friends, do consider this delightfully eccentric syllabus that i’ve stumbled upon in Steven Moore’s The Novel: An Alternative History (& that was built around the unorthodox masterpiece that is Rabelais’ Gargantua and Pantagruel):
“With the motto "Do What You Will," Rabelais gave himself permission to do anything he damn well pleased with the language and the form of the novel; as a result, every author of an innovative novel mixing literary forms and genres in an extravagant style is indebted to Rabelais, directly or indirectly. Out of his codpiece came Aneau's Alector, Nashe's Unfortunate Traveller, Lopez de Ubeda's Justina, Cervantes' Don Quixote, Beroalde de Verville's Fantastic Tales, Sorel's Francion, Burton's Anatomy, Swift's Tale of a Tub and Gulliver's Travels, Fielding's Tom Jones, Amory's John Buncle, Sterne's Tristram Shandy, the novels of Diderot and maybe Voltaire (a late convert), Smollet's Adventures of an Atom, Hoffmann's Tomcat Murr, Hugo's Hunchback of Notre-Dame, Southey's Doctor, Melville's Moby-Dick, Flaubert's Temptation of Saint Anthony and Bouvard and Pecuchet, Twain's Adventures of Huckleberry Finn, Frederick Rolfe's ornate novels, Bely's Petersburg, Joyce's Ulysses, Witkiewicz's Insatiability, Barnes's Ryder and Ladies Almanack, Gombrowicz's Polish jokes, Flann O'Brien's Irish farces, Philip Wylie's Finnley Wren, Patchen's tender novels, Burroughs's and Kerouac's mad ones, Nabokov's later works, Schmidt's fiction, the novels of Durrell, Burgess (especially A Clockwork Orange and Earthly Powers), Gaddis and Pynchon, Barth, Coover, Sorrentino, Reed's Mumbo Jumbo, Brossard's later works, the masterpieces of Latin American magic realism (Paradiso, The Autumn of the Patriarch, Three Trapped Tigers, I the Supreme, Avalovara, Terra Nostra, Palinuro of Mexico), the fabulous creations of Severo Sarduy and Reinaldo Arenas, Markson's Springer's Progress, Mano's Take Five, Rios's Larva and otros libros, the novels of Patil West, Tom Robbins, Stanley Elkin, Alexander Theroux, W. M. Spackman, Alasdair Gray, Gaetan Soucy, and Rikki Ducornet ("Lady Rabelais," as one critic called her), Mark Leyner's hyperbolic novels, the writings of Magister Gass, Greer Gilman's folkloric fictions and Roger Boylan's Celtic comedies, Vollmann's voluminous volumes, Wallace's brainy fictions, Siegel's Love in a Dead Language, Danielewski's novels, Jackson's Half Life, Field's Ululu, De La Pava's Naked Singularity, and James McCourt's ongoing Mawrdew Czgowchwz saga.”
(+ it seems that someone has even gone out of their way to combine all of these into a goodreads list, if that’s your cup of tea!)
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To Be Read
20,000 Leagues Under the Sea by Jules Verne
2001: A Space Odyssey by Arthur C. Clarke
A Canticle for Leibowitz by Walter M. Miller
A Fire Upon the Deep by Vernor Vinge
A Tale of Two Cities by Charles Dickens
A Wizard of Earthsea by Ursula K. Le Guin
Alanna Series by Tamora Pierce
Alien Earth by Megan Lindholm
American Gods by Neil Gaiman
Amy, My Daughter by Mitch Winehouse
An Absolutely Remarkable Thing by Hank Green
An Abundance of Katherines by John Green
Anathem by Neal Stephenson
And the Band Played On by Randy Shilts
Belgaraiad series by David Eddings
Binary Star by Sarah Gerard
Black Company series by Glen Cook
Bodily Harm by Margaret Atwood
Bourne Identity by Robert Ludlum
Callahan’s Crosstime Saloon by Spider Robinson
Captive Prince by C.S. Pacat
Cat’s Eye by Margaret Atwood
Childhood’s End by Arthur C. Clarke
Christopher Moore books (?)
Cloven Hooves by Megan Lindholm
Conan by Robert E. Howard
Contact by Carl Sagan
Cryptonomicon by Neal Stephenson
Dangerous Women ed. George R.R. Martin and Gardner Dozois
Dark Places by Gillian Flynn
Day of the Triffids by John Wyndham
Death Comes to Pemberly by P.D. James
Death Is a Lonely Business by Ray Bradbury
Declare by Tim Powers
Dhalgren by Samuel R. Delaney
Discworld by Terry Pratchett
Do Androids Dream of Electric Sheep? by Phillip K. Dick
Doctor Sleep by Stephen King
Doomsday Book by Connie Willis
Dragon Flight by Anne McCaffrey
Dragonriders of Pern by Anne McCaffrey
Dream Quest of Unknown Kadath by H.P. Lovecraft
Dune by Frank Herbert
Enrique’s Journey by Sonia Nazario
Fear: Trump in the White House by Bob Woodward
Fafhrd and Gray Mouser books by Fritz Leiber
Flowers for Algernon by Daniel Keyes
Foundation by Isaac Asimov
Four Past Midnight by Stephen King
Freakonomics by Stephen J. Dubner and Steven Levitt
Gargantua and Pantagruel by Francois Rabelais
Going Postal by Terry Pratchett
Gun, with Occasional Music by Jonathan Lethem
Herland by Charlotte Perkins Gilman
His Dark Materials by Phillip Pullman
House of Leaves by Mark Z. Danielewski
Howl’s Moving Castle by Diana Wynne Jones
Hyperion by Dan Simmons
I, Robot by Isaac Asimov
Icewind Dale Trilogy by R.A. Salvatore
If I Stay by Gayle Forman
In the Forest of Hands and Teeth by Carrie Ryan
Inferno by Dante
Journey to the Center of the Earth by Jules Verne
Kingkiller Chronicle #1 and #2 by Patrick Rothfuss (upon announcement of release date for #3)
Kushiel’s Legacy by Jacqueline Carey
Leaving Time by Jodi Picoult
Legend by David Gemmel
Lensman Series by E.E. “Doc” Smith
Little, Big by John Crowley
Lolita by Vladimir Nabokov
Longbourn by Jo Baker
Lucifer’s Hammer by Larry Niven
Lud in Mist by Hope Mirrlees
Malazan Books of the Fallen by Steven Erikson
Me Before You by Jojo Moyes
Memory, Sorrow, and Thorn by Tad Williams
Mistborn by Brandon Sanderson
My Life on the Road by Gloria Steinem
My Sister’s Keeper by Jodi Picoult (reread)
My Two Moms by Zach Wahls
Neuromancer by William Gibson
Neverwhere by Neil Gaiman
Nova by Samuel R. Delaney
Old Man’s War by John Scalzi
Origin by Dan Brown
One Thousand and One Nights
Only Forward by Michael Marshal Smith
Outlander by Diana Gabaldon
Paradise Lost by John Milton
Perdido Street Station by China Mieville
Pride by Ibi Zoboi
Purgatorio by Dante
Rendezvous with Rama by Arthur C. Clarke
Riftwar Saga by Feist
Ringworld by Larry Niven
River World Series by Phillip Jose Farmer
Rogues ed. George R.R. Martin and Gardner Dozois
Schindler’s List by Thomas Keneally
Shades of Grey by Jasper Fforde
Shades of Magic by V.E. Schwab
Slaughterhouse-Five by Kurt Vonnegut
Small Gods by Terry Pratchett
Snow Crash by Neal Stephenson (reread)
Something Wicked This Way Comes by Ray Bradbury
Stardust by Neil Gaiman
Starship Troopers by Robert A. Heinlein
Station Eleven by Emily St. John Mandel
Stepford Wives by Ira Levin
Stranger in a Strange Land by Robert Heinlein
Sunshine by Robin McKinley
Surfacing by Margaret Atwood
The Amber Chronicles by Roger Zelazny
The Art of the Lord of the Rings by Wayne G. Hammond and Christina Scull
The Belgariad by David Eddings
The Bloody Chamber by Angela Carter
The Book of the New Sun by Gene Wolfe
The Caves of Steel by Isaac Asimov
The Chronicler of Master Li and Number Ten Ox by Barry Hughart
The Chronicles of Amber by Roger Zelazny
The Chronicles of Narnia by C.S. Lewis
The Chronicles of Thomas Covenant the Unbeliever by Stephen R. Donaldson
The Codex Alera Series by Jim Butcher
The Complete Stories by Flannery O’Connor
The Conan Chronicles by Robert E. Howard
The Crystal Cave by Mary Stewart
The Culture Series by Lane M. Banks
The Dark Tower by Stephen King
The Death Cure by James Dashner
The Diamond Age by Neal Stephenson
The Dispossessed by Ursula K. Le Guin
The Doomsday Book by Connie Willis
The Dragonlance Chronicles by Margaret Weis and Tracy Hickman
The Dresden Files by Jim Butcher
The Edible Woman by Margaret Atwood
The Elric Saga by Michael Moorcock
The Epic Adventures of Lydia Bennet by Kate Rorick and Rachel Kiley
The Eyre Affair by Jasper Fforde
The Feminine Mystique by Betty Friedan
The Final Testament of the Holy Bible by James Frey
The Fionavar Tapestry by Guy Gavriel Kay
The Fisher King Trilogy by Tim Powers
The Forever War by Joe Haldeman
The Girl on the Train by Paula Hawkins
The Girl with the Dragon Tattoo by Stieg Larsson
The Glass Book of the Dream Eaters by Gordon Dahlquist
The Gormenghast Series by Mervyn Peake
The Gypsy by Megan Lindholm
The Heart Goes Last by Margaret Atwood
The Hollows series by Kim Harrison
The Illustrated Man by Ray Bradbury
The Inheritance & Other Stories by Megan Lindholm and Robin Hobb
The Inheritance Cycle by Christopher Paolini
The Kalevala by Elias Lonnrot
The Ki and Vandien Quartet by Megan Lindholm
The Last Herald-Mage Trilogy by Mercedes Lackey
The Last Unicorn by Peter S. Beagle
The Legend of Drizzt by R.A. Salvatore
The Long Walk by Stephen King
The Malazan Book of the Fallen Series by Stephen Erikson
The Mars Trilogy by Kim Stanley Robinson
The Martian Chronicles by Ray Bradbury
The Mists of Avalon by Marion Zimmer Bradley
The Moon is a Harsh Mistress by Robert A. Heinlein
The Mote in God’s Eye by Larry Niven and Jerry Pournelle
The Neverending Story by Michael Ende
The New Jim Crow by Michelle Alexander
The Once and Future King by T.H. White
The Other Boleyn Girl by Philippa Gregory
The Other Wes Moore by Wes Moore
The Outsiders by S.E. Hinton
The Pact by Jodi Picoult (reread)
The Penelopiad by Margaret Atwood
The Poisonwood Bible by Barbara Kingsolver
The Princess Bride by William Goldman
The Red Magician by Lisa Goldstein
The Riddlemaster of Hed series by Patricia McKillip
The Riftwar Saga by Raymond E. Feist
The Robber Bride by Margaret Atwood
The Shannara Trilogy by Terry Brooks
The Shining by Stephen King (reread)
The Silmarillion by J.R.R. Tolkien (reread)
The Space Trilogy by C.S. Lewis
The Swan Thieves by Elizabeth Kostova
The Sword of Truth by Terry Goodkind
The Tenth Circle by Jodi Picoult (reread)
The Third Hill North of Town by Noah Bly
The Thrawn Trilogy by Timothy Zahn
The Time Machine by H.G. Wells
The Uplift Trilogy by David Brin
The Vorkosigan Saga by Lois McMaster Bujold
The Walking Dead: The Road to Woodbury
The War of the Worlds by H.G. Wells
The Way of Kings by Brandon Sanderson
The Wilful Princess and the Piebald Prince by Robin Hobb
The Xanth Series by Piers Anthony
The Xenogenesis Trilogy by Octavia Butler
Tillu and Kerlew by Megan Lindholm
Time Enough for Love by Robert Heinlein
To Kill a Mockingbird by Harper Lee (reread)
Tripod Trilogy by Samuel Youd
Warriors ed. George R.R. Martin and Gardner Dozois
Watchmen by Alan Moore
Watership Down by Richard Adams
We Are Pirates by Daniel Handler
Wheel of Time by Robert Jordan
When Breath Becomes Air by Paul Kalanithi
Wicked by Gregory Maguire
Will Grayson Will Grayson by John Green and David Levithan
Wizard of the Pigeons by Megan Lindholm
World War Z by Max Brooks
Wuthering Heights by Emily Bronte (reread)
XKCD: What If? by Randall Munroe
Zodiac by Neal Stephenson
Zombie Survival Guide by Max Brooks
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MASTERY JOURNAL
“Mankind was born on Earth. It was never meant to die here”. This phrase plays an important sentiment in Christopher Nolan’s ninth feature film, Interstellar (2014). The film is an experience beyond the limits of our wildest imaginations. In 2006, the studio hired Jonathan Nolan to write the script for Steven Spielberg. Six years later, Spielberg had departed the project and Christopher was in search of his next film after wrapping up his Dark Knight Trilogy. He was familiar with Jonathan’s aspirations and frustrations with Interstellar, but over time he found that he too had become interested in the project from a directorial standpoint. When he learned the director’s chair was open, he simply placed a call to Paramount and offered his services.
Having made all his previous studio features at Warner Brothers, Nolan had forged warm relationships with the top executives there. Unwilling to miss out on the next project from one of their most valuable talents, Warner Brothers took the unorthodox step of co-financing Interstellar with Paramount. As such, two of the largest studios in Hollywood backed Nolan with $175 million dollars – a large sum considering that Nolan also enjoyed a $20 million salary. The fact that Nolan ultimately brought the picture in $10 million under budget is, a testament to Nolan’s disciplined work ethic and goodwill towards his financiers. Interstellar finds Nolan working with the largest canvas he’s ever had, considering the overwhelming scale of The Dark Knight Rises.
This world must be saved, but this time, the responsibility falls not to superheroes but to scientists and mathematicians. We begin in the back half of the twenty-first century, where the mounting effects of pollution, industrialization, and other byproducts of modern civilization have ravaged the earth. Crops are failing, water is growing scarce, society is stagnating. A desperate and hungry world turns to space exploration as the remaining farmers to try to till the increasingly-infertile fields. An ex-pilot turned corn farmer named Cooper is trying to live the remainder of his time with his two children and father-in-law. When Cooper examines the curious phenomena of patterned dust in his daughter’s bedroom, he manages to decode it as geographical coordinates. Cooper and his daughter, Murph, follow the coordinates to a secret underground bunker, only to discover a secret refuge for the remnants of NASA with a secret mission. The mission started with the discovery of a wormhole near Saturn, placed there by an unknown intelligence. An entirely new galaxy has been placed within their reach complete with three potentially habitable planets orbiting a supermassive black hole named Gargantua. One of the few pilots qualified to lead a mission of this importance, Cooper finds himself with the tough choice of leaving his family behind and command an interstellar reconnaissance mission to find a new home for the human race before they lose the only one they’ve ever known.
As Matthew McConaughey’s absence as Cooper stretches from months, to years, to decades, his children grow into disillusioned, bitter adults. They’re angry at the father who abandoned them, the most vindictive sibling being Murph, ripped from her father’s warmth and guidance at a fragile young age. Jessica Chastain continues her winning streak of strong performances for prestigious directors here as the adult Murph, a brilliant and driven scientist working for NASA. Her insightful ability to see patterns where others do not allow her to successfully receive messages sent by the universe and employ them towards the salvation of the human race, all while communicating with her long-lost father in a way that transcends both space and time. Casey Affleck is even more humorless and bitter as Cooper’s grown son, Tom. In his father’s absence, the work of maintaining the family farm has fallen to him, and the hard, fruitless work and tragic death of his firstborn son has left him an angry and hollow shell of the optimistic and eager boy he once was. Well known for his boyish physicality, Affleck instead conveys an imposing corn-fed frame and a hardheaded coldness that puts him at odds with Murph’s good intentions.
In Interstellar, Michael Caine plays Cooper’s mentor Professor Brand, the NASA scientist in charge of the Endurance mission. He plays the role of the sagely mentor and charming bearer of exposition, but where the Professor Brand character diverges the most from prior performances is in his intentional misleading of Cooper and his crew about the ultimate impossibility of their primary mission objective. Anne Hathaway, plays Professor Brand’s daughter, also named Brand. As a character who finds herself caught at the intersection of faith and reason, Hathaway capably conveys her character’s vulnerable intelligence and idealistic confidence. More than just a potential love interest for Cooper, Brand is a conduit through which Nolan presents one of Interstellar’s key ideas: the idea of “love” as a powerful, quantifiable cosmic concept. In other words: the idea of “love” being a separate dimension unto itself that can transcend and influence time, space, and gravity.
By the time of Interstellar’s release in November of 2014, Paramount had completely ceased the distribution of celluloid release prints in favor of an all-digital delivery to theaters. However, Nolan harnessed his considerable influence and convinced the studio to make an exception for him, even going so far as providing an incentive to see the IMAX, 70mm and conventional 35mm film prints over digital by making them available a full two days before the film’s official release. Interstellar scored mostly-positive critical reviews, most of which praised Nolan’s considerable technical showmanship and awe-inspiring ambition even as they found some faults in the overall cohesiveness of his story. While the film’s box office performance didn’t post Batman kinds of numbers, Nolan’s fanbase and Interstellar’s buzz as “the most anticipated film of 2014” all but guaranteed a healthy reception. Interstellar’s legacy as a technical triumph was confirmed at the Academy Awards, where it was nominated for Best Score, Best Sound Mixing, Best Sound Editing, and Best Production Design. It would go on to win the Oscar for Best Visual Effects, the same category that Stanley Kubrick won for his work on 2001: A Space Odyssey. Interstellar will surely end up as a timeless classic and will go down as one of the most audacious and ambitious science fiction films ever made.
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