I started off this fantastic ranty caffeinated post about two kinds of books: books like clockwork and books like labyrinths (there's a word for my list: Labyrinth. all kinds of sexy) and very quickly got bored. So here's what I have instead: A list of books that have rocked my world.
I don't use the term lightly. I mean the kind of book where you find yourself literally breathless when you can be bothered to look up and realize you're in the SAGES cafe or wherever and that this pirate battle or road trip or whatever is not actually taking place. Books that I might consider having surgically implanted into my abdominal cavity, except then they'd get all gooey and I wouldn't be able to read them.
So here they are, in no particular order:
House of Leaves, by Mark Z. Danielewski.
This book started an obsession with interactive literature, with metatext and all things utterly pretentious. And I found that no one can carry off a book like this like Mark Z. I've ranted about it before and I'll rant about it again: It's the most visual book I've ever read, a brilliant send-up of film criticism that somehow works both for and against itself, as well as a pretty decent thriller. It takes quite a bit to scare me, text-wise, and this book had me peeking around corners a little cautiously.
see also:
253, by Geoff Ryman.
Watchmen, by Alan Moore.
I have a difficult time hiding my newly-discovered love for the comic book genre. I am a huge Lex Luthor fan, and I love watching the crazy plots as they spin out of control and get cheesier and cheesier.
This book, it is not a comic book. It is simply a book that wouldn't have worked in any other form. Yes, it's about superheroes. Kind of. Just trust me on this one: it is one of the best books I have ever read in my life. It's the kind of book you reach the end of and turn it around to read it again, for the sheer pleasure of recognizing all the plot machinery in place. I catch new things every time I read it, and I still can't tell you how the book really ends because I'm always, always turning the pages too fast by that point.
see also:
Identity Crisis, Brad Meltzer, and
God Loves, Man Kills, by Chris Claremont.
Lolita, Vladmir Nabokov.
Gets me every time. Everyone who's ever tried to put this book to visuals has failed pretty spectacularly, because you just can't get that feeling of bounce and play on camera, the way the words seduce you all by themselves, without even the excuse of a story.
Plus, they get it wrong because Dolores Haze has not hit puberty (read: no boobs) and has auburn, curly hair. (not blonde) She's supposed to look twelve. It's a pedophiliac love song. A seductive one. The best unreliable narrator in the English language.
see also:
Pale Fire. Say it: "I was the shadow of the waxwing slain."
Quicksilver, Neal Stephenson.
This is one of those books where you really just have to give it three hundred pages or so. As soon as you get off of Daniel Waterhouse, you get into the awesome pirate story. If you really want the full experience, I recommend reading
Cryptonomicon first, to have some reason to tune in to the Waterhouse storyline, which can get old fast if a) you're not into British political history b) you're not into the history of science c) you don't already know who Robert Hooke and Gottfried Leibniz are. It's a Sisyphan task, this book and its sequels, but once the ball gets rolling it rolls fast. And well. If you like Hugo, and computers, you'll probably like Stephenson.
see also:
The Confusion,
The System of the World.
And as a special bonus, pair time:
The Collected Poetry of John Donne (by John Donne) alongside
Wit by Margaret Edson.
It's no secret that I love John Donne. But when you juxtapose his fantastic mazy poems with Edson's play about life and death and wordplay and the search for meaning in literature--especially with the excellent TV version with Emma Thompson--Donne suddenly feels like the most modern man in the world.
caveat: I fucking hate the end of this play. It's so bad it almost ruins the rest of it, and the rest of it is pretty damn good.
Play, by Samuel Beckett, along with Dante's
Inferno.
Beckett is my latest obsession. I drool and swoon for his bleakness and cycicism and for his complete inability to write anything that doesn't remind me of Dante. (I also drool and swoon over Alan Rickman in this play for the BBC.) I love when a writer isn't afraid to play with conventions--like plays in which nothing happens.
The Club Dumas, by Arturo Perez-Reverte, and anything ever written about the Devil, but probably
Paradise Lost is best.
It wasn't so much the writing that got me on The Club Dumas, but the concept of tracking down ancient books on the occult to really, truly, summon a Satan who emerges as a god of knowledge and informed rebellion rather than an adversary. Plus I didn't see the twist coming at all, which is always nice. I've always found Paradise Lost to be the strangest read, because I find it hard to like Adam and Eve and remarkably easy to like (and love a little) Lucifer. Plus, he's the first evolutionist:
"..strange point and new!
Doctrine which we would know whence learnt: who saw
when this creation was? remember'st thou
Thy making, while the Maker gave thee being?
We know no time when we were not as now,
Know none before us, self begot, self rais'd
by our own quick'ning power..."