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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> |
1509746a |
178 | </dl> |
179 | </dd> |
180 | <dt> |
3cb3fdfc |
181 | <a href="#sec40">John Taylor Gatto</a> |
1509746a |
182 | </dt> |
183 | <dd> |
184 | <dl> |
185 | <dt> |
3cb3fdfc |
186 | <a href="#sec41">Underground History of American Education</a> |
1509746a |
187 | </dt> |
5f1212da |
188 | </dl> |
189 | </dd> |
1509746a |
190 | <dt> |
3cb3fdfc |
191 | <a href="#sec42">Kahlil Gibran</a> |
5f1212da |
192 | </dt> |
193 | <dd> |
194 | <dl> |
195 | <dt> |
3cb3fdfc |
196 | <a href="#sec43">A Tear and a Smile</a> |
5f1212da |
197 | </dt> |
198 | <dt> |
3cb3fdfc |
199 | <a href="#sec44">The Prophet</a> |
1509746a |
200 | </dt> |
201 | <dt> |
3cb3fdfc |
202 | <a href="#sec45">Sand and Foam</a> |
1509746a |
203 | </dt> |
204 | <dt> |
3cb3fdfc |
205 | <a href="#sec46">The Madman</a> |
1509746a |
206 | </dt> |
207 | </dl> |
208 | </dd> |
209 | <dt> |
3cb3fdfc |
210 | <a href="#sec47">Homer</a> |
1509746a |
211 | </dt> |
212 | <dd> |
213 | <dl> |
214 | <dt> |
3cb3fdfc |
215 | <a href="#sec48">The Odyssey</a> |
1509746a |
216 | </dt> |
217 | </dl> |
218 | </dd> |
219 | <dt> |
3cb3fdfc |
220 | <a href="#sec49">Aldous Huxley</a> |
1509746a |
221 | </dt> |
222 | <dd> |
223 | <dl> |
224 | <dt> |
3cb3fdfc |
225 | <a href="#sec50">The Doors of Perception</a> |
1509746a |
226 | </dt> |
227 | <dt> |
3cb3fdfc |
228 | <a href="#sec51">Heaven and Hell</a> |
1509746a |
229 | </dt> |
230 | </dl> |
231 | </dd> |
232 | <dt> |
3cb3fdfc |
233 | <a href="#sec52">William James</a> |
1509746a |
234 | </dt> |
235 | <dd> |
236 | <dl> |
237 | <dt> |
3cb3fdfc |
238 | <a href="#sec53">The Varieties of Religious Experience</a> |
1509746a |
239 | </dt> |
240 | <dt> |
3cb3fdfc |
241 | <a href="#sec54">The PhD Octopus</a> |
1509746a |
242 | </dt> |
243 | </dl> |
244 | </dd> |
245 | <dt> |
3cb3fdfc |
246 | <a href="#sec55">Henry James</a> |
1509746a |
247 | </dt> |
248 | <dd> |
249 | <dl> |
250 | <dt> |
3cb3fdfc |
251 | <a href="#sec56">The Altar of the Dead</a> |
1509746a |
252 | </dt> |
253 | </dl> |
254 | </dd> |
255 | <dt> |
3cb3fdfc |
256 | <a href="#sec57">Gregor Kiczales</a> |
1509746a |
257 | </dt> |
258 | <dd> |
259 | <dl> |
260 | <dt> |
3cb3fdfc |
261 | <a href="#sec58">The Art of the Metaobject Protocol</a> |
1509746a |
262 | </dt> |
263 | </dl> |
264 | </dd> |
265 | <dt> |
3cb3fdfc |
266 | <a href="#sec59">Søren Kierkegaard</a> |
1509746a |
267 | </dt> |
268 | <dd> |
269 | <dl> |
270 | <dt> |
3cb3fdfc |
271 | <a href="#sec60">Sickness Unto Death</a> |
1509746a |
272 | </dt> |
273 | <dt> |
3cb3fdfc |
274 | <a href="#sec61">Either/Or</a> |
1509746a |
275 | </dt> |
276 | <dt> |
3cb3fdfc |
277 | <a href="#sec62">Fear and Trembling</a> |
1509746a |
278 | </dt> |
279 | <dt> |
3cb3fdfc |
280 | <a href="#sec63">Repetition</a> |
1509746a |
281 | </dt> |
282 | </dl> |
283 | </dd> |
284 | <dt> |
3cb3fdfc |
285 | <a href="#sec64">Alisa Kwitney</a> |
1509746a |
286 | </dt> |
5f1212da |
287 | <dd> |
288 | <dl> |
1509746a |
289 | <dt> |
3cb3fdfc |
290 | <a href="#sec65">Destiny: A Chronicle of Deaths Foretold</a> |
5f1212da |
291 | </dt> |
292 | </dl> |
293 | </dd> |
294 | <dt> |
3cb3fdfc |
295 | <a href="#sec66">David Lamkins</a> |
5f1212da |
296 | </dt> |
297 | <dd> |
298 | <dl> |
299 | <dt> |
3cb3fdfc |
300 | <a href="#sec67">Successful Lisp</a> |
5f1212da |
301 | </dt> |
302 | </dl> |
303 | </dd> |
304 | <dt> |
3cb3fdfc |
305 | <a href="#sec68">Mencius</a> |
1509746a |
306 | </dt> |
307 | <dd> |
308 | <dl> |
309 | <dt> |
3cb3fdfc |
310 | <a href="#sec69">Mencius</a> |
1509746a |
311 | </dt> |
312 | </dl> |
313 | </dd> |
314 | <dt> |
3cb3fdfc |
315 | <a href="#sec70">Walter Miller</a> |
1509746a |
316 | </dt> |
317 | <dd> |
318 | <dl> |
319 | <dt> |
3cb3fdfc |
320 | <a href="#sec71">A Canticle for Leibowitz</a> |
1509746a |
321 | </dt> |
322 | </dl> |
323 | </dd> |
324 | <dt> |
ad38099a |
325 | <a href="#sec72">John Milton</a> |
1509746a |
326 | </dt> |
327 | <dd> |
328 | <dl> |
329 | <dt> |
ad38099a |
330 | <a href="#sec73">Paradise Lost</a> |
1509746a |
331 | </dt> |
ad38099a |
332 | </dl> |
333 | </dd> |
334 | <dt> |
335 | <a href="#sec74">Alan Moore</a> |
336 | </dt> |
337 | <dd> |
338 | <dl> |
1509746a |
339 | <dt> |
ad38099a |
340 | <a href="#sec75">Watchmen</a> |
341 | </dt> |
342 | <dt> |
343 | <a href="#sec76">V for Vendetta</a> |
1509746a |
344 | </dt> |
345 | </dl> |
346 | </dd> |
347 | <dt> |
ad38099a |
348 | <a href="#sec77">Thomas More</a> |
1509746a |
349 | </dt> |
350 | <dd> |
351 | <dl> |
352 | <dt> |
ad38099a |
353 | <a href="#sec78">Utopia</a> |
1509746a |
354 | </dt> |
355 | </dl> |
356 | </dd> |
357 | <dt> |
ad38099a |
358 | <a href="#sec79">Friedrich Nietzsche</a> |
1509746a |
359 | </dt> |
360 | <dd> |
361 | <dl> |
362 | <dt> |
ad38099a |
363 | <a href="#sec80">Thus Spoke Zarathustra</a> |
1509746a |
364 | </dt> |
365 | <dt> |
ad38099a |
366 | <a href="#sec81">Beyond Good and Evil</a> |
1509746a |
367 | </dt> |
368 | <dt> |
ad38099a |
369 | <a href="#sec82">On the Geneaology of Morals</a> |
370 | </dt> |
371 | <dt> |
372 | <a href="#sec83">Ecce Homo</a> |
1509746a |
373 | </dt> |
374 | </dl> |
375 | </dd> |
376 | <dt> |
ad38099a |
377 | <a href="#sec84">George Orwell</a> |
1509746a |
378 | </dt> |
379 | <dd> |
380 | <dl> |
381 | <dt> |
ad38099a |
382 | <a href="#sec85">1984</a> |
1509746a |
383 | </dt> |
384 | <dt> |
ad38099a |
385 | <a href="#sec86">Animal Farm</a> |
1509746a |
386 | </dt> |
387 | </dl> |
388 | </dd> |
389 | <dt> |
ad38099a |
390 | <a href="#sec87">Plato</a> |
1509746a |
391 | </dt> |
392 | <dd> |
393 | <dl> |
394 | <dt> |
ad38099a |
395 | <a href="#sec88">Symposium</a> |
1509746a |
396 | </dt> |
397 | <dt> |
ad38099a |
398 | <a href="#sec89">Euthyphro</a> |
1509746a |
399 | </dt> |
400 | <dt> |
ad38099a |
401 | <a href="#sec90">Apology</a> |
1509746a |
402 | </dt> |
403 | <dt> |
ad38099a |
404 | <a href="#sec91">Crito</a> |
1509746a |
405 | </dt> |
406 | <dt> |
ad38099a |
407 | <a href="#sec92">Phaedo</a> |
1509746a |
408 | </dt> |
409 | <dt> |
ad38099a |
410 | <a href="#sec93">Protagoras</a> |
1509746a |
411 | </dt> |
412 | </dl> |
413 | </dd> |
414 | <dt> |
ad38099a |
415 | <a href="#sec94">Luke Rhinehardt</a> |
1509746a |
416 | </dt> |
417 | <dd> |
418 | <dl> |
419 | <dt> |
ad38099a |
420 | <a href="#sec95">The Dice Man</a> |
1509746a |
421 | </dt> |
422 | </dl> |
423 | </dd> |
424 | <dt> |
ad38099a |
425 | <a href="#sec96">Neal Stephenson</a> |
1509746a |
426 | </dt> |
427 | <dd> |
428 | <dl> |
429 | <dt> |
ad38099a |
430 | <a href="#sec97">Snow Crash</a> |
1509746a |
431 | </dt> |
432 | <dt> |
ad38099a |
433 | <a href="#sec98">Cryptonomicon</a> |
1509746a |
434 | </dt> |
435 | </dl> |
436 | </dd> |
437 | <dt> |
ad38099a |
438 | <a href="#sec99">Bjarne Stroustrup</a> |
1509746a |
439 | </dt> |
440 | <dd> |
441 | <dl> |
442 | <dt> |
ad38099a |
443 | <a href="#sec100">The C++ Programming Language (3rd edition)</a> |
1509746a |
444 | </dt> |
445 | </dl> |
446 | </dd> |
447 | <dt> |
ad38099a |
448 | <a href="#sec101">JRR Tolkien</a> |
1509746a |
449 | </dt> |
450 | <dd> |
451 | <dl> |
452 | <dt> |
ad38099a |
453 | <a href="#sec102">The Lord of the Rings</a> |
1509746a |
454 | </dt> |
455 | <dt> |
ad38099a |
456 | <a href="#sec103">The Silmarillion</a> |
1509746a |
457 | </dt> |
458 | <dt> |
ad38099a |
459 | <a href="#sec104">The Lost Tales</a> |
1509746a |
460 | </dt> |
461 | </dl> |
462 | </dd> |
463 | <dt> |
ad38099a |
464 | <a href="#sec105">H.G. Wells</a> |
1509746a |
465 | </dt> |
466 | <dd> |
467 | <dl> |
468 | <dt> |
ad38099a |
469 | <a href="#sec106">The Island of Dr Moreau</a> |
470 | </dt> |
471 | </dl> |
472 | </dd> |
473 | <dt> |
474 | <a href="#sec107">Yevgeny Zamyatin</a> |
475 | </dt> |
476 | <dd> |
477 | <dl> |
478 | <dt> |
479 | <a href="#sec108">We</a> |
1509746a |
480 | </dt> |
481 | </dl> |
482 | </dd> |
023ad63c |
483 | </dl> |
484 | </div> |
485 | |
486 | |
1509746a |
487 | <!-- Page published by Emacs Muse begins here --><h2><a name="sec1" id="sec1"></a> |
488 | Douglas Adams</h2> |
489 | |
490 | |
491 | |
492 | <h3><a name="sec2" id="sec2"></a> |
493 | Hitchiker's Guide to the Galaxy (collected)</h3> |
494 | |
495 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
496 | |
497 | |
498 | |
499 | |
500 | |
501 | <h3><a name="sec3" id="sec3"></a> |
502 | The Long Dark Tea-Time of the Soul</h3> |
503 | |
504 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> |
505 | |
506 | |
507 | |
508 | |
509 | |
510 | |
511 | <h2><a name="sec4" id="sec4"></a> |
512 | Aeschylus</h2> |
513 | |
514 | |
515 | |
516 | <h3><a name="sec5" id="sec5"></a> |
517 | Oresteia</h3> |
518 | |
519 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
520 | |
521 | |
522 | |
523 | |
524 | |
525 | <h3><a name="sec6" id="sec6"></a> |
526 | Prometheus Bound</h3> |
527 | |
528 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
529 | |
530 | |
531 | |
532 | |
533 | |
534 | <h3><a name="sec7" id="sec7"></a> |
535 | The Persians</h3> |
536 | |
537 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
538 | |
539 | |
540 | |
541 | |
542 | |
543 | |
544 | <h2><a name="sec8" id="sec8"></a> |
545 | John Allison</h2> |
546 | |
5f1212da |
547 | <p class="first">The author of the rather amazing <a href="http://scarygoround.com">Scary Go Round</a>. |
1509746a |
548 | I highly recommend procuring the printed collections; the printing |
549 | quality is superb (full color on glossy paper), and the long story |
550 | arcs are much easier to read.</p> |
551 | |
552 | <h3><a name="sec9" id="sec9"></a> |
553 | Looks, Brains and Everything</h3> |
554 | |
555 | <p><em>Fiction</em></p> |
556 | |
557 | |
558 | |
559 | |
560 | |
561 | <h3><a name="sec10" id="sec10"></a> |
562 | Blame the Sky</h3> |
563 | |
564 | <p><em>Fiction</em></p> |
565 | |
566 | |
567 | |
568 | |
569 | |
570 | <h3><a name="sec11" id="sec11"></a> |
571 | Skellington</h3> |
572 | |
573 | <p><em>Fiction</em></p> |
574 | |
575 | |
576 | |
577 | |
578 | |
579 | <h3><a name="sec12" id="sec12"></a> |
580 | The Retribution Index</h3> |
581 | |
582 | <p><em>Fiction</em></p> |
583 | |
584 | |
585 | |
586 | |
587 | |
588 | <h3><a name="sec13" id="sec13"></a> |
589 | Great Aches</h3> |
590 | |
591 | <p><em>Fiction</em></p> |
592 | |
593 | |
594 | |
595 | |
596 | |
597 | <h3><a name="sec14" id="sec14"></a> |
598 | Ahoy Hoy!</h3> |
599 | |
600 | <p><em>Fiction</em></p> |
601 | |
602 | |
603 | |
604 | |
605 | |
606 | <h3><a name="sec15" id="sec15"></a> |
607 | Heavy Metal Hearts and Flowers</h3> |
608 | |
609 | <p><em>Fiction</em></p> |
610 | |
611 | |
612 | |
613 | |
614 | |
615 | <h3><a name="sec16" id="sec16"></a> |
616 | Ghosts</h3> |
617 | |
618 | <p><em>Fiction</em></p> |
619 | |
620 | |
621 | |
622 | |
623 | |
624 | |
625 | <h2><a name="sec17" id="sec17"></a> |
5f1212da |
626 | Anonymous</h2> |
1509746a |
627 | |
628 | |
629 | |
630 | <h3><a name="sec18" id="sec18"></a> |
5f1212da |
631 | Chymical Wedding of Christian Rosenkreutz</h3> |
632 | |
633 | <p><em>Fiction</em></p> |
634 | |
635 | |
636 | |
637 | |
638 | |
639 | |
640 | <h2><a name="sec19" id="sec19"></a> |
641 | Aristophanes</h2> |
642 | |
643 | |
644 | |
645 | <h3><a name="sec20" id="sec20"></a> |
1509746a |
646 | The Frogs</h3> |
647 | |
648 | <p><em>Fiction</em></p> |
649 | |
650 | |
651 | |
652 | |
653 | |
5f1212da |
654 | <h3><a name="sec21" id="sec21"></a> |
1509746a |
655 | The Clouds</h3> |
656 | |
657 | <p><em>Fiction</em></p> |
658 | |
659 | |
660 | |
661 | |
662 | |
5f1212da |
663 | <h3><a name="sec22" id="sec22"></a> |
1509746a |
664 | Ecclesiazusae</h3> |
665 | |
666 | <p><em>Fiction</em></p> |
667 | |
668 | |
669 | |
670 | |
671 | |
672 | |
5f1212da |
673 | <h2><a name="sec23" id="sec23"></a> |
1509746a |
674 | Aristotle</h2> |
675 | |
676 | |
677 | |
5f1212da |
678 | <h3><a name="sec24" id="sec24"></a> |
1509746a |
679 | Ethics</h3> |
680 | |
681 | <p><em>Nonfiction</em></p> |
682 | |
683 | |
684 | |
685 | |
686 | |
5f1212da |
687 | <h3><a name="sec25" id="sec25"></a> |
1509746a |
688 | Categories</h3> |
689 | |
690 | <p><em>Nonfiction</em></p> |
691 | |
692 | |
693 | |
694 | |
695 | |
5f1212da |
696 | <h3><a name="sec26" id="sec26"></a> |
1509746a |
697 | Poetics</h3> |
698 | |
699 | <p><em>Nonfiction</em></p> |
700 | |
701 | |
702 | |
703 | |
704 | |
5f1212da |
705 | <h3><a name="sec27" id="sec27"></a> |
1509746a |
706 | Rhetoric</h3> |
707 | |
708 | <p><em>Nonfiction</em></p> |
709 | |
710 | |
711 | |
712 | |
713 | |
714 | |
5f1212da |
715 | <h2><a name="sec28" id="sec28"></a> |
1509746a |
716 | Marcus Aurelius</h2> |
717 | |
718 | |
719 | |
5f1212da |
720 | <h3><a name="sec29" id="sec29"></a> |
1509746a |
721 | Meditations</h3> |
722 | |
723 | <p><em>Rating:</em> <span class="rating-good"> ••••</span><span class="rating-bad">•••••• </span> (4) / <em>Nonfiction</em></p> |
724 | |
725 | <p>At the time, I enjoyed reading this collection of meditations on |
726 | Stoic philosophy, and it was a fairly quick read (fifteen minutes a |
727 | day over the course of two weeks for me). Nowadays I've read |
728 | Epictetus, and I suggest reading his <em>Discourses</em> instead.</p> |
729 | |
730 | |
731 | |
732 | |
5f1212da |
733 | <h2><a name="sec30" id="sec30"></a> |
1509746a |
734 | William Blake</h2> |
735 | |
736 | <p class="first">Blake is my <a href="William%20Blake.html">favorite</a> of the English poets. His |
737 | unique use of relief etching and watercoloring makes for very |
738 | interesting Illuminated works. There is a very high quality |
739 | <a href="http://blakearchive.org">complete archive of Blake's works</a> online |
740 | with high resolution plate scans and full transcriptions among other |
741 | things.</p> |
742 | |
5f1212da |
743 | <h3><a name="sec31" id="sec31"></a> |
1509746a |
744 | The Four Zoas</h3> |
745 | |
746 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
747 | |
748 | <p>The unfinished manuscript of Blake's longest apocalypse. The |
749 | Four Zoas divide from Albion and rage through the ages of dismal woe |
750 | to bring about the end of the cycle of Ulro and restore the cycle of |
751 | Beulah.</p> |
752 | |
753 | |
754 | |
5f1212da |
755 | <h3><a name="sec32" id="sec32"></a> |
1509746a |
756 | Jerusalem</h3> |
757 | |
758 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
759 | |
760 | <p>The finest of Blake's Illuminated works.</p> |
761 | |
762 | |
763 | |
764 | |
5f1212da |
765 | <h2><a name="sec33" id="sec33"></a> |
766 | Mike Carey</h2> |
767 | |
768 | |
769 | |
770 | <h3><a name="sec34" id="sec34"></a> |
771 | Lucifer (series)</h3> |
772 | |
773 | <p><em>Rating:</em> <span class="rating-good"> ••••••</span><span class="rating-bad">•••• </span> (6) / <em>Fiction</em></p> |
774 | |
775 | <p>Of the <em>Sandman</em> spinoffs, <em>Lucifer</em> stands out as the best for |
776 | the first half, but then the writer appears to take on far too great a |
777 | task, and, with the introduction of some disagreeable character |
778 | relations, fails to execute the story as well as it could have |
779 | been. Still, it was worth reading to the end even though most of the |
780 | stories after issue 35 or so were merely ok. If you like Kierkegaard I |
781 | suggest issues 2, 3, and 62—they show the form of the incommensurable |
782 | relation of the single individual to the absolute perfectly.</p> |
783 | |
784 | |
785 | |
786 | |
787 | <h2><a name="sec35" id="sec35"></a> |
1509746a |
788 | Confucius</h2> |
789 | |
790 | |
791 | |
5f1212da |
792 | <h3><a name="sec36" id="sec36"></a> |
1509746a |
793 | Analects</h3> |
794 | |
795 | <p><em>Nonfiction</em></p> |
796 | |
797 | |
798 | |
799 | |
800 | |
801 | |
5f1212da |
802 | <h2><a name="sec37" id="sec37"></a> |
1509746a |
803 | Neil Gaiman</h2> |
804 | |
805 | |
806 | |
5f1212da |
807 | <h3><a name="sec38" id="sec38"></a> |
1509746a |
808 | The Sandman (series)</h3> |
809 | |
810 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
811 | |
812 | <p>Perhaps the best comic book series of all time; I would say <em>The |
813 | Sandman</em> as a whole ranks higher than anything even Alan Moore has |
814 | written.</p> |
815 | |
816 | |
817 | |
3cb3fdfc |
818 | <h3><a name="sec39" id="sec39"></a> |
819 | Good Omens</h3> |
820 | |
821 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
822 | |
823 | <p>A friend of a friend decided one evening that I needed to read |
824 | so-called <em>normal people books</em>, and so she lent me <em>Good Omens</em>. It |
825 | was an enjoyable read and unearthed vague memories of comic book |
826 | magazines I read when I was small and the name <em>Sandman</em>; thus through |
827 | one book I found something far greater.</p> |
1509746a |
828 | |
3cb3fdfc |
829 | |
830 | |
831 | |
832 | <h2><a name="sec40" id="sec40"></a> |
1509746a |
833 | John Taylor Gatto</h2> |
834 | |
835 | <p class="first">Former teacher and now author-activist.</p> |
836 | |
3cb3fdfc |
837 | <h3><a name="sec41" id="sec41"></a> |
1509746a |
838 | Underground History of American Education</h3> |
839 | |
840 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> |
841 | |
842 | <p>An interesting <em>underground</em> history of the American education |
843 | system. Available |
844 | <a href="http://www.johntaylorgatto.com/underground/">online for free</a>.</p> |
845 | |
846 | |
847 | |
848 | |
3cb3fdfc |
849 | <h2><a name="sec42" id="sec42"></a> |
1509746a |
850 | Kahlil Gibran</h2> |
851 | |
852 | <p class="first">Kahlil Gibran is fairly interesting; his earlier works do not |
853 | agree with my æsthetic sense (blah blah), but <em>The Madman</em> onward are |
854 | all rather nice. A few of his works are |
855 | <a href="http://leb.net/~mira/">online</a>, but I recommend scouting used book |
856 | stores for old hardcover editions. The (late 90s onward at least) |
857 | <em>hardcover</em> versions from <em>Alfred A. Knopf</em> are in fact permabound |
858 | paperbacks with a hardcasing, and are of seriously inferior quality to |
859 | the editions from the 50s and 60s (and cost quite a bit more, |
860 | naturally).</p> |
861 | |
3cb3fdfc |
862 | <h3><a name="sec43" id="sec43"></a> |
1509746a |
863 | A Tear and a Smile</h3> |
864 | |
865 | <p><em>Rating:</em> <span class="rating-good"> •••</span><span class="rating-bad">••••••• </span> (3) / <em>Fiction</em></p> |
866 | |
867 | <p>One of Kahlil Gibran's earlier works, I did not much like <em>A |
868 | Tear and a Smile</em> excepting the last poem ("A Poet's Voice").</p> |
869 | |
870 | |
871 | |
3cb3fdfc |
872 | <h3><a name="sec44" id="sec44"></a> |
1509746a |
873 | The Prophet</h3> |
874 | |
875 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
876 | |
877 | |
878 | |
879 | |
880 | |
3cb3fdfc |
881 | <h3><a name="sec45" id="sec45"></a> |
1509746a |
882 | Sand and Foam</h3> |
883 | |
884 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
885 | |
886 | <p>An interesting little book of aphorisms.</p> |
887 | |
888 | |
889 | |
3cb3fdfc |
890 | <h3><a name="sec46" id="sec46"></a> |
1509746a |
891 | The Madman</h3> |
892 | |
893 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
894 | |
895 | |
896 | |
897 | |
898 | |
899 | |
3cb3fdfc |
900 | <h2><a name="sec47" id="sec47"></a> |
1509746a |
901 | Homer</h2> |
902 | |
903 | |
904 | |
3cb3fdfc |
905 | <h3><a name="sec48" id="sec48"></a> |
1509746a |
906 | The Odyssey</h3> |
907 | |
908 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
909 | |
910 | |
911 | |
912 | |
913 | |
914 | |
3cb3fdfc |
915 | <h2><a name="sec49" id="sec49"></a> |
1509746a |
916 | Aldous Huxley</h2> |
917 | |
918 | <p class="first">Perhaps the most overrated modern writer. Other people have written |
919 | everything he has to write better and many years before he got around |
920 | to it.</p> |
921 | |
3cb3fdfc |
922 | <h3><a name="sec50" id="sec50"></a> |
1509746a |
923 | The Doors of Perception</h3> |
924 | |
925 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> |
926 | |
927 | <p>Huxley stains the name of Blake by naming this horrible |
928 | pseudo-scientific and pseudo-poetic essay after a line from <em>The |
929 | Marriage of Heaven and Hell</em>. Subjectivity and objectivity are |
930 | incommensurable; his attempt and being subjectively objective is |
931 | utterly worthless.</p> |
932 | |
933 | |
934 | |
3cb3fdfc |
935 | <h3><a name="sec51" id="sec51"></a> |
1509746a |
936 | Heaven and Hell</h3> |
937 | |
938 | <p><em>Rating:</em> <span class="rating-good"> </span><span class="rating-bad">•••••••••• </span> (0) / <em>Nonfiction</em></p> |
939 | |
3cb3fdfc |
940 | <p>Blah blah LSD blah blah Mushrooms blah blah Peyote blah blah I'm |
1509746a |
941 | Aldous Huxley I'm a pretentious jerk. Don't bother.</p> |
942 | |
943 | |
944 | |
945 | |
3cb3fdfc |
946 | <h2><a name="sec52" id="sec52"></a> |
1509746a |
947 | William James</h2> |
948 | |
949 | |
950 | |
3cb3fdfc |
951 | <h3><a name="sec53" id="sec53"></a> |
1509746a |
952 | The Varieties of Religious Experience</h3> |
953 | |
954 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> |
955 | |
956 | <p><a href="William%20James%20-%20The%20Varieties%20of%20Religious%20Experience.html">A partially finished extended summary</a></p> |
957 | |
958 | |
959 | |
3cb3fdfc |
960 | <h3><a name="sec54" id="sec54"></a> |
1509746a |
961 | The PhD Octopus</h3> |
962 | |
963 | <p><em>Nonfiction</em></p> |
964 | |
965 | <blockquote> |
966 | <p class="quoted"> |
967 | America is thus as a nation rapidly drifting towards a state of things |
968 | in which no man of science or letters will be accounted respectable |
969 | unless some kind of badge or diploma is stamped upon him, and in which |
970 | bare personality will be a mark of outcast estate. It seems to me high |
971 | time to rouse ourselves to consciousness, and to cast a critical eye |
972 | upon this decidedly grotesque tendency. Other nations suffer terribly |
973 | from the Mandarin disease. Are we doomed to suffer like the rest?</p> |
974 | |
975 | </blockquote> |
976 | |
977 | <p><a href="William%20James%20-%20The%20PhD%20Octopus.html">Full Text</a></p> |
978 | |
979 | |
980 | |
981 | |
3cb3fdfc |
982 | <h2><a name="sec55" id="sec55"></a> |
1509746a |
983 | Henry James</h2> |
984 | |
985 | <p class="first">The novelist brother of William James; I've not read many (read: |
986 | one) of his books, but what I did was decent.</p> |
987 | |
3cb3fdfc |
988 | <h3><a name="sec56" id="sec56"></a> |
1509746a |
989 | The Altar of the Dead</h3> |
990 | |
991 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
992 | |
993 | <p>A short novella about a man who maintained an altar in a church |
994 | for all of his lost loved ones on the surface, but something a bit |
995 | more beneath.</p> |
996 | |
997 | |
998 | |
999 | |
3cb3fdfc |
1000 | <h2><a name="sec57" id="sec57"></a> |
1509746a |
1001 | Gregor Kiczales</h2> |
1002 | |
1003 | |
1004 | |
3cb3fdfc |
1005 | <h3><a name="sec58" id="sec58"></a> |
1509746a |
1006 | The Art of the Metaobject Protocol</h3> |
1007 | |
1008 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1009 | |
1010 | <p>AMOP is useful as a reference to the CLOS MOP (although less so with |
1011 | the online MOP spec), but the true value of the book lies in the first |
1012 | half of the book. It presents the design of the CLOS MOP through a |
1013 | series of revisions that fix limitations of earlier implementations |
1014 | and gradually work toward a generic and well designed MOP for |
1015 | CLOS. Through that process one is made more aware of a few general |
1016 | object protocol design skills, and gains insight into how to cleanly |
1017 | make mapping decisions customizable.</p> |
1018 | |
1019 | |
1020 | |
1021 | |
3cb3fdfc |
1022 | <h2><a name="sec59" id="sec59"></a> |
1509746a |
1023 | Søren Kierkegaard</h2> |
1024 | |
1025 | <p class="first">Kierkegaard was a master of style and philosophy; his writing is |
1026 | interesting even if one finds the theistic extentialism espoused |
1027 | disagreeable.</p> |
1028 | |
3cb3fdfc |
1029 | <h3><a name="sec60" id="sec60"></a> |
1509746a |
1030 | Sickness Unto Death</h3> |
1031 | |
1032 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1033 | |
1034 | <p>I purchased this when I was looking through books at a store after |
1035 | being unable to find the book I really wanted, and I must say that it |
1036 | was better for me to have found this one.</p> |
1037 | |
1038 | <p>Contained within is a beautiful analysis of despair in the context of |
1039 | Christianity (really theism in general). Even if the argument offends, |
1040 | the presentation cannot. The dialectical nature of despair is |
1041 | reflected in every aspect of the work, and the method of presentation |
1042 | forces reflection.</p> |
1043 | |
1044 | |
1045 | |
3cb3fdfc |
1046 | <h3><a name="sec61" id="sec61"></a> |
1509746a |
1047 | Either/Or</h3> |
1048 | |
1049 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1050 | |
1051 | <p>Composed of two portions, <em>Either/Or</em> is a rather lengthy but |
1052 | rewarding read. The first book is a series of essays and a diary of a |
1053 | young esthetician; the second is a pair of long letters from an older |
1054 | ethicist friend to this esthetician. You are then left to resolve the |
1055 | conflict between the views.</p> |
1056 | |
1057 | |
1058 | |
3cb3fdfc |
1059 | <h3><a name="sec62" id="sec62"></a> |
1509746a |
1060 | Fear and Trembling</h3> |
1061 | |
1062 | <p><em>Nonfiction</em></p> |
1063 | |
1064 | <p>An interesting dialectical lyric contrasting Despair and Faith.</p> |
1065 | |
1066 | |
1067 | |
3cb3fdfc |
1068 | <h3><a name="sec63" id="sec63"></a> |
1509746a |
1069 | Repetition</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>He who despairs of esthetic repetition gets none; he who despairs |
1074 | of ethical repetition receieves the esthetic. Is it true then that no |
1075 | repetition exists? Is transition all one can hope for?</p> |
1076 | |
1077 | |
1078 | |
1079 | |
3cb3fdfc |
1080 | <h2><a name="sec64" id="sec64"></a> |
5f1212da |
1081 | Alisa Kwitney</h2> |
1082 | |
1083 | |
1084 | |
3cb3fdfc |
1085 | <h3><a name="sec65" id="sec65"></a> |
5f1212da |
1086 | Destiny: A Chronicle of Deaths Foretold</h3> |
1087 | |
1088 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1089 | |
1090 | |
1091 | |
1092 | |
1093 | |
1094 | |
3cb3fdfc |
1095 | <h2><a name="sec66" id="sec66"></a> |
1509746a |
1096 | David Lamkins</h2> |
1097 | |
1509746a |
1098 | |
1099 | |
3cb3fdfc |
1100 | <h3><a name="sec67" id="sec67"></a> |
5f1212da |
1101 | Successful Lisp</h3> |
1102 | |
1103 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> |
1104 | |
1105 | <p>After learning Scheme, I read <em>Successful Lisp</em> and was able to |
1106 | pick up Common Lisp fairly easily.</p> |
1107 | |
1108 | |
1109 | |
1110 | |
3cb3fdfc |
1111 | <h2><a name="sec68" id="sec68"></a> |
1509746a |
1112 | Mencius</h2> |
1113 | |
1114 | |
1115 | |
3cb3fdfc |
1116 | <h3><a name="sec69" id="sec69"></a> |
1509746a |
1117 | Mencius</h3> |
1118 | |
1119 | <p><em>Nonfiction</em></p> |
1120 | |
1121 | |
1122 | |
1123 | |
1124 | |
1125 | |
3cb3fdfc |
1126 | <h2><a name="sec70" id="sec70"></a> |
1509746a |
1127 | Walter Miller</h2> |
1128 | |
1129 | |
1130 | |
3cb3fdfc |
1131 | <h3><a name="sec71" id="sec71"></a> |
1509746a |
1132 | A Canticle for Leibowitz</h3> |
1133 | |
1134 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1135 | |
1136 | |
1137 | |
1138 | |
1139 | |
1140 | |
3cb3fdfc |
1141 | <h2><a name="sec72" id="sec72"></a> |
ad38099a |
1142 | John Milton</h2> |
1509746a |
1143 | |
1144 | |
1145 | |
3cb3fdfc |
1146 | <h3><a name="sec73" id="sec73"></a> |
ad38099a |
1147 | Paradise Lost</h3> |
1148 | |
1149 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1150 | |
1151 | |
1152 | |
1153 | |
1154 | |
1155 | |
1156 | <h2><a name="sec74" id="sec74"></a> |
1157 | Alan Moore</h2> |
1158 | |
1159 | |
1160 | |
1161 | <h3><a name="sec75" id="sec75"></a> |
1509746a |
1162 | Watchmen</h3> |
1163 | |
1164 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1165 | |
1166 | |
1167 | |
1168 | |
1169 | |
ad38099a |
1170 | <h3><a name="sec76" id="sec76"></a> |
1509746a |
1171 | V for Vendetta</h3> |
1172 | |
1173 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1174 | |
1175 | |
1176 | |
1177 | |
1178 | |
1179 | |
ad38099a |
1180 | <h2><a name="sec77" id="sec77"></a> |
1509746a |
1181 | Thomas More</h2> |
1182 | |
1183 | |
1184 | |
ad38099a |
1185 | <h3><a name="sec78" id="sec78"></a> |
1509746a |
1186 | Utopia</h3> |
1187 | |
1188 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1189 | |
1190 | <p>I read most of Utopia in high school with the TI-89 ebook reader, but |
1191 | the way the book was split up made it a bit difficult to grasp the |
1192 | overall structure. I found a copy at a used book store one day, and so |
1193 | I read it again, and found it much more comprehensible. It is a quick |
1194 | read, and decent piece of literature. The interesting social system |
1195 | espoused resembles resembles state communism (even if perhaps as a |
1196 | negative ideal), but with an strange blend of 14th century European |
1197 | social customs.</p> |
1198 | |
1199 | |
1200 | |
1201 | |
ad38099a |
1202 | <h2><a name="sec79" id="sec79"></a> |
1509746a |
1203 | Friedrich Nietzsche</h2> |
1204 | |
1205 | <p class="first">A bit acerbic and esoteric, Nietzsche is for me a good <em>secular</em> |
1206 | counterpart to Kierkegaard's theistic philosophy. Nietzsche's |
1207 | polemical works raise important questions for anyone who reads works |
1208 | on ethics. As such it is a shame that he has gotten a bad reputation |
1209 | by being read by far too many angsty teenagers who see (and relay) |
1210 | only Nietzsche the asshole rather than Nietzsche the master of the |
1211 | polemic.</p> |
1212 | |
ad38099a |
1213 | <h3><a name="sec80" id="sec80"></a> |
1214 | Thus Spoke Zarathustra</h3> |
1215 | |
1216 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1217 | |
1218 | <p>A masterpiece of indirect communication depsite the occasional |
1219 | flaw and overly dramatic passage. Certainly a book worth reading many |
1220 | times over the course of one's life.</p> |
1221 | |
1222 | |
1223 | |
1224 | <h3><a name="sec81" id="sec81"></a> |
1509746a |
1225 | Beyond Good and Evil</h3> |
1226 | |
1227 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Nonfiction</em></p> |
1228 | |
1229 | <p>A somewhat more comprehensible, if a bit less aesthetically |
1230 | pleasing, presentation of much of the philosophy found in <em>Thus Spoke |
1231 | Zarathustra</em> in the negative form. The final chapters are very |
1232 | important (not to detract from the value of the rest of the work) if |
1233 | one wishes to understand <em>On the Genealogy of Morals</em>.</p> |
1234 | |
1235 | |
1236 | |
ad38099a |
1237 | <h3><a name="sec82" id="sec82"></a> |
1509746a |
1238 | On the Geneaology of Morals</h3> |
1239 | |
1240 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Nonfiction</em></p> |
1241 | |
1242 | <p><em>On the Geneaology of Morals</em> is a wonderful book of three |
3cb3fdfc |
1243 | polemical essays on the origin of moral/ethical valuations, and the |
1509746a |
1244 | blindness of modern philosphers whose very thinking is tainted by |
1245 | these valuations unknowingly.</p> |
1246 | |
1247 | |
1248 | |
ad38099a |
1249 | <h3><a name="sec83" id="sec83"></a> |
1509746a |
1250 | Ecce Homo</h3> |
1251 | |
1252 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Nonfiction</em></p> |
1253 | |
1254 | <p><em>Ecce Homo</em> is Nietzsche's very strange autobiography and |
1255 | explanation of his own works. At points it is clear that it could have |
1256 | used a bit more editing (prevented by Nietzsche ... falling into a |
1257 | catatonic state and all), but is still a very useful book to read as |
1258 | Nietzsche explains the overall structure of his works.</p> |
1259 | |
1260 | |
1261 | |
1262 | |
ad38099a |
1263 | <h2><a name="sec84" id="sec84"></a> |
1509746a |
1264 | George Orwell</h2> |
1265 | |
1266 | |
1267 | |
ad38099a |
1268 | <h3><a name="sec85" id="sec85"></a> |
1509746a |
1269 | 1984</h3> |
1270 | |
1271 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1272 | |
1273 | |
1274 | |
1275 | |
1276 | |
ad38099a |
1277 | <h3><a name="sec86" id="sec86"></a> |
1509746a |
1278 | Animal Farm</h3> |
1279 | |
1280 | <p><em>Fiction</em></p> |
1281 | |
1282 | |
1283 | |
1284 | |
1285 | |
1286 | |
ad38099a |
1287 | <h2><a name="sec87" id="sec87"></a> |
1509746a |
1288 | Plato</h2> |
1289 | |
1290 | |
1291 | |
ad38099a |
1292 | <h3><a name="sec88" id="sec88"></a> |
1509746a |
1293 | Symposium</h3> |
1294 | |
1295 | <p><em>Fiction</em></p> |
1296 | |
1297 | |
1298 | |
1299 | |
1300 | |
ad38099a |
1301 | <h3><a name="sec89" id="sec89"></a> |
1509746a |
1302 | Euthyphro</h3> |
1303 | |
1304 | <p><em>Fiction</em></p> |
1305 | |
1306 | |
1307 | |
1308 | |
1309 | |
ad38099a |
1310 | <h3><a name="sec90" id="sec90"></a> |
1509746a |
1311 | Apology</h3> |
1312 | |
1313 | <p><em>Nonfiction</em></p> |
1314 | |
1315 | |
1316 | |
1317 | |
1318 | |
ad38099a |
1319 | <h3><a name="sec91" id="sec91"></a> |
1509746a |
1320 | Crito</h3> |
1321 | |
1322 | <p><em>Fiction</em></p> |
1323 | |
1324 | |
1325 | |
1326 | |
1327 | |
ad38099a |
1328 | <h3><a name="sec92" id="sec92"></a> |
1509746a |
1329 | Phaedo</h3> |
1330 | |
1331 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Nonfiction</em></p> |
1332 | |
1333 | |
1334 | |
1335 | |
1336 | |
ad38099a |
1337 | <h3><a name="sec93" id="sec93"></a> |
1509746a |
1338 | Protagoras</h3> |
1339 | |
1340 | <p><em>Fiction</em></p> |
1341 | |
1342 | |
1343 | |
1344 | |
1345 | |
1346 | |
ad38099a |
1347 | <h2><a name="sec94" id="sec94"></a> |
1509746a |
1348 | Luke Rhinehardt</h2> |
1349 | |
1350 | |
1351 | |
ad38099a |
1352 | <h3><a name="sec95" id="sec95"></a> |
1509746a |
1353 | The Dice Man</h3> |
1354 | |
1355 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1356 | |
1357 | <blockquote> |
1358 | <p class="quoted"> |
1359 | And it's his illusions about what |
1360 | constitutes the real world which are |
1361 | inhibiting him... |
1362 | His reality, his reason, his society |
1363 | ...these are what must be destroyed</p> |
1364 | |
1365 | </blockquote> |
1366 | |
1367 | <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 |
1368 | this book; at worst it would be a waste of time. Much reward was found |
1369 | in this random stab in the dark. The book is framed as an |
1370 | autobiography of the author as a psychoanalyst, and his progression |
1371 | through life as a Dice Man after deciding to live his life through |
1372 | random chance.</p> |
1373 | |
1374 | <p>The style, plot, and content are equally neurotic; part comedy, part |
1375 | attack on psychoanalysis, and part deep philosophy. It was often |
1376 | difficult to put down, and was read in under a week of spare time.</p> |
1377 | |
1378 | |
1379 | |
1380 | |
ad38099a |
1381 | <h2><a name="sec96" id="sec96"></a> |
1509746a |
1382 | Neal Stephenson</h2> |
1383 | |
1384 | |
1385 | |
ad38099a |
1386 | <h3><a name="sec97" id="sec97"></a> |
1509746a |
1387 | Snow Crash</h3> |
1388 | |
1389 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
1390 | |
1391 | <p>As one must read the <em>Bible</em> to understand English literature, so one |
1392 | must read <em>Snow Crash</em> today to be a nerd. In the realm of modern pop |
1393 | fiction this is one of the better books I've read; it was devoured in |
1394 | a mere four nights. Neal Stepheson may not be Milton, but he does come |
1395 | up with enganging tales. <em>Snow Crash</em> has a nice undertone of (quite |
1396 | accurate) political and social commentary that makes it worth reading |
1397 | as more than mere cyberpunk fiction.</p> |
1398 | |
1399 | |
1400 | |
ad38099a |
1401 | <h3><a name="sec98" id="sec98"></a> |
1509746a |
1402 | Cryptonomicon</h3> |
1403 | |
1404 | <p><em>Rating:</em> <span class="rating-good"> ••••••••</span><span class="rating-bad">•• </span> (8) / <em>Fiction</em></p> |
1405 | |
1406 | <p>I read <em>Cryptonomicon</em> when it was new, and at the time I thought it was |
1407 | good. It could have lost a hundred or so pages without detracting from |
1408 | the plot, but it was easy reading and didn't take very long to |
1409 | finish. The story was enganging, and the continual switching between |
1410 | the 1940s and present day slowly unravelled the tale in a nice way.</p> |
1411 | |
1412 | <p>I'd still have to recommend <em>Snow Crash</em> if one wished to read only one |
1413 | Stephenson novel.</p> |
1414 | |
1415 | |
1416 | |
1417 | |
ad38099a |
1418 | <h2><a name="sec99" id="sec99"></a> |
1509746a |
1419 | Bjarne Stroustrup</h2> |
1420 | |
1421 | |
1422 | |
ad38099a |
1423 | <h3><a name="sec100" id="sec100"></a> |
1509746a |
1424 | The C++ Programming Language (3rd edition)</h3> |
1425 | |
1426 | <p><em>Nonfiction</em></p> |
1427 | |
1428 | <p>Once upon a time I was fifteen and I read this book. It was more |
1429 | or less what taught me how to write programs just large enough to do |
1430 | useful things, and so shall forever be remembered by me. A year and a |
1431 | half later I stumbled upon a little language called Scheme and fell |
1432 | down the rabbit hole.</p> |
1433 | |
1434 | |
1435 | |
1436 | |
ad38099a |
1437 | <h2><a name="sec101" id="sec101"></a> |
1509746a |
1438 | JRR Tolkien</h2> |
1439 | |
1440 | |
1441 | |
ad38099a |
1442 | <h3><a name="sec102" id="sec102"></a> |
1509746a |
1443 | The Lord of the Rings</h3> |
1444 | |
1445 | <p><em>Rating:</em> <span class="rating-good"> •••••••••</span><span class="rating-bad">• </span> (9) / <em>Fiction</em></p> |
1446 | |
1447 | |
1448 | |
1449 | |
1450 | |
ad38099a |
1451 | <h3><a name="sec103" id="sec103"></a> |
1509746a |
1452 | The Silmarillion</h3> |
1453 | |
1454 | <p><em>Rating:</em> <span class="rating-good"> ••••••••••</span><span class="rating-bad"> </span> (10) / <em>Fiction</em></p> |
1455 | |
1456 | |
1457 | |
1458 | |
1459 | |
ad38099a |
1460 | <h3><a name="sec104" id="sec104"></a> |
1509746a |
1461 | The Lost Tales</h3> |
1462 | |
1463 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1464 | |
1465 | |
1466 | |
1467 | |
1468 | |
1469 | |
ad38099a |
1470 | <h2><a name="sec105" id="sec105"></a> |
1509746a |
1471 | H.G. Wells</h2> |
1472 | |
1473 | |
1474 | |
ad38099a |
1475 | <h3><a name="sec106" id="sec106"></a> |
1509746a |
1476 | The Island of Dr Moreau</h3> |
1477 | |
1478 | <p><em>Rating:</em> <span class="rating-good"> •••••••</span><span class="rating-bad">••• </span> (7) / <em>Fiction</em></p> |
1479 | |
1480 | |
1481 | |
ad38099a |
1482 | |
1483 | |
1484 | |
1485 | <h2><a name="sec107" id="sec107"></a> |
1486 | Yevgeny Zamyatin</h2> |
1487 | |
1488 | |
1489 | |
1490 | <h3><a name="sec108" id="sec108"></a> |
1491 | We</h3> |
1492 | |
1493 | <p><em>Fiction</em></p> |
1494 | |
1495 | |
1496 | |
1509746a |
1497 | <!-- Page published by Emacs Muse ends here --> |
023ad63c |
1498 | |
1499 | <p class="cke-buttons"> |
1500 | <!-- validating badges, any browser, etc --> |
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1519 | alt="[ FSF Associate Member ]" /> |
1520 | </a> |
1521 | </p> |
1522 | |
ad38099a |
1523 | <p class="cke-footer">Lindsay (Carlton): nighttime baker! sounds a little iffy |
023ad63c |
1524 | </p> |
1525 | <p class="cke-timestamp">Last Modified: |
ad38099a |
1526 | March 2, 2009</p> |
023ad63c |
1527 | </body> |
1528 | </html> |