Book List 2022

Here are the books I finished (possibly with some skimming) this year . . . I started plenty of others and quit them because . . . well because I wanted to . . . that's what's great about reading-- if you've got access to a library, you aren't beholden to any particular book:

1) Depth of Winter by Craig Johnson

2) Lazarus Volumes 1-6

3) Fuzz: When Nature Breaks the Law by Mary Roach

4) Kindness Goes Unpunished by Craig Johnson

5) The Extended Mind: The Power of Thinking Outside the Brain by Annie Murphy Paul

6) The Given Day by Dennis LeHane

7) Live by Night by Dennis LeHane

8) A Little History of the World by Ernst Gombrich

9) Leviathan Wakes by James S. A. Corey

10) Cloud Cuckoo Land by Anthony Doerr

11) Caliban's War by James A. Corey

12) Batman: The Long Halloween by Jeph Loeb and Tim Sale

13) The Nineties by Chuck Klosterman

14) Tochi Onyebuchi's Goliath

15) We Are Never Meeting in Real Life by Samantha Irby

16) Abbadon's Gate by James S.A. Corey

17) The Paradox Hotel by Rob Hart

18) The Sea of Tranquility by Emily St. John Mandel

19) One-Shot Harry by Gary Philips

20) The Last Days of Roger Federer and Other Endings by Geoff Dyer

21) The Dawn of Everything: A New History of Humanity by David Graeber and David Wengrow

22) Cibola Burn by James S.A. Corey

23) The Pioneers: The Heroic Story of the Settlers Who Brought the American Ideal West by David McCullough

24) Harrow by Joy Williams

25) The Quick and the Dead by Joy Williams

26) Harlem Shuffle by Colson Whitehead

27) The Foundling  by Ann Leary

28) Ghettoside: A True Story of Murder in America by Jill Leovy

29) Fugitive Telemetry: The Murderbot Diaries by Martha Wells

30) Crossroads by Jonathan Franzen

31) Last Orgy of the Divine Hermit by Mark Leyner

32) The Rise and Fall of the Neoliberal Order: America and the World in the Free Market Era by Gary Gerstle

33) Tracy Flick Can't Win by Tom Perrotta

34) Dark Matter by Blake Crouch

35) Nemesis Games by James S.A. Corey

36) The Daughter of Doctor Moreau by Silvia Moreno-Garcia

37) The Island of Dr. Moreau by H.G. Wells

38) City on Fire by Don Winslow

39) Happy-Go-Lucky by David Sedaris

40) what if? SERIOUS SCIENTIFIC ANSWERS to Absurd Hypothetical Questions by Randall Monroe

41) Enemy of All Mankind: A True Story of Piracy, Power, and History's First Global Manhunt by Stephen Johnson

42) The Storyteller: Tales of Life and Music by Dave Grohl

43) The Tomorrow Game: Rival Teenagers, Their Race For a Gun, and The Community United to Save Them by Sudhir Venkatesh

44) Lord of Misrule by Jaimy Gordon

45) A Canticle for Leibowitz by Walter Miller

46) Blacktop Wasteland by S.A. Cosby

47) Razorblade Tears by S.A. Cosby

48) Liberation Day by George Saunders

49) Upgrade by Blake Crouch

50) Carrie Soto is Back by Taylor Jenkins Reid

51) Adrift: America in 100 Charts by Scott Galloway

52) Digital Minimalism: Choosing a Focused Life in a Noisy World by Cal Newport

53) Pines by Blake Crouch

54) The Rise and Reign of the Mammals by Steve Brusatte

55) Lapvona by Ottessa Moshfegh

56) Starry Messenger: Cosmic Perspectives on Civilization by Neil deGrasse Tyson

57) Fantastic Four: Full Circle by Alex Ross

The Nineties . . . Whatever

If you came of age in the 1990s then it really helps to read a book about all the stuff you didn't pay attention to . . . all the stuff you didn't bother to read about or see on TV or develop opinions on because you were snowboarding or rock-climbing or going to Lollapalooza or whatever; Chuck Klosterman wrote this book and whether you grew up in the 90s or just want to understand Generation X, I recommend you read it; I was born in 1970, so my first decade as an adult happened in the 1990s . . . and I did not vote in a presidential election-- why bother when all politicians were sell-outs?-- and there was nothing worse in the 90s than to be a sell-out . . . although Klosterman points out for every Kurt Cobain there was a Garth Brooks . . . I actually told my first department head, when she was making some sort of workplace demand, that the only reason I came to work was to earn money so I could go on snowboarding trips (she found this amusing) and Klosterman reminds us that this was the last time period when it was fine to NOT know stuff-- there was no magical device on which you could look everything up and also look up every take and opinion and spin about that thing-- we would get into the same argument time after time when my friends were all drinking: did peanuts grow underground or above ground? and then we'd look it up and then we'd forget and argue about it again . . . Klosterman revisits the big stuff-- Waco and Tupac and Tarantino and Jordan-- and lots of fun little things that you may or may not remember (Liz Phair, The Day After Tomorrow novel, Biosphere 2, tons of TV and music and movies, etc) and he finishes with the Bush/Gore election and how no one thought it mattered as it happened-- the two guys were SO similar-- but then in the ensuing chaos and resultant Supreme Court decisions-- which happened along party lines-- lines were drawn and sides formed, and then he has a cool set piece: he runs through all the front pages of newspapers on 9/10/2001 and they are so various: from missile defense to KFC's strategy in China and he reminds us that the world was still big and various and unknowable but the nice thing was America was on top and the economy was humming and then the next day nineteen men with boxcutters passed through airport security and everything changed and the complacent, whatever vibe of the 90s collapsed with the Twin Towers.

My Son Might Be Smarter Than Me?

During this pandemic, I've seen my kids do number of things that don't seem smart at all-- for example, my sixteen year old son Alex likes to cut an avocado in half while holding it in his hand, with a giant knife, while walking around the kitchen-- and it's exhausting to be constantly suggesting things that seems commonsensical, like "why don't you put that thing on a solid, less fleshy surface, and use a cutting board?"-- so when Alex wanted to watch Primer last week, I assumed it would be a disaster-- Primer is the most realistic (and the most difficult to understand) time-travel movie ever made-- Chuck Klosterman has a great essay about the film in which he lauds it to no end but he also reminds folks that:

"Primer is hopelessly confusing and grows more and more byzantine as it unravels (I’ve watched it seven or eight times and I still don’t totally know how it works)"

so I advised my son to turn on the subtitles, but he refused-- he wanted to "do it the hard way"-- and I told him that it took me a couple viewings to get it, and some charts, and a whiteboard . . . and then we watched the movie and he understood the first time through . . . and not only that, he predicted the existence of the failsafe machine-- a plot device I did not understand until I had watched the film a half dozen times . . . he said that taking A.P. Physics helped him understand the incomprehensible jargon at the start of the movie and the rest . . . well, though this is the same kid that picked up a rotisserie chicken with cloth oven mitts (because he thought you used oven mitts to pick up things that are hot . . . I had to explain that if the item is hot, moist and greasy-- then you DON'T use oven mitts) but despite the e lapses in common sense, I think it's time for me to admit that his brain might function a lot better than mine (he is taking four AP classes this year and aims to be an aerospace engineer . . . maybe someday I'll convince him to read Thomas Pynchon's Gravity's Rainbow).

The Main Thing About the Future is You're Not In It

If you're a fan of Shane Carruth's time-travel film Primer-- which Chuck Klosterman called the finest and most realistic time-travel movie ever made-- then you'll love reading How to Live Safely in a Science Fictional Universe by Charles Yu . . . it's a novel wrapped in a paradox of a conundrum, with charts and footnotes to aid and abet your confusion; at first, I pored over the diagrams and tried to understand the timeline, but soon enough I gave up (the same thing happened with Primer . . .  I could look at this chart for the next twenty years, then time travel back to now and do it all over again, and I still wouldn't understand it) and I just forged ahead into the future of the story, turning pages whether I fully understood them or not, just as I'm doing with my life


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2016 Book List

Here's what I read in 2016 (and despite reading nearly a book a week, I feel dumber than ever) and if you head over to Gheorghe: The Blog, you can see my eleven favorites . . . and if you're really feeling crazy and literary, you can check out my previous lists, but if you're going to read one book on this list, I would suggest Death Comes to the Archbishop by Willa Cather . . . I've read it twice, and I'll bet I'll read it again someday . . . anyway, here they are-- it's a little scary for me when I peruse this list, because I can't remember all that much about some of the titles, but I guess that's what happens when you read too much;

1) Trunk Music (Michael Connelly)

2) Hide & Seek (Ian Rankin)

3) Our Kids: The American Dream in Crisis Robert D. Putnam

4) One Plus One Jojo Moyes

5) Andrea Wulf The Invention of Nature: Alexander Humboldt's New World

6) Death Comes to the Archbishop (Willa Cather)

7) The Milagro Beanfield War (John Nichols)

8) Agent to the Stars (John Scalzi)

9) The Undercover Economist Strikes Back: How to Run-- or Ruin-- an Economy (Tim Harford)

10) Tim Harford The Undercover Economist

11) The Expatriates (Janice Y. K. Lee)

12) Tim Harford The Logic of Life: The Rational Economics of an Irrational World

13) Dale Russakoff  The Prize: Who's In Charge of America's Schools?

14) Charlie Jane Anders All the Birds in the Sky

15) Mohamed A. El-Erian  The Only Game in Town: Central Banks, Instability, and Avoiding the Next Collapse

16) Brideshead Revisited: The Sacred & Profane Memories of Captain Charles Ryder (Evelyn Waugh)

17) The Power of Habit:Why We Do What We Do in Life and Business by Charles Duhigg

18) Angels Flight (Michael Connelly)

19) Robert J. Gordon  The Rise and Fall of American Growth: The U.S. Standard of Living Since the Civil War

20) Tony Hillerman A Thief of Time

21) Peter Frankopan Silk Roads: A New History of the World

22) Tony Hillerman Hunting Badger

23) Tony Hillerman Listening Woman

24) Tony Hillerman The Wailing Wind

25) The Lost World of the Old Ones:Discoveries in the Ancient Southwest David Roberts

26) Roadside Picnic (The Strugatsky Brothers)

27) Chuck Klosterman But What If We're Wrong?: Thinking About the Present as if It Were the Past

28) White Sands: Experiences from the Outside World by Geoff Dyer

29) The Inevitable: Understanding the 12 technological forces that will Shape our future by Kevin Kelly

30) Annihilation by Jeff Vandermeer

31) Three Men in a Boat (To Say Nothing of the Dog) Jerome K. Jerome

32) Sapiens: A Brief History of Humankind by Yuval Noah Harari

33) Truly Madly Guilty Liane Moriarty

34) Seinfeldia by Jennifer Keishin Armstrong

35) Weapons of Math Destruction: How Big Data Increases Inequality and Threatens Democracy by Cathy O'Neil

36) Ghosts by Reina Telgemeier

37) The Walking Dead 23-26

38) The Short and Tragic Life of Robert Peace: A Brilliant Young Man Who Left Newark For the Ivy Leagues by Jeff Hobbs

39) The Nix by Nathan Hill

40) Bill Bryson The Road to Little Dribbling: Adventures of an American in Britain

41) Tim Wu The Attention Merchants: The Epic Scramble to Get Inside Our Heads

42) Colson Whitehead The Underground Railroad

43) Nicholson Baker Substitute

44) The Ocean of Life: The Fate of Man and the Sea by Callum Roberts

45) Hillbilly Elegy: A Memoir of Family and Culture in Crisis by J.D. Vance.

The Test 62: History and Futility

This week on The Test, I challenge the ladies with a rather grim thought experiment (thanks to Chuck Klosterman) and while they perform admirably, it might all be for nought . . . so check it out, keep score . . . or don't, because we are all merely grains of sand in the hourglass of time, drifting down down down, towards the neck, and the inevitable drop into the abyss (unless some greater power flips the hourglass over, and we all get another crack at it).
 

Sorry Chuck, The Inevitable is Coming

Chuck Klosterman concludes his book But What If We're Wrong? Thinking About the Present As If It Were the Past with this thought: "I'm ready for a new tomorrow, but only if it's pretty much like yesterday" and while this is a pleasant thought, there's very little chance of it happening; before he gets to this romantic notion, he speculates on just how much the future will be different from the now, and how that will change the lens through which those future people view our time . . . and he also recognizes that not much will survive the test of time and that we have little to no chance of predicting what those things will be:

1) it's very difficult to predict what band will become the John Philip Sousa of rock'n'roll . . . no one can name another march music composer (and Klosterman points out that in one hundred years Bob Marley and reggae will be synonymous) so you can speculate: Chuck Berry? Led Zeppelin? The Beatles? The Rolling Stones? Def Leppard? who knows?

2) once a genre becomes insular and arcane, it's the "weirdos" who get to curate the art form, and select what is great;

3) American football now seems to be on the outs, as everyone educated knows that the sport is too dangerous because of the head injuries-- but Klosterman points out that this is because football is trying to become the sport for everyone . . . everyone watches a game or two, and almost everyone belongs to some kind of fantasy league or pool and everyone watches the Super Bowl . . . so this is too much exposure for something so dangerous, but there are plenty of sports that are more dangerous-- auto racing, UFC, base-jumping-- but they don't command such a large audience, so football may become less popular, and that may save it-- it may have a core group of diehard fans and  to them, the sport will represent valor and fortitude and toughness and all kinds of conservative values, and the rest of society will look upon it like auto-racing . . . or it may be deemed too dangerous and expensive it may die at the youth levels and go the way of boxing and the dodo . . . we won't know until the future;

4) folks in the future may look at The Matrix as a seminal film not because of the groundbreaking "bullet time" effects, but because the Wachowski Brothers transitioned and became the Wachowski Sisters, and so the world-within-a-world theme takes on an entirely new (and possibly more compelling) spin for future generations;

5) Klosterman concedes that important art from our time should reflect the most important elements of our time and he gives a list of these possibilities, while admitting that we see these through the cloudy and low vantage point of the present, but here are a few . . . and while I don't use quotes, I am usually using his exact words, just truncated: the psychological impact of the internet, the prevailing acceptance of nontraditional sexual identities, the deaths of unarmed black men at the hands of white police officers, an unclear definition of privacy, a hatred of the wealthiest one percent, the artistic elevation of television, the recession of rock'n'roll and the ascension of hip-hop, a distrust of objective storytelling, the prolonging of adolescence;

BUT, while I love Klosterman and had a great time navigating his ambiguous, philosophical arguments about how we can't predict the future, or how the future will view our present, Kevin Kelly does present a convincing counter-argument in his new book The Inevitable: Understanding the 12 Technological Forces That Will Shape Our Future . . . I'll save the summary of his most interesting predictions for another sentence, but, Chuck Klosterman, I'm warning you: tomorrow is going to be nothing like today, and the day after that is going to be exponentially even more wild . . . we've leapt over the edge and into the realm of the zillions . . . zillions of bits of interconnected information, zillions of smart objects, zillions of interconnected screens, zillions of hyperlinked pages, zillions of sprawling dendritic tendrils, stretching across the earth, in an ever-expanding, self-revising smart tangle of digitally connected humanity, so strap yourself in and get ready for a wild ride: we'll be in the future before you know it.

Two Books with White Covers (Both Containing Allusions)

I recently finished two new books with white covers: But What If We're Wrong? Thinking About the Present As If It Were the Past by Chuck Klosterman and White Sands: Experiences from the Outside World by Geoff Dyer and while both of these authors are generally regarded as critics . . . of popular culture, the arts, and-- in the case of Klosterman-- sports (and both write novels as well) and they both share a precise, crisp writing style that is almost mock-epic in laying bare the logic of thought (Pulitzer Prize winner Kathryn Schulz, in this review, described Dyer as "one of our greatest living critics, not of art, but of life itself, and one of our most original writers") but the big difference-- for me at least-- is that reading Klosterman is a smooth transference of thought, because Klosterman is around my age and he refers to things that I know a lot about (The Sex Pistols, Nick Bostrom, The Cosby Show, American football, Roseanne, Dan Carlin, the intelligence of octopi, the Higgs Boson, and Star Wars are a few that come to mind from his new book) while Geoff Dyer, a fifty year old Brit, will often refer to things just outside my purview . . . I think this is purposeful: Klosterman wants to appeal to a certain category of forty-something semi-literate, semi-intelligent, semi-athletic nerdy hipster (Dave is pegged) while Dyer, though easy enough to read, designs his references and allusions to take you beyond your normal thoughts and logic . . . in this new book, you will "experience the outside world" a world of art and culture and music that you know exists, but probably never investigated; anyway, here are some references and allusions from Geoff Dyer's new book, divided into two categories, the ones I knew and the ones I had to Google:

some of the references I got . . .

1) Robert Smithson's earthwork Spiral Jetty;

2) Ornette Coleman's The Shape of Jazz to Come;

3) the life and works of Matisse, Pissarro, and Gauguin;

4) Dick Diver in Tender is the Night;

5) Art Pepper . . . I learned about him in the Bosch mysteries;

6) full moon parties at Ko Pha Ngan

7) Don Delillo's novel Underworld;

8) David Mamet and Thomas Pynchon;

and here are some of the people, places, and things I was unfamiliar with . . .

1) the critical works of Theodor W. Adorno and Max Horkheimer;

2) Walter de Maria's landwork The Lightning Field . . . this giant rectangular collection of tall metal poles is in New Mexico, if I had know about it we could have taken a detour on our cross-country trip and tried to see it . . . although it's difficult to access;

3) Chaiwat Subprasom's photo Koh Tao;

4) Taryn Simon's photo series The Innocents;

5) Simon Rodia and The Watts Towers;

6) jazz bassist Charlie Haden, who played with Ornette Coleman;

7) seminal jazz saxophonist Pharoah Sanders;

8) Don Cherry's funky fusion album Brown Rice, with Charlie Haden on bass . . . I really like this album and I would have never listened to it if I hadn't read the book . . .

and so thanks to Geoff Dyer for introducing me to some new things, and making me feel a bit dumb, and thanks to Chuck Klosterman for explicating things I already know about, and making me feel smart.

It's Fun to Think About How Wrong We Are

The premise of Chuck Klosterman's new book But What If We're Wrong?: Thinking About the Present As If It Were the Past is stated succinctly in the subtitle . . . the way a time period is perceived in the future is never the same as the time period is perceived while people are living in it, because of future discoveries and progress in art, science, ethics, and technology and the cultural shifts that accompany these . . . and Klosterman concedes that everyone will admit this in the abstract, but once you get specific-- once you tell people that Abraham Lincoln will be perceived differently, or Led Zeppelin, or the American system of government-- then they have trouble getting on board; from my perspective in the present, this is another excellent Klosterman book, and by excellent, I mean that Klosterman discusses things-- both eminent and obscure-- of which I have working knowledge: American football, Kurt Vonnegut, Kafka, George Saunders, Citizen Kane, Dan Carlin's Hardcore History, Star Wars, The Constitution, Renata Adler's novel Speedboat, string theory, Ohio, Nick Bostrom's simulation argument, etcetera-- and he writes about these disparate things so lucidly and logically, that once I read his ideas, I immediately digest them and believe they are my own . . . now this could mean he's just a middle-of-the-road thinker and a really compelling and clear stylist, so that reading his books makes me (and anyone my age who likes literature, science, pop culture and sports) feel really smart, because we get the allusions and can put everything in context, but I like to think otherwise: I like to think that Klosterman takes the time to think extensively, precisely, and comprehensively about the things that people of my generation and proclivities only half-think about, because it's not our job to think full time about hair bands and conspiracy theories and why the hell people still love Ronald Reagan, and Klosterman takes a real critical eye to these things and makes you rethink your half-baked thoughts about them . . . so thanks Chuck, I don't know how people are going to view your books in the future-- probably as mindless drivel about obscure minutia-- but I love and look forward to them here in the present.

The Strangest Thing About Stranger Things is That My Son Looks Like the Girl in Stranger Things

My family just binge-watched Stranger Things, a deft and super-compelling derivative mash-up that perfectly channels so many great shows and films:  E.T. and The Goonies and Freaks and Geeks and Poltergeist and eXistenZ and The X-Files and Buffy the Vampire Slayer and Stand by Me and Super 8 . . . and while this is a good thing, to see our family-favorites blended together in one eight episode mini-series, it also makes me think that we've come to the end of some of sort of artistic road-- and I'm having these kinds of deep thoughts about things I shouldn't think so deeply about because I just finished Chuck Klosterman's new book, But What If We're Wrong?: Thinking About the Present as if It Were the Past, which proposes exactly what the subtitle suggests: that we look at the present as if it were the past, and so from a future perspective, only a few movies and TV shows will be remembered,and--sadly-- Stranger Things probably won't be one of them (in my opinion) because it's so derivative, and the original works will take precedence . . . but I could be wrong, perhaps Stranger Things will be the perfect vehicle to remember all the tropes of the realistic/spooky/horror/teen/noir/government conspiracy/alternate universe/sci-fi/kids-band-together-and-take-on-the-supernatural-and-corrupt-world-of-adults genre . . . but I also found it interesting that I received multiple texts, from friends and colleagues and my brother, all advising me to watch this show with my kids . . . and most of these texts were from people who did not have children of their own . . . which is spooky in itself, but this also probably stems from nostalgia for the days when we had shared TV experiences, Seinfeld or Dallas or whatever . . . and people were saying that this show would be a perfect one to enjoy that shared experience, not only with the general public but also with your family, and they were right (if you can endure your kids having a few nightmares) but nostalgia for that "normal" time might not be so normal either . . . that was just a small window when people were on the same page, watching three networks, in the pre-internet, pre-DVR, pre-streaming, pre-Youtube, pre-plethora of shows age, but before that, way before that, everybody was doing their own thing-- just like now-- in pre-literate society, when everyone was around their own fire, telling their own version of the Ur-story about saber-tooth tigers and cave bears . . . I suppose there were a few classics, Homer and Beowulf and Gilgamesh, but most of the programming must have been very unstructured and primitive and unique, stick puppets, Dunt and Thok doing their schtick, song parodies very specific to a particular clan of people . . . anyway, that's how it feels now-- everyone is watching their own private pantheon of entertainment, and it rarely coincides with anyone else, but I should get off my high-horse and just recommend this show, because it will remind older folks of a by-gone era of TV and film, and it will scare the shit out of younger viewers, while also immersing them in a world before the internet, of microfiche and rotary phones, a world where there might be vast conspiracies and things beyond our understanding, unlike the world we have now, where if you've got a hunch about something like that, you just Google it, and voila, you were right: there is a vast conspiracy and there are things far beyond our understanding and aliens have come to earth and they live among us and of course our government planned 9/11 and dinosaurs live right beside us and they're chickens . . . Stranger Things delivers what it promises, that even in the suburbs, if you're brave and adventurous and loyal and have an imagination and a bike, then there is adventure right out your door . . . the series begins with D&D, and it ends with the mention of an Atari . . . perhaps Atari is the harbinger of the end of an era, the end of kids out in the world, depending on themselves, alone, unstructured, off the grid, fighting epic forces; anyway, my wife and I loved it and my kids claim it's the "best show ever" and there's one more creepy thing, just for folks who know us: Eleven is the female version of my son Ian, they look nearly identical and also make the same expressions and have the same eyes, it took someone else to point this out, and once she did, it made me look at my son in a totally different light (as in, I think he might be able to move things with his mind and squish bad people's brains).

Notes to Future Self

We watched the time-travel movie Primer in philosophy class last week, and while the plot of the movie is close to incomprehensible (although there are plenty of explanations out there on the internet . . . but those are incomprehensible too) the central premise is easy enough to understand; Abe and Aaron keep looping back in time, in a rather short span, and they screw with their future selves-- Chuck Klosterman calls them "ethical Helen Kellers" . . . and this makes a terrible mess of their lives, their relationships, their careers, and their physical well-being; this leads to some mundane questions which we all need to address-- because we are all slowly traveling into the future:

1) how should you ethically behave towards your future self?

2) what do you owe to your future self?

3) are you your future self? 

4) is your future self someone else?

and while my philosophy class had a great time with these questions (and my examples . . . Past Dave decided to get a tattoo of a giant lizard ripping out of Past Dave's shoulder . . . he had very little consideration for Future Dave, but-- on the other hand-- Past Dave started diligently practicing the guitar in his twenties and travelled around the world, giving Future Dave some rudimentary musical skills and some vivid memories of the Middle and Far East . . . and so you should realize that when you go for a run, you are helping out your future self, but when you drink a bunch of beer and eat a cheesecake, then not so much) and this finally led us to a very weird place, because the newest findings about human memory conclude that every time we recall something, we alter that memory slightly, and our cells and tissue are dying and being replaced all the time . . . and so our Future Selves really are quite different than our Past Selves-- in a sense they are a person only tangentially related to our Present Selves . . . and so it is difficult to be super-concerned with them, yet we know if we start saving money now, or learning Japanese, then this Future Person might really benefit, and this logic finally leads to the Ship of Theseus thought experiment and the ultimate question: is this Porsche really a Porsche?

On the Rarity of Switch-Hitting Authors

Someone smart and well-read could develop this idea into a full-fledged essay, but I don't have the time or the mental stamina for that, so I'll just offer my thesis and maybe someone will run with it: I just finished the new David Sedaris book Let's Explore Diabetes with Owls: Essays Etc. and while I loved the essays -- typical Sedaris . . . forays to the dentist, the taxidermist, the British countryside the airport, and the bar car of a train -- I did not love (and mainly skipped) the "etc." which are short fictional pieces in which he wrote in the voices of a woman, a father, and a sixteen year old girl with a fake British accent; this brings me to my thesis: there are certain writers who I will only read their non-fiction, though they may have written novels and fiction; David Sedaris is one of these writers -- I only want him to be himself -- and it is the same with Chuck Klosterman -- I read his non-fiction fanatically but I haven't read any of his novels, not one word . . . I just want him to be Chuck Klosterman . . . it's the same with another favorite of mine, Geoff Dyer -- I'd love to read more by him, but I won't even open his four novels . . . and then there are authors who I will only read their fiction and could care less about their life and actual voice: Elmore Leonard, James Michener, Umberto Eco, etc. and then there are those rare authors who are masters of both forms: George Orwell, Mark Twain, and James Ellroy immediately come to mind . . . and though I often contemplate writing a great sci-fi novel, I think that I am a member of the first category, and probably can only muster the Voice of Dave with any consistency and energy.

After You Finish Infinite Jest, You Should Read Chuck Klosterman

I have already pointed out here that while I love to read Chuck Klosterman, he annoys me a bit, because he is such a clear, engaging and relatable writer (for folks of my generation) that his thoughts immediately become my own -- and then I wonder why I didn't think of these things first and clearly articulate them in writing before Klosterman did . . . but, of course, he is a professional and has time to read The Starr Report and books on Hitler, and he has time to rewatch Airplane! and meditate on Kareem Abdul Jabbar and he puts this thinking to good use (along with his comprehensive musical knowledge) in order to write about villains, in his new book I Wear the Black Hat: Grappling With Villians (Real and Imagined) which only took me a day and a half to read (same as his last book) and is the perfect book to read after struggling for two months on Infinite Jest (though I feel like David Foster Wallace and Chuck Klosterman would have got along smashingly), and not only is the book very clever, but it's also very funny . . . after much thoughtful discourse on Bill Clinton, Monica Lewinsky, Kenneth Starr, and Sharon Stone . . . Klosterman then describes Slick Willie like this: "He's the kind of man you could trust to lead the world, but not to drive your wife to the airport."

It's The Fortnight of Time

Due to a serendipitous confluence of influences -- including the annual "spring ahead" of Daylight Saving Time, the fact that I'm a few hundred pages Neal Stephenson's epochal science fiction novel Anathem, the coincidence that Stacy and I just showed the most realistic time travel movie ever made (Primer) in philosophy class (it's also the most difficult time travel movie ever made -- it's fun to team teach something that neither teacher understands . . . and then we have the students read Chuck Klosterman's time travel essay, where he confesses that he didn't understand the movie either) -- anyway, due to this convergence of time-themed stuff, my mind has been preoccupied with all things chronological . . . and so when I asked my class on Monday "How is today an example of time travel?" they instantly got the answer: that we had all travelled into the future an hour because of Daylight Saving Time . . . and in some more rational parallel universe, where they don't practice such absurd manipulation of the clock -- we were all still sleeping in our warm beds or perhaps just waking up and sipping coffee, instead of sitting in class, bleary eyed, wishing we had time machines so that we could go back in time and sleep more . . . and I'm probably going to keep obsessing on this theme, and my wife won't let me talk about it any more at home -- the blog is my only outlet -- so I apologize, but there is probably going to be a fortnight's worth of time posts.

How To Deal With The Grandfather Paradox

Stephen King dismisses the "grandfather paradox" and other meta-logical nonsense (such as the craziness developed in the great but painful to untangle film Primer . . . if you want to read about time travel paradoxes, check out Chuck Klosterman's essay) because King has bigger fish to fry in new fantastic new novel 11/22/63 . . . such as what would happen to the universe if JFK had never been assassinated, and how far would a man go to prevent this event . . . so when the narrator is debating whether to become embroiled in the time travel plot, and he asks Al-- the diner owner who has access to the time portal which sends whoever walks through it back to the same sunny day in September of 1958 -- "Yeah, but what if you went back and killed your own grandfather?" Al simply stares at him, baffled, and replies, "Why the fuck would you do that?"

Dave's 105 Books to Read Before You Die (Which Will be Sooner Than You Think)

Everyone seems to have a top hundred list of something, and so here are my top hundred books (plus five bonus books in case you finish the top hundred too quickly) and each author is only represented once, so while Shakespeare and Italo Calvino may actually deserve more than one slot, for the sake of variety there are no repeats; also, there is fiction, non-fiction, and everything else on this list . . . and I should point out that once you finish reading all the books on this list, then you will be much smarter than me, because though I've read them all, I'm not sure I remember anything from them:

1.   Moby Dick by Herman Melville
2.   Brothers Karamazov by Dostoevsky
3.   War and Peace by Leo Tolstoy
4.   The Lives of the Cell by Lewis Thomas
5.   Outliers by Malcolm Gladwell
6.   If on a winter's night a traveler by Italo Calvino
7.   Tristram Shandy by Lawrence Sterne
8.   Freaky Deaky by Elmore Leonard
9.   Blood Meridian by Cormac McCarthy
10. V by Thomas Pynchon
11. The Origin of Species by Charles Darwin
12. 100 Years of Solitude by Gabriel Garcia Marquez
13.  Labyrinths by Jorge Luis Borges
14.  Into the Wild by John Krakauer
15.  Music of Chance by Paul Auster
16.  The Dog of the South by Charles Portis
17.  Slaughterhouse-Five by Kurt Vonnegut
18. All the King's Men by Robert Penn Warren
19. Death Comes for the Archbishop by Willa Cather
20. The Bible
21. Henry IV (part 1) by William Shakespeare
22. The Complete Stories of J.G. Ballard
23. The Stories of John Cheever
24. Will You Please Be Quiet Please by Raymond Carver
25. The Image by Daniel Boorstin
26. Clockers by Richard Price
27. Nixonland by Rick Perlstein
28. American Tabloid by James Ellroy
29. A Peoples History of the United States by Howard Zinn
30. Balkan Ghosts by Robert Kaplan
31. The Sheltering Sky by Paul Bowles
32. The Three Stigmata of Palmer Eldritch  by Philip K. Dick
33.  Chaos by James Gleick
34.  The Society of the Mind by Marvin Minsky
35.  Watchmen by Alan Moore/ Dave Gibbons
36.  The Ghost Map by Steven Johnson
37.  The Executioner's Song by Norman Mailer
38.  Sex, Drugs, and Cocoa-Puffs by Chuck Klosterman
39.  Fear and Loathing in Las Vegas by Hunter S. Thompson
40.  Cannery Row by John Steinbeck
41.  Foucalt's Pendulum by Umberto Eco
42.  Solaris by Stanislaw Lem
43.  War With The Newts by Karel Kapek
44.  The Miracle Game by Josef Skvorecky
45.  The Restaurant at the End of the Universe by Douglas Adams
46.  Hotel New Hampshire by John Irving
47.  White Noise by Don Delillo
48.  The Big Sleep by Raymond Chandler
49.  Down and Out in Paris and London by George Orwell
50.  Innocents Abroad by Mark Twain
51.  Snow Crash by Neal Stephenson
52.  Even Cowgirls Get the Blues by Tom Robbins
53.  Bully For Brontosaurus by Stephen J. Gould
54.  The Drifters by James A. Michener
55.  Geek Love by Catherine Dunne
56.  The Blank Slate by Steven Pinker
57.  Human Universals by Donald Brown
58.  Shadows of Forgotten Ancestors by Carl Sagan and Anne Druyan
59.  The Snow Leopard by Peter Matthiessen
60.  The Diversity of Life by E.O. Wilson
61.  The Friends of Eddie Coyle by George V. Higgins
62.  Pale Fire by Vladimir Nabokov
63.  American Splendor by Harvey Pekar/ Robert Crumb
64.  The Memoirs of Hector Berlioz by Hector Berlioz
65.  A Confederacy of Dunces by John Kennedy Toole
66.  The Castle by Franz Kafka
67.  Midaq Alley by Naguib Mahfouz
68.  Naked by David Sedaris
69.  Godel Escher Bach by Douglas Hofstadter
70.  The Worldly Philosophers by Robert L. Heilbroner
71.  The Big Short by Michael Lewis
72.  Freakonomics by Stephen Dubner and Steven Levitt
73.  Video Night in Kathmandu by Pico Iyer
74.  Monster of God by David Quammen
75.  Bonfire of the Vanities by Tom Wolfe
76.  Safe Area Gorazde by Joe Sacco
77.  Lonesome Dove by Larry McMurtry
78.  Hyperspace by Michio Kaku
79.  Jonathan Strange and Mr. Norrell by Susanna Clarke
80. The Complete Stories of Flannery O'Connor
81.  Nonzero: The Logic of Human Destiny by Richard Wright
82.  The Selfish Gene by Richard Dawkins
83.  Manchester United Ruined My Life by Colin Shindler
84.  Soccer in Sun and Shadow by Eduardo Galeano
85. From the Holy Mountain by William Dalrymple
86. A Supposedly Fun Thing I'll Never Do Again by David Foster Wallace
87. The End of the Road by John Barth
88. Neuromancer by William Gibson
89. Guns, Germs, and Steel by Jared Diamond
90. A Walk in the Woods by Bill Bryson
91. Amusing Ourselves to Death by Neil Postman
92. Some Buried Caesar by Rex Stout
93. The Black Swan by Nassim Nicholas Taleb
94. The Ascent of Money by Niall Ferguson
95. We Were the Mulvaneys by Joyce Carol Oates
96. The Bushwhacked Piano by Thomas McGuane
97. The Golden Compass by Philip Pullman
98. Walden by Henry David Thoreau
99. 1493 by Charles C. Mann
100.  Our Band Could Be Your Life by Michael Azerrad
101.  A Visit From the Goon Squad by Jennifer Egan
102.  The Life and Death of the Great American School System by Diane Ravitch
103.  Methland by Nick Reding
104. A Game of Thrones by George R.R. Martin
105. Born Standing Up by Steve Martin

Klosterman and I Agree About Madmen

It took me a day and a half to ingest Chuck Klosterman's new book Eating the Dinosaur, and though there were some new ideas for me to devour-- on Kurt Kobain vs. David Koresh and ABBA and Ralph Sampson and Garth Brooks and laugh tracks and the inability of Ralph Nader to lie and why this is a problem in politics and the paradoxical identity of football (which appears to be the most conservative sport-- think Brett Favre and Vince Lombardi-- but is actually the most dynamic and liberal in nature . . . as it has evolved from the forward pass to radios in quarterbacks helmets, from rugby-esque to the read option and the spread offense, etc.) but the scary and entrancing and ultimately annoying bulk of the book is about things that I already love, such as the time travel movie Primer and Werner Herzog and Erroll Morris and the Unabomber Manifesto and Stephen King and Arrested Development and David Foster Wallace and Weezer and Madmen and this is ultimately annoying because he feels the same way as me about these things (and many more) but his ideas about them are more clever than mine and they are better articulated, because he's a professional pop-culture critic, so while on the one hand I am fascinated by what he is saying, on the other, I'm annoyed that I didn't think of it myself-- it's about Weezer, for Christ's sake, not the human genome!-- and for me this was most acute in his essay entitled "It Will Shock You How Much It Never Happened" where he dissects a press release from Pepsi and then makes some comparisons to Don Draper and Madmen and he transcribes and analyzes Don's monologue about the Kodak carousel and nostalgia-- and this is my favorite moment in TV history . . . it's the end of season one of the show, and no one else appreciated it at my workplace, but at least Klosterman did-- but then it made me wonder about this whole other idea, which is: is Klosterman just predicting what the faux cool nerdy hipster types who also like athletics like to read and watch and listen to, and are we that easy to predict and thus he writes about those things because he knows this is what will sell?-- it crossed my mind for an instant, but if that's so then the joke is on him, because he has embraced these things so fully and thought about them so deeply that whether he's joking or not, he is sincere.