Lists 2 (Big Books 2)

Why read novels? They aren’t real right? Well, what is real anyways. Understand the brain: processing experience, sensory perception, instant-to-instant existence by reducing the infinite complexity of the world into workable representations, mapping the world around us to something inside our head, preserving certain structure, but compacting and compressing an overwhelming amount of information into a finite (living) object. The mapping is an abstraction, the world outside and the brain itself have a physical reality. Novels are representations of human experience across the world over time gifted from others to build the perception category. Novels are real objects to help explore inside then outside the mind, where people are waiting to share knowledge.

Now…

Giant Gems (or books to add depth to reading repertoire with subtitles hooray):

  1. A Naked Singularity by Sergio de la Pava
    (or Law & Lacerations)
  2. Mason & Dixon by Thomas Pynchon
    (or On the Existence of Lines)
  3. Women and Men by Joseph McElroy by Joseph McElroy (or A Quantum Chaos Theory of Human Dynamics)
  4. Middlemarch by George Eliot
    (or the OG Women and Men by Mary Ann Evans)
  5. Tree of Smoke by Denis Johnson
    (or Enter the Vietvoid)
  6. Underworld by Don Delillo
    (or Encounters at the End of the Landfill)
  7. Miss MacIntosh, My Darling by Marguerite Young (or The Real Magic School Bus)
  8. The Making of Americans by Gertrude Stein (or Class Futility)
  9. The Sleepwalkers by Hermann Broch (or La Notte by Michelangelo Antonioni)
  10. Belladonna by Daša Drndić (or EEG by Daša Drndić a duality not a subtitle)

Don’t get lost,

Bb

  • On Reading 1 (or Quantum Field Theory of Literature; or On Finnegan’s Wake 1)

    The paradoxcycle dilemmena: the langauge theories (gauges more typtopically ordered to put the Four Forcemen of the Antipocolypse (BANG!) into their group theorhetorical cages to prove onceandforall, onallstages fourallayges, the symmetrickly (it’s super!) allelegance and the scaley invariance undoudubitably sphericentral to our infinidismal variexistence) novel is all about rhymerhythm and flow (from swerve of shore to bend of bay), which requires the reader ‘listen’ carefully, meaning quite literally sounding out everything on the page in or out the head. Honestly, it’s a distinct advantage to have engaged in conversation with or to have listened to one or the more the merrier for a significant length of time enough to pick up some idiomatic or colloquial language, to experience the cadence and inf(l)ections and the compoundplexity: the constant fissioning and fusioning of so many of the words we’ve come to know and love forward momentum in the writing: read it on the page hear it in the head

    -BB