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What Makes This Book so Great

17910076What Makes This Book So Great is a series of reflections and essays written by Jo Walton for Tor.com between 2008 and 2011. There are several essays where she offers her opinion and personal experience on a particular topic in a frank, and personalized way. The other essays however are specific things Walton wishes to discuss from her reading experience of particular books. They are not quite reviews, rather, they are snippets of what worked or didn’t work in a book or series for her (as a reader). She states in the introduction:

“there’s no impersonality here, no attempt at objectivity. These are my thoughts and opinions, for what they’re worth, my likes and dislikes, my quirks and prejudices and enthusiasms”

For the most part I think she has certainly achieved what she set out to accomplish with this collection. There are three essays that caught my attention, which I’d like to discuss at length here. The rest of the essays just made my TBR longer with about five new long series, and a dozen other individual novels.  I loved the ways Walton describes how she reads when she is cozy, or down, or sick, and how comforting is to be in the company of a great book that seeks only to entertain and be fun.

In the very first essay Walton takes a stand for ‘re-reading’ in favour of only reading new books at all times. There are books one would like to read, or likes the idea of knowing its contents, but not necessarily willing to put hours into reading the material itself. Certain histories and political books fall into this category for Walton, and others alike (myself included). This topic is reoccurring through the collection and becomes apparent in the ways Walton describes certain long series. She writes:

“There are readers and re-readers…when I re-read, I know what I’m getting. It’s like revisiting an old friend. An unread book holds wonderful unknown promise, but also threatens disappointment…upon a re-read one is not surprised…you have more time to pay attention to the characters.”

The second essay that caught my attention is one where Walton discusses Speculative Fiction as it stand in opposition to the mainstream. She writes:

 “when mainstream writers come to write SF, it’s normally the case that they don’t understand the idioms of SF, the things we do when we (SF readers) read SF…the mainstream writers know how to do all the basic writing stuff, stories and characters and all of that, sometimes they know how to do that really well. They really want to write SF…but they don’t know how SF works…they explain too much of the wrong things and not enough of the right things…In a science fiction novel, the world is a character, and often the most important character. In a mainstream novel, the world is our world and the characters are in the world. In a mainstream novel trying to be SF, this gets peculiar and can make the reading experience uneven”

I think this topic gave me pause, for two reasons. The first is that now I think the SFF field has its own sub-genres and its own version of the mainstream. For instance, I consider books like N.K. Jemisin’s The Fifth Season to be so mainstream, because on Booktube everyone talks about it (or has in the past) particularly in the Science Fiction and Fantasy channels. It’s hard to keep in perspective how small this group is overall, and how within society avid readers (10+ books per month) are a small subgroup. I now pride myself on knowing the most obscure texts rather than the mainstream, and yet ‘mainstream’ Science Fiction, is not recognizable by the average person (or reader) as it is a subgenre of a subgenre (speculative). It sort of reminded me of the Jeffrey Eugenides quote from The Marriage Plot:

“College wasn’t like the real world. In the real world people dropped names based on their renown. In college, people dropped names based on their obscurity.”

Walton also made me me reflect on the ways I interact with Science Fiction, and how, compared to many other SFF readers I’m still very much a beginner. This language Walton refers to with technicalities, and knowing what needs explaining and what doesn’t is at the beginning very excluding to a beginner. When I approached this topic I felt like there was a group of smart people, a nerdy and intellectual crowd, and they ALSO told me that I can’t sit with them. It’s almost like they’ve made up an entirely new vocabulary telling the ‘norm cool kids’ or the ‘belonging to no group’ people like me: NO, YOU can’t hang out with us. It’s like being rejected by every group on the social spectrum.

In chapter 95 “SF reading protocols” Walton is in communication with Samuel R. Delany’s nonfiction works, particularly when he was attaching a vocabulary to Science Fiction in 1977 when the field was still finding its defining characteristics. She points out how other genres are defined by their tropes, i.e. romance is two people finding each other, mystery has clues, etc. But

“SF not defined by tropes. Samuel Delany suggested that rather than trying to define science fiction it’s more interesting to describe it, and when describing it, it’s more interesting to draw a broad circle around what everyone agrees is SF than to quibble about the edge conditions…look at the way people read it—those of us who read it have built up a set of skills for reading SF which let us enjoy it, where people who don’t have this approach to reading are left confused.”

Walton also considers what leaves a ‘friend’ who borrows a Sci-Fi book and returns it claiming ‘I didn’t get it’ say that they ‘don’t get it.’ They are not stupid, and they can read sentences. But Walton states that Modern Science Fiction assumes you already know how to interpret its language and:

 “It’s just that part of the fun of science fiction happens in your head, and their head isn’t having fun, it’s finding it hard work to keep up.”

The last essay (and its alluring title) is the main reason I checked this book out in the first place. The topic is “Literary criticism vs. talking about books.” All I’ve ever wanted to do: talk about books! I want to talk about the books I love, and the ones I hate, and sometimes I simply have an emotional reaction, whereas in formal discussion people want a more objective, distant analysis, which makes things very difficult. In undergrad I joined ‘writing groups,’ ‘poetry clubs,’ and all kinds of groups that weren’t quite what I wanted. They all required of me something different from pouring out my heart and soul on what a book meant to me. The way I’ve been using this platform for instance, is mainly me trying to introduce everything I’ve highlighted in a text so I can keep all the quotations I loved from a book in one place. Some turn into reviews, others just into a log of quotations, and most somewhere in-between–but at no point would I call myself a critic, even when I draw lines of comparison between other texts or schools of thought (at times). Walton writes:

“Critics are in dialogue with the text but also in dialogue with each other…I resist the term because critics are supposed to be impersonal and detached, they’re not supposed to burble about how much they love books and how they cried on the train. Most of all I resist because I hate the way that necessary detachment and objectivity seem to suck the life and the joy of reading out of the books critics talk about.”

There’s also the matter of ‘spoilers.’ Often academics go to the core of what they want to discuss in order to have a frame for their greater philosophical or historical point, that they completely forget that some people might have not read the book. The way SF assumes you know the terminology, academics assume you have read every book they refer to. Walton mentioned how a footnote from a Penguin classic of a Victorian book about three chapters in spoiled the ending of the book. This doesn’t happen in bookish circles (like on Booktube, Book Blogs, or just gatherings of bookish friends) because we are quite cautious of spoilers.

“In academia spoiler warnings are fannish and embarrassing….re-reading is forever, but you can only have the experience of reading a book for the first time once.”

The fact that a footnote, or an academic/critic can ruin someone’s first reading experience of a text is devastating, and I have a feeling this happened for lots of people who took literature courses in University, carefully choosing courses they loved, and subsequently having those books ruined for them. Finally I loved the ways Walton distinguishes herself from critics and puts herself in the category of people who love to read and just to talk about books. She writes:

“I’m not standing on a mountain peak holding them at arm’s length and issuing Olympian pronouncements about them…the lines of respectability in the SFF world, or that if something is studied it ought not to be fun, and you can only have fun with certain books…I feel as if I’m not really a grown-up critic. And I don’t want to be. It’s too much of a responsibility and not enough fun”

Yes!

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Reasons to Stay Alive | Matt Haig

25733573I will do a full author spotlight on Matt Haig, particularly regarding his fictional works, where I will get into further details about my strange connection to this author, and my fascination with his work. I did want to tackle his non-fiction/memoir/self-help book independently. I will say that this blog entry is less a book review and more of a personal interaction with this work. I mostly jotted down notes of the portions of this book I enjoyed, and found striking in a way. It’s more of a ‘personal reading log.’ I would recommend this book for times when you are in a depressive state, but I think the first time you read it, I would ideally recommend this at a time when you are out of a depressive episode, and then use it as a guide to return to when it hits. I also saw this image often on Twitter, Pinterest, and Instagram, and I always found it wonderful, but I had no idea it was taken out of this book.IMG_20180412_104121

This work is Haig’s account of his lowest point in life when he was brought down by a mixture of Anxiety, Depression, and all other physical and psychological effects they bring.

He writes:

“We humans love to compartmentalize things. We love to divide our education system into separate subjects, just as we love to divide our shared planet into nations, and our books into separate genres. But the reality is that things are blurred. Just as being good at mathematics often means someone is good at physics, so having depression means it probably comes with other things. Anxieties, maybe some phobias, a pinch of OCD…”

Haig’s lowest point happened in Spain where he wanted to kill himself and he describes in detail the pressures and negative thoughts enveloping his days for months to follow, and the ways in which his parents and girlfriend supported him through this. He writes about the ways our awareness of death can often be both an anxiety-inducer and a life ‘activator’ and the paradoxical relationship between depression and happiness:

“It is a hard thing to accept, that death and decay and everything bad leads to everything good, but I for one believe it…that’s the odd thing about depression and anxiety. It acts like an intense fear of happiness, even as you yourself consciously want that happiness more than anything.”

What I particularly enjoyed about this work was the way Haig introduces us to his relationship to books, literature, authors (both dead and alive, both depressed and not) and often quotes another writer associating it with his immediate feeling or concern. The way he talks about books made me highlight uncontrollably:

“There is this idea that you either read to escape or you read to find yourself. I don’t really see the difference. We find ourselves through the process of escaping…So yes, I loved external narratives for the hope they offered…most of all, books. They were, in and of themselves, reasons to stay alive. Every book written is the product of a human mind in a particular state. Add all the books together and you get the end sum of humanity. Every time I read a great book I felt I was reading a kind of map, a treasure map, and the treasure I was being directed to was in actual fact myself. But each map was incomplete, and I would only locate the treasure if I read all the books, and so the process of finding my best self was an endless quest…. the plot of every book can be boiled down to ‘someone is looking for something.’”

Haig also urges us (or challenges us in order to be happy) to:

“Read a book without thinking about finishing it. Just read it. Enjoy every word, sentence, and paragraph. Don’t wish for it to end, or for it to never end.”

A secondary point of focus of Haig is the observation on how we view the mind as separate from the body, and how in reality the two are highly connected. He looks at the psychological symptoms and physical symptoms of a mental illness and notes that there are much more on the physical side. He describes his relationship to running, meditation, and yoga and throughout this work returns to how important physical movement, physical nourishment, and physical forms of self-care influence the mental state.

Haig examines our relationship to ‘greats’ in literary and artistic history who have killed themselves. I know I am certainly one of those. But Haig takes a different approach. He urges us to admire and look up to people who certainly have depression but get out, putting aside Woolf, Plath, Sexton, Wallace, Hemingway, Van Gogh, and look at a much longer list of people who made it out. He even mentions the great long list that he keeps on hand of depressed celebrities who did make it out. There are also greats like Linocln and Churchill who overcame great depression and thrived on the lessons learned from the experience. Haig writes that maybe biographies of Lincoln and Churchill shouldn’t say that they thrived “despite” having depression, rather that they should say they thrived “because” of it.

There are moments in the book where Haig will mention something a famous writer says and in a way responds back to it with his own take. Here are two examples:

“Anais Nin called anxiety ‘love’s greatest killer,’ but fortunately, the reverse is also true. Love is anxiety’s greatest killer…forcing yourself to see the world through love’s gaze can be healthy. Love is an attitude to life. It can save us.

As Schopenhauer said, ‘we forfeit three-fourths of ourselves in order to be like other people,’ then love—at its best—is a way to reclaim those lost parts of ourselves.”

I particularly enjoyed his thoughts on time and time anxiety. This has certainly been a fixation of mine in the past I found some of his lines on time to be quite powerful. He writes:

“I was as obsessed with time as some people are about money. It was the only weapon I had…We feel an urgency to get on because time is short. Pain lengthens time…pain forces us to be aware of it…turning life into a desperate race for more stuff is only going to shorten it…in terms of how it feels.”

The whole book is also filled with advice from Haig and reminders that happiness will return, even when you are in a depressive state feeling shrouded in hopelessness:

Hate is a pointless emotion. Hate is the lack of imagination

Be around trees

we find infinity in ourselves, and the space we need to survive.

The key thing about life on Earth is Change. Cars rust, paper yellows, caterpillars become butterflies, depression lifts.

Accept. Don’t fight things, feel them. Tension is about opposition, relaxation is about letting go.

You will one day experience joy that matches this pain…you will stare down at a baby’s face as she lies asleep in your lap…you will eat delicious foods…there are books you haven’t read yet that will enrich you, films you will watch while eating extra-large buckets of popcorn, and you will dance and laugh and have sex and go for runs by the river and have late-night conversation and laugh until it hurts. Life is waiting for you…hang on in there if you can. Life is always worth it.

Lastly, as I was reading this book I took note of every quotation by other writers that Haig brought into this work that I enjoyed and each gave me pause. I jotted most of them down here to look at from time to time.

Quotations from other people scattered through the book that I really enjoyed:

“The wound is the place where the light enters you.” –Rumi

“is there no way out of the mind”- Plath

“The object of art is to give life a shape” – Shakespeare

“That it will never come again is what makes life so sweet.” Emily Dickinson

“I know why logs spit. I know what it is to be consumed.”-Winston Churchill

“it did what all ads are supposed to do: create an anxiety relievable by purchase.”- David Foster Wallace (on Advertising).

“Time crumbles things”- Aristotle

“The sea is only the embodiment of a supernatural and wonderful existence. It is nothing but love and emotion; it is the Living Infinite.” – Jules Verne

“The lotus flower…grows in mud at the bottom of a pool but rises above the murky water and blooms in the clear air, pure, and beautiful.” – Buddhist Teaching

Rocket Billionaires by Tim Fernholz

35721160Ever since I started reading this book I want to grab every stranger on the street by the collar and yell at them: “We’re going to Mars!”

This book has been with me for the last two weeks and it has left me completely mesmerized by the unquenchable fires of human innovation and by how much can be achieved through mass collaboration. Rocket Billionaires, written by Tim Fernholz, follows the narrative of Elon Musk and Jeff Bezos and the plan to create a colony on Mars in hopes that humans can become a multi-planetary civilization.

Fernholz focuses on the competition between Bezos and Musk to realize their visions of humanity as a multi-planetary civilization by building space companies focused on reusable technology. Fernholz spends some time examining the managerial differences between Bezos and Musk and looks at how these differences affect their relationship to this project. Aside from the clash between the two billionaires, there was also a tension between military-industrial space programs and these new, self-made, space companies. Fernholz describes how NASA policymakers stepped in to save SpaceX when it was on the verge of bankruptcy. The plan as we know it, is that in the next decade there will be an attempt to place the first colony on Mars. Over time, this colony’s goal will be to grow to one million citizens so that it can get started. Supplies sent on each individual mission will include a new batch of people as well as foods, plants, technologies etc. in order to create greenhouse farms, Martian villages with hospitals and schools, and a full-on functioning civilization.

This book is exemplary journalistic work. Fernholz relates the story of these two self-made companies to the public in a non-biased way. It is evident on every page how passionate Fernholz is about this project and it really shows, yet he maintains an academic, non-intrusive journalistic voice. The narrative flows smoothly and is by no means elitist or exclusive.

Reading this book made me jot down a lot of questions. For instance, I wonder if the women who embark on this mission be under insurmountable pressure to procreate. Will future generations look back and remember Elon Musk and Jeff Bezos in a kind of Henry Ford/Thomas Edison way, or will people forget the financial struggles and remember the name of the first man/woman to step on Martian soil, the way we all know the name of Neil Armstrong? What technologies will be created as a result that could better life on Earth? After discussing this topic over the last two weeks with people at home, work, and public spaces, I was taken aback with how ‘civilians’ receive information about this project. For one, everyone ‘heard’ about this topic, and yet, they look at it both as ‘old news’ and as a ‘it’s probably not going to happen in our lifetime.’ For me, this book has been eye-opening. The project is not only on its way in a monumental way, but it will happen within the next decade.  The second comment I am met with when bringing up this topic is “what a waste of money, why not save the starving, struggling people here on Earth first?” While I agree that it is a fair point, this project is equally important. I am somewhat relieved that the people leading this project are very much focused on renewables, and reusable technologies.

Henry Ford famously said: “If I had asked people what they wanted, they would have said faster horses.” That is to say, we don’t know what this undertaking will accomplish for humanity yet. This book makes me see the scientific intrigue to colonizing Mars. It will be monumental on an engineering, scientific, educational, and human level—no matter how the mission will go. It will make students want to study the sciences even more ardently than before, and as Fernholz narrowed it down in this book, one of the answers to the question of “why go to Mars?” really can be as simple as: “because it’s there.”

Fernholz relates often the reality of the project to the leading figures in science fiction literature particularly that of the big three: Isaac Asimov, Arthur C. Clarke, and Robert Heinlein, and of course Kim Stanley Robinson whose Red Mars trilogy is precisely this project (set in 2026 no less). The sprinkling of sci-fi references made this book exemplary. The sci-fi allusions act as a cohesive between the imagination found in the arts and what the great minds of scientists, programmers, engineers, and mathematicians can help bring to fruition—making readers see the beauty in humanity’s collective effort.

Would I recommend this book? YES!

Tim Fernholz is one of the leading journalists reporting on SpaceX and one of the best news commentary experts. Many of his articles have been featured in Quartz, and you may recognize him from the 2016 Quartz/Marketplace economics podcast: Actuality. Fernholz was both a Knight Journalism Fellow and at the New America Foundation in Washington D.C. He is a Georgetown University alumni with studies in Government, Theology, and Arabic, and one of the founding editors for the Tomorrow Magazine. If you’d like to learn more about his other fascinating projects, and previous journalistic work, you can find more information here.

The book is available as of Tuesday, March 20th, 2018 on Amazon, Audible, (read by Erin Moon) and The Book Depository, as well as your local bookstores (some links: Indigo, Barnes & Noble, Blackwell’s) and of course libraries.

Many thanks to Houghton Mifflin Harcourt both for publishing this wonderful book and for sending me a review copy. The book design is completed by Graphic Artist Chloe Foster.

 

End of the Year | Reflection

2017

First of all, if you are currently reading this, thank you! A many great thanks to readers who have stuck with me this year, and commented on, or read my reading experience. I really appreciate your bookish company and academic contributions. Also, thank you if you’ve recommended books, audiobooks, podcasts, or stories to me, because you contributed to my reading experience, and honestly, that is the greatest gift.

This year was a very strange year for me, mainly because it’s been a “transition” year. In March I officially started this review/reading journal blog which for the first time held me accountable for my personal reading reflections. I also started to get ARCs for reviews which was exciting at first, but became overwhelming very fast. The truth about early editions for review, is that, as exciting as it is to receive a present in exchange for an honest review, it doesn’t necessarily guarantee that it’s a good book. As an early reviewer I have no idea what the book will be like, and because I have promised to give a review, I can’t in all honesty review something unless I’ve fully read it. I chose not to post about any book I didn’t like, which is why you are unlikely to find my negative rants anywhere here (except for monthly wrap-ups). Nonetheless, it means I’ve given hours and hours of my time to books that I didn’t necessarily enjoy all that much. While I was compiling this end of year list, I realized that only one book I got for early review actually made it on the fiction list, which was Ex Libris.

In May I finished University (6 years and 2 degrees later) which led to four months of being on pins and needles trying to get a job in a library. After getting a job in September I then had to move houses three times which was really quite unnerving. Lugging books back and forth, trying to keep my reading going, and at the same time being released from “reading for school” in April to “reading for myself” was very confusing after six years. Sometimes I feel like maybe I enjoyed getting ARCs because they were like school assignments again and that has become my comfort zone. That said, my eye for which books I request as ARCs has also become better. I can see already that books I’m currently reading (to be released in 2018) are far more interesting and right up my alley regarding reading preference. I’m really enjoying Simon Garfield’s Timekeepers: How the World became Obsessed with Time, and Christian Davenport’s The Space Barons: Elon Musk, Jeff Bezos and the Quest to Colonize the Cosmos. Although I have not yet reviewed them, I can tell that they will become favourites. I have a long list of fiction as well, which I think I will enjoy much more than what I previously requested.

On my top lists I will count the books which I’ve personally read in 2017 (which were not necessarily published in 2017). I will also not count re-reads, which I obviously enjoyed before if I’ve returned to them. I did however start reading some books that I enjoyed so much but for some reason they coincided with a stressful time and I couldn’t accord them the attention they deserved, so I’ve temporarily put them aside (even though I predict 4-5 star ratings).

If the title of any of the books below is “clickable” it means I wrote an in-depth review/reflection on it (if you want to read it).

Reading Statistics 

pie

  • I read a total of  111 books
  • Of these books (42 of them) or 38% were written by female authors, (5) 4% by mixed (particularly short story collections) and (64 books) 58% male authors.
  • Categories are: Nonfiction (34 books, 31%), Plays (2 books, 2%), Scifi and Fantasy (22 books, 20%), Academic (10 books, 9%), Poetry (14 books, 13%), Classics (12 books, 11%), General Contemporary Fiction 15%. See pie chart
  • Of these initially, 70 of them were bought from Indigo, Amazon, and second hand bookstores. 36 of them were free (friends, ARCs, presents), and only 5 of them were from the library….which we should all realize it’s really shameful (I’m a librarian). Bad Andreea! You can already guess my new year’s resolutions.
  • From these books 42 were Digital (Kindle/Overdrive), 69 of them were physical copies, and 18 of them were Audiobooks.
  • From the whole 32/111 were ARCs (Advance Reader Copies).
  • There are a few cross-overs, and I definitely bought WAY more than 70 books this year. By cross-overs I mean: although 18 were Audiobooks from Audible (which I bought), there’s a chance I also bought the physical copy to follow along and annotate. I also bought books that I haven’t read yet (many, MANY of them). Also, sometimes a book was free like an ARC, library loan, or from Overdrive, and I loved it so much I bought a copy anyway. The things I listed in the breakdown were in the “initial encounter” with the book.
  • According to my Audible App this year alone I listened to a total of 61 Hours, or 2 days and 13 hours. (The total since 2014 is 8 days, 2 hrs, and 48 min so this year was definitely my best Audible year so far). I am only 56 hours away from “Scholar” Listening Level. I must add that this year I listened to a lot of podcasts from Castbox, and several audiobooks from Overdrive which have not been counted into my Audible app, so I probably listened to a lot more.
  • But Andreea, you may say, the year is not over yet. True. I know my schedule ahead for the next two weeks, and I’m currently in the middle of three really large books. I don’t think I’m going to finish them all this year, just based on my plans for the next two weeks, so I will not be counting them towards the 2017 calculations…also there’s no way I’m redoing all these calculations. It took a while.

Books I re-read this year were (No Particular Order):

  1. Infinite Jest by David Foster Wallace
  2. Poor Folk by Fyodor Dostoyevsky
  3. Journey to the Centre of the Earth by Jules Verne
  4. Odd Type Writers, by Celia Blue Johnson
  5. Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson
  6. Rabbit Hole by David Lindsay-Abaire
  7. Walden by Henry David Thoreau
  8. The House of the Dead by Fyodor Dostoyevsky       

Top 5 Non-Fiction (In Order of How much I enjoyed them) 

  1. bookLore by Aaron Mahnke. I spend two continuous months with Mahnke by means of his audiobook, podast, and text. He made the autumn season glorious for me, and this whole experience was just perfect. I gave him five stars. My long review is linked in the title. Definitely my #1 Non-Fiction Read.
  2. The Readers’ Advisory Service in North American Public Libraries, 1870-2005: A History and Critical Analysis by Juris Dilevko. This book was perhaps the most comprehensive “history of the library” book I’ve yet encountered, and I really enjoyed it.
  3. The Hermit’s Cookbook: Monks, Food, and Fasting in the Middle Ages by Andrew Jotischky. Exactly what it sounds like: an academic book on monks and food. I loved it.
  4. The Witches: Salem 1692 by Stacy Schiff. A comprehensive, well-researched non-fiction work on the history of the Salem Witch Trials.
  5. Dark Angel: Mary Ann Cotton by Martin Connolly. The historical account of the “first” female serial killer in Britain.

Bonus: (book I’m currently reading and not really counting in the statistics above, but am REALLY enjoying)

Vampyres: Genesis and Resurrection: From Count Dracula to Vampirella by Christopher Frayling. This work is half non-fiction history of Vampires in literature and mainstream culture, and half anthology of fictional works containing vampires. It is very well put together, and I am enjoying all the non-fiction bits just as much as the fiction.

Top 10 Fiction (In Order of How much I enjoyed them) 

  1. 18892522The Collector by John Fowles
  2. Ex Libris Stories of Librarians, Libraries, and Lore
  3. The Name of the Wind by Patrick Rothfuss 
  4. The Dumb House by John Burnside
  5. Jamaica Inn by Daphne Du Maurier
  6. Central Station by Lavie Tidhar
  7. Rendezvous with Rama by Arthur C. Clarke
  8. The Light Between Oceans by M.L Stedman
  9. Big Little Lies by Liane Moriarty
  10. Lincoln in the Bardo by George Saunders

Things I learned about Myself:

  • I am really bad at maintaining a TBR or participating in Read-alongs. I didn’t read 2/4 books I announced I would for Victober, and I didn’t read 3/4 books I announced I would read for Nonfiction November. I hardly contributed conversations on the Reddit Thread for Infinite Jest, even though it was the only reason I re-read it. I still read Victorian Literature in October, and Nonfiction in November….I just didn’t stick to the list I had prepared. I got very easily distracted by different books. I also find it very hard to read on someone else’s schedule. I tried participating in a few “Goodreads book clubs” and I ended up being unable to do it at either too slow, or too fast a pace (depending on the book).
  • I am very much a “mood reader.” This is the reason I buy a lot of my books, even though I’m a librarian. I like to have the foundational texts always around because some days I feel like Tolkien, the next I may feel like it’s a Sherlock kind of day….and I need to have them on hand.
  • Some books really upset me (for pretentiousness) and bored me while I was reading them but then I found I couldn’t stop thinking about them after I put them down (Lincoln in the Bardo and Infinite Jest were such examples)

Posts I enjoyed Writing 

In the meantime I may still squeeze in a few posts until the year is out, including of course my NEW YEAR RESOLUTIONS in terms of what I hope to achieve with my reading goals next year. I hope you all have a wonderful time in these last two weeks before the New Year! Happy Holidays, and thanks again for reading 🙂