House of Leaves November!
I started rereading on Friday and was excited to see Johnny Truant's intro dated 10/31/1998, or 16 yrs, to the day, at which the rereading commenced. Creepy! I've indulged in listening primarily to Nick Cave and reminiscing hardcore on 15 years ago, when I last read this.
If we're going to finish the book in a month, we'll need to read ≈ 170 pages a week. or 25 pages a day. I propose we read through part XI in week one (page 152), post thoughts throughout the week, then try to do a little discussion over the weekend. What say ye three other people?
Comments
I did get an egg nog latte tho.
I ordered the book from Amazon and should have it Wednesday. I might read a bit from this PDF I downloaded before then.
I was about to say that only dog owners have committed to reading with us, which is weird, but now that's not true.
I started to read it last night, but then remembered that next week I am going to a conference and staying in a hotel by myself, and I got scared I would get too scared...I will see how I feel tonight! Might light some incense and just go for it.
I know Powells has a thousand copies of HoL because I always used to see it there! Why aren't you people going to Powells for gods sake
http://www.k5m.org/media/HouseOfLeaves.pdf
I buy so much at Powells! But mostly because it is a block from my office, so it's convenient.
How the worm has turned
I'm starting tonight.
@moboton HI! You should inundate us with photos of your post-its.
I am keeping the vocab list. Not 40 pages in: laconic, garrulous, vituperative, decimated (which historically means to kill one in every ten and is a word I love), bucolic, amaurotic. Amaurotic is so beautiful. I always bookmark with a running vocabulary list.
When you've read a lot of academic writing though you see how the Zampano parts aren't actually that accurately academic. The way he discusses the role of the wife in the film/filmmaking process would be so embarrassing if a real film studies scholar did it!
forgot about this blog entry about this very issue!!! Here you go, may be some mild spoilers
http://urbanhonking.com/regarding/2011/12/14/h-of-l-revisited/
SOAPBOXIN'
This practice would have been unsustainable in the post-graduate scenario, but worked for an undergrad film major.
you don't have to read "academic writing" (WHATEVER THAT EVEN IS) ever again, so why are you being such an ol' poop about it
Signed,
An Academic Writer
The sweet freedom from being graded!
Must really burn you up. Humans have always hated all academic writing ;)
Very sorry to have hijacked this thread, although this is a sincere reaction I am having to this book.
I like that Truant's name suggests an uneducated everyman.
but re: the baroque prose style of some academic writing; don't you think language itself is interesting? Isn't it cool that there is a very different literary style in a Cormac McCarthy book vs. a Stephen King book? Do you think Gertrude Stein should just have "written in plain English," or do you think that the WAY she wrote was part of the point of WHAT she was writing?
There is "academic" writing that I think falls under this creative category, where the style of the writing is meant to be ornate and complex to such a degree that your mind has to sweat to put it together. Derrida obviously is this way--he's not trying to just "tell you information." the WAY he is writing is part of the point of his argument about language. Similarly with some of the postcolonial dudes--they are writing in the most absurdly baroque, complex, jargon-y academese as they possibly can, because that's part of the point of their critique of culture. They "use the master's tools to tear down the master's house," to incorrectly paraphrase Audre Lorde (Lorde actually said the opposite but whatever). The prose itself IS PART OF THE "INFORMATION" being disseminated. There are some kinds of arguments and ideas that can't be delivered in "plain english" because they would be meaningless that way.
Which brings me QUITE ELEGANTLY back to House of Leaves: should he have written this book in "plain english," without all the absurd footnotes and mazes and weird typographical shit? All that shit certainly makes the book harder to read; it's also a reason a lot of people refused to read this book in the first place. They took one look at it and said it was "pretentious" and "obnoxious." But those of us who have read it know that all that weird complex tomfoolery in the text itself IS PART OF THE STORY in a profound way you could never untangle. This book delivered in "plain english" would be missing 3/4 of its content.
goodbye
Had the first disorienting meandering path on pg 59: lengthy footnote to exhibit to appendix.
I think if we can try to read to end of V by weekend, which includes the very lengthy appendices II D and II E, that would be a good first week.
Where are other folks? I know Mike has yet to start and probably won't. Maureen has probably already finished the book. Briggs?
I don't actually know that those are spoilers because I never finished this book the first time around.
I'm counting a lot of it as nonsense, but especially things like the two page list of photographers' names. I also went quickly through the whole part about the physics of echoes.
Man, there was this one part, let me see if I can find it... oh yeah, where he goes into extreme detail about the type of door they install, including its acoustical performance rating code. This book really grinds against my own personality.
Why am I not even remembering the acoustical rating of the door? The one on the hallway with all the locks?
I still haven't started it. I just got back from an epic conference and am scrambling to get ready for the week. I anticipate starting tonight and reading in fits and starts for awhile and then passing you all and finishing weeks before any of the rest of you assholes finish
I've become SO MARRIED to the need/desire to actually read all "the nonsense" in books like this. I would have missed so much incredible detail and resonance had I for example skipped the infamous Incandenza filmography in one of IJ's endnotes. Like literally the thesis statement of the book is contained in one of the entries! Not to mention an explanation of the book's title, and explanation of so many subplots and weird unresolved things. Also I just really want to take the experience the artist is trying to impart. If David Mitchell wants us to read his book frontwards and backwards in these weird jagged chunks of interrupted narrative, I'm going to "go there" with him, because he must have a reason, and I want to be able to judge the work on its own merits, rather than just complaining that the structure was weird or something. I want to be open to this stuff that seems so impenetrable and tedious. For a long long time I felt resentful and resistant toward things like James Joyce, Gertrude Stein, other shit that I felt was emblematic of a certain strain of artistic violence toward their audience; hatred of their audience (a belief still espoused by dumb dicks like Jonathan Franzen and Jeffrey Eugenides when they talk about how their penises are bigger and better than DFW's). I don't feel that way anymore--reading IJ helped me break through--and now I try to READ IT ALL, and not skip.
All my life I've "read for plot" and I think this is me trying to stop doing that
Anyway no judgment but I do hope everyone will at least seriously consider reading all these mind-numbing and seemingly irrelevant details, and trying to construct meanings for them and why they are there
I love Jack London
I'm on page 167.