What are we reading?

Started by edison, September 21, 2003, 11:20:03 PM

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Ravi

#960
October 18, 2006, 04:11:11 PM

Ghostboy

#961
October 18, 2006, 10:01:03 PM


One of McCarthy's best, I think. My full review of it is here.

Ghostboy

#962
October 18, 2006, 11:17:27 PM
The most accessible, in my opinion, is last year's No Country For Old Men. You also might want to try All The Pretty Horses again - that's the first one I read, and it's tough but not so much as some of his other work.

grand theft sparrow

#963
October 20, 2006, 12:00:40 PM

Mesh

#964
October 20, 2006, 02:01:45 PM

Thrindle

#965
October 20, 2006, 05:56:58 PM
Anyone read this???

Classic.

polkablues

#966
October 20, 2006, 07:45:09 PM
My house, my rules, my coffee

gob

#967
October 21, 2006, 01:49:20 PM
Quote from: Ghostboy on October 18, 2006, 11:17:27 PM
The most accessible, in my opinion, is last year's No Country For Old Men. You also might want to try All The Pretty Horses again - that's the first one I read, and it's tough but not so much as some of his other work.

Blood Meridian is a really superb book. I'd recommend to anyone and especially McCarthy fans to try and stick with it.
I wanna read No Country for Old Men but might hold out for the Coen Brothers movie before reading it. The Road sounded awesome when I read a synopsis last month. Onto the wishlist it goes.

The Perineum Falcon

#968
October 23, 2006, 11:07:18 PM
So, I ended up enjoying Catcher quite a bit. I loved the explanation Holden gave of the title.
By the end, my feelings toward the cynical little prick that is Holden Caulfield changed dramatically.

This next one's a quick read, but I'm personally very excited about it:

It's signed, too.  :wink:
Most probably don't care of my experience at the Photography Convention held in Boone, NC two weeks ago, but I'll briefly share anyway.  :twisted:
First, it was freezing the night we arrived (my friends and I went camping, and I found myself unprepared for the most part), so waking up for the convention found us mostly miserable.
We were surprised that we somehow wandered into a Photo Con that held Photoshop in higher esteem than conventional photography. I swear, it was probably even sponsored by Adobe! [That was sarcasm. There was no actual proof that Adobe sponsored the event.]
The day started with a woman giving a VERY long lecture on Adobe's newest: Lightroom and another verison of Photoshop. While I found the information somewhat useful (I am required to have a working knowledge in photoshop for my computer graphics courses) and the logistics of the programs (especially Lightroom) were interesting, but it wasn't at all what I came 7+ hours for.
The rest of the day was spent looking at other artists so-called "photography" that liberally apllied photoshop to bring about the results. Granted, there may not be anything wrong, per sé, in using PS, but it's not something that I particuarly support in the realm of photography, so much so that I rarely even consider it such. Meaning (if that didn't make sense) if someone uses PS too much to add or subtract parts of their composition, I no longer consider it photography. Digital cameras are on (the lower part of) my shit list, too.
Perhaps I'm being a bit too strong here.
Moving on.
Finally there was a release. A very nice woman actually came and gave a lecture on the photos she took with her cameras! Large view cameras and pin-holes were all that she used! Oh, what a relief it was! (I later thanked her for it that night.  :wink: 8))
And then there was dear Sam Abell (he's pictured on the right of that book up there): documentary photographer, both personally and for National Geographic for many years, and inspirational speaker.
His lengthy, but enjoyable lecture, was a reinvigorating sermon. My friends and I found ourselves nodding to his thoughts and theories of photography in a way very similar to how a congregation nods when the preachers preachin' the Word.
But I don't want it to sound like I'm idolizing him. In a frustrating day, here was a man who admitted to not owning a computer or a digital camera; a man who claims those who use digital lack the faith inherent in photography.
After the Word was spoken, we had the opportunity to buy the book above and have it signed by him. When my turn came, I asked to shake his hand and thanked him for reaffirming everything I thought photography was supposed to be about.
He was very humble when I spoke to him and wrote, in amazing script:
For Brandon,
With appreciation for your thoughts and best wishes for you work.
Sam Abell.
We often went to the cinema, the screen would light up and we would tremble, but also, increasingly often, Madeleine and I were disappointed. The images had dated, they jittered, and Marilyn Monroe had gotten terribly old. We were sad, this wasn't the film we had dreamed of, this wasn't the total film that we all carried around inside us, this film that we would have wanted to make, or, more secretly, no doubt, that we would have wanted to live.

godardian

#969
October 24, 2006, 02:26:11 PM
Along with some unpublished work(s) by friend(s), I'm reading:

""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

Ravi

#970
October 25, 2006, 01:48:14 PM

elpablo

#971
October 26, 2006, 06:54:21 PM

The Perineum Falcon

#974
October 30, 2006, 01:11:34 PM
Another beautiful cover, this time with pages filled with pretty, blue print:
We often went to the cinema, the screen would light up and we would tremble, but also, increasingly often, Madeleine and I were disappointed. The images had dated, they jittered, and Marilyn Monroe had gotten terribly old. We were sad, this wasn't the film we had dreamed of, this wasn't the total film that we all carried around inside us, this film that we would have wanted to make, or, more secretly, no doubt, that we would have wanted to live.
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