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The Big Short: In...
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V for Vendetta
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by Alan Moore (Goodreads Author)
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The Fireman by Joe Hill
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The Fireman by Joe Hill
The Fireman
by Joe Hill
25 copies available, ends on May 07, 2016 Enter to win »
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The Black Book by Ian Rankin
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I think this is the first Rebus in my reread that I've never read before. At any rate, I really liked this one even if Rebus operated almost entirely outside of the law and some of its attitudes towards are retrograde, even for 1993. This book introd ...more
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Nothing Lasts Forever by Roderick Thorp
Nothing Lasts Forever
by Roderick Thorp
read in March, 2016
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The basis for one of the great action movies of any era, Nothing Lasts Forever is very different to Die Hard while remaining fundamentally the same. Slightly hampered by excessive and slightly recaps of its predecessor, The Detective, Nothing Lasts F ...more
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The Black Book by Ian Rankin
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The Heroes by Joe Abercrombie
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This went exactly as I predicted: it took me a while to get through the first half, and then the second half was an avalanche completed in a second. A lot of finesse in this, and a very compact story for its length; a chapter set in a battle switchin ...more
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The Writing Class by Jincy Willett
The Writing Class
by Jincy Willett
read in February, 2016
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The Heroes by Joe Abercrombie
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The Big Short by Michael Lewis
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André Aciman
“It would never have occurred to him that in placing the apricot in my palm he was giving me his ass to hold or that, in biting the fruit, I was also biting into that part of his body that must have been fairer than the rest because it never apricates - and near it, if I dared to bite that far, his apricock.”
André Aciman, Call Me by Your Name

George R.R. Martin
“Hodor!”
George R.R. Martin

David Foster Wallace
“If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it.

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.

We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent.

You burn with hunger for food that does not exist.

A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.”
David Foster Wallace

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