd> |
166 | </dl> |
167 | </div> |
168 | |
169 | |
170 | <!-- Page published by Emacs Muse begins here --><h2><a name="sec1" id="sec1"></a> |
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171 | William Blake</h2> |
172 | |
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173 | <p class="first">Blake is my <a href="William%20Blake.html">favorite</a> of the English poets. His |
174 | unique use of relief etching and watercoloring makes for very |
175 | interesting Illuminated works. There is a very high quality |
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176 | <a href="http://blakearchive.org">complete archive of Blake&#039;s works</a> online |
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177 | with high resolution plate scans and full transcriptions among other |
178 | things.</p> |
179 | |
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180 | <h3><a name="sec2" id="sec2"></a> |
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181 | The Four Zoas</h3> |
182 | |
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183 | <p><em>Rating:</em> <span class="rating-good">••••••••••</span></span><span class="rating-bad"> / <em>Fiction</em></p> |
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184 | |
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185 | <p>The unfinished manuscript of Blake&#039;s longest apocalypse. The |
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186 | Four Zoas divide from Albion and rage through the ages of dismal woe |
187 | to bring about the end of the cycle of Ulro and restore the cycle of |
188 | Beulah.</p> |
189 | |
190 | |
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191 | |
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192 | <h3><a name="sec3" id="sec3"></a> |
193 | Jerusalem</h3> |
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194 | |
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195 | <p><em>Rating:</em> <span class="rating-good">••••••••••</span></span><span class="rating-bad"> / <em>Fiction</em></p> |
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196 | |
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197 | <p>The finest of Blake&#039;s Illuminated works.</p> |
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198 | |
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199 | |
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200 | |
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201 | |
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202 | <h2><a name="sec4" id="sec4"></a> |
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203 | Kahlil Gibran</h2> |
204 | |
205 | <p class="first">Kahlil Gibran is fairly interesting; his earlier works do not |
206 | agree with my æsthetic sense (blah blah), but <em>The Madman</em> onward are |
207 | all rather nice. A few of his works are |
208 | <a href="http://leb.net/~mira/">online</a>, but I recommend scouting used book |
209 | stores for old hardcover editions. The (late 90s onward at least) |
210 | <em>hardcover</em> versions from <em>Alfred A. Knopf</em> are in fact permabound |
211 | paperbacks with a hardcasing, and are of seriously inferior quality to |
212 | the editions from the 50s and 60s (and cost quite a bit more, |
213 | naturally).</p> |
214 | |
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215 | <h3><a name="sec5" id="sec5"></a> |
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216 | A Tear and a Smile</h3> |
217 | |
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218 | <p><em>Rating:</em> <span class="rating-good">•••</span><span class="rating-bad">•••••••</span> / <em>Fiction</em></p> |
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219 | |
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220 | <p>One of Kahlil Gibran&#039;s earlier works, I did not much like <em>A |
221 | Tear and a Smile</em> excepting the last poem (&quot;A Poet&#039;s Voice&quot;).</p> |
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222 | |
223 | |
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224 | |
225 | <h3><a name="sec6" id="sec6"></a> |
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226 | The Prophet</h3> |
227 | |
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228 | <p><em>Rating:</em> <span class="rating-good">•••••••••</span><span class="rating-bad">•</span> / <em>Fiction</em></p> |
229 | |
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230 | |
231 | |
232 | |
233 | |
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234 | <h3><a name="sec7" id="sec7"></a> |
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235 | Sand and Foam</h3> |
236 | |
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237 | <p><em>Rating:</em> <span class="rating-good">•••••••</span><span class="rating-bad">•••</span> / <em>Fiction</em></p> |
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238 | |
239 | <p>An interesting little book of aphorisms.</p> |
240 | |
241 | |
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242 | |
243 | <h3><a name="sec8" id="sec8"></a> |
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244 | The Madman</h3> |
245 | |
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246 | <p><em>Rating:</em> <span class="rating-good">••••••••</span><span class="rating-bad">••</span> / <em>Fiction</em></p> |
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247 | |
248 | |
249 | |
250 | |
251 | |
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252 | |
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253 | <h2><a name="sec9" id="sec9"></a> |
254 | John Taylor Gatto</h2> |
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255 | |
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256 | <p class="first">Former teacher and now author-activist.</p> |
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257 | |
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258 | <h3><a name="sec10" id="sec10"></a> |
259 | Underground History of American Education</h3> |
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260 | |
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261 | <p><em>Rating:</em> <span class="rating-good">•••••••••</span><span class="rating-bad">•</span> / <em>Nonfiction</em></p> |
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262 | |
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263 | <p>An interesting <em>underground</em> history of the American education |
264 | system. Available |
265 | <a href="http://www.johntaylorgatto.com/underground/">online for free</a>.</p> |
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266 | |
267 | |
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268 | |
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269 | |
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270 | <h2><a name="sec11" id="sec11"></a> |
271 | Luke Rhinehardt</h2> |
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272 | |
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273 | |
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274 | |
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275 | <h3><a name="sec12" id="sec12"></a> |
276 | The Dice Man</h3> |
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277 | |
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278 | <p><em>Rating:</em> <span class="rating-good">•••••••</span><span class="rating-bad">•••</span> / <em>Fiction</em></p> |
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279 | |
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280 | <p>&lt;quote&gt; |
281 | And it&#039;s his illusions about what |
282 | constitutes the real world which are |
283 | inhibiting him... |
284 | His reality, his reason, his society |
285 | ...these are what must be destroyed |
286 | &lt;/quote&gt;</p> |
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287 | |
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288 | <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 |
289 | this book; at worst it would be a waste of time. Much reward was found |
290 | in this random stab in the dark. The book is framed as an |
291 | autobiography of the author as a psychoanalyst, and his progression |
292 | through life as a Dice Man after deciding to live his life through |
293 | random chance.</p> |
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294 | |
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295 | <p>The style, plot, and content are equally neurotic; part comedy, part |
296 | attack on psychoanalysis, and part deep philosophy. It was often |
297 | difficult to put down, and was read in under a week of spare time.</p> |
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298 | |
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299 | |
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300 | |
301 | |
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302 | <h2><a name="sec13" id="sec13"></a> |
303 | Neal Stephenson</h2> |
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304 | |
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305 | |
306 | |
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307 | <h3><a name="sec14" id="sec14"></a> |
308 | Snow Crash</h3> |
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309 | |
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310 | <p><em>Rating:</em> <span class="rating-good">•••••••••</span><span class="rating-bad">•</span> / <em>Fiction</em></p> |
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311 | |
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312 | <p>As one must read the <em>Bible</em> to understand English literature, so one |
313 | must read <em>Snow Crash</em> today to be a nerd. In the realm of modern pop |
314 | fiction this is one of the better books I&#039;ve read; it was devoured in |
315 | a mere four nights. Neal Stepheson may not be Milton, but he does come |
316 | up with enganging tales. <em>Snow Crash</em> has a nice undertone of (quite |
317 | accurate) political and social commentary that makes it worth reading |
318 | as more than mere cyberpunk fiction.</p> |
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319 | |
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320 | |
321 | |
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322 | <h3><a name="sec15" id="sec15"></a> |
323 | Cryptonomicon</h3> |
324 | |
325 | <p><em>Rating:</em> <span class="rating-good">••••••••</span><span class="rating-bad">••</span> / <em>Fiction</em></p> |
326 | |
327 | <p>I read <em>Cryptonomicon</em> when it was new, and at the time I thought it was |
328 | good. It could have lost a hundred or so pages without detracting from |
329 | the plot, but it was easy reading and didn&#039;t take very long to |
330 | finish. The story was enganging, and the continual switching between |
331 | the 1940s and present day slowly unravelled the tale in a nice way.</p> |
332 | |
333 | <p>I&#039;d still have to recommend <em>Snow Crash</em> if one wished to read only one |
334 | Stephenson novel.</p> |
335 | |
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336 | |
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337 | |
338 | |
339 | <h2><a name="sec16" id="sec16"></a> |
340 | Marcus Aurelius</h2> |
341 | |
342 | |
343 | |
344 | <h3><a name="sec17" id="sec17"></a> |
345 | Meditations</h3> |
346 | |
347 | <p><em>Rating:</em> <span class="rating-good">••••••</span><span class="rating-bad">••••</span> / <em>Nonfiction</em></p> |
348 | |
349 | <p>I enjoyed reading this collection of meditations on Stoic |
350 | philosophy. It is a fairly quick read; I read each of the twelve books |
351 | before sleeping over the course of two weeks. Toward the end of the |
352 | collection things get a bit topically repetetive (e.g. acting |
353 | according to the nature of man is reflected upon over and over), but |
354 | each repetition looks at the topic in a slightly different light. A |
355 | number of passages I found quite inspiring, and scratched them down in |
356 | my notebook to ponder further.</p> |
357 | |
358 | |
359 | |
360 | |
361 | <h2><a name="sec18" id="sec18"></a> |
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362 | Søren Kierkegaard</h2> |
363 | |
364 | <p class="first">Kierkegaard was a master of style and philosophy; his writing is |
365 | interesting even if one finds the theistic extentialism espoused |
366 | disagreeable.</p> |
367 | |
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368 | <h3><a name="sec19" id="sec19"></a> |
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369 | Sickness Unto Death</h3> |
370 | |
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371 | <p><em>Rating:</em> <span class="rating-good">••••••••••</span></span><span class="rating-bad"> / <em>Nonfiction</em></p> |
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372 | |
373 | <p>I purchased this when I was looking through books at a store after |
374 | being unable to find the book I really wanted, and I must say that it |
375 | was better for me to have found this one.</p> |
376 | |
377 | <p>Contained within is a beautiful analysis of despair in the context of |
378 | Christianity (really theism in general). Even if the argument offends, |
379 | the presentation cannot. The dialectical nature of despair is |
380 | reflected in every aspect of the work, and the method of presentation |
381 | forces reflection.</p> |
382 | |
383 | |
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384 | |
385 | <h3><a name="sec20" id="sec20"></a> |
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386 | Either/Or</h3> |
387 | |
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388 | <p><em>Rating:</em> <span class="rating-good">••••••••••</span></span><span class="rating-bad"> / <em>Nonfiction</em></p> |
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389 | |
390 | <p>Composed of two portions, <em>Either/Or</em> is a rather lengthy but |
391 | rewarding read. The first book is a series of essays and a diary of a |
392 | young esthetician; the second is a pair of long letters from an older |
393 | ethicist friend to this esthetician. You are then left to resolve the |
394 | conflict between the views.</p> |
395 | |
396 | |
397 | |
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398 | |
399 | <h2><a name="sec21" id="sec21"></a> |
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400 | Thomas More</h2> |
401 | |
402 | |
403 | |
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404 | <h3><a name="sec22" id="sec22"></a> |
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405 | Utopia</h3> |
406 | |
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407 | <p><em>Rating:</em> <span class="rating-good">•••••••</span><span class="rating-bad">•••</span> / <em>Fiction</em></p> |
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408 | |
409 | <p>I read most of Utopia in high school with the TI-89 ebook reader, but |
410 | the way the book was split up made it a bit difficult to grasp the |
411 | overall structure. I found a copy at a used book store one day, and so |
412 | I read it again, and found it much more comprehensible. It is a quick |
413 | read, and decent piece of literature. The interesting social system |
414 | espoused resembles resembles state communism (even if perhaps as a |
415 | negative ideal), but with an strange blend of 14th century European |
416 | social customs.</p> |
417 | |
418 | |
419 | |
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420 | |
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421 | <h2><a name="sec23" id="sec23"></a> |
422 | William James</h2> |
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423 | |
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424 | |
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425 | |
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426 | <h3><a name="sec24" id="sec24"></a> |
427 | The Varieties of Religious Experience</h3> |
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428 | |
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429 | <p><em>Rating:</em> <span class="rating-good">•••••••</span><span class="rating-bad">•••</span> / <em>Nonfiction</em></p> |
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430 | |
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431 | <p><a href="William%20James%20-%20The%20Varieties%20of%20Religious%20Experience.html">A partially finished extended summary</a></p> |
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432 | |
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433 | |
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434 | |
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435 | <h3><a name="sec25" id="sec25"></a> |
436 | The PhD Octopus</h3> |
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437 | |
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438 | <blockquote> |
439 | <p class="quoted">/ <em>Nonfiction</em></p> |
440 | </blockquote> |
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441 | |
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442 | <p>&lt;quote&gt; |
443 | America is thus as a nation rapidly drifting towards a state of things |
444 | in which no man of science or letters will be accounted respectable |
445 | unless some kind of badge or diploma is stamped upon him, and in which |
446 | bare personality will be a mark of outcast estate. It seems to me high |
447 | time to rouse ourselves to consciousness, and to cast a critical eye |
448 | upon this decidedly grotesque tendency. Other nations suffer terribly |
449 | from the Mandarin disease. Are we doomed to suffer like the rest? |
450 | &lt;/quote&gt;</p> |
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451 | |
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452 | <p><a href="William%20James%20-%20The%20PhD%20Octopus.html">Full Text</a></p> |
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453 | |
454 | |
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455 | |
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456 | |
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457 | <h2><a name="sec26" id="sec26"></a> |
458 | Henry James</h2> |
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459 | |
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460 | <p class="first">The novelist brother of William James; I&#039;ve not read many (read: |
461 | one) of his books, but what I did was decent.</p> |
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462 | |
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463 | <h3><a name="sec27" id="sec27"></a> |
464 | The Altar of the Dead</h3> |
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465 | |
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466 | <p><em>Rating:</em> <span class="rating-good">•••••••</span><span class="rating-bad">•••</span> / <em>Fiction</em></p> |
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467 | |
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468 | <p>A short novella about a man who maintained an altar in a church |
469 | for all of his lost loved ones on the surface, but something a bit |
470 | more beneath.</p> |
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471 | |
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472 | |
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473 | |
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474 | |
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475 | <h2><a name="sec28" id="sec28"></a> |
476 | Gregor Kiczales</h2> |
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477 | |
478 | |
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479 | |
480 | <h3><a name="sec29" id="sec29"></a> |
481 | The Art of the Metaobject Protocol</h3> |
482 | |
483 | <p><em>Rating:</em> <span class="rating-good">••••••••••</span></span><span class="rating-bad"> / <em>Nonfiction</em></p> |
484 | |
485 | <p>AMOP is useful as a reference to the CLOS MOP (although less so with |
486 | the online MOP spec), but the true value of the book lies in the first |
487 | half of the book. It presents the design of the CLOS MOP through a |
488 | series of revisions that fix limitations of earlier implementations |
489 | and gradually work toward a generic and well designed MOP for |
490 | CLOS. Through that process one is made more aware of a few general |
491 | object protocol design skills, and gains insight into how to cleanly |
492 | make mapping decisions customizable.</p> |
493 | |
494 | |
495 | |
496 | |
497 | <h2><a name="sec30" id="sec30"></a> |
498 | Friedrich Nietzsche</h2> |
499 | |
500 | <p class="first">A bit acerbic and esoteric, Nietzsche is for me a good <em>secular</em> |
501 | counterpart to Kierkegaard&#039;s theistic philosophy. Nietzsche&#039;s |
502 | polemical works raise important questions for anyone who reads works |
503 | on ethics. As such it is a shame that he has gotten a bad reputation |
504 | by being read by far too many angsty teenagers who see (and relay) |
505 | only Nietzsche the asshole rather than Nietzsche the master of the |
506 | polemic.</p> |
507 | |
508 | <h3><a name="sec31" id="sec31"></a> |
509 | Beyond Good and Evil</h3> |
510 | |
511 | <p><em>Rating:</em> <span class="rating-good">••••••••</span><span class="rating-bad">••</span> / <em>Nonfiction</em></p> |
512 | |
513 | <p>A somewhat more comprehensible, if a bit less aesthetically |
514 | pleasing, presentation of much of the philosophy found in <em>Thus Spoke |
515 | Zarathustra</em> in the negative form. The final chapters are very |
516 | important (not to detract from the value of the rest of the work) if |
517 | one wishes to understand <em>On the Genealogy of Morals</em>.</p> |
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518 | |
519 | |
520 | |
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521 | <h3><a name="sec32" id="sec32"></a> |
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522 | On the Geneaology of Morals</h3> |
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523 | |
54a817d4 |
524 | <p><em>Rating:</em> <span class="rating-good">•••••••••</span><span class="rating-bad">•</span> / <em>Nonfiction</em></p> |
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525 | |
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526 | <p><em>On the Geneaology of Morals</em> is a wonderful book of three |
527 | polemical essays on the origin of moral/ethic valuations, and the |
528 | blindness of modern philosphers whose very thinking is tainted by |
529 | these valuations unknowingly.</p> |
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530 | |
531 | |
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532 | |
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533 | <h3><a name="sec33" id="sec33"></a> |
534 | Ecce Homo</h3> |
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535 | |
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536 | <p><em>Rating:</em> <span class="rating-good">•••••••</span><span class="rating-bad">•••</span> / <em>Nonfiction</em></p> |
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537 | |
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538 | <p><em>Ecce Homo</em> is Nietzsche&#039;s very strange autobiography and |
539 | explanation of his own works. At points it is clear that it could have |
540 | used a bit more editing (prevented by Nietzsche ... falling into a |
541 | catatonic state and all), but is still a very useful book to read as |
542 | Nietzsche explains the overall structure of his works.</p> |
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543 | |
544 | |
545 | |
546 | <!-- Page published by Emacs Muse ends here --> |
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570 | </p> |
571 | |
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572 | <p class="cke-footer">Jessie: i stuck the phone antenna up the dogs nose and he ignored me |
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573 | </p> |
574 | <p class="cke-timestamp">Last Modified: |
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575 | September 28, 2008</p> |
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576 | </body> |
577 | </html> |