SLAP book club

[cringe.]

I remember briefly talking about this idea in another thread, but it never took off. I was thinking it might be fun if we organised a kind of online book-club thread, where we decide on a book to read (either collectively or taking it in turns for suggestions) and then whoever is interested reads and discusses it here. It could be a new book every month, or fortnightly.

I find the 'what book are you reading' thread really good for finding out new stuff, but I think it would also be cool to have somewhere to discuss our thoughts about the same book in more in depth.

Not sure if this will take off, but no harm in starting this thread. If anyone's interested maybe start suggesting possible titles we could begin with

[Mat]

Women by Bukowski

[UgolinoTheSignificant]

i would be down for this, but not bukowski...gaddis? gass? proust? suggestions?

[Sgt.Pepper]

one flew over the cuckoo's nest is a great read. Fucking love the catcher in the rye too.

[StabMasterArson]

Every winter I get depressed and read "catcher in the rye" and end up feeling better when I'm done.

[dankradschwag]

lets read some shit from a writer with some balls, i say lets read the sun also rises. aside from women, i've already read all that other shit. its too common for us to do.

[UgolinoTheSignificant]

lets read some shit from a writer with some balls, i say lets read the sun also rises. aside from women, i've already read all that other shit. its too common for us to do.

read that probably five years back, AMAZING novel but idk if i'd be into a reread

saul bellow anyone?

[rob2]

great idea, maybe we could do a poll to choose what book?

[Eschaton]

Gravity's Rainbow. I already got my copy!

[cringe.]

yeah I think a poll would be a good idea, I'll leave this a while longer for more suggestions, but it's cool that there's some interest.

I've been meaning to read To Have and Have Not by Hemingway for a while, and i'd like to read Bellow, never have

[UgolinoTheSignificant]

yeah I think a poll would be a good idea, I'll leave this a while longer for more suggestions, but it's cool that there's some interest.

I've been meaning to read To Have and Have Not by Hemingway for a while, and i'd like to read Bellow, never have

I back Pynchon, have him but yet to start, was going so suggest bellow (really good if you haven't read any of his stuff yet), nabokov, or dostoyevsky also but this pynchon idea is more enticing

[Filip]

[oyolar]

If Pynchon, DO NOT start with Gravity's Rainbow. I made that mistake. It is difficult as fuck.

[Cthulhu!]

Rodneys book gets sent around to pals again

[sven thorkel]

gravity's rainbow is also long, which doesn't seem preferred for a book club. i would like to see it in oprah's book club, then get to hear middle aged white women discuss it

"my favorite part was when slothrop pursued that harmonica down the toilet in the negro jazz club"
"hmm, that was alright, but i liked the part when pokler goes to zwolfkinder to molest his "daughter" every summer, but finds out it's an imposter"
"wait, wait, wait, if you're going bring up pedophilic acts, you gotta go with the boat orgy with the actress's daughter"
"i dont know... blicero's golden boy sounded pretty ohh la la"
"hehehe"
 

[rob2]

We could do crying of lot 49? Its short enough that we'd be able to finish it, Its a good one to reread for those that have already read it, and there's lots to talk about.

Other suggestions would be david foster wallace stuff (either short stories or maybe pale king) or Dostoevsky?

Or my friend recommended this author called Stephanie Meyer who's meant to be really good?

[kilgore.]

yeah, quite honestly gravity's rainbow might be probably the absolute worst book to bring to a book club. see you in a year bros.

but it is one of the best books ever, it's just the complete anti-book club novel.

[oyolar]

I don't have the time for this now, but I would recommend some Nabokov or even Dubliners or A Portrait of the Artist as a Young Man both by Joyce. Granted, it is because I'm a huge fan of both of those guys, but there's also a lot going on in their novels that discussions help elucidate, even more so if you're rereading anyone of them.

If you decide to do Nabokov, I've read all of his English stuff and a couple (literally) of his Russian stuff so I can give some suggestions.

[UgolinoTheSignificant]

always in favor of rereading joyce, portrait could work

[S. Samyro]

I back Portrait or The Crying of Lot 49. Definitely two of my favorite novels.

ALSO I suggest Blood Meridian by Cormac McCarthy. It's the most violent novel ever but it's fucking amazing.

[cringe.]

It seems like the difficult thing is going to be choosing a book that people haven't already read, because it might be annoying for some people having to re-read something. I would be up for The Crying of Lot 49 though, or Dubliners, or Hemingway, or..... ?

[no fun]

Confederacy of Dunces by John Kennedy Toole

[wario]

i forgot to bring a book when i took a shit today, so i became totally enthralled at reading shampoo and soap labels.  chamomile?  holy shit!!!!

[David Schwimmer]

Since were all having trouble picking a book wee can all agree on, let's do something easy. Below is
a script for one of the early episodes in the first season of F.R.I.E.N.D.S.  Let's all take another another look
and when ready we can examine true the body of comedy and the vessel of achievement. These were some great
years in the making and I really developed some real friendships and a knack for true nature. I myself love lotion.
So once again let's talk get into some greater depth of the written script.

The One With the Butt

Originally written by Adam Chase & Ira Ungerleider.
Transcribed by guineapig.
PRE-INTRO SCENE: A THEATRE (THE GANG ARE IN THE AUDIENCE WAITING FOR A PLAY OF JOEY'S TO START)

RACHEL: (READING THE PROGRAMME) Ooh! Look! Look! Look! Look, there's Joey's picture! This is so exciting!

CHANDLER: You can always spot someone who's never seen one of his plays before. Notice, no fear, no sense of impending doom...

PHOEBE: The exclamation point in the title scares me. (GESTURING) Y'know, it's not just Freud, it's Freud!

(THE LIGHTS DIM)

ROSS: Oh, shhh, shh. Magic is about to happen.

(LIGHTS GO UP ON THE STAGE: JOEY (AS FREUD) TALKING TO A FEMALE PATIENT)

JOEY: Vell, Eva, ve've done some excellent vork here, and I vould have to say, your pwoblem is qviiite clear.
(GOES INTO A SONG AND DANCE NUMBER)
All you want is a dingle,
What you envy's a schwang,
A thing through which you can tinkle,
Or play with, or simply let hang...
(INTRO)

SCENE 1: THE THEATRE (JUST AFTER THE PLAY; EVERYONE IS APPLAUDING)

(AS SOON AS THE CAST HAS LEFT THE GANG ALL GROAN AND SIT DOWN HEAVILY)

RACHEL: God. I feel violated.

MONICA: Did anybody else feel they just wanted to peel the skin off their body, to have something else to do?

CHANDLER: (STARING AT A WOMAN ACROSS THE ROOM) Ross, ten o'clock.

ROSS: Is it? Feels like two.

CHANDLER: No, ten o'clock.

ROSS: What?

CHANDLER: (SIGHS AND GESTURES TO EXPLAIN) There's a beautiful woman at eight, nine, ten o'clock!

ROSS: Oh. Hel-lo!

CHANDLER: She's amazing! She makes the women that I dream about look like short, fat, bald men!

MONICA: Well, go over to her! She's not with anyone.

CHANDLER: Oh yeah, and what would my opening line be? 'Excuse me. Blarrglarrghh.'

RACHEL: Oh, c'mon. She's a person, you can do it!

CHANDLER: Oh please, could she be more out of my league? Ross, back me up here.

ROSS: He could never get a woman like that in a million years.

CHANDLER: Thank you, buddy.

PHOEBE: Oh, oh, but y'know, you always see these really beautiful women with these really nothing guys, you could be one of those guys.

MONICA: You could do that!

CHANDLER: Y'think?

ALL: Yeah!

CHANDLER: Oh God, I can't believe I'm even considering this... I'm very very aware of my tongue...

ROSS: C'mon! C'mon!

CHANDLER: Here goes. (HE WALKS OVER TO HER BUT JUST STANDS THERE)

AURORA: ...Yes?

CHANDLER: Hi.... um... okay, next word... would be... Chandler! Chandler is my name, and, uh... (CLEARS HIS THROAT NOISILY)...hi.

AURORA: Yes, you said that.

CHANDLER: Yes, yes I did, but what I didn't say was what I was about to say, what I wanted to say was, uh... would you like to go out with me sometime, thankyou, goodnight. (WALKS BACK TO THE OTHERS BUT SHE CALLS HIM BACK)

AURORA: Chandler?

(ENTER JOEY FROM BEHIND A CURTAIN. THE OTHERS ALL TALK AT ONCE)

ALL: Hey! You're in a play! I didn't know you could dance! You had a beard!

JOEY: Whadja think?

(PAUSE)

ALL: ...Hey! You're in a play! I didn't know you could dance! You had a beard!

JOEY: C'mon, you guys, it wasn't that bad. It was better than that thing I did with the trolls, at least you got to see my head.

ALL: (ADMITTING) Saw your head. Saw your head.

CHANDLER: (RUNNING BACK) She said yes!! She said yes!! (TO JOEY) Awful play, man. Whoah. (TO ALL) Her name's Aurora, and she's Italian, and she pronounces my name 'Chand-lrr'. 'Chand-lrr'. I think I like it better that way. (TO JOEY) Oh, listen, the usher gave me this to give to you. (FISHES A CARD OUT OF HIS POCKET)

RACHEL: What is it?

JOEY: The Estelle Leonard Talent Agency. Wow, an agency left me its card! Maybe they wanna sign me!

PHOEBE: Based on this play? ...Based on this play!

SCENE 2: CENTRAL PERK (ENTER CHANDLER; EVERYONE ELSE IS ALREADY THERE)

CHANDLER: Hey, kids.

ALL: Hey.

PHOEBE: (READING MONICA'S PALM) No, 'cause this line is passion, and this is... just a line.

CHANDLER: Well, I can't believe I've been here almost seven seconds and you haven't asked me how my date went.

MONICA: Oh, right, right. How was your date, 'Chand-lrr'?

CHANDLER: It was unbelievable. I-I've never met anyone like her. She's had the most amazing life! She was in the Israeli army...

(FLASHBACK OF AURORA AND CHANDLER ON THEIR DATE IN CENTRAL PERK [denoted by italics])

AURORA: ...Luckily none of the bullets hit the engine block. So, we made it to the border, but just barely, and I- ...I've been talking about myself all night long, I'm sorry. What about you? Tell me one of your stories.

CHANDLER: Alright. Once I got on the subway, right, and it was at night, and I rode it all the way to Brooklyn... just for the hell of it.

CHANDLER: We talked 'til like two. It was this perfect evening... more or less.

AURORA: ...All of a sudden we realised we were in Yammon.

CHANDLER: Oh, I'm sorry, so 'we' is?

AURORA: 'We' would be me and Rick.

JOEY: Who's Rick?

CHANDLER: Who's Rick?

AURORA: My husband.

ALL: Ooooohhh.

CHANDLER: Oh, so you're divorced?

AURORA: No.

CHANDLER: Oh, I'm sorry, then you're widowed?...Hopefully?

AURORA: No, I'm still married.

CHANDLER: So tell me, how do- how do you think your husband would feel about you sitting here with me?...Sliding your foot so far up my pant leg you can count the change in my pocket?

AURORA: Don't worry. I imagine he'd be okay with you because really, he's okay with Ethan.

CHANDLER: Ethan? There's, there's an Ethan?

AURORA: Mmmm... Ethan is my... boyfriend.

ALL: What?!

CHANDLER: So explain something to me here, uh, what kind of a relationship do you imagine us having if you already have a husband and a boyfriend?

AURORA: I suppose mainly sexual.

CHANDLER: ...Hm.

MONICA: Oh. I'm sorry it didn't work out.

CHANDLER: What 'not work out'? I'm seeing her again on Thursday. Didn't you listen to the story?

MONICA: Didn't you listen to the story? I mean, this is twisted! How could you get involved with a woman like this?

CHANDLER: Well, y'know, I had some trouble with it at first too, but the way I look at it is, I get all the good stuff: all the fun, all the talking, all the sex; and none of the responsibility. I mean, this is every guy's fantasy!

PHOEBE: Oh, yeah. That is not true. Ross, is this your fantasy?

ROSS: No, of course not! (THINKS) ...Yeah, yeah, it is.

MONICA: What? So you guys don't mind going out with someone else who's going out with someone else?

JOEY: I couldn't do it.

MONICA: Good for you, Joey.

JOEY: When I'm with a woman, I need to know that I'm going out with more people than she is.

ROSS: Well, y'know, monogamy can be a, uh, tricky concept. I mean, anthropologically speaking-

(THEY ALL PRETEND TO FALL ASLEEP)

ROSS: Fine. Fine, alright, now you'll never know.

MONICA: We're kidding. C'mon, tell us!

ALL: Yeah! C'mon!

ROSS: Alright. There's a theory, put forth by Richard Leakey-

(THEY ALL FALL ASLEEP AGAIN)

SCENE 3: MONICA AND RACHEL'S (RACHEL IS THERE; ENTER ALL BUT JOEY)

RACHEL: Tah-daaah!

CHANDLER: Are we greeting each other this way now? 'Cause I like that.

RACHEL: Look! I cleaned! I did the windows, I did the floors... I even used all the attachments on the vacuum, except that little round one with the bristles, I don't know what that's for.

ROSS: Oh yeah, nobody knows. And we're not supposed to ask.

RACHEL: Well, whaddya think?

ALL: Very clean! It looks great! Terrific!

MONICA: ...Oh! I-I see you moved the green ottoman.

ALL: Uh-oh...

MONICA: How-how did that happen?

RACHEL: I dunno.. I-I thought it looked better there. And I- and also, it's an extra seat around the coffee table.

MONICA: Yeah, yeah, it's interesting.. but y'know what? Just for fun, let's see what it looked like in the old spot. (MOVES IT) Alright, just to compare. Let's see. Well, it looks good there too. Let's just leave it there for a while.

PHOEBE: (TO RACHEL) I can't believe you tried to move the green ottoman.

CHANDLER: Thank God you didn't try to fan out the magazines. I mean, she'll scratch your eyes right out.

MONICA: You guys, I am not that bad!

PHOEBE: Yeah, you are, Monica. Remember when I lived with you? You were like, a little, y'know, (PSYCHO) Ree! Ree! Ree! Ree!

MONICA: That is so unfair!

ROSS: Oh c'mon! When we were kids, yours was the only Raggedy Ann doll that wasn't raggedy!

MONICA: Okay, so I'm responsible, I'm organised. But hey, I can be a kook.

ROSS: Alright, you madcap gal. Try to imagine this. The phone bill arrives, but you don't pay it right away.

MONICA: Why not?

ROSS: Because you're a kook! Instead you wait until they send you a notice.

MONICA: I could do that.

RACHEL: Okay, uh, you let me go grocery shopping, and I buy laundry detergent, but it's not the one with the easy-pour spout.

MONICA: Why would someone do that?! ...One might wonder.

CHANDLER: Someone's left a glass on the coffee table. There's no coaster. It's a cold drink, it's a hot day. Little beads of condensation are inching their way closer and closer to the surface of the wood...

MONICA: STOP IT!! ...Oh my God. It's true! Who am I?

ROSS: Monica? You're Mom.

(MONICA GASPS)

PHOEBE: Ree! Ree! Ree! Ree! Ree!

(ENTER JOEY ON THE PHONE)

JOEY: Uh huh.. uh huh... oh my God! Okay! Okay, I'll be there! (TO ALL) That was my agent. (TOSSES AND CATCHES PHONE) My agent has just gotten me a job- in the new Al Pacino movie!

ALL: Oh my God! Whoah!

MONICA: Well, what's the part?

JOEY: Can you believe this? Al Pacino! This guy's the reason I became an actor! 'I'm out of order? Pfeeeh. You're out of order! This whole courtroom's out of order!'

PHOEBE: Seriously, what-what's the part?

JOEY: 'Just when I thought I was out, they pull me back in!'

ROSS: C'mon, seriously, Joey, what's the part?

JOEY: ...I'm his (MUMBLES)

RACHEL: ..You're, you're 'mah mah mah' what?

JOEY: ...I'm his butt double. 'Kay? I play Al Pacino's butt. Alright? He goes into the shower, and then- I'm his butt.

MONICA: (TRYING NOT TO LAUGH) Oh my God.

JOEY: C'mon, you guys. This is a real movie, and Al Pacino's in it, and that's big!

CHANDLER: Oh no, it's terrific, it's- it's- y'know, you deserve this, after all your years of struggling, you've finally been able to crack your way into showbusiness.

JOEY: Okay, okay, fine! Make jokes, I don't care! This is a big break for me!

ROSS: You're right, you're right, it is...So you gonna invite us all to the big opening?

(AD BREAK)

SCENE 4: MONICA AND RACHEL'S (MORNING) (MONICA IS GETTING THE DOOR)

MONICA: Alright, alright, alright...

(ENTER JOEY WITH MONICA'S PAPER- HE GIVES IT TO HER)

JOEY: Here. I need to borrow some moisturizer.

MONICA: For what?

JOEY: Whaddya think? Today's the big day!

MONICA: Oh my God. Okay, go into the bathroom, use whatever you want, just don't ever tell me what you did in there.

JOEY: Thank you! (GOES OFF TO THE BATHROOM)

(ENTER CHANDLER WITH A PHONE)

CHANDLER: Where's Joey? His mom's on the phone.

MONICA: He's in the bathroom. I don't think you wanna go in there!

CHANDLER: C'mon, we're roommates! (HE GOES INTO THE BATHROOM, SCREAMS AND RUNS OUT) My eyes!! My eyes!!

MONICA: I warned you...

(ENTER RACHEL FROM HER ROOM)

RACHEL: Who is being loud?

CHANDLER: Oh, that would be Monica. Hey, listen, I wanna borrow a coupla things, Aurora spent the night, I really wanna make her breakfast.

MONICA: Oh, you got the whole night, huh?

CHANDLER: Yeah, well, I only have twenty minutes until Ethan, so, y'know.. (HE STARTS TO RAID THE FRIDGE)

RACHEL: Ooh, do I sense a little bit of resentment?

CHANDLER: No, no resentment, believe me, it's worth it. 'Kay? Y'know in a relationship you have these key moments that you know you'll remember for the rest of your life? Well, every- single- second is like that with Aurora.. and I've just wasted about thirty-five of them talking to you people, so, uh.. Monica, can you help me with the door? (HE HAS ARMLOADS OF STUFF)

MONICA: Sure. Oh, um, Chandler? Y'know, the-the old Monica would-would remind you to scrub that Teflon pan with a plastic brush...But I'm not gonna do that.

(SHE OPENS THE DOOR AND HE LEAVES)

SCENE 5: FILM SET (JOEY IS ENTERING FOR HIS SCENE)

DIRECTOR: (TO PHONE)...Dammit, hire the girl! (PUTS DOWN PHONE) Okay, everybody ready?

JOEY: Uh, listen, I just wanna thank you for this great opportunity.

DIRECTOR: Lose the robe.

JOEY: Me?

DIRECTOR: That would work.

JOEY: Right. Okay. Losing the robe. (TAKES IT OFF) And the robe is lost.

DIRECTOR: Okay, everybody, we'd like to get this in one take, please. Let's roll it.. water's working (SHOWER STARTS).. and... action.

(JOEY STARTS TO SHOWER WITH A GRIM, DETERMINED LOOK ON HIS FACE)

DIRECTOR: And cut. Hey, Butt Guy, what the hell are you doing?

JOEY: Well, I'm- I'm showering.

DIRECTOR: No, that was clenching.

JOEY: Oh. Well, the way I see it, the guy's upset here, y'know? I mean, his wife's dead, his brother's missing... I think his butt would be angry here.

DIRECTOR: I think his butt would like to get this shot before lunch. Once again, rolling... water working... and action....and cut. What was that?

JOEY: I was going for quiet desperation. But if you have to ask...

SCENE 6: CHANDLER AND JOEY'S (AURORA AND CHANDLER ARE IN BED IN CHANDLER'S ROOM)

CHANDLER: God, I love these fingers...

AURORA: Thank you.

CHANDLER: No, actually I meant my fingers. Look at 'em, look at how happy they are.

AURORA: (MOVES CHANDLER'S ARM AND LOOKS AT HIS WATCH) Oh my God, I'm late. (STARTS TO GET UP)

CHANDLER: Oh no nonononononnononono, don't go.. (KISSES HER AND PULLS HER BACK DOWN)

AURORA: Okay.

CHANDLER: Don't go.

AURORA: Okay. Oh no, I have to.

CHANDLER: (TO HIMSELF) Too bad, she's leaving.

AURORA: (GETS UP AND DRESSES) I'm sorry. He'll be waiting for me.

CHANDLER: Well, I thought- I thought you talked to Rick.

AURORA: It's not Rick.

CHANDLER: What, Ethan? He got to spend the whole day with you!

AURORA: No, it's-it's Andrew.

CHANDLER: I know there'll be many moments in the years to come when I'll regret asking the following question, but- And Andrew is?

AURORA: He's... new.

CHANDLER: Oh, so what you're saying is you're not completely fulfilled by Rick, Ethan and myself?

AURORA: No, that's not exactly what I was..

CHANDLER: Well, y'know, most women would kill for three guys like us.

AURORA: So what do you want?

CHANDLER: You.

AURORA: You have me!

CHANDLER: Nono, just you.

AURORA: Whaddyou mean?

CHANDLER: Lose the other guys.

AURORA: ...Like, ...all of them?

CHANDLER: C'mon, we're great together, why not?

AURORA: Why can't we just have what we have now? Why can't we just talk, and laugh, and make love, without feeling obligated to one another... and up until tonight I thought that's what you wanted too.

CHANDLER: ...Well, y'know, part of me wants that, but it's like I'm two guys, y'know? I mean, one guy's going 'Shut up! This is great!' But there's this other guy. Actually it's the same guy that wells up every time that Grinch's heart grows three sizes and breaks that measuring device... And he's saying, y'know, 'This is too hard! Get out! Get out!'

AURORA: So... which one of the two guys will you listen to?

CHANDLER: I don't know, I-I have to listen to both of them, they don't exactly let each other finish...

AURORA: Which one?

CHANDLER: ...The second guy.

AURORA: (GETS UP TO LEAVE) Well, call me if you change your mind.

(SHE KISSES HIM. HE HOLDS HER AND KISSES HER PASSIONATELY)

CHANDLER: Sorry, the first guy runs the lips.

(SHE LEAVES. CHANDLER SIGHS AND FALLS BACK ON HIS BED)

SCENE 7: RACHEL AND MONICA'S (ROSS IS TRYING TO COMFORT CHANDLER. JOEY IS ABSENT)

ROSS: Look at it this way: you dumped her. Right? I mean, this woman was unbelievably sexy, and beautiful, intelligent, unattainable... Tell me why you did this again?

(ENTER JOEY)

ALL: Hey!

MONICA: Hey, waitwait, aren't you the guy that plays the butt in the new Al Pacino movie?

JOEY: Nope.

ROSS: No? What happened, big guy?

CHANDLER: (TO ROSS) 'Big guy'?

ROSS: It felt like a 'big guy' moment.

JOEY: I got fired.

ALL: Oh!

JOEY: Yeah, they said I acted too much with it. I told everybody about this! Now everybody's gonna go to the theatre, expecting to see me, and-

RACHEL: Oh, Joey, you know what, no-one is gonna be able to tell.

JOEY: My mom will.

CHANDLER: Something so sweet and... disturbing about that.

JOEY: Y'know, I've done nothing but crappy plays for six years. And I finally get my shot, and I blow it!

MONICA: Maybe this wasn't your shot.

ROSS: Yeah, I mean- I think when it's your shot, y'know, you-you know it's your shot. Did it- feel like your shot..?

JOEY: Hard to tell, I was naked.

PHOEBE: No, I don't think this was your shot. I mean, I don't even think you just get one shot. I really believe big things are gonna happen for you, I do! You've gotta just keep thinking about the day that some kid is gonna run up to his friends and go 'I got the part! I got the part! I'm gonna be Joey Tribbiani's ass!'.

JOEY: Yeah? That's so nice! (THEY HUG)

(ROSS AND CHANDLER LOOK AT EACH OTHER AND HUG AS WELL)

MONICA: I'm sorry, Joey. I'm gonna go to bed, guys.

ALL: Night.

RACHEL: Uh, Mon, you-you gonna leave your shoes out here?

MONICA: (DETERMINED) Uh-huh!

RACHEL: Really? Just casually strewn about in that reckless haphazard manner?

MONICA: Doesn't matter, I'll get 'em tomorrow. Or not. Whenever. (GOES TO HER ROOM)

ROSS: She is a kook.

(CLOSING CREDITS)

CREDITS SCENE: MONICA IN BED (SHE IS WIDE AWAKE)

MONICA: (HUMS FOR A WHILE, THEN GIVES UP.) (VOICEOVER) If it bothers you that much, just go out and get the shoes. No. Don't do this. This is stupid! I don't have to prove anything, I'm gonna go get them...But then everyone will know. Unless I get them, and then wake up really early and put them back! ...I need help! (BURIES HER HEAD IN HER PILLOW)

END









-Dave






P.s  Feel free to write notes gentlemen

[sametelt]

Unfunny fake account is unfunny.

[sven thorkel]

Confederacy of Dunces by John Kennedy Toole

i back this. confederacy of dunces hasn't been mentioned enough in the books to read thread, and i think a lot of you guys will get a kick out of the repulsiveness of ignatius reilly

[UgolinoTheSignificant]

Confederacy of Dunces by John Kennedy Toole

i back this. confederacy of dunces hasn't been mentioned enough in the books to read thread, and i think a lot of you guys will get a kick out of the repulsiveness of ignatius reilly

read this one looong time ago and really liked it. A+ WILL REREAD

[Bobby Peru]

I'll take an excuse to read The Crying of Lot 49. But I'm open to whatever. I recently finished Less Than Zero by Bret Easton Ellis if any of you guys want to talk about that.

[sametelt]

I'm down for The Crying of Lot 49. Been meaning to read some Pynchon for a while now.

[Eschaton]

So should we take a vote between The Confederacy of Dunces and The Crying of Lot 49?