#how to read a book the classic guide to intelligent reading
Text
Title: How to Read a Book: The Classic Guide to Intelligent Reading
Author: Mortimer J. Adler, Charles van Doren
Series or standalone: standalone
Publication year: 1940
Genres: nonfiction, self help, education, writing, classics
Blurb: You are told about the various levels of reading and how to achieve them - from elementary reading, through systematic skimming and inspectional reading, to speed reading, you learn how to pigeonhole a book, X-ray it, extract the author's message, criticise it. You are taught the different reading techniques for reading practical books, imaginative literature, plays, poetry, history, science and mathematics, philosophy and social science. Finally, the authors offer a recommended reading list and supply reading tests where you can measure your own progress in reading skills, comprehension, and speed.
#how to read a book the classic guide to intelligent reading#mortimer j adler#charles van doren#standalone#1940#nonfiction#self help#education#writing#classics
1 note
·
View note
Photo
How to Read a Book, originally published in 1940, has become a rare phenomenon, a living classic. It is the best and most successful guide to reading comprehension for the general reader. And now it has been completely rewritten and updated.
You are told about the various levels of reading and how to achieve them – from elementary reading, through systematic skimming and inspectional reading, to speed reading, you learn how to pigeonhole a book, X-ray it, extract the author's message, criticize. You are taught the different reading techniques for reading practical books, imaginative literature, plays, poetry, history, science and mathematics, philosophy and social science.
Finally, the authors offer a recommended reading list and supply reading tests whereby you can measure your own progress in reading skills, comprehension and speed.
Daily inspiration. Discover more photos at http://justforbooks.tumblr.com
#JUST FOR BOOKS#Mortimer J. Adler#Charles Van Doren#How to Read a Book: The Classic Guide to Intelligent Reading#book review
15 notes
·
View notes
Text
20 The Fourth Level of Reading: Syntopical Reading
So far we have not said anything specific about how to read two or more books on the same subject. We have tried to suggest that when certain subjects are discussed, more than one book is relevant, and we have also from time to time mentioned, in a very informal way, certain related books and authors in various fields. Knowing that more than one book is relevant to a particular question is the first requirement in any project of syntoptical reading. Knowing which books should be read, in a general way, is the second requirment.
The second requirement is a great deal harder to satisfy than the first.
The difficulty becomes evident as soon as we examine the phrase "two or more books on the same subject." What do we mean by "same subject"? Perhaps this is clear enough when the subject is a single historical period or event, but in hardly any other sphere is there much clarity to be found Gone with the Wind and War and Peace are both novels about great war––but there, for the most part, the resemblance stops. Stendhal's The Charterhouse of Parma is "about" the same conflict––that is, Napoleonic Wars––that Tolstoy's novel is "about." But of course neither is about war, or indeed about war in general, as such. War provides the context or background of both stories––as it does for much human life––but it is the stories on which the authors rivet our attention. We may learn something about the war––in fact, Tolstoy once said that he had learned much of what he knew about battles from Stendhal's account of the Battle of Waterloo––but we do not go to these novels or any other if our primary intention is to study war.
You could have anticipated that this situation would obtain in the case of fiction. It is inherent in the fact that the novelist does not communicate in the same way that an expository writer does. But the situation obtains in the case of expository works, as well.
Suppose, for example, that you are interested in reading about the idea of love. Since the literature of love is vast, you would have relatively little difficulty in creating a bibliography of books to read.
Suppose that you have done that, by asking advisors, by searching through the card catalogue of a good library, and by examining the bibliography in a good scholarly treatise on the subject. And suppose in addition that you have confined yourself to expository works, despite the undoubted interest of novelists and poets in the subject.
(We will explain why it would be advisable to do this later.) You now begin to examine the books in your bibliography. What do you find?
Even a cursory perusal reveals a very great range of reference.
There is hardly a single human action that has not been called––in one way or another––an act of love. Nor is the range confined to the human sphere. If you proceed far enough in your reading, you will find that love has been attributed to almost everything in the universe; that is, everything that exists has been said by someone either to love or to be loved––or both.
Stones are said to love the enter of the earth. The upward motion of fire is called a function of love. The attraction of iron fillings to a magnet is described as an effect of love. Tracts have been written on the love life of an amoebae, paramecia, snails and ants, to say nothing of most of the so-called higher animals, who are said to love their masters as well as one another. When we come to human beings, we discover that authors speaks and write of love for men, women, a woman, a man, children, themselves, making, money, art, domesticity, principles, a cause, an occupation or profession, adventure, security, ideas, a country life, loving itself, beefsteak, or wine. In certain learned treatises, the motions of the heavenly bodies are said to be inspired by love; in others, angels and devils are differentiated by the quality of their love. And of course God is said to be Love.
Confronted with this enormous range of reference, how are we to state what the subject is that we are investigating? Can we even be sure that there is a single subject? When one person says “I love cheese,” and another says “I love football,” and a third says “I love mankind” are they all using the word in any sense that is common? After all, one eats cheese but not football or mankind, one plays football but not cheese or mankind, and whatever. “I love mankind” means, that meaning does not seem to be applicable to cheese or football. And yet all three do use the same word. Is there in fact some deep reason for that, some reason that is not immediately apparent on the surface? Difficult as that question is, can we say that we have identified the “same subject” until we have answered it?
Faced with this chaotic situation, you may decide to limit the inquiry to human love––to love between human beings, of the same sex or different sexes, of the same age or different ages, and so forth. That would rule out three statements we have just discussed. But you would still find, even if you read only a small portion of the available books about the subject, a very great range of reference. You would find, for instance, that love is said by some writers to consist wholly in acquisitive desire, usually sexual desire; that is, love is merely a name for the attraction that almost all animals feel toward members of the opposite sex. But you would also find other authors who maintain that love, properly speaking, contains no acquisitive desire whatever, and consists in pure benevolence. Do acquisitive desire and benevolence have anything in common, considering that acquisitive desire always implies wanting some good for oneself, while benevolence implies wanting a good for someone else?
At least acquisitive desire and benevolent share a common note of tendency, of desire in some very abstract sense of the term. But your investigation of the literature of the subject would soon uncover writers who conceive of the essence of love as being cognitive rather than appetitive. Love, these writers maintain, is an intellectual act, not an emotional one. In other words, knowing that another person is admirable always precedes desiring him or her, in either of the two sense of desire. Such authors do not deny that desire enters into the picture, but they do deny that desire should be called love.
Let us suppose––in fact, we think it can be done––that you are able to identify some common meaning in these various conceptions of human love. Even then not all of your problems are solved. Consider the ways in which love manifests itself between and among human beings. Is the love that a man and woman have for each other the same when they are courting as when they are married, the same when they are in their twenties as when they are in their seventies?
Is the love that a woman has for her husband the same as that she has for her children? Does a mother’s love for her children change as they grow up? Is the love of a brother for his sister the same as his love for his father? Does a child’s love for its parent change as he or she grows? Is the love that a man has for a woman, either his wife or some other, the same as the friendship he feels for another man, and does it make a difference what relationship he has with the man––such as one with whom he goes bowling, one with whom he works, and one whose intellectual company he enjoys? Does the fact that “love” and “friendship” are different words mean that the emotions they name (if that is in fact what they name) differ? Can two men of different ages be friends? Can they be friends if they are markedly different in some other respect, such as possession of wealth or degree of intelligence? Can women be friends at all? Can brothers and sisters be friends, or brother and brother, or sister and sister? Can you retain a friendship from someone you either borrow money from or lend it to? If not, why not? Can a boy love his teacher? Does it make a difference whether the teacher is male or female? If humanoid robots existed, could human beings love them?
If we considered the intelligent beings on Mars or some other planet, could we love them? Can we love someone we have never met, like a movie star or the President? If we feel that we hate someone, is that really an expression of love?
These are just few of the questions that would be raised by your reading of even a part of the standard expository literature of love. There are many other questions that could be asked. However, we think we have made the point. A curious paradox is involved in any project of syntoptical reading. Although this level of reading is defined as the reading of two or more books the same subject, which implies that the identification of the subject matter occurs before the reading beings, it is in a sense true that the identification of the subject matter must follow the reading, not precede it. In the case of love, you might have to read a dozen or a hundred works before you could decide what you were reading about. And when you had done that, you might have to conclude that of the works you had read were not on the subject at all.
The Role of Inspection in Syntopical Reading
We have stated more than once that the levels of reading are cumulative, that a higher level includes all of those that precede or lie below it. It is now time to explain what that means in the case of syntoptical reading.
You will recall that in explaining the relationship between inspectional reading and analytical reading, we pointed out that the two steps in inspectional reading––first, skimming; and second, superficial reading––anticipated the first two steps in analytical reading, in the course of which you identify the subject matter of whatever you are reading, state what kind of book it is, and outline its structure. Superficial reading, while it is also helpful in that first step of analytical reading, is primarily a preparation for the second step, when you are called upon to interpret a book’s contents by coming to terms with the author, stating his propositions, and following his arguments.
In a somewhat analogous fashion, both inspectional and analytical reading can be considered as anticipations or preparations for syntoptical reading. It is here, in fact, that inspectional reading comes into its own as a major tool or instrument for the reader.
Let us suppose once more that you have a bibliography of a hundred or so titles, all of which appear to be on the subject of love. If you read every one of them analytically, you would not only end up with a fairly clear idea of the subject that you were investigating––the “same subject” of the syntoptical reading project––but you would also know which, if any, of the books you had read were not on that subject and thus irrelevant to your needs. But to read a hundred books analytically might well take you ten years. If you were able to devote full time to the project, it would still take many months. Some shortcut is obviously necessary, in the fact of the paradox we have mentioned concerning syntopical reading.
The shortcut is provided by your skill in inspectional reading. The first thing to do when you have amassed your bibliography is to inspect all of the books on your list. You should not read any of them analytically before inspecting all of the. Inspectional reading will not acquaint you with all of the intricacies of the subject matter, or with all of the insights that your author can provide, but it will perform two essential functions. First, it will give you a clear enough idea of your subject so that your subsequent analytical reading of some of the books on the list is productive. And second, it will allow you to cut down your bibliography to a more manageable size.
We can hardly think of any advice that would be more useful for students, especially graduate and research students, than this, if they would only heed it. In our experience, a certain number of students at those advanced levels of schooling have some capability of reading actively and analytically. There may not be enough of them, and they may be far from perfect readers, but they at least know how to get the meat of a book, to make reasonable intelligible statements about it and to fit it into a plot or plan of their subject matter. But their efforts are enormously wasteful because they do not understand how to read some books faster than others. They spend the same amount of time and effort on every book or article they read. As a result, they do not read those books that deserve a really good reading as well as they deserve, and they waste time on works that deserve less attention.
The skilful inspectional reader does more than classify a book in his mental card catalogue, and achieve a superficial knowledge of its contents. He also discovers, in the very short time it takes him to inspect it, whether the book says something important about his subject or not. He may not yet know what that something is precisely––that discovery will probably have to wait for another reading. But he has learned one of two things. Either the book is one to which he must return for light, or it is one that, no matter how enjoyable or informative, contains no enlightenment and therefore does not have to be read again.
There is a reason why this advice is often unheeded. In the case of analytical reading, we said that the skillful reader performs concurrently steps that the beginner must treat as separate. By analogy, it might seem that this kind of preparation for syntopical reading––the inspection of all of the books on your list before starting the analytical reading of any of them––could be done cocurrently with analytical reading. But we do not believe that can be done by any reader, no matter how skillful. And this indeed is the mistake that so many younger researchers make. Thinking they can collapse these two steps into one, they end up reading everything at the same rate, which may be either too fast or too slow for a particular work, but in any event is wrong for most of the books they read.
Once you have identified, by inspection, the books that are relevant to your subject matter, you can then proceed to read them syntopically. Note that in the last sentence we did not say “proceed to read them analytically,” as you might have expected. In a sense, of course, you do have to read each of the individual works that, together, constitute the literature of your subject, with those skills that you acquired by applying the rules of analytical reading. But it must never be forgotten that the art of analytical reading applies to reading of a single book, when understanding of that book is the aim in view. As we will see, the aim of syntopical reading is quite different.
The Five Steps in Syntopical Reading
We are now prepared to explain how to read syntopically. We will assume that, by your inspection of a number of books, you have a pretty good idea of the subject that at least some of them are about, and furthermore that this is the subject you want to investigate.
What, then, do you do?
There are five steps in syntopical reading. We shall not call them rules, although we might, for if any of the steps is not taken, syntopical reading becomes much more difficult, perhaps impossible. We will discuss them roughly in the order in which they occur, although in a sense all of them have to take place for any of them to.
STEP 1 IN SYNTOPICAL READING: FINDING THE RELEVANT PASSAGES.
Since we are of course assuming that you know how to read analytically, we are assuming that you could read each of the relevant books thoroughly if you wanted to. But that would be to place the individual books in the order of your priorities, and your problem second. In fact, the order is reversed. In respect syntopical reading, it is you and your concerns that are primarily to be served, not the books that you read.
Hence the first step at this level of reading is another inspection of the whole books you have identified as relevant. Your aim is to find the passages in the books that are most germane to your needs. It is unlikely that the whole of any of the books is directly on the subject you have chosen or that is troubling you. Even if this is so, as it. very. rarely is, you should read the book quickly. You do not want to lose sight of the fact that you are reading it for an ulterior purpose––namely, for the light it may throw on your own problem––not for its own sake.
It might seem that this step could be taken concurrently with the previously described inspection of the book, the purpose of which was to discover whether the book was at all relevant to your concerns. In many cases, that is so. But it is unwise to consider that this is always possible. Remember that one of the aims of your first inspection of the books to zero in on the subject matter of your syntopical reading project. We have said that an adequate understanding of the problem is not always available until you have inspected many of the books on your original list. Therefore, to try to identify the relevant passages at the same time that you identify the relevant books is often perilous. Unless you are very skillful, or already quite familiar with your subject, you had better treat the two steps as separate.
What is important here is to recognize the difference between the first books that you read in the course of syntopical reading, and those that come after you have read others on the subject. In the case of the later books, you probably already have a fairly clear idea of your problem, and in that case the two steps can coalesce. But at the beginning, they should be kept rigorously separated. Otherwise, you are likely to make serious mistakes in identifying the revenant passages, mistakes that will have to be corrected later with a consequent waste of time and effort.
Above all, remember that your task is not so much to achieve an overall understanding of the particular book before you as to find from the author's own purpose in writing it. That does not matter at this stage of the proceedings. The author can help you to solve your own problem without having intended to. In syntopical reading, as we have noted, the books that are read serve you, not the other way around. In this sense, syntopical reading is the most active reading you can do. Analytical reading is also active, of course. But when you read a book analytically, you put yourself in a relation to it of a disciple to master. When you read synoptically, you must be the master of the situation.
But this is so, you must go about the business of coming to terms with your authors in a somewhat different way than before.
STEP 2 IN SYNTOPICAL READING: BRINGING THE AUTHORS TO TERMS.
In interpretive reading (the second stage of analytical reading) the first rule requires you to come to terms with the author, which means identifying his key words and discovering how he uses them.
But now you are faced with a number of different authors, and it is unlikely that they will have all used the same words, or even the same terms. Thus it is you who must establish the terms, and bring your authors to them rather than the other way around.
This is probably the most difficult step in analytical reading. What it. really comes down to is forcing an author to use your language, rather than using his. All of our normal reading habits are opposed to this. As we have pointed out serval times, we assume that the author of a book we want to read analytically is our better, and this particularly true if the book is a great one. Our tendency is to accept the author's terms and his organization of the subject matter, no matter how active we may in trying to understand him. In syntopical reading, however, we will very quickly be lost if we accept one author's terminology. We may understand his book, but we will fail to understand the others, and we will find that not much light is shed on the subject in which we are interested.
Not only must we resolutely refuse to accept the terminology of any one author; we must also be willing to face the possibility that no author's terminology will be useful to us. In other words, we must accept the fact that coincidence of terminology between us and any of the authors on our list is merely accidental. Often, indeed, such coincidence will be inconvenient; for if we use one term or set of terms of an author, we may be tempted to use others among his terms, and these may get in the way rather than help.
Syntopical reading, in short, is to a large extent an exercise in translation. We not have to translate from one natural language to another, as from French to English. But we impose a common terminology on a number of authors who, whatever natural language they may have shared in common, may not have been specifically concerned with the problem we are trying to solve, and therefore may not have created the ideal terminology for dealing with it.
This means that as we proceed on our project of syntopical reading we must begin to build up a set of terms that first, helps us to understand all of our authors, not just one or a few of them, and second, helps us solve our problem. That insight leads to the third step.
STEP 3 IN SYNTOPICAL READING: GETTING THE QUESTIONS CLEAR
The second rule of interpretive reading requires us to find the author's key sentences, and from them to develop an understanding of his propositions. Propositions are made up of terms, and of course we must do a similar job on the works we are reading syntoptically. But since we ourselves are establishing the terminology in this case, we are faced with the task of establishing a set of neutral propositions as well. The best way to this is to frame a set of questions that shed light on our problem, and to which each of our authors give answers.
This, too, is difficult. The question must be stated in such a way and in such an order that they help us to solve the problem we started with, but they also must be framed in such a way that all or most of our authors can be interpreted as giving answers to them. The difficulty is that the questions we want answered may not have been seen as questions by the authors. Their view of the subject may have been quite different from ours.
Sometimes, indeed, we have to accept the fact that an author gives no answer to one or more of our questions. In that case, we must record him as silent or indeterminate on the question. But even if he does not discuss the question explicitly, we can sometimes find an implicit answer in his book. If he had considered the question, we may conclude, he would then have answered it in such and such a way. Restraint is necessary here; we cannot put thoughts into our authors’ minds, or words into their mouths. But we can also depend entirely on their explicit statements about the problem. If we could depend on any one of them in that way, we would probably have no problem to solve.
We have said that the question must be put in an order that is helpful to us in our investigation. The order depends on the subject, of course, but some general directions can be suggested. The first questions usually have to do with the existence or character of the phenomenon or idea we are investigating. If an author says that the phenomenon exists or that the idea has a certain character, then we may ask further questions of his book. This may have to do with the consequences of the answers to the previous questions.
We should not expect that all of our authors will answer our questions in the same way. If they did, we would once again have no problem to solve; it would be solved by consensus. Since the authors will differ, we are faced with having to take the next sep in syntopical reading.
STEP 4 IN SYNTOPICAL READING: DEFINING THE ISSUES. If a question is clear, and we can reasonably be certain that authors answer it in different ways––perhaps pro and con––then an issue has been defined. It is the issue between the authors who answer the questions in one way, and those who answer it in one or another opposing way.
When only two answers are given by all of the authors examined, the issue is a relatively simple one. Often more than two alternative answers are given to a question. In that case, the opposing answers must be ordered in relation to one another, and the authors who adopt them classified according to their views.
An issue is truly joined when two authors who understand a question in the same way answer it in a contrary way or contradictory ways. But this does not happen as often as one might wish. Usually, differences in answers must be ascribed to different conceptions of the question as often as to different views on the subject. The task of the syntopical reader is to define the issues in such a way as to insure that they are joined as well as may be. Sometimes this forces him to frame the question in a way that is not explicitly employed by any author.
There may be many issues involved in the discussion of the question we are dealing with, but it is likely that they will fall into groups. Questions about the character of the idea under consideration, for example, may generate a number of issues that are connected. A number of issues revolving around a closely connected set of questions may be termed the controversy about that aspect of the subject. Such a controversy may be very complicated, and it is the task of the syntopical reader to sort it out and arrange it in an orderly and perspicuous fashion, even if no author has managed to do that. This sorting and arranging of the controversies, as well as of the constituent issues, brings us to the final steps in syntopical reading.
STEP 5 IN SYNTOPICAL READING: ANALYZING THE DISCUSSION.
So far we have found the relevant passages in the works examined, created a neutral terminology that applies to all or most of the authors examined, framed and ordered a set of questions that most of them can be interpreted as answering, and defined and arranged the issues produced by differing answers to the questions. What then remans to be done?
The first four steps correspond to the first two groups of rules for analytical reading. Those rules, when followed and applied to any book, allowed us to answer the questions, What does it say? and How does it say it? In our syntopical reading project, we are similarly able at this point to answer the same questions about the discussion concerning our problem. In the case of the analytical reading of a single work, two further questions remain to be answered, namely, Is it true? and What of it?
In the case of syntopical reading, we are now prepared to address ourselves to similar questions about the discussion.
Let us assume that the question with which we began was not a simple one, but was rather one of those perennial problems with which thinkers have struggled for centuries, and about which good men have disagreed and can continue to disagree. We should recognize, on this assumption, that our task as syntopical readers merely to answer the questions ourselves––the questions that we have so carefully framed and ordered both to elucidate the discussion of the subject and the subject itself. The truth about a problem of this sort is not found so easily. In fact, we would probably be presumptuous to expect that the truth could be found in any one set of answers to the questions. Rather, is to be found, if at all, in the conflict of opposing answers, many if not all of which may have persuasive evidence and convincing reasons to support them.
The truth, then, insofar, as it can be found––the solution to the problem, insofar as that is available to us––consists rather in the ordered discussion itself than in any set of propositions or assertions about it. Thus, in order to present this truth to our minds––and to the minds of others––we have to do more than merely ask and answer the questions. We have to ask them in a certain order, and be able to defend that order; we must show how the questions are answered differently and try to say why; and we must be able to point to the texts in the books examined that support our classifications of answers. Only when we have done all of this can we claim to have analyzed the discussion of our problem. And only then can we claim to have understood it.
We may, indeed have done more than that. A thorough analysis of the discussion of a problem may provide the groundwork for further productive work on the problem by others. It can clear away the deadwood and prepare the way for an original thinker to make a breakthrough. Without the work of analysis, that might not have been possible, for the dimensions of the problem might not have been visible.
The Need for Objectivity
An adequate analysis of the discussion of a problem or subject matter identifies and reports the major issues, or basic intellectual oppositions, in that discussion. This does not imply that disagreement is always the dominant feature of every discussion. On the contrary agreement in most cases accompanies disagreement; that is, on most issues, the opinions or views that present opposite sides of the dispute are shared by several authors, often by many. Seldom do we find a solitary exponent of a controversial position.
The disagreement of human beings about the nature of things in any field of inquiry establishes some presumption of the truth of the opinions they commonly hold. But their disagreement establishes the counter-presumption––that none of the opinions in conflict, whether shared or not, may be wholly true Among conflicting opinions, one may, of course, be wholly true and all the others false; just as it is possible for that opinion to be false on which all seem to agree. Some opinion as yet unexpressed may be the truth or nearer to it.
This is another way of saying that the aim of a project of syntopical reading is not final answers to the questions that are developed in the course of it, or the final solution of the problem with which the project began. This is particularly true of the report we might try to make of such syntopical reading. It would be dogmatic, not dialectical, if, on any of the important issues that is identified and analyzed, it asserted or tried to prove the truth or falsify of any view. If it did that, the syntopical analysis would cease to be syntopical; it would become simply one more voice in the discussion, thereby losing its detached and objective character.
The point is not that one more voice carries no weight in the forum of human discussion on important issues. The point is that a different kind of contribution to pursuit of understanding should be made. And this contribution consists in being resolutely objective and detached throughout. The special quality that a syntopical analysis tries to achieve can, indeed, be summarized in the two words “dialectical objectivity.”
The syntopical reader, in short, tries to look at all sides and to take no sides. Of course, he will fail in his exacting ideal. Absolute objectivity is not humanely possible. He may succeed in taking no sides, presenting the issues without prejudice to any partisan point of view, and treating opposing views impartially. But it is easier to take no sides than to look at all sides. In this latter respect, the syntopical reader will undoubtedly fail. All possible sides of an issue cannot be exhaustively enumerated. Nevertheless, he must try.
Taking no sides is easier than looking at all sides, we say, but it remains difficult even so. The syntopical reader must resist certain temptations and know his own mind. Perfect dialectical objectivity is not guaranteed by avoiding explicit judgements on the truth of conflicting opinions. Partiality can intrude in a variety of subtle ways––by the manner in which arguments are summarized, by shades of emphasis and neglect, by the tone of a question or the color of a passing remark, and by the order in which the various different answers to key questions are presented.
In order to avoid some of these dangers, the conscientious syntopical reader may resort to one obvious device and use it as much as possible. That is, he must constantly refer back to the actual text of his authors, reading the relevant passages over and over; and, in presenting the results the results of his work to a wider audience, he must quote the opinion or argument of an author in the writer’s own language.
Although it may appear to do so, this does not contradict what we said earlier about the necessity of finding a neutral terminology in which to analyze the problem. That necessity remains, and when summaries of an author's arguments are presented, they must be presented in that language and not the author's. But the author's own words, carefully quoted so as to not wrench them out of context, must accompany the summary, so that the reader can judge for himself whether the interpretation of the author is correct.
Only the syntopical reader's firm intention to avoid them can be relied on to prevent other sorts of departure from dialectical objectivity. That ideal demands a deliberate effort to balance question against question, to forgo any comment that might be prejudicial, to check any tendency toward overemphasis or underemphasis. In the last analysis, although a reader may be the judge of the effectiveness of a written report of dialectical exposition, only the writer of it––only the syntopical reader himself––can know whether he has satisfied these requirements.
Bismillah Rahman Raheem 24/2/24
An Example of an Exercise in Syntopical Reading: The Idea Idea of Progress
An example may be helpful to explain how syntopical reading works. Let us consider the idea of progress. We do not take this subject at random. We have done extensive research on it.* The example would not be so useful to you if that were not so.
*The results of these researches were published as The Idea of Progress. New York: Praeger, 1967. The work was done under the auspices of the institute for Philosophical Research, of which the authors are respectively Director and Associate Director
The investigation of this important historical and philosophical idea occupied several years. The first task was to produce a list of works to be examined for relevant passages––to amass a bibliography (it finally ran to more than 450 items). This task was accomplished by a series of inspectional readings of several times that many books, articles, and other pieces. It is important to point out that in the case of the idea of process, as it would be true in the case of most other important ideas, many of the items finally judged to be relevant were found more or less by accident, or at least with the help of educated guesses. There were obvious places to start; many recent books contain the word “progress” in their titles. But others do not, and most of the older books, although relevant to the subject, do not even employ the term.
A few fictional and poetical works were read, but on the whole it was decided to concentrate on expository works. We have already observed that including novels, plays, and poems in a syntopical project is difficult, and this is so for several reasons. First of all, the backbone or essence of a story is its plot, not its positions on issues. Second, even the most talkative characters seldom take clear positions on an issue––they tend to talk, in the story, about other matters, mainly emotional relations. Third, even if a character does make such a speech––as, for example, Settembrini does about progress in Thomas Mann’s Magic Mountain––we can never be sure that it is the author’s viewthat is being represented. Is the author being ironic in allowing his character to go on about the subject? Is he intending you to see the foolishness of the position, rather than it wisdom? Generally speaking, an intensive effort of synthetic interpretation is required before a fictional work can be placed on one side or another side of an issue. The effort is so great, and the results essentially so dubious, that usually it is prudent to abstain.
The discussion of progress in the many works that remained to be examined was, as is usually the case, apparently chaotic. Faced with this fact, the task was, as we have indicated, to develop a neutral terminology. This was a complex undertaking, but one example may help to explain what was done.
The word “progress” itself is used by authors in a number of different ways. Most of these different ways reflect no more than shades of meaning, and they can be handled in the analysis. But the word is used by some authors to denote a certain kind of movement forward in history that is not an improvement. Since most of the authors use the word to denote a historical change in the human condition that is for the better, and since betterment is of the essence of the conception, the same word could not be applied to both views. In this case the majority gained the day, and the minority faction had be to be referred to as authors who assert “non-meliorative advance” in history. The point is that when discussing the views of the minority faction, we could not employ the word “progress,” even though the authors involved had used it themselves
The third step in syntopical reading is, as we have noted, getting the questions clear. Our intuition about the primary question in the case of progress turned out to be correct upon examination. The first question to ask, the question to which authors can be interpreted as giving various answers, is, Does progress occur is history? Is it fact that the general course of historical change is in the direction of improvement in man’s condition? Basically, there are three different answers to this question put forth in the literature of the subject: (1) Yes, (2) No, and (3) We cannot know. However, there are a number of different ways of saying Yes, several different ways of saying No, and at least three different ways of saying we cannot know whether human progress occurs or not.
The multifarious and interrelated answers to this primary question constitute what we decided to call the general controversy about progress. It is general in the sense that every author we studied who has anything significant to say about the subject takes sides on the various issues that can be identified within it. But there is also a special controversy about progress, which is made up of issues that are joined only by progress authors––authors who assert that progress authors. These issues have to do with the nature or properties of the progress that they are all, being progress authors, assert is a fact of history.
There are only three issues here, although the discussion of each of them is complex. They can be stated as questions: (1) Is progress necessary, or is it contingent on other occurrences? (2) Will progress continue indefinitely, or will it eventually come to an end or “plateau out”? (3) Is there progress in human nature as well as in human institutions––in the human animal itself, or merely in the external conditions of human life?
Finally, there is a set of subordinate issues, as we called them, again only among progress authors, about the respects in which progress occurs. We identified six areas which progress is said by some authors to occur, although other writers deny its occurrence in one or more of these areas––although never in all (since they are by definition authors who assert the occurrence of some kind of progress). The six are: (1) progress in knowledge, (2) technological progress, (3) economic progress, (4) political process, (5) moral progress, and (6) progress in the fine arts. The discussion of the last point raises several problems, since in our opinion no author genuinely asserts that such aesthetic progress occurs, although a number of writers deny that progress occurs in this respect.
The structure of the analysis of progress just described exemplifies our effort to define the issues within the discussion of this subject and to analyze the discussion itself––in other words, to take the fourth and fifth steps in syntopical reading. And something like this must always be done by a syntopical reader, although of course he does not always have to write a long book reporting his researchers.*
*Now that such a book has been written and published, we hope that it will indeed make a possible breakthrough in thought such as we envisaged as the fruit of syntopical reading, and that the book on progress may facilitate further work in this field, as other books produced by the Institute for Philosophical Research on the ideas of freedom, happiness, justice, and love have done in theirs––work that was inordinately difficult before these books appeared.
The Syntopicon and How to Use it
If you read this chapter carefully, you will have noticed that, although we spent some time discussing it, we did not really solve what we called the paradox of syntopical reading. That paradox can be stated thus: Unless you know what books to read, you cannot read syntopically, you do not know what to read. Another way to state it is in the form of what may be called the fundamental problem of syntopical reading, namely, that if you do not know where to start, you cannot read synoptically; and even if you have a rough idea of where to begin, the time required to find the relevant books and relevant passages in those books may exceed the time required to take all of the other steps combined.
Actually, of course, there is at least a theoretical resolution of the paradox and solution of the problem. Theoretically, you cold know the major literature of our tradition so thoroughly that you had a working notion of where every idea is discussed in it. But if you are such a person, you need no help from anybody, and we cannot tell you anything you do not know about syntopical reading.
On the other hand, even if you did not have this knowledge yourself, you might be able to apply to someone else who did. But you should recognize that if you were able to apply to such a person, his advice might turnout to be almost such an hindrance as a help. If the subject was one on which he had himself done special research, it would be hard for him merely to tell you the relevant passages to read without telling you how to read them––and that might well get in your way. But if he had not done special research on the subject, he might not know a great deal more than yourself, although it might seem so both to him and to you.
What is needed, therefore, is a reference book that tells you where to go to find the relevant passages on a large number of subjects of interests without at the same time saying how the passages should be read––without prejudging their meaning or significance. The Syntopicon is an example of such a work. Produced in the 1940s, it is a syntopical index to the set books titled Great Books of the Western World.
Under each of some 3,000 topics or subjects, it lists references to pages within the set where that subject is discussed. Some of the references are to passages covering many pages, others are to key paragraphs or even parts of paragraphs. No more time is required to find them than is needed to take down the indicated volume and flip through its pages.
The Syntopicon has one major defects of course, it is an index of just one set of books (albeit a large one), and it gives only a very rough indication of where passages may be found in other books that are not indicated in the set. Nevertheless, it always provides you with at least a place to start on any syntopical reading project. And it is also true that the books included in the set are ones that you would almost always want to read anyway, in the course of any such project.
Thus the Syntopicon should be able to save the mature scholar or reader who is beginning his research into a certain problem much of the preliminary labor of research, and to advance him rapidly to the point where he can begin to think independently about it, because he knows what thinking has been done.
Useful as the Syntopicon is for that kind of reader, it is much more useful for the beginner. The Syntopicon can help such a reader in three ways: initiatively, suggestively and instructively.
It works initiatively by overcoming the initial difficulty that any one faces when confronted by the classical books of our tradition.
These works are a little overpowering. We may wish that we had read them, and we are given reading programs, beginning with easier works and proceeding to the more difficult ones. But all such reading programs require the reading of whole books or, at least, the integral reading of large parts of them. It is a matter of general experience that this kind of solution seldom achieves the desired result.
A syntopical reading of these major works with the aid of the Syntopicon provides a radically different solution. The Syntopicon initiates the reading of great book by enabling persons to read particular ones on the subjects in which they are interested; and on those subjects, to read relatively short passages from a large number of authors. It helps us read in the great books before we have read through them.
Syntopical reading in the great books, with the help of the Syntopicon, may also work suggestively. Starting from the reader’s existing interest in a particular subject, it may arouse or create other interests in related subjects. And once started on an author, it is hard not to explore the context. Before you know it, you have read a good portion of the book.
Finally, syntopical reading with the aid of the Syntopicon works instructively, in three distinct ways. This, in fact, is one of the major benefits of this level of reading.
First, the topic in connection with which the passage is being read serves to give direction to the reader in interpreting the passage.
Praise belongs to God, Lord of all Being 2/3/24
But it does not tell him what the passage means, since the passage may be relevant to the topic in several or many different ways. Hence the reader is called upon to discover precisely what relevance the passage has to the topic. To learn to do this is to acquire a major skill in the art of reading.
Second the collection of a number of passages on the same topic, but from different works and different authors, serves to sharpen the reader’s interpretation of each passage read. Sometimes, when passages from the same book are read in sequence and in the context of one another, each becomes clearer. Sometimes the meaning of each of a series of contrasting or conflicting passages from different books is accentuated when they are read against one another. And sometimes the passages from one author, by amplifying or commenting on the passages of another, materially help the reader’s understanding of the second author.
Third, if a syntopical reading is done on a number of different subjects, the fact that the same passage will often be found cited in the Syntopicon under two of more subjects will have its instructive effect. The passage has an amplitude of meaning that the reader will come to perceive as he interprets it somewhat differently in relation to different topics. Such multiple interpretation not only is a basic exercise in the art of reading but also tends to make the mind habitually alert to many strains of meaning that any rich or complex passage can contain.
Because we believe that the Syntopicon can be useful to any reader wishing to read in the manner described in this chapter, be a beginner or a mature scholar and researcher, we have taken the liberty of adopting its name for this level of reading. We hope the reader will forgive us what may seem to be a small self-indulgence.
In return for that forgiveness, we would like to point out an important fact. There is a considerable difference between syntopical reading, with a small “s,” and Syntopical reading, where the latter phrase refers to reading the great books with the help of the Syntopicon.
Syntopical reading, in the latter sense, can continue a part of any syntopical reading project where the term is used in the former sense, and perhaps it would always be wise to start there. But syntopical reading with a small “s” is a term of much wider application than Syntopical reading.
On the Principles That Underlie Syntopical Reading
There are those who say that syntopical reading (in the broader sense just mentioned) is impossible. It is wrong, they say, to impose a terminology, even a “neutral” one (if there is any such thing), on an author. His own terminology must be treated as sacrosanct, because books should never be read “out of context,” and besides, translation from one set of terms to another is always dangerous because words are not controllable like mathematical symbols. Further, the objectors maintain, syntopical reading involves reading authors widely separated in space and time, and differing radically in style and approach, as if they were members of the same universe of discourse, as if they were talking to one another––and this distorts the fact of the matter. Each author is a little universe in himself, and although connections can be made between different books written by the same author at different times (even here there are dangers, they warn) there are no clear connections relating one to another. They, maintain, finally, that the subjects that authors discuss, as such, are not as important as the ways in which they discuss them. The style, they say, is the man; and if we ignore how an author says something, in the process of trying to discover what he says, we will miss both kinds of understanding.
It should be apparent that we disagree with all of those charges, and therefore an answer to each of them is in order. Let us take them one at a time.
First, to the point about terminology. To deny that an idea can be expressed in more than one set of terms is similar to denying that translation is possible from one natural language to another. That denial is made, of course. Recently, for example, we read an introduction to a new translation of the Koran that began by saying that to translate the Koran is impossible. But since the author then proceeded to explain how he had done it, we could only assume that he meant that translation is particularly difficult in the case of a book held to be holy by large numbers of people. We would agree. But the difficult is not the impossible.
In fact, in the view that an author’s terms must be treated as sacrosanct is probably always merely another way of saying that is difficult to translate from one terminology to another. We would agree to that, too. But again, the difficult is not the impossible.
Second to the point about separateness and uniqueness of authors. This comes down to saying that if Aristotle, for example, walked into our office, attired no doubt in robes and accompanied by an interpreter who knew both modern English and classical Greek, we would not be able to understand him or he us. We simply do not believe it. Doubtless Aristotle would be amazed at some of them things he saw, but we are quite confident that within ten minutes we could, if we wanted to, be engaged in a philosophical discussion of problems we shared. There might be recurrent difficulties about certain conceptions, but as soon as we recognized them as such, we could resolve them.
If that is possible (and we do not really think anyone would deny it), then it is not impossible for one book to “talk” to another through the medium of an interpreter–––namely, you, the syntopical reader. Care is required, of course, and you should know both “languages”––that is, both books––as well as you can. But the problem is not insuperable, and it is simply foolish to suggest that it is.
Finally, to the point about manner or style. This is equivalent, we think, to saying that there is no rational communication among men, but that all men communicate at an emotional level, which is the same level at which they communicate with pets. If you say “I love you” to your dog in an angry tone of voice, he will cower; but he does not understand you. Can anyone seriously assert that there is nothing more than tone of voice or gesture in vocal communication between two human beings? Tone of voice is important, particularly when emotional relations are the primary content of the communication; and body language probably has things to tell us if we will only listen to (look?). But there is something else, too, in human communication. If you ask someone how to reach the exit, and he tells you to follow Corridor B, it does not matter what tone of voice he employs. He is either right or wrong, lying or telling the truth, but the point is that you will soon find that out by following Corridor B.
You have to understood what he said as well reacting, no doubt in all sorts of ways, to how he said it.
Believing, then, that translation is possible (because it is done all the time), that books can “talk” to another (because human beings do so), and that there is an objective, rational content of communication between human beings when they are trying to be rational (because we can and do learn from each other), we believe that syntopical reading is possible.
Summary of Syntopical Reading
We have now completed our discussion of syntopical reading. Let us therefore display the various steps that must be taken at this level of reading in outline form.
As we have seen, there are two main stages of syntopical reading. One is preparatory, and the other is syntopical reading proper. Let us write all of these steps for preview.
I. SURVEYING THE FIELD PREPARATORY
TO SYNTOPICAL READING
1. Create a tentative bibliography of your subject by recourse to library catalogues, advisors, and bibliographies in books.
2. Inspect all of the books on the tentative bibliography to ascertain which are germane to your subject, and also to acquire a clearer idea of the subject.
Note: These two steps are not, strictly speaking, chronologically distinct; that is, the two steps have an effect on each other, with the second, in particular, serving to modify the first.
II. SYNTOPICAL READING OF THE BIBLIOGRAPHY AMASSED IN STAGE I
1. Inspect the books already identified as relevant to your subject in Stage I in order to find the most relevant passages.
2. Bringing the authors to terms by constructing a neutral terminology of the subject that all, or the great majority, of the authors can be interpreted as employing, whether they actually employ the words or not.
3. Establish a set of neutral propositions for all of the authors by framing a set of questions to which all or most of the authors can be interpreted as giving answers, whether they actually treat the questions explicitly or not.
4. Define the issues, both major and minor ones, by ranging the opposing answers of authors to the various questions on one side of an issue or another. You should remember that an issue does not always exist explicitly between or among authors, but that it sometimes has to be constructed by interpretation of the authors’ views on matters that may not have been their primary concern.
5. Analyze the discussion by ordering the questions and issues in such a way as to throw maximum light on the subject.
More general issues should precede less general ones, and relations among issues should be clearly indicated.
Note: Dialectical detachment or objectivity should, ideally, be maintained throughout. One way to ensure this is always to accompany an interpretation of an author’s views on an issue with an actual quotation from his text.
#P301#How to Read a Book –– The Classic Guide to Intelligent Reading#Mortimer J. Adler and Charles Van Doren
0 notes
Text
How to be Coquette:
IN AUTUMN ( a guide)
🍂˚ ༘ ೀ⋆｡˚☕️
🍂˚ ༘ ೀ⋆｡˚☕️ ⋆｡˚ 🍁🎃🍂
It’s the best time of year (in my opinion) and dressing Coquette/embracing the Coquette lifestyle in the colder months is one of the best things about this aesthetic.
Here’s how to be coquette in Autumn/Fall: ♡
˖⁺.🎧🍂☕️🎃🕸️˙⊹🤎🧸 ˖⁺.
THE COQUETTE FALL WARDROBE: (I’m doing a desperate blog post on this but here are some essentials to get your wardrobe going) Oversized sweaters, long sleeved tops, oversized cardigans, pleated skirts, jeans, long skirts, tights, leg warmers D.M’s or Mary Janes, a tote bag.
Try and ROMANTICISE SCHOOL. We’re now officially in “back to school” season, and romanticising school is a great way to get through it (I have a separate blog post on this coming soon and have also made videos about it!) but just think… Early morning’s, drinking coffee in bed and reading, getting up early to study when it’s still dark outside and everyone’s still asleep, reading on your breaks in school, listening to music on the way to and from school… ahhhhh perfect <3
Drink Coffee! (If you don’t like Coffee, drink warm drinks like Tea, Hot Chocolate etc) in pretty mugs and coffee cups. Try and start a mug collection!
Study more. This time of year seem so much more motivational to be studying in. Every night, set aside a designated time. Light some candles, make a snack, get a warm drink, put your headphones on, get a blanket and get studying <3
Start an “Autumn Journal” fill it with beautiful pictures of Autumn, leaves, doodles, pictures of you and your friends from this fall. Then decorate the front of it with Autumn leaves, ribbons, bows and lace <3
Bake! Baking is such a coquette activity especially this time of year. Invest in an apron, & try baking some really Autumnal treats, such as cinnamon rolls, pumpkin pie and heart jam cookies! (There are LOADS of recipes online for loads of cute Autumn baking treats)
Watch Autumn movies and shows to get you in the mood! Gilmore girls (ofc), over the garden wall, You’ve got mail, when Harry met Sally, Dead poets society & Harry Potter are some of my faves <3
Make a “Coquette Autumn” playlist and fill it with Lana (ofc) Taylor Swift (Folklore & Evermore are on top) and beautiful classical music you can listen to when studying. I actually have my own “Coquette Fall” playlist that I will link and you can listen to right here!
Decorate your bedroom/space for Autumn. Invest in some light Autumnal bedsheets, pink brown & beige blankets and throws, fairy-lights, candles, pillows, a bed canopy, seasonal garlands. Anything that is going to make your room feel like an Autumnal Coquette Princess sanctuary <3
READ. Read every chance you get. Reading more books this time of year is just so much more magical for some reason. You want to be that person who is always seen reading, beauty & brains. Read whatever you like! Try and pick up some classics if you want to challenge yourself or something with Autumnal cozy feels. You could even try the “Rory Gilmore reading challenge” but this might take a while…
Use “Rory Gilmore” as inspiration for this time of year! Rory is such a good role model (in some aspects) she’s comfy, but cozy and cute with her fashion, she’s incredibly intelligent and knowledgeable and always pushes herself to exceed. Try doing your homework or assignments as soon as you get them, drink coffee and wear oversized cable-knit sweaters, then take an Autumnal walk to feel like Rory
Keep an “Autumn Diary” and every night before bed, kiss the pages and write/reflect upon the day you have had. (Listen to classical music whilst you write, it’s so relaxing!)
Create COZY Morning & Night routines. This way you will be motivated when you wake up, and relaxed/happy when you go to sleep. Getting into a routine is so important for a productive day <3
Go to a coffee shop, get a coffee or hot drink, listen to classical music in your headphones and read/study! (Bonus points if your wearing an oversized sweater)
Try out some new Autumn hairstyles for school. Adorn your hair with Autumn coloured ribbons and bows
Look into some “Autumnal self care” activities. This could be as simple as purchasing a new pumpkin hand cream or updating your entire skincare/beauty care routine with new Autumn scents, colours and products. Now we are coming into the colder months, our skin and body’s “well being” is so important!
Take up some Autumn hobbies. (Crocheting, painting, flower pressing, baking etc) all are such beautiful and sweet hobby’s, very cozy and perfect for this season!
Take LOADS of Autumnal walks. Around your city, your school, where you live. Collect Autumn leaves and flowers when your walking to later press into an old book on your vanity, and use them in your journal <3
Try a new Autumn makeup look. The coquette “Doe” eye makeup is so perfect or this time of year, and experiment with Browns, Beige’s and coppers in your eyeshadow
Drink Pumpkin spice latte’s from Starbucks and read whilst your getting your coffee
Keep applying lipgloss/lip balm throughout the day, hand cream and moisturiser of an evening, this weather makes your lips and skin dry-up like crazy!
Invest in some new pink or brown, cozy Autumn pyjamas (make sure they are warm and cozy!)
Have a signature Autumn scent (Miss Dior, Chanel?) something deep and dark for the colder months <3
Update your Autumn handbag/purse/schoolbag and fill it with all of your cold weather, studying, school and Autumn essentials! (I’m making a separate post on this soon)
Eat soups, Pumpkin pancakes, oatmeal, hot- chocolate’s, homemade cookies and bread! All are such Autumnal foods <3
⋆.ೃ࿔*:･🍂๋࣭ ⭑⋆.ೃ࿔*:･
I hope this helped some of you Romanticise (what I now consider to be the best time of year) and make it the most Coquette Fall you’ve ever had, I love you all and will see you tomorrow (I’m going to try and blog everyday throughout Autumn)
Sending you all my love… - (@coqxette)
#coquette#baby pink#coquette aesthetic#lana del rey#girly pink#girly#girly aesthetic#girly girl#girly kei#girly stuff#autumn#fall aesthetic#fall#back to school#pink aesthetic#aesthetic#dolly aesthetic#cute aesthetic#lana del ray aesthetic#cutecore
210 notes
·
View notes
Text
In the spirit of me realizing that this was once supposed to be purely a book/ reading blog & that I somehow derailed from this plan immensely, I figured that I should at least pin my personal book recommendations! :)
These are all in the genres that I personally prefer, & are books that I would recommend to anyone despite what their actual genre-preferences are or how often they read, simply because I think that these are so great that they'd transcend that barrier. ♡
› the purple titles are the books that i assume some people could need trigger warnings for! please be aware that these aren't the only ones with heavy subjects in the list though, as i prefer dark books in general! ‹
so, here's mine:
'The Thursday Murder Club', by Richard Osman
› mystery, humour; medium-paced; series, 4 books; 2020-2023 ‹
'The Lamplighters', by Emma Stonex
› mystery, literary fiction; slow-paced; 2021 ‹
'No Longer Human', by Osamu Dazai
› tw; literary fiction, classics; medium-paced; 1948 ‹
'The Family Upstairs', by Lisa Jewell
› mystery, thriller; fast-paced; series, 2 books (although personally I'd recommend to only read the first >.<); 2019 & 2022 ‹
'The Seven Husbands of Evelyn Hugo', by Taylor Jenkins Reid
› literary fiction, romance; medium-paced; 2017 ‹
'A User's Guide to the Brain', by John J. Ratey
› nonfiction; slow-paced; 2001 ‹
'The Decagon House Murders', by Yukito Ayatsuji
› mystery, thriller; medium-paced; series, 9 books (? as far as I understand; two books are translated into english, the third will be in late 2024); 1987-2012 ‹
'The Time Machine', by H.G. Wells
› classics, sci-fi; medium-paced; 1895 ‹
'Kasane', by Daruma Matsuura
› manga, thriller, drama, supernatural; slow-paced; 14 volumes; 2013-2018 ‹
'The Summer of the Ubume', by Natsuhiko Kyougoku
› manga, mystery, psychological, supernatural; slow-paced; series, 5 books (I've only read the first three, but I'm sure the last two are amazing as well :)); 2013-2017 ‹
'Memento Forest', by Fumiko Fumi
› tw; manga, drama, romance; fast-paced; one volume; 2013 ‹
'Helter Skelter: Fashion Unfriendly', by Kyoko Okazaki
› tw; manga, horror, psychological; fast-paced; one volume; 1995-1996 ‹
'Ultramarine', by Ching Nakamura
› tw; manga, drama, psychological, romance; slow-paced; 3 volumes; 2007-2012 ‹
'A Thousand Brains: A New Theory Of Intelligence', by Jeff Hawkins
› nonfiction; medium-paced; 2021 ‹
13 notes
·
View notes
Text
quarterly book review: first quarter
since 2024 began, i have read about 4 books (5 if you count one started in december and finished in january) and i’m reviewing the books I’ve read through january & feburary. the reviews will be in chronological order and the ratings are from goodreads.
the idiot by elif batuman: 5 stars
elif batuman is a masterful writer. the way she is able to articulate selin’s thoughts and philosophies authentically whilst using dialogue to illustrate humor and critique of her thoughts, too. selin is an incredibly relatable character and her composition of her experiences resonate with me too, since we have similar lives and reactions. i also love the setting of harvard in the late 90s, referencing classic intellectualism adds to the introspection of selin and the perceived intelligence of those around her, or how she perceives intellect anyway. both the setting and the stream of consciousness makes up for the fact that the story doesn’t really have an innate plot to it until later on, the thoughts add the development.
jazz by toni morrison: 5 stars
the plot of this book is so enticing and the unknown narrator’s commentary contributes to a lot of the foreshadowing and storytelling aspects of the novel. the pov’s of the main characters joe, violet, dorcas, and later felice add to the overall narrative as opposed to takes away from it, which can happen. the social themes of race, gender, mental health, and the dynamics it creates really establishes this book in a way as a social commentary for black feminist literary criticism and sociological theory. the description of daily life and the characters actions really bring a magnetic quality to the scenes and development of the plot. the flashbacks are done really well too.
the bell jar by sylvia plath: 4 stars
sylvia plath has this way of saying exactly what people feel, a true gift of words. the fig tree metaphor in the beginning of the book is a sneak peek into to her writing style seen in her poetry and the unabridged journals. the middle to end portion is a little bit drawn out and plath should’ve utilized the setting of a new england college when esther returns from new york. it's status as an iconic work in the feminist literature space is taken into account when reading as you analyze every word on a page in hopes of figuring out how it got there.
the catcher in the rye by j.d salinger: 5 stars
holden caulfield is incredibly relatable and a sentiment to teenage angst and its place in a society. the character holden is worth the 5 stars because it portrays teen angst in a honest yet critical way that is hard to do as an adult writer.
sula by toni morrison: 4 stars
i consider sula and the bell jar to be literary kindred spirits. this book truly does speak to black feminist literary criticism and is considered an iconic piece in the feminist literature landscape despite it being a bit difficult to comprehend. the depictions of nel and sula as children was the best part of the story, since it shows the message of female friendship and camaraderie among women and how such bonds can be tested and broken by men and the patriarchy. sula is also an incredibly powerful piece in terms of mental health, and kind of provides a guide through the characters actions on how not to deal with it. overall, sula’s depictions of feminism, patriarchy, love and marriage, and mental health are a testament of the sociopolitical climate in black america in both morrison’s time and the present.
#girlblogging#it girl#girblogger#tumblr girls#this is what makes us girls#bookaholic#book review#book recommendations#books and reading#book blog#bookblr#the bell jar#sylvia plath#jazz#toni morrison#the catcher in the rye#j.d. salinger#holden caulfield#esther greenwood#the idiot#elif batuman#harvard#ohio#new york#sula#literature#literary#english literature#bookstore#bookish
9 notes
·
View notes
Text
୨⎯ Hey, cuties ⎯୧♡ ♡
How's everyone's Tuesday going? I'm currently writing this post in my tv room with my best friend E! Let me set the scene for you, I'm eating Scooby Snacks (an underrated yum) while having pretty little liars in the background. Then, a precious idea came into my head to start a new mini blog series ⪩⪨ *drum roll please* A four or five-part series guide to your favorite pll characters!! So make sure to comment your faves down below;) to start off, I decided to do Aria.
ꔫ 𝒜𝓇𝒾𝒶 𝑀𝑜𝓃𝓉𝑔𝑜𝓂𝑒𝓇𝓎 ꔫ
Looks
⋆୨୧ Aria's hair Is long brown, with loose waves. If you wanna achieve a similar look you could grow out your hair, dye it brown, or use a curling iron and give it some loose waves
⋆୨୧ Aria's normal makeup consists of smokey-toned eyeshadow, black eyeliner for the top, and skin color for the bottom * to make her eyes appear bigger * For her face she likes to use a little bit of a peach or pinky blush, for a cooler-toned look. For her lips, she'll either go for something nude or pink. Aria's eyebrows are very defined so I would suggest enhancing your amazingly beautiful brows and helping to define them further by embracing your natural brow line, plucking, waxing, and, threading if you want to and need to. If you feel like it, you can fill in sparse spaces with a brow pencil. Aria's nails are usually painted a dark color like red, black, royal blues, burgundies, and maroon.
⋆୨୧ Aria's favorite form of exercise is yoga. So you could try looking up a yoga class on youtube or if you're up for it try out an in-person class! I highly recommend giving yoga a shot, like Aria it's one of my fav forms of exercise. It's so good for your mind and body ♡
⋆୨୧ get in cuties we're going shopping! (all credit goes to mean girls) Aria's style is so unique to her and is a mix of a few specific styles, bohemian, indie, and a little Bella Swan at times. Aria has her classic gray bomber jacket so I suggest getting a signature jacket of your own. She also loves second-hand shopping and thrifting! lastly, be bold and wear your clothes with confidence! come on strut your stuff♡
personality
⋆୨୧ Aria is funny, caring, reserved, emotional, strong, and intelligent. Do any of these match with your personality?
⋆୨୧ Aria is a romantic and is sometimes seen as the nicest out of the girls, what do you think?
⋆୨୧ Aria loves to travel and pick up cool and unique souvenirs along the way
⋆୨୧ Aria also loves to read and, reads from all genres some of her favorite authors include: William Shakespeare, Jane Austen, and Sherwood Anderson
⋆୨୧ One of Aria's favorite hobbies is writing. Try keeping a journal, starting a blog, or working on a book. Any form of writing will do.
⋆୨୧ Other hobbies Aria enjoys are: art, pottery, and, photography
That's all from me today cuties! Love you see you next time,
xoxo, Vee💋
23 notes
·
View notes
Note
could you write some felix nsfw hcs/scenarios please? thanks in advance if you do!
Hello, sweet anon. Thank you for the request. I did something a bit different than normal. I’ve seen alphabet headcanons before and always thought it was an interesting and fun writing idea. And a fun way to think about a character. Hope this is okay.💖
Also, credit to the person who originally made the alphabet.
Last Legacy: Felix NSFW Alphabet
Warnings: Explicit Content.
A = Aftercare (What they’re like after sex)
Felix gets affectionate. He likes cuddling up to you after you’ve done the deed. He’ll likely be quite as well. Not because he didn’t like the experience or anything, but because he just likes bathing in the aftermath of the euphoric experience and enjoying your warmth and embrace. He will be that way for a little while afterwards, too. He will also be sure to check in with you to see how you’re doing.
B = Body part (Their favourite body part of theirs and also their partner’s)
Felix is insecure to a degree when it comes to his body. While he loves his brain, or more rather, his intelligence, he doesn’t necessarily feel the same about his body. But I think the one part of his body he’d like most is his hands. This comes down to how much he uses them for spells and other things. He also uses them on you.😏 To hold you, to guide you, to bring you pleasure…
I think he’s favourite body part of his partner is likely to be their lips and/or chests. He loves the way your lips feel when they kiss him, or use them in other ways~
Felix also has a thing for chests. All chests. He likes hearing and feeling his lover's heartbeat. He also enjoys just laying his head on your chest.
C = Cum (Anything to do with cum, basically… I’m a disgusting person)
Felix likes the taste of cum…… He relishes in making you cum, in whatever way necessary. He particularly enjoys giving oral. He doesn’t mind being finished on, either. Though, Felix doesn’t usually release a big amount of cum when he orgasms. And he is always super considerate when it comes to his partners and how they feel about it. Will try his hardest not to finish on them or in them unless he has been given strict permission.
D = Dirty Secret (Pretty self-explanatory, a dirty secret of theirs)
Not a dirty secret per se, but, Felix likes lingerie. He likes his partner wearing it, and he likes wearing it too. Loves to surprise you with it.😏
E = Experience (How experienced are they? Do they know what they’re doing?)
Not very experienced. He has only ever been with Rime (intimately, at least). All his experience came from his relationship with Rime. And there was that 5-year long period where he wasn’t with anyone. However, with what he learnt with Rime and what he learnt from reading all his smutty books, he definitely knows his way around.
F = Favourite Position (This goes without saying. Will probably include a visual)
Felix being the romantic he is prefers spooning and the classic missionary as his go-to positions. It allows him to feel closer to his partner and to still be able to kiss them and gaze into their eyes. But as he gets more comfortable with his partner, he is ready and willing to switch it up and try new things.
G = Goofy (Are they more serious in the moment, or are they humorous, etc)
When Felix is comfortable doing the deed and is comfortable with who he is with, he can be a bit goofy. He is very ticklish too, and it is likely he’ll randomly start laughing and squirming away from your touch if you accidentally touch him in a ticklish spot. Is also the first one to laugh something “embarrassing” off in the moment.
H = Hair (How well groomed are they, does the carpet match the drapes, etc.)
The carpets definitely match the drapes. He also likes to keep himself somewhat groomed down there. He’ll trim a bit off to make it more tidy and nice. His hair doesn’t grow very fast, though, so this isn’t something he does often.
Doesn’t care whether his partner is shaven, groomed, untamed, or anything down there. He’s cool with anything.
I = Intimacy (How are they during the moment, romantic aspect…)
Felix is always very into it. He is careful and gentle, even when it’s rough sex, or you’re playing to each other’s more intense kinks. He tries to make it as special and loving each time. Will only really go “all out” for the romance on special occasions (like roses, candles, that sorta stuff).
J = Jack Off (Masturbation headcanon)
Felix does masturbate, often, but just not like all-the-time-kinda often. He can go weeks in which he doesn’t feel like it. Though, he can get incredibly worked up reading his books and needs some fast relief. That is usually how Felix goes with masturbation. He uses it as a quick relief. He doesn’t put aside time to just set the atmosphere and spend some quality time making himself feel good.
K = Kink (One or more of their kinks)
Felix is very kinky in the fact that he’s up for trying out a lot of different things in the bedroom~
Though, he’s definitely into bondage. Both being tied up and tying up his partner.
He also gets turned on by doing it in places where he could get caught. (In public)
He also has a praise kink.
And a slight degradation kink - Though he only ever allows that from people he is comfortable with, and he knows actually cares for him.
L = Location (Favourite places to do the do)
Prefers to do it somewhere comfortable and private so that you can both take your time and be as loud as you want, etc. But! He also likes doing in risky places. As long as those places are somewhat discreet. Likes doing in the bath….
M = Motivation (What turns them on, gets them going)
You. Felix will get very turned on by you, even when you’re not touching him or anything. Sometimes, just watching you be absorbed in what you’re doing or getting passionate about something can be enough for him. Also, his smut books. But he really gets going when you start making moves on him. Even the slightest sultry look will get him riled up.
N = NO (Something they wouldn’t do, turn-offs)
I think for this, the only “No’s” he has comes down to the person he is with. Felix is up for trying all sorts of stuff, kinky or otherwise. But he’s not going to do things (especially the more intense stuff) with someone’s he’s not fully comfortable with. It will take a lot of relationship growth and trust before doing anything outside the realms of vanilla, so to speak.
O = Oral (Preference in giving or receiving, skill, etc)
Likes giving oral. Because Felix’s only other sexual partner was Rime, he knows how to give head pretty damn well. He is very good at picking up what his partner likes and will immediately act on it. When it comes to going down on someone else with slightly different parts, he may be a bit unprepared. His movements will not be as precise and methodical but, again, he is very in tune with what his partner like and is quick to learn. He’s also learnt a lot about different techniques from his smutty books. Will not be ashamed if you want to walk him through anything, he’ll actually be turned on by your direction.
When it comes to receiving oral, Felix gets very shy. He loves the feeling of you and loves the fact that you’d do that for him, but he can get a little in his own head. Just praise and reassure him, and he’ll relax into it.
P = Pace (Are they fast and rough? Slow and sensual? Etc.)
Felix likes a bit of both. He likes it when it’s rough but sensual. But if he’s in control, he’ll do whatever pace you want. He gets faster and less precise with his movements the closer he gets to finishing. He also likes hot and rough sex at times too. As long as you change it every now and again, he’s happy.
Q = Quickie (Their opinions on quickies rather than proper sex, how often, etc.)
Is up for quickies. He likes the experience of “proper sex”, but he also loves the feeling of instant gratification that comes with just taking his lover right then and there. Doesn’t want to do it too often, as he doesn’t want to replace having actual sex.
R = Risk (Are they game to experiment, do they take risks, etc.)
Yes! Felix loves risk. Whether it’s doing the deed with the potential to get caught, or trying new things. He’s up for trying just about anything once.
S = Stamina (How many rounds can they go for, how long do they last…)
Poor baby doesn’t have much stamina. He can last awhile depending on what positions and techniques you're doing/using and how worked up he is. When it comes to how many rounds, it depends on how much he’s exerted himself that day. He’ll need a short break before going again. Though, having his partner wanting him gives him a bit more motivation and energy to go another round or hang on a little longer.
T = Toy (Do they own toys? Do they use them? On a partner or themselves?)
Felix doesn’t use toys, but he is open too. He is happy to try new things. He adores using them on you, however. He likes to experience with trying a few different toys on you at different times. Loves seeing what brings you the most pleasure. Felix is also likely to get more teasing and mischievous when using toys on you.
U = Unfair (how much they like to tease)
Felix likes to tease. A lot. However, his teasing facade often breaks really quickly when his lover starts teasing him back. He gets very blushy and turned on when this happens. Though, if you let him tease you, he’ll get very into it, and you’ll start to see a more confident and dominate side of Felix. He will be encouraged to continue and even up the teasing if you are enjoying it.
V = Volume (How loud they are, what sounds they make)
Felix whimper moans. He also does breathy moans. He’s relatively loud, especially the more worked up he is and the more he’s enjoying it. Felix is loud enough that people will hear if they walk past. However, Felix will try to muffle his moans instinctively. You’ll probably have to move his hand away from his mouth, so you can hear it and to encourage him to just enjoy the moment.
W = Wild Card (Get a random headcanon for the character of your choice)
Likes to use magic to spice things up in the bedroom. He has a collection of books on spells and other things, detailing methods and techniques to enhance the experience. He keeps them hidden away. Has used a few on himself to try them out.
X = X-Ray (Let’s see what’s going on in those pants, picture or words)
When it comes to size~ Felix is on the smaller side of average when flaccid, but is a bit bigger (both size and girth) when erect. Basically he’s a grower, not a shower.
Y = Yearning (How high is their sex drive?)
Felix’s sex drive is high, in the fact that it doesn’t take much to get him horny or turned on. But, Felix doesn’t always actually WANT sex when he’s turned on. But even with that, he yearns for sex a lot and is easily turned on by the things you do and by the smut he reads.
Z = ZZZ (… how quickly they fall asleep afterwards)
It depends. If you don’t do anything straight afterwards (like bathing) he’ll fall asleep in your embrace pretty quickly. Sex calms him down a lot, but it also exhausts him too.
#fictif#fictif games#fictif last legacy#fictif headcanons#fictif felix#fictif fanfic#last legacy headcanons#last legacy fictif#last legacy felix#felix smut#writing#fanfic#headcanon#anon ask#anon request
61 notes
·
View notes
Text
How’s That Book Marketing Going?
My book marketing effort has been a dismal failure thus far. The present plan is to write more books and beg for reviews, and when I have 100, I will use Amazon’s paid promotion services. I know this awful plan does not involve social media or professional advertisements.
What was my initial plan? I expected Amazon, Kubo, Barns, and Nobel to promote new authors with gusto. It is in their best interest to turn them into best sellers. Yeah… That is lottery ticket grade, wishful thinking.
What else did I expect? Honestly, I hoped to find a magic lamp. Many marketing experts can promote something simple, like a book. All an author needs to do is go to website X, pay $50, and BAM! The experts take care of everything. Instant book sales! Woo-hoo! Money in the bank! More wishful thinking.
The problem is that if someone has money, others will take it. Why should book promotion be any different? I located many marketing sites that promised success for pennies. Unfortunately, the services they offered were laughable. Even worse, they blast people with spam, which angers them. Plus, these sites offered no metric of success and no guarantees—the textbook definition of wasted money.
Every self-published author faces the same marketing wall. There are millions of old and thousands of new books, with one hundred coming out daily. This vast array of solid titles competes for the reader’s attention. Remember that readers also like eating, social media, television, sports, movies, exercise, work, family, travel, and other costly activities. Somehow, a self-published author must break through that entire spectrum to convince a reader they should click “buy it now.”
For example, a reader could purchase The Hitchhiker’s Guide to The Galaxy (an excellent read) or Interviewing Immortality (An astounding book. Trust me, I wrote it.) by an unknown self-published author.
The Hitchhiker’s Guide to The Galaxy is a well-written classic that everybody should read. Why would a reader spend hard-earned cash on a self-published nobody? Another possibility is to purchase a six-pack of Diet Coke. Let’s think this through. Go with the established author because it is a sure bet to be entertained. “You have purchased The Hitchhiker’s Guide to The Galaxy. Thank you for choosing Amazon.” Good choice.
Will I ever sell over three books a month? I believe in myself, and the few people who read my words provided positive feedback. This sentiment encourages me, and I have a positive writing future ahead of me. Blah, blah, blah. Answer the question. Alright, alright. The path I have chosen is difficult. Marketing is a skill that I have put little effort into developing.
What I am missing is a bubbly personality and advertising drive. What if I took the leap and spent money on a billboard with my books? Yeah, I will get right on it…
I have never been one to give up, and I see success in my distant future. What I need is to be more engaging and spread my wings wider. I am not on Twitter (X), Instagram, YouTube, or any other site, and if I expect any success, social media needs to be part of my core plan.
I did have one idea. Pay a YouTuber to promote my book. Lots of people promote works through YouTube. It’s fast and easy. Girrrrr. I’m not too fond of that option. Too much risk. Too much money. Girrrrr. I’m in the way of my success.
You’re the best -Bill
February 03, 2024
Hey book lovers, I published four. Please check them out:
Interviewing Immortality. A dramatic first-person psychological thriller that weaves a tale of intrigue, suspense, and self-confrontation.
Pushed to the Edge of Survival. A drama, romance, and science fiction story about two unlikely people surviving a shipwreck and living with the consequences.
Cable Ties. A slow-burn political thriller that reflects the realities of modern intelligence, law enforcement, department cooperation, and international politics.
Saving Immortality. Continuing in the first-person psychological thriller genre, James Kimble searches for his former captor to answer his life’s questions.
These books are available in soft-cover on Amazon and eBook format everywhere.
3 notes
·
View notes
Photo
Editor’s note: Bookish Bits is a regular literary writing column on Can’t You Read. Featuring both traditional book reviews, and expanded essays, this book blog encompasses all of my writing about the volumes in my extensive library.
Birdwatching With Liberal Antifascism: A Review of “How Fascism Works: the Politics of Us and Them” by Jason Stanley.
If you've been reading my anti-fascist analysis long enough, you'll know that I'm often quite critical of the imagined efforts of "liberal antifascists" in the Pig Empire. This is in part because foundationally, it's awfully hard to be an effective antifascist without also being an anticapitalist. It has also been my experience however that affluent liberals in positions of actual power are often far less interested in fighting fascists, than protecting their own wealth; if forced to choose between the two, they will quickly abandon all pretenses at opposing the fascist creep and side with hierarchal capitalist power to the bitter end. There is after all a reason I refer to this as our collective "Weimar America" period.
How then are we to approach an intelligent, well-read, genuinely sincere liberal antifascist? Even more perplexing, what does a reasonable observer do when this sincere liberal antifascist has produced what amounts to a fantastic birdwatching guide that allows even small children to recognize fascist politics in action, but offers up only vaguely reformist solutions that flatly will not stop the fascist creep? In short, how do we address a book like Jason Stanley's 2018 work "How Fascism Works: The Politics of Us and Them?" In the end, I've decided that the only honest way forward is to critique what Stanley's book is, rather than focus on what it is not.
So what is it? Expressed simply, How Fascism Works is a collection and analysis of ten objectively fascist political tactics being used to seize control by contemporary far right, ultranationalist movements across the Pig Empire. A study of both rhetoric and process, the author's work isn't about fascist governments, so much as the political movements that put them in power. Although Stanley does spend some time discussing twentieth-century fascist regimes like the Nazis in Germany, or Mussolini's fascist Italy, his focus is very much in the here and now, along with the type of reactionary, eliminationist politics that empowered leaders such as Narendra Modi in India, Jair Bolsonaro in Brazil, and of course Donald Trump in America.
Just what are these fascist political techniques? Stanley identifies them as a call to a "mythic past," inverted reactionary "propaganda," fervent "anti-intellectualism," the enforcement of "unreality," insistence on the existence of a natural "hierarchy," imagined "victimhood," rigid enforcement of authoritarian "law and order," manipulation of "sexual anxiety," casting internal lifestyle differences in the mold of "Sodom and Gomorrah," and otherized presumptions about work ethic and productive value to society. Although each of these pillars are individually present in all types of reactionary politics across the Pig Empire; taken together, they represent clear evidence of a fascist movement in progress - which is the best time to identify fascism; since once it's no longer a fascist movement, but rather a fascist regime, it's far too late to stop it.
Within the narrow, but still relevant confines of studying fascist political practices on the path to power in a faux liberal democracy, I'd have to say How Fascism Works is a smashing success. Drawing heavily from thinkers like Eco, Adorno, and Arendt, Stanley's analysis highlights not only the practices of fascist politicians, but also why they're so effective in convincing the classic "authoritarian personality" type to surrender all autonomy, and indeed rational thought, to fascist charlatans and strongmen. In this regard, Stanley's book might more accurately be called "How Fascism Works (on bootlickers, to dismantle capitalist faux democracies)" instead. Still, for folks primarily concerned with the practical realities of identifying modern fascist movements, and unwinding their poisonous political arguments, How Fascism Works will definitely deliver the goods.
Which unfortunately brings us to the pushback against Stanley's work, and why How Fascism Works is simultaneously a valuable resource, and a dangerous diversion from effective antifascist practices. While many reactionary observers have criticized Stanley for failing to define what fascism is; I don't think that critique is accurate or in good faith. Stanley does define fascism in a purely political context; wingers simply don't like that his definition accurately describes their current political practices. The author clearly states he's not talking about the policies of established regimes, or even the ideology of fascist movements, but rather their methods of acquiring power; you can't crush a guy for failing to write the book you would have preferred to read, and I don't give two wet horse apples whether or not American fascists dislike a Yale professor calling them, well, fascists.
Perhaps more surprisingly however, How Fascism Works has also drawn criticism from some antifascists; particularly those like myself, who largely agree with Trotsky's analysis about what fascism really is, and why it is unleashed by the ruling classes in a liberal democratic society that appears more free than it is. There is literally no anticapitalist component to either Stanley's analysis, or his wholly inadequate proposed solutions; which more or less boil down to "liberal politicians need to be better true liberals and we all need to vote harder to protect our democratic institutions." The end result is in effect a wonderful book about types of nazi birds, and the modern habits of those birds, without much discussion of why the birds are there and what to do if they're trying to kill you for capitalists and hierarchal power.
Does that ultimately matter? Well, that depends on what you want a book like How Fascism Works to accomplish. In light of its widespread popularity, I would say it has been an effective part of the mainstream discourse that has finally at this late a date, allowed liberals to accurately describe the American right's current evolution as fascist; albeit, tepidly so. By that same measure, Stanley's insistence that the liberal democratic order that birthed this fascist movement is the only answer to the problem, probably hasn't helped many of those people become effective antifascists; as evidenced by the fact that Joe Biden has been president for almost two years, and American fascism is still growing politically stronger by the day.
In the final analysis, all of this makes Stanley's How Fascism Works a wonderfully written, extremely informative "birdwatching" book for liberals who'd like to be antifascists, but don't know how to spot and resist the fascist propaganda all around them. If you're looking for an accessible way to get your Dem-voting Auntie who really misses the quiet dignity of bygone liberal politicians like Bobby Kennedy, or John Lewis, onside in the war against contemporary fascism, this is probably the book you want to buy for her. If on the other hand you're looking for a deep theory discussion about why capitalist societies are always capable of turning fascist at any moment, and how we can stamp out the serpent of violent reaction forever; this book doesn't have a whole lot to offer you.
On the basis that you can't punish a book for failing to be something it never promised you in the first place, I'm going to give How Fascism Works three and a half stars. Although I acknowledge that Stanley's work here is excellent, his ideological concessions to capitalist realism make it impossible to call this great antifascist scholarship. Plus I felt obligated to dock him a half star for excessive West Wing-esque rhapsodizing about liberal democratic institutions that can't stop fascism; because they were designed by, and are controlled by, reactionary capitalists who prefer fascism to sharing.
nina illingworth
Anarcho-syndicalist writer, critic and analyst.
You can find my work at ninaillingworth.com, Can’t You Read, Media Madness and my Patreon Blog
Updates available on Twitter, Instagram, Mastodon and Facebook.
Podcast at “Kropotkin’s Barbershop” on Soundcloud.
Inquiries and requests to speak to the manager @ASNinaWrites
Chat with fellow readers online at Anarcho Nina Writes on Discord!
“It’s ok Willie; swing heil, swing heil…”
#Bookish Bits#Fascism#American Fascism#Jason Stanley#How Fascism Works#Nina Illingworth#book reviews#antifascism#US Politics#liberal antifascism#anticapitalism#Donald Trump#Joe Biden#Trumpism
9 notes
·
View notes
Text
Advanced Dungeons and Dragons 1st Edition
Never really touched on this game until the re-release a few years back. The re-releases are beautiful hardcovers with gold leaf pages and stitched-in bookmarks. The covers are thematic, and each core book has a classic old-school image on the front. Let's quickly break them down.
a) Player's handbook - The looting of a statue after defeating foes. A very famous image of a demonic statue having gems cut from its eyes by some naughty adventurers.
b) Dungeon Master's Guide - An Efreet fighting in the City of Brass.
C) Monster Manual - A big red dragon. What more could you want?
Now, what are the fundamental differences between this and Basic D&D, you may ask? Allow me to explain. Not much. Actually, that's probably a little unfair. The advanced version of the game was originally intended to offer much more complexity to the game's mechanics and player options than could be found in the Basic rules. It was the go-to rules system for twelve years before it got an update. Once you get down to it and really dig in, the changes can be boiled down to the following:
Three core books, something carried forward in future editions of the game. Player's Handbook, Dungeon Master's Guide and Monster Manual. In total, you're approaching 500 pages of rules and advice. Later releases include the classics Unearthed Arcana and Fiend Folio, which were full of material released in Dragon Magazine. 1st edition is incredibly well supported, with approximately 12 years of classic adventures and additional supplements to bring to your table.
Lots of new character classes, including the Assassin, monk, druid, paladin, ranger, thief, bard and illusionist. That's plenty of meat to sink your roleplay teeth into, for sure. And that's a great positive for the edition. However, one slight niggle is that you have to meet certain stat requirements to choose some of these classes. For example, the illusionist required a minimum intelligence of 15. Players these days have a broad range of options for rolling their stats, but back in the day, you roll, and that's your lot. So, sometimes you don't get to be an assassin! Dwarf, Elf and Halfling are no longer class player options; rather, they are a choice to be made alongside human for your character class choice.
Alignments were added to the three available in the basic rules, bringing the player choices to nine, something most fans of D&D will be familiar with. From my personal point of view, I've always considered nine to be too many. Good, Neutral and Evil is fine. I think the additions are an example of the original writers putting out their own house-rules, maybe because they felt three options wasn't enough of a drill-down. Nine options does allow for a broader depth of role-playing IF you choose to have alignments be an important aspect of your games. Back in the day you had little choice as alignment becomes tethered to many mechanics such as spells.
The core mechanics are codified and robust. Tonnes of spells and monsters to break down those dungeons and to thrill your players with. Great explanations and advice in the DMG help to clarify rules and help the DM prevent their group from running away with so much gold that they are technically immortal.
Some mechanics feel a little harsh to a modern player. For example, Wyvern's can instantly kill you with their sting if you fail a save, and dependant upon the class, you stand a good chance of writing up a new character. There are spells and poisons and items that have similar catastrophic effects upon the person.
So, how does the book stand up against modern versions of the game? Very dated once you get to reading the product. You can feel the flavour of the game is still very much tied to Gygax and the way he wanted to run his games. Not necessarily a bad thing, but there are plenty of quirks here that have been dropped as the years have gone on (looking at you Wyvern). I think you'll love 1st edition if old-school gaming is your thing. Most all old-school publications are based upon the three core books in this set. 1st edition offers a tonne of options, feels solid and is overall a great product. If 5th edition is to your taste though, perhaps the lethality of 1st edition, the lack of race options, lack of feats and creation freedoms may irk. Overall, I can recommend.
7 notes
·
View notes
Text
The 21 Best Investing Books in 2023
“The Intelligent Investor” by Benjamin Graham. This book is considered a classic in the field of investing and is often recommended as a must-read for anyone looking to learn about value investing.
“The Little Book of Value Investing” by Christopher H. Browne. This book is an easy-to-read guide to value investing that is suitable for both beginners and experienced investors.
“The Warren Buffett Way” by Robert G. Hagstrom. This book provides an in-depth look at the investment strategies of Warren Buffett, one of the most successful investors of all time.
“The Intelligent Asset Allocator” by William Bernstein. This book provides a comprehensive overview of asset allocation and how to construct a diversified investment portfolio.
For read more books go to our website
https://financewithroyal.com/the-21-best-investing-books-in-2023/
3 notes
·
View notes
Text
What are the advantages and disadvantages of ai writing tools?
In traditional writing, many people need to find information and extract various keywords, and after the completion of the manuscript, they also need to correct the wrong words.
And now all of this can be done with AI. AI writing can help correct typos, and can find some material and refine keywords. As long as the user can communicate with the AI and guide the AI, they can write high-quality content.
Therefore, the benefits of AI in writing are: simplifying the writing process: AI can replace SEO tools to help content creators quickly and save time for keyword extraction. Assist the actual writing process: AI writing tools can provide writing materials, so that a word, idiom has more synonyms or synonyms to choose, and in writing sentences, can also change the way of expression, but also according to the requirements of the creator can write a paragraph. Correct typos: AI writing corrects typos.
Improve efficiency: AI writing is equivalent to writing patterns, for similar topics, types, materials, you can through the corresponding mode setting, in a short time to generate a lot of content, such as circle of friends, small red book, Weibo, micro headlines and so on. Generate a variety of styles of content: AI writing, can imitate a variety of celebrity styles, such as Shakespeare's style, or romantic style, realism style.
Generate high-quality content: When the creator is original, he can develop the creator's ideas according to the material and the creator's outline needs, and find better materials, words and sentence expression ways, so as to improve the quality of the article. Therefore, the main advantage of using AI to assist writing is that it can reduce the workload of the creator, but it can improve the quality of the article.
However, if you rely on AI writing for a long time, there will be some disadvantages. Disadvantages: Lack of creativity: Content generated in batches by AI will be stereotyped, which will lack originality, resulting in content that feels mechanical or lacks personality. Lack of professionalism: When it comes to more complex or specialized industries, when the creator does not have the corresponding expertise to guide the AI to create, there will be professional errors or omissions. Content differentiation is small: AI-generated content can be highly repetitive with other AI-generated content, because it is the same set of algorithms and similar materials.
Database and algorithm fixation: The content generated by AI does not have immediacy, so some sudden current affairs content needs to be handled by the creator, and some "super class" creation mode, AI is impossible to complete, such as inserting some Lizi writing (the current AI algorithm for Chinese classical literature on the market is considered super class content). The biggest drawback of AI content creation is the creation without the participation of the creator. Therefore, the key to creating AI content is the creator's guidance. Whether it is friend circle copywriting, small red book, public number tweets, poster design copywriting, meeting minutes sorting, data statistics, speeches, video scripts, etc., AI can be generated under the effective guidance of the creator. How to guide effectively? You can read books about AI creation, but the results will be slower. It's better to watch videos and teach by hand.
At present, Zhihuzhi School's intelligent writing class produces a 2-hour live AI tool class, covering the following 9 Al office application scenarios, so that you can become an AI writing bonus, which can not only work efficiency and compress work time, but also make fish time expand! The course includes PPT, copywriting, spreadsheets, videos, posters, meeting minutes and more.
write paper by ai
1 note
·
View note
Text
Essential Reads: Must-Have Computer Science Books for Career Growth
In the fast-paced world of technology, staying updated with the latest trends, concepts, and best practices is crucial for career growth in computer science. One of the most effective ways to expand knowledge and enhance skills is through reading. Here are some must-have Computer Science coach books that professionals can add to their reading list for career growth and development.
"Clean Code: A Handbook of Agile Software Craftsmanship" by Robert C. Martin: This book is a timeless classic that focuses on writing clean, maintainable, and efficient code. It covers principles and practices for software development, code refactoring, and improving code quality. By learning how to write clean code, developers can enhance their coding skills, contribute to better software design, and streamline development processes.
"Cracking the Coding Interview: 189 Programming Questions and Solutions" by Gayle Laakmann McDowell: For professionals preparing for technical interviews or seeking to improve their problem-solving skills, this book is a valuable resource. It provides a comprehensive collection of coding interview questions, solutions, and strategies for tackling algorithmic challenges. By mastering coding interview techniques, developers can excel in job interviews and advance their careers.
"Design Patterns: Elements of Reusable Object-Oriented Software" by Erich Gamma, Richard Helm, Ralph Johnson, and John Vlissides: Understanding design patterns is essential for software architects and developers. This book introduces classic design patterns, such as Singleton, Observer, Factory, and Decorator, that facilitate reusable and maintainable software design. By applying design patterns effectively, professionals can create scalable, modular, and robust software solutions.
"The Pragmatic Programmer: Your Journey to Mastery" by Andrew Hunt and David Thomas: This book offers practical advice, techniques, and philosophies for becoming a pragmatic and effective programmer. It covers topics such as code simplicity, debugging, testing, automation, and career development strategies. By adopting pragmatic programming practices, professionals can improve productivity, code quality, and overall performance in their roles.
"Introduction to Algorithms" by Thomas H. Cormen, Charles E. Leiserson, Ronald L. Rivest, and Clifford Stein: As a foundational book in computer science, this text provides a comprehensive overview of algorithms, data structures, and algorithmic analysis. It covers essential algorithms, sorting techniques, graph algorithms, dynamic programming, and more. Understanding algorithms is critical for solving complex problems efficiently and optimizing software performance.
"The Mythical Man-Month: Essays on Software Engineering" by Frederick P. Brooks Jr.: This classic book explores the challenges, pitfalls, and best practices in software engineering and project management. It discusses topics such as project estimation, team dynamics, communication, and software development methodologies. By learning from the experiences and insights shared in this book, professionals can improve project outcomes, team collaboration, and software delivery processes.
"Machine Learning Yearning" by Andrew Ng: For professionals interested in machine learning and artificial intelligence, this book provides practical guidance for building and deploying machine learning systems. It covers topics such as data preparation, model evaluation, feature engineering, and system design considerations. By understanding machine learning concepts and best practices, professionals can leverage AI technologies effectively in their projects and careers.
"The Art of Computer Programming" by Donald E. Knuth: This multi-volume series is a comprehensive guide to algorithms, data structures, and computer programming techniques. It delves into mathematical analysis, algorithm design principles, and computational complexity theory. By studying the art of computer programming, professionals can deepen their understanding of fundamental concepts and become proficient in advanced programming techniques.
In conclusion, these must-have computer science books offer invaluable insights, techniques, and knowledge for professionals seeking career growth and development in the field of technology. By incorporating these essential reads into their learning journey, professionals can enhance their skills, solve complex problems, and excel in their computer science careers.
1 note
·
View note
Text
What is the best way to start studying the stock market?
Starting to study the stock market is a commendable step toward financial education and investment. Here's a step-by-step guide on the best way to begin studying the stock market:
1. Build a Foundation of Financial Knowledge:
a. Understand Basic Financial Concepts:
Familiarize yourself with concepts like stocks, bonds, mutual funds, dividends, risk, and return. Online resources, books, and courses are excellent tools for learning.
b. Learn Financial Statements:
Gain an understanding of financial statements (income statement, balance sheet, cash flow statement) to evaluate a company's financial health.
2. Define Your Financial Goals:
a. Establish Clear Goals:
Determine your financial objectives, whether it's saving for retirement, buying a home, or funding education. Your goals will shape your investment strategy.
b. Assess Risk Tolerance:
Understand your risk tolerance. Different investments come with varying levels of risk, and it's crucial to align your investments with your comfort level.
3. Educate Yourself on Investment Vehicles:
a. Stocks:
Learn the basics of stocks, how they are traded, and what factors influence their prices.
b. Bonds:
Understand the concept of bonds, how they work, and the different types of bonds available.
c. Mutual Funds and ETFs:
Explore the concept of mutual funds and exchange-traded funds (ETFs) and how they offer diversified exposure.
4. Choose Reliable Learning Resources:
a. Books:
Read introductory books on investing. Some classics include "The Intelligent Investor" by Benjamin Graham and "A Random Walk Down Wall Street" by Burton Malkiel.
b. Online Courses:
Enroll in online courses offered by reputable platforms. Many courses cover investment basics, technical analysis, and fundamental analysis.
c. Financial Websites:
Follow financial news and use websites like Investopedia, Bloomberg, or Yahoo Finance for market updates and educational content.
5. Understand Market Analysis:
a. Fundamental Analysis:
Learn how to analyze a company's fundamentals, including financial statements, earnings reports, and management.
b. Technical Analysis:
Explore technical analysis, which involves studying historical price charts and patterns to predict future price movements.
6. Start Practicing with Simulated Trading:
a. Paper Trading:
Use simulated or paper trading platforms to practice without risking real money. This allows you to apply your knowledge in a risk-free environment.
7. Open a Brokerage Account:
a. Choose a Reputable Broker:
Research and select a reputable online brokerage platform. Consider factors like fees, user interface, and available resources.
b. Start Small:
Begin with a small amount of money to get a feel for the market. As you gain confidence, you can consider increasing your investments.
8. Follow Market Trends:
a. Stay Informed:
Regularly read financial news, follow market trends, and be aware of economic indicators. Understanding market dynamics is crucial for informed decision-making.
9. Join Investment Communities:
a. Forums and Social Media:
Participate in online forums or social media groups where investors discuss strategies and share insights. Be cautious and verify information independently.
10. Continue Learning and Stay Curious:
a. Stay Updated:
The stock market is dynamic, and staying curious and informed is essential. Continuously seek new information and adapt your strategies accordingly.
11. Consider Professional Guidance:
a. Financial Advisor:
One of the best way to start studying the stock market to Join India’s best comunity classes Investing daddy invented by Dr. Vinay prakash tiwari . The Governor of Rajasthan, the Honourable Sri Kalraj Mishra, presented Dr. Vinay Prakash Tiwari with an appreciation for creating the LTP Calculator.
LTP Calculator the best trading application in india.
You can also download LTP Calculator app by clicking on download button.
If you're uncertain or have complex financial goals, consider seeking advice from a certified financial advisor.
0 notes
Text
Best Science Fiction Books That Every Nerd Should Read
Who does not like to read science fiction books? Just the idea of traveling into a different galaxy and unraveling stories of that place makes our hearts excited! These are more than just regular stories, they are stories that open doors to fantastic worlds. So, naturally, science fiction books are like the best friend of any bookworm. But when it comes to the best science fiction books, the list is truly endless.
This is why, today we are bringing this blog to you that will help you buy books from discount book shops. Here, we will talk about some of the best science fiction books that are definitely a must-read.
List of the Best Sci-Fi Books
Science fiction is like an invitation to give a chance to your imagination to run wild. It is a space where you can dream big and give wings to the most abstract thought. Science fiction books are always a good read. They introduce us to things like futuristic gadgets, artificial intelligence, and mind-bending ideas. You can get an idea about the genre from the best science fiction books mentioned below:
1. Meet Me in Another Life:
Silvey Catriona tells a mysterious and heartwarming story in "Meet Me in Another Life." In this story, you will get to join two characters as they journey through different lives, discovering the enchantment of being reborn. This book encourages you to think about the wonders of life and the special connections that stay with us through time.
2. Brave New World:
Aldous Huxley has gone on a gripping exploration of a society obsessed with stability. Uncover the consequences of a world driven by conformity, where the pursuit of perfection comes at a steep price. This classic talks about the complexities of a utopian vision and the sacrifices made for it.
3. The Martian:
This book takes you on an exciting journey with Mark. Mark Watney is an astronaut who is stuck on Mars and fighting hard to stay alive. Through this book, Andy Weir gives us a blend of funny moments and real science. Moreover, this story is more than a fun story, it also teaches us about the tough parts of exploring space. So, brace yourself for an adventure through the space scenery as you read this book.
4. The Resisters:
Gish Jen's "The Resisters" shows a world where some people have more while others have less. Dive into the story's exciting themes of standing up against unfairness and how technology changes how we live together. Jen mixes science fiction with thoughts about how societies work, giving readers a new way to look at this kind of storytelling.
5. Red Mars:
In this book, Kim Stanley Robinson takes you on a journey to the red planet. This amazing book mixes real science with exciting political plots, showing how people make Mars their home and change its environment. Dive into a believable story of what humans might do on Mars, with lots of details and accurate science. Come join the adventure!
6. Rosewater:
Tade Thompson brings together a special mix of science fiction and African mysticism in "Rosewater." The tale unfolds in Nigeria, focusing on a mysterious biodome and the government's efforts to manage strange happenings from outer space. Thompson skillfully weaves in rich cultural details with elements of science fiction, offering a new and captivating outlook on the story.
7. Exhalation:
Take a trip into the amazing worlds of imagination in Ted Chiang's "Exhalation," a bunch of short stories that go beyond the usual limits of science fiction. Chiang dives into tricky questions about thoughts and morals, giving deep thoughts about being human. You get to go on an adventure with every story that has new ideas and compels you to think differently.
8. The Hitchhiker's Guide to the Galaxy:
Author Douglas Adams takes us on a funny trip through space in this amazing book series. Through this, you will be able to go on an unplanned space adventure which will let you meet strange characters and cosmic oddities. Adams' clever jokes and funny moments make this a classic and fun journey through the galaxy.
9. Hyperion:
Come join us in the exciting world of "Hyperion" by Dan Simmons! This space adventure is packed with all kinds of characters and amazing stories. Take a journey through a universe that's about to go through some big changes. There are mysteries to discover and destinies that weave together. Simmons is really good at telling stories, making this sci-fi masterpiece an immersive experience you won't want to miss!
Key Findings
So that was it, everything you needed to know about some of the best science fiction books available on Booksmart. The love for sci-fi books has been around for a long time and it will only grow with the coming time. We hope this will help you when buying books from discount book shops. Happy Reading!
0 notes
Last Seen Blogs
fayamn
Fay's Fattening Farm
entony97
#HumanError404
dominionseries-blog
Dominion: A Webseries
bobudaisuki
ボブリシャス
tangerine13
Living reflection from a dream