/lit/ - Literature

>>3060561

>implying Zen gives more joy than heroin

>>2991234

Can you read, you thick little mongrel?

It isn't a problem if there's a character or characters people sympathize with, it IS a problem to have a RULE that states there SHOULD ALWAYS be a character who the reader can sympathize with.

>>2829255
okay let's start sageing and reporting

I think it's a bit silly to expect Joyce to give you a highly original and developed dramatic narrative when he just wants to mess around with prose and make psychologically powerful characterizations. It's not as if he has some sort of contract with you to provide it; if that's all you're looking for in a novel, don't read Joyce. Most readers are more open I hope.

>Friday, May 20, 2011
>1. I am female, seventeen years old at the time of this writing, about as white as it gets and unfortunately American.

>>2193056

>Well, if you cared about things more then MOMENTARY PLEASURE, maybe you would understand.

That implies out of the momentary pleasure there comes negative consequences which is why it should be avoided. Which is incorrect in this case (assuming it's safe sex).

>>2149764
>implying opinions of men raped by chimps matter anymore.

>>2128646

>but can you prove that those processes are the origin of our will, rather than the place where it manifests itself before traveling to our conscious minds?

What? Travel? Where? Why would it need to travel? It's all there. You're not making any sense, Jimmy.

>>2125859

I seriously hope you don't mean this post: >>2125813

It actually mentions nothing about the book or the material within. It is not criticism.

>>2113233
poor you, you decided to criticize my views but didn't do so with any substantiation and you were surprised when I lost my patience.

The second step in this is to demonstrate how your definition is seperate or different from mine. Do your best here, anon...

>>2103445
>His name is HANEKE not HANAKE.
Three points to gryffindor for that stroke of genius...

>HE HASN'T EVER WRITTEN A POPULAR PLAY. HE HAD DIRECTED SEVERAL THOUGH.
Oh, brilliant, that's halfway to a concession... He also writes his films..

True, the time, to one who does not love farce,
And if misery must be prefers it nobler, shows apparent vices;
At least it provides the cure for ambition.
One does not crave power in ant-hills, nor praise in a paper forest;
One must not even indulge the severe
Romance of separateness, as of Milton grown blind and old
In his broken temple against the drunkards:
The ants are good creatures, there is nothing to be heroic about.
But the time is not a strong prison either.
A little scraping the walls of dishonest contractor's concrete
Through a shower of chips and sand makes freedom.
Shake the dust from your hair. This mountain sea-coast is real,
For it reaches out far into past and future;
It is part of the great and timeless excellence of things. A few
Lean cows drift high up the bronze hill;
The heavy-necked plow-team furrows the foreland, gulls tread the furrow;
Time ebbs and flows but the rock remains.
Two riders of tired horses canter on the cloudy ridge;
Topaz-eyed hawks have the white air;
Or a woman with jade-pale eyes, hiding a knife in her hand,
Goes through cold rain over gray grass.
God is here, too, secretly smiling, the beautiful power
That piles up cities for the poem of their fall
And gathers multitude like game to be hunted when the season comes.

>>2070876
Redundant? No... Maybe mentioning Ovid was silly, because he's not great, a little sort of facile and indulgent in his whimsy. I'll retroactively slip Vergil into that sentence if that's okay.

I mean as far as significance goes the two Homeric epics set up that dichotomy Western Literature has doggedly followed ever since, the one between freedom and inviduality (the Odyssey) and community and solidarity and civilisation (the Iliad). It's also a little uncharitable to consider them poems for the young; both have highly developed metaphysically aspects, the warrior culture in the Iliad, the individual and fate in the Odyssey (these are contiguous, I'll grant you that straight off the bat). That's not mentioning the glorious craft and those moments of pure brilliance; the rhetoric exchanged at the beginning of Iliad Book One, case in point.

Granted, this is coming from a person who's had much more access than average to the subtleties in Homer because I know the langauge.

The reason why I feel he has no place in my list is that Homer didn't perfectly match the spirit of poetry; poetry is always a solipsism and rarely a fable. Vergil was better on this account; there's this constant hint of sardonicism that threads the Aeneid, probably him chomping at the Augustinian party-line bit. This leads quite nicely to why I choose Chaucer; his irony is developed and directed and brilliant, all in the ways Vergil's wasn't free to be. As a narrative poet, I suppose he's still a figure in the old Homeric paradigm; but his judge of character that makes him a real poet and not a guileful prosaist.

Sound and Fury
Richard Yates- Tao Lin

It's been a bad year lol

I'm not Buddhist because Sufism is ten times coolah

>>2006430
Don't find this very plausible at all, anon

>>1955031
>implying she's easily one of the worst

Question.

I am an avid reader of all horror, classic and new.

What about you guys? Do you enjoy horror reads? I'm thinking about writing up an idea for a story I have.

Whats your favorite book /lit/?