Your favorite novels - Ughubug wastes a day writing a dissertation on random shit he read, extreme autism

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I love McCarthy's works, the way he writes his characters and describes the scene genuinely makes it seem so easy, fantastic author.

My favorite novel has to be House of Leaves, I love a piece of media that can take full advantage of the medium it's produced on. Its one of the few books out there that could never be anything but a book, because of the way the story is laid out to the reader, there is no way to properly convey any of it in another medium.
I don't want to spoil any of it , but if you are a fan of books as a medium it is an easy 100% must read if for nothing more than experiencing it for yourself.
Although a bit gimmicky, it was absolutely superb.

I especially love the way the entire book is gaslighting you from the publications page all the way to the end, it was a trip to realize just how much this effort went into the illusion.
I really loved the house parts of House of Leaves but then when it just became about the narrator being wacky and letters from his mom I dropped it. Not because they were bad necessarily, but because the parts about the house were so fuckin kino that I didn't want it to end. The Navidson house was a truly disturbing place. I never gave a fuck about Truant. The labyrinth and the minotaur were just too interesting.

I have much respect for the author despite that, it is a really excellent work. I don't know of any other book like it.
 
I think the entirety of enjoyment a reader gets from House of Leaves is acquired in that first reading, and the willingness of the reader to treat it like a puzzle book rather than a coherent story. It’s great as a parody of self-involved media critique, but the story in itself falls apart hard after the Minotaur. I do, however, also enjoy the gimmicks of using the medium itself as an element of the theming, as demonstrated.
Yeah that's why I can't spoil it, the first read is fantastic.
 
I really loved the house parts of House of Leaves but then when it just became about the narrator being wacky and letters from his mom I dropped it. Not because they were bad necessarily, but because the parts about the house were so fuckin kino that I didn't want it to end. The Navidson house was a truly disturbing place. I never gave a fuck about Truant. The labyrinth and the minotaur were just too interesting.

I have much respect for the author despite that, it is a really excellent work. I don't know of any other book like it.
the pay off to the whole John Truant arc of was the fact that the author was being meta, and there are no other editions of the book, none of the stuff that happens to him was real because it was established that Truant was a compulsive liar, and made just made up stories. Its a fun reveal after your first read.
 
Here's a hall of infamy for absolute piss:

Tidewater Dynasty: Novel of the Lee family, piss

The Leopard: Supposed to be great if you're an Italian aristocrat, otherwise, piss, legendary monologue about Sicilians tho

Fear and Loathing in Las Vegas: Like McCarthy, I wanted to like it, but piss, Thompson also just strikes me as a douche

Measuring the World: Boring (Gauss = boring topic)

Francis of the Filth: Complete trash, Filthy Frank didn't know what the fuck he was doing with that medium, he made it weirdly melodramatic

Siddhartha: Actually not that bad, I think I ranked it too low, interesting contrast to Ben-Hur, but ultimately still boring

Comanche Moon: Absolutely awful, it was the first thing of McMurtry I read after Lonesome Dove and it killed my appetite for reading any more of his stuff

The Good Shepherd: Greyhound was a great movie adaptation of this, the novel itself is completely terrible, very repetitive and dry, 99% of time is spent reading about the captain drinking coffee

Big Fish: Movie for this one was AWESOME, book kind of sucked; just a bunch of vignettes loosely strung together, like little things the author wrote down over time and then collected, but it didn't have any point to it, I was extremely disappointed

Flatterland: Really cringey humor, none of the science fiction aspect (it's more like A Phantom Tollbooth inanity), it has harder subject matter to sell but it really fails to sell it

Far Cry: Absolution: Read this just because I was so disappointed with how hard Far Cry 5 dropped the ball on a potentially interesting setting and this dropped it EVEN HARDER. Special shoutout to how bad the characterization is (the Christian-flavored cult leaders swear and fuck as openly and often as most non-religious young folks do)

The Ballad of Trenchmouth Taggart: Author was too in love with his character. Tried too hard to make him the coolest hillbilly in the world. Manages to mangle and miss everything interesting about the Coal Wars.
 
@Daddy's Angry Juice
House of Leaves meta
Truant never existed. Neither did Zampano, at least not as the narration portrays him, neither did the Navidson Record. It’s all the writing of Truant’s “mother” as she sits in the nuthouse.

I would typically malign this development, but you really have to work for it.
 
pay off to the whole John Truant arc of was the fact that the author was being meta, and there are no other editions of the book, none of the stuff that happens to him was real because it was established that Truant was a compulsive liar, and made just made up stories. Its a fun reveal after your first read
Well, that was revealed at the beginning of the book when Johnny admits that he altered the text from "heater" to "water heater". So the reader is immediately told that Johnny is a liar. Not much of a reveal in that context.
 
@Daddy's Angry Juice
House of Leaves meta
Truant never existed. Neither did Zampano, at least not as the narration portrays him, neither did the Navidson Record. It’s all the writing of Truant’s “mother” as she sits in the nuthouse.

I would typically malign this development, but you really have to work for it.
Yeah, the Navidson story was fantastic, but that was the part that got me to be like "okay you really put in a lot more effort than i initially anticipated"

Well, that was revealed at the beginning of the book when Johnny admits that he altered the text from "heater" to "water heater". So the reader is immediately told that Johnny is a liar. Not much of a reveal in that context.
Yeah but it's never explicitly stated that's what's going on, people that have a better understanding of foreshadowing may have picked up on it earlier.I had my suspicions especially after the bar scene, but I was pretty blindsided by how far it went.
 
Good post.

I am going to have to think about this. It is very hard to pick a favourite but currently, right now, this very morning, the first book that comes to mind is Samuel Butler's The Way of All Flesh, which is the book other Victorian era novels wanted to be like but were never honest enough to be. It is cruel, nasty, insulting in some ways, but it is also the funniest book I have ever read. Few write as well as Butler did and there is not a wasted word.
 
I'm going to review some books I should have included in my ramblepost.

ROADWORK (Stephen King)

Roadwork is a lot like "Falling Down" in that it was pitched to me as the story of some victim of society having a badass last stand against the authorities, and whoever pitched it that way is a sociopath (doesn't get it's a tragedy). This is a fascinating book, especially because, as one of King's Bachman books, it isn't as well-talked about as the absolute nonsense he usually does. (I've only read this and IT.) And this is much, much better than IT. Frankly I don't know why I ranked it so low on my list; it belongs up there with Straight Man and A Confederacy of Dunces in Realistic Fiction, and it's a stronger book in general than Straight Man.

You've got the story of a man whose life is falling apart due, immediately, to eminent domain, but really due to the death of his son. The city or county or state or whatever wants to steal his property to make room for a highway that, ultimately, turns out to have been a typical corrupt pork project. Unable to move on from the house where his son died of brain AIDS/cancer, he drags his feet and starts to let everything in his life fall apart. He fucks up at work and gets fired, his wife realizes he's going to fuck up and lose them the house without having made arrangements to get a new property. The man is so paralyzed and so blase about the fact that he effectively pushes everyone away and it causes his life to spiral down even more. Eventually he settles on a path, which is glorious last stand defending his castle.

I thought the psychological portrait in it was very, very good. King does some cool stuff; the man has this mental breaker in his head that he throws whenever he starts thinking in the direction of violence, the idea of Glorious Last Stand is always there, you can kind of tell even if you don't know the ending that it's going that way, but it's just foreshadowed. The man is always pouring himself another drink, very good show-don't-tell I think at him spiraling into his alcoholism.

There's one passage I remember from it, made a big impression, where he's sort of opened up to himself about what's killing him inside, kind of plainspoken and poetic like King can be, when his son died. The sort of mundane horror you have about death and the death of a loved one and how he couldn't move on, even though his wife could, because he loved him more and the world moves heaven and earth to try to emotionally support a mother but gives nothing to a father, so his sadness just sits inside all the time until it snuffs the life out of him.

It was the cells, you see, that had made him talk like that. A little bunch of bad cells no bigger, say, than your average-sized walnut. Once, the night nurse said, he had screamed the word boondoggle again and again for nearly five minutes. Just bad cells, you know. No bigger than your garden-variety walnut. Making his son rave like an insane dock walloper, making him wet the bed, giving him headaches, making him—during the first hot week of that July—lose all ability to move his left hand.

“Look,” Dr. Younger had told them on that bright, just-right-for-golf June day. He had unrolled a long scroll of paper, an ink-tracing of their son’s brain waves. He produced a healthy brain wave as a comparison, but he didn’t need it. He looked at what had been going on in his son’s head and again felt that rotten yet juicy taste in his mouth. The paper showed an irregular series of spiky mountains and valleys, like a series of badly drawn daggers.

Inoperable.

You see if that collection of bad cells, no bigger than a walnut, had decided to grow on the outside of Charlie’s brain, minor surgery would have vacuumed it right up. No sweat, no strain, no pain on the brain, as they had said when they were boys. But instead, it had grown down deep inside and was growing larger every day. If they tried the knife, or laser, or cryosurgery, they would be left with a nice, healthy, breathing piece of meat. If they didn’t try any of those things, soon they would be bundling their boy into a coffin.

Dr. Younger said all these things in generalities, covering their lack of options in a soothing foam of technical language that would wear away soon enough. Mary kept shaking her head in gentle bewilderment, but he had understood everything exactly and completely. His first thought, bright and clear, never to be forgiven, was: Thank God it’s not me. And the funny taste came back and he began to grieve for his son.

Today a walnut, tomorrow the world. The creeping unknown. The incredible dying son. What was there to understand?

Charlie died in October. There were no dramatic dying words. He had been in a coma for three weeks.

• • •

He sighed and went out to the kitchen and made himself a drink. Dark night pressed evenly on all the windows. The house was so empty now that Mary was gone. He kept stumbling over little pieces of himself everywhere—snapshots, his old sweatsuit in an upstairs closet, an old pair of slippers under the bureau. It was bad, very bad, to keep doing that.

He had never cried over Charlie after Charlie’s death; not even at the funeral. Mary had cried a great deal. For weeks, it seemed, Mary had gone around with a perpetual case of pinkeye. But in the end, she had been the one to heal.

Charlie had left scars on her, that was undeniable. Outwardly, she had all the scars. Mary before-and-after. Before, she would not take a drink unless she considered it socially helpful to his future. She would take a weak screwdriver at a party and carry it around all night. A rum toddy before bed when she had a heavy chest cold. That was all. After, she had a cocktail with him in the late afternoon when he came home, and always a drink before bed. Not serious drinking by anyone’s yardstick, not sick-and-puking-in-the-bathroom drinking, but more than before. A little of that protective foam. Undoubtedly just what the doctor would have ordered. Before, she rarely cried over little things. After, she cried over them often, always in private. If dinner was burned. If she had a flat. The time water got in the basement and the sump pump froze and the furnace shorted out. Before, she had been something of a folk music buff—white folk and blues, Van Ronk, Gary Davis, Tom Rush, Tom Paxton, Spider John Koerner. After, her interest just faded away. She sang her own blues and laments on some inner circuit. She had stopped talking about their taking a trip to England if he got promoted a step up. She started doing her hair at home, and the sight of her sitting in front of the TV in rollers became a common one. It was she their friends pitied—rightly so, he supposed. He wanted to pity himself, and did, but kept it a secret. She had been able to need, and to use what was given to her because of her need, and eventually that had saved her. It had kept her from the awful contemplation that kept him awake so many nights after her bedtime drink had lulled her off to sleep. And as she slept, he contemplated the fact that in this world a tiny collection of cells no bigger than a walnut could take a son’s life and send him away forever.

He had never hated her for healing, or for the deference other women gave her as a right. They looked on her the way a young oilman might look on an old vet whose hand or back or cheek is shiny with puckered pink burn tissue—with the respect the never-hurt always hold for the once-hurt-now-healed. She had done her time in hell over Charlie, and these other women knew it. But she had come out. There had been Before, there had been Hell, there had been After, and there had even been After-After, when she had returned to two of her four social clubs, had taken up macramé (he had a belt she had done a year ago—a beautiful twisted rope creation with a heavy silver buckle monogrammed BGD), had taken up afternoon TV—soap operas and Merv Griffin chatting with the celebrities.

Now what? he wondered, going back to the living room. After-After-After? It seemed so. A new woman, a whole woman, rising out of the old ashes that he had so crudely stirred. The old oilman with skin grafts over the burns, retaining the old savvy but gaining a new look. Beauty only skin deep? No. Beauty was in the eye of the beholder. It could go for miles.

For him, the scars had all been inside. He had examined his hurts one by one on the long nights after Charlie’s death, cataloguing them with all the morbid fascination of a man studying his own bowel movements for signs of blood. He had wanted to watch Charlie play ball on a Little League team. He had wanted to get report cards and rant over them. He wanted to tell him, over and over, to pick up his room. He wanted to worry about the girls Charlie saw, the friends he picked, the boy’s internal weather. He wanted to see what his son became and if they could still be in love as they had been until the bad cells, no bigger than a walnut, had come between them like some dark and rapacious woman.

Mary had said, He was yours.

That was true. The two of them had fitted so well that names were ridiculous, even pronouns a little obscene. So they became George and Fred, a vaudeville sort of combination, two Mortimer Veeblefeezers against the world.

And if a collection of bad cells no bigger than a walnut could destroy all those things, those things that are so personal that they can never be properly articulated, so personal you hardly dared admit their existence to yourself, what did that leave? How could you ever trust life again? How could you see it as anything more meaningful than a Saturday night demolition derby?

All of it was inside him, but he had been honestly unaware that his thoughts were changing him so deeply, so irretrievably. And now it was all out in the open, like some obscene mess vomited onto a coffee table, reeking with stomach juice, filled with undigested lumps, and if the world was only a demo derby, wouldn’t one be justified in stepping out of his car? But what after that? Life seemed only a preparation for hell.

He saw that he had drained his drink in the kitchen; he had come into the living room with an empty glass.
 
ROADWORK (Stephen King)
Was Roadwork written under his Bachman pseudonym? I'm. not that big of a King fan but I LOVED The Running man and The Long Walk is my favorite King book. I would recommend it to almost anyone.

+1 to Confederacy of Dunces and to The Master and Margarita. The latter is one of the craziest, most entertaining books ever written.

Norm Macdonald's fake memoir was also insanely good. The first few chapters will make you excited to read the whole thing. American Tabloid is awesome and as someone who isn't into crime/noir I had a blast reading it. Delillo's Zero K is really good as well. I found Blood Meridian to be too bleak, but I just don't like western as a genre and really hated The Road. Franzen's book The Corrections is a great family drama too.
 
Was Roadwork written under his Bachman pseudonym? I'm. not that big of a King fan but I LOVED The Running man and The Long Walk is my favorite King book. I would recommend it to almost anyone.

+1 to Confederacy of Dunces and to The Master and Margarita. The latter is one of the craziest, most entertaining books ever written.

Norm Macdonald's fake memoir was also insanely good. The first few chapters will make you excited to read the whole thing. American Tabloid is awesome and as someone who isn't into crime/noir I had a blast reading it. Delillo's Zero K is really good as well. I found Blood Meridian to be too bleak, but I just don't like western as a genre and really hated The Road. Franzen's book The Corrections is a great family drama too.
“Listen,” Magliore said, a little more quietly. “Three thousand bucks wouldn’t buy you what you want, anyway. This is like the black market, you know what I mean?—no pun intended. It would take three or four times that to buy the goop you need.”

He said nothing. He couldn’t leave until Magliore dismissed him. This was like a nightmare, only it wasn’t. He had to keep telling himself that he wouldn’t do something stupid in Magliore’s presence, like trying to pinch himself awake.

“Dawes?”

“What?”

“It wouldn’t do any good anyway. Don’t you know that? You can blow up a person or you can blow up a natural landmark or you can destroy a piece of beautiful art, like that crazy shit that took a hammer to the Pietà, may his dink rot off. But you can’t blow up buildings or roads or anything like that. It’s what all these crazy niggers don’t understand. If you blow up a federal courthouse, the feds build two to take its place—one to replace the blown-up one and one just to rack up each and every black ass that gets busted through the front door. If you go around killing cops, they hire six cops for every one you killed—and every one of the new cops is on the prod for dark meat. You can’t win, Dawes. White or black. If you get in the way of that road, they’ll plow you under along with your house and your job.”


(pg. 144-145)


The two I probably should have included in American Historical Fiction. Both are novels of the War between the States.


COLD MOUNTAIN
Cold Mountain is quite famous. For me, I didn't enjoy it near as much as I should have, and I think the source of the problem was that it had just been hyped up my whole life by my parents. Otherwise, the subject matter is exactly the kind of stuff I would want to write, although the prose is not. I find Charles Frazier to often be dry and sometimes dull, but he is a gold mine of profundities and quotes. Comes across as wise in real life and a rich soul. Most importantly, Frazier - an Appalachian from North Carolina - has a (to borrow someone else's expression) "academic level" understanding of Old South society.

Cold Mountain was notable culturally for being a rare work that focused on the experience of the Southern yeomen and the anti-Confederate Southern perspective. It's not Southern Unionism, but the protagonist, Inman, is a deserter who has come to realize that he has no reason to be where he is. The book is laid out like his odyssey back home. (Spoiler he dies LOL) Along the way you get a lot of sections looking into his love interest's life trying to keep the farm going (this woman is a lady helped by a cracker girl) under war hardship and what's like an anthology of short stories woven into the novel, seamlessly, as he runs into people and each one is a springboard for a story, a particularly impressive one involving a plantation son losing his fancy to his father selling her off and then searching around the country, mad, trying to find her.

THAT'S the good part, and it is a big part of the novel. I very much liked the farming and short story sections. It was Inman I didn't like, because although he has a good reason to be surly over being conscripted, he felt one note and I never could connect with him or be all that excited to read about him being such a sadsack. So I had the conflicted feeling of really liking parts of the book and occasionally striking gold, but much of the time having to put up with Inman's pity parade. This is, again, one of those things where I think it would be a lot more impactful to someone who isn't already familiar with the idea of Southern wartime suffering, the differences between Appalachians and Deep Southerners and the fact that the War was unpopular among the former.

All the same, I feel it did a lot well and it has considerable cultural value. It arguably should be reading in grade schools/colleges for what it has to say about the yeomanry.

Quote on pain:
—That’s just pain, she said. It goes eventually. And when it’s gone, there’s no lasting memory. Not the worst of it, anyway. It fades. Our minds aren’t made to hold on to the particulars of pain the way we do bliss. It’s a gift God gives us, a sign of His care for us. (pg. 219)

Reimagining Venus fly trap/mundane things as horror:

It was a foul region, planed off flat except where there were raw gullies cut deep in the red clay. Scrubby pines everywhere. Trees of a better make had once stood in their place but had been cut down long ago, the only evidence of them now an occasional hardwood stump as big around as a dinner table. Poison ivy grew in thick beds that stretched as far as Inman could see through the woods. It climbed the pine trees and spread among their limbs. The falling needles caught in the tangled ivy vines and softened the lines of the trunks and limbs and formed heavy new shapes of them until the trees loomed like green and grey beasts risen out of the ground.

The forest looked to be a sick and dangerous place. It recalled to him a time during the fighting down along the coast when a man had shown him a tiny plant, a strange and hairy thing that grew in bogs. It knew to eat meat, and they fed it little pieces of fatback from the end of a splinter. You could hold the tip of a finger to what stood for its mouth and it would snap at you. These flatwoods seemed only a step away from learning the trick on a grander scale.

What Inman wanted was to be out of there, but the river stretched wide before him, a shit-brown clog to his passage. As a liquid, it bore likeness more to molasses as it first thickens in the making than to water. He wished never to become accustomed to this sorry make of waterway. It did not even fit his picture of a river. Where he was from, the word river meant rocks and moss and the sound of white water moving fast under the spell of a great deal of collected gravity. Not a river in his whole territory was wider than you could pitch a stick across, and in every one of them you could see bottom wherever you looked.

This broad ditch was a smear on the landscape. But for the balls of yellow scud collected in drifted foamy heaps upstream of grounded logs, the river was as opaque and unmarked as a sheet of tin painted brown. Foul as the contents of an outhouse pit.

Inman fared on through this territory, criticizing its every feature. How did he ever think this to be his country and worth fighting for? Ignorance alone would account for it. All he could list in his mind worth combat right now was his right to exist unmolested somewhere on the west fork of the Pigeon River drainage basin, up on Cold Mountain near the source of Scapecat Branch. (pg. 64-65)



Dude gets shot:

—Put that thing down, Inman said. He had the shot hammer back and the bore leveled at the boy.

The boy looked at him and his blue eyes were empty as a round of ice frozen on a bucket top. He looked white in the face and even whiter in crescents under his eyes. He was a little wormy blond thing, his hair cropped close as if he had recently been battling headlice. Face blank.

Nothing about the boy moved but his hand, and it moved quicker than you could see.

Inman suddenly lay on the ground.

The boy sat and looked at him and then looked at the pistol in his hand and said, They God. As if he had not reckoned at all on it functioning as it had.


Ada heard the gunshots in the distance, dry and thin as sticks breaking. She did not say anything to Ruby. She just turned and ran. Her hat flew off her head and she kept on running and left it on the ground like a shadow behind her. She met Stobrod and he held Ralph’s mane in a death grip, though the horse had slowed to a trot.

—Back there, Stobrod said. He kept on going.

When she reached the place, the boy had already gathered up the horses and gone. She went to the men on the ground and looked at them, and then she found Inman apart from them. She sat and held him in her lap. He tried to talk, but she hushed him. He drifted in and out and dreamed a bright dream of a home. It had a coldwater spring rising out of rock, black dirt fields, old trees. In his dream the year seemed to be happening all at one time, all the seasons blending together. Apple trees hanging heavy with fruit but yet unaccountably blossoming, ice rimming the spring, okra plants blooming yellow and maroon, maple leaves red as October, corn tops tasseling, a stuffed chair pulled up to the glowing parlor hearth, pumpkins shining in the fields, laurels blooming on the hillsides, ditch banks full of orange jewelweed, white blossoms on dogwood, purple on redbud. Everything coming around at once. And there were white oaks, and a great number of crows, or at least the spirits of crows, dancing and singing in the upper limbs. There was something he wanted to say.
An observer situated up on the brow of the ridge would have looked down on a still, distant tableau in the winter woods. A creek, remnants of snow. A wooded glade, secluded from the generality of mankind. A pair of lovers. The man reclined with his head in the woman’s lap. She, looking down into his eyes, smoothing back the hair from his brow. He, reaching an arm awkwardly around to hold her at the soft part of her hip. Both touching each other with great intimacy. A scene of such quiet and peace that the observer on the ridge could avouch to it later in such a way as might lead those of glad temperaments to imagine some conceivable history where long decades of happy union stretched before the two on the ground. (pg
. 352-353).

When I read that I broke down weeping, but not because of the character. Instead I remembered being in Andersonville and coming across this mass grave - not as in the corpses thrown together, but in that a huge number of soldiers had died and so there was a large cemetery - of soldiers from my home state. They were Union, apparently, that had been scooped up in one big surrender and so a lot of them died together. It was an absolutely wretched feeling getting some insight into the scale of pointless loss.


GOOD REBEL SOIL
This one doesn't have any literary significance, but just was, I thought, very well written. It deals with a specific facet of the War, the guerilla war in the Cumberland Plateau. Across large swathes of the South there were large Unionist movements (and likewise in the "border states" there were large Confederate movements), and in two particular places - the Ozarks and the Cumberland - this fused with clan feuding into a brutal total war of guerilla fighting that essentially destroyed the areas. There the concept of a "brother's war" was far more meaningful as, even within a county, you could identify, village by village, which side the locals supported. The combat took the form of home burnings, backwoods ambushes/murders, essentially a terroristic civil war within Appalachian society.

The book sums it up, accurately, as 2/3rds of Tennessee supporting the CSA and 1/3rd the USA, 1/3rd of Kentucky supporting the CSA and 2/3rd the USA.

Champ Ferguson gained notoriety as the king of backwoods murdering and one of only two (along with Andersonville commandant Henry Wirz) Confederates to be executed after the War. Like Wirz, his real crime was losing, as what he did was no different than his rivals. Ferguson was a folk hero in the vicinity of Cookeville and Sparta, and he waged a private war against Tinker Dave Beaty who was based out of Jamestown.

What the author did was he took the many contradictory legends around Ferguson's life and spun them into a single first-person narrative. Folksy/actiony in tone - no work of high literature - but entertaining/interesting to read. Ferguson was, in real life, likely just a scoundrel of the lowest order, but there are stories of retaliation for outrages to his wife, a brother who fought for the Union, and other such. The author managed to present it as a single coherent story, although of course it's one where Ferguson is portrayed sympathetically, as these things usually are, as an uninterested Confederate purely reacting to invasion.

I know I haven't really said much about the book itself. I just think it's good, is a good example of historical fiction novelizing a specific figure but doing so in a way that still feels like good fiction.
 
Última edición:
The Dying Earth Saga by Jack Vance is amazing and probably my current favorite. They're a bunch of short stories and then two full novels which is the highlight of the series. They cover the travels of Cugel the Clever a man who travels around an almost hellish Earth with a sun that's in the process of dying to get back home to get his revenge on a Wizard who is the reason he's so far away from it. Unlike most novels Cugel isn't a hero and spends the two novels ripping people off, tricking people into doing thing for him and stealing stuff. In many ways he cares a lot more for having a good time then he does about actually making it back home. That mixed with the unique setting of fantasy world that's in the middle of a apocalyptic event making it really fun to read. I feel like I'm not doing it justice with this description but it really is good.
 
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