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  <title>blue_russian</title>
  <subtitle>blue_russian</subtitle>
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    <name>blue_russian</name>
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  <updated>2009-07-16T14:39:17Z</updated>
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  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:7245</id>
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    <title>an impossibly long list of books</title>
    <published>2008-05-13T12:51:50Z</published>
    <updated>2009-07-16T14:39:17Z</updated>
    <content type="html">Up to 117 for certain out of 1001 (from 112, when I first posted this). Not counting a handful of "I'm pretty sure I read that. Didn't I?"&lt;br /&gt;&lt;br /&gt;&lt;a name="cutid1"&gt;&lt;/a&gt;&lt;br /&gt;&lt;b&gt;2000s&lt;/b&gt;&lt;br /&gt;Never Let Me Go – Kazuo Ishiguro&lt;br /&gt;Saturday – Ian McEwan&lt;br /&gt;On Beauty – Zadie Smith&lt;br /&gt;Slow Man – J.M. Coetzee&lt;br /&gt;Adjunct: An Undigest – Peter Manson&lt;br /&gt;The Sea – John Banville&lt;br /&gt;The Red Queen – Margaret Drabble&lt;br /&gt;The Plot Against America – Philip Roth&lt;br /&gt;The Master – Colm Tóibín&lt;br /&gt;Vanishing Point – David Markson&lt;br /&gt;The Lambs of London – Peter Ackroyd&lt;br /&gt;Dining on Stones – Iain Sinclair&lt;br /&gt;Cloud Atlas – David Mitchell&lt;br /&gt;Drop City – T. Coraghessan Boyle&lt;br /&gt;The Colour – Rose Tremain&lt;br /&gt;Thursbitch – Alan Garner&lt;br /&gt;The Light of Day – Graham Swift&lt;br /&gt;What I Loved – Siri Hustvedt&lt;br /&gt;The Curious Incident of the Dog in the Night-Time – Mark Haddon&lt;br /&gt;Islands – Dan Sleigh&lt;br /&gt;Elizabeth Costello – J.M. Coetzee&lt;br /&gt;London Orbital – Iain Sinclair&lt;br /&gt;Family Matters – Rohinton Mistry&lt;br /&gt;Fingersmith – Sarah Waters&lt;br /&gt;The Double – José Saramago&lt;br /&gt;Everything is Illuminated – Jonathan Safran Foer&lt;br /&gt;Unless – Carol Shields&lt;br /&gt;Kafka on the Shore – Haruki Murakami&lt;br /&gt;The Story of Lucy Gault – William Trevor&lt;br /&gt;That They May Face the Rising Sun – John McGahern&lt;br /&gt;In the Forest – Edna O’Brien&lt;br /&gt;Shroud – John Banville&lt;br /&gt;Middlesex – Jeffrey Eugenides&lt;br /&gt;Youth – J.M. Coetzee&lt;br /&gt;Dead Air – Iain Banks&lt;br /&gt;Nowhere Man – Aleksandar Hemon&lt;br /&gt;&lt;b&gt;The Book of Illusions – Paul Auster&lt;/b&gt; - 113&lt;br /&gt;Gabriel’s Gift – Hanif Kureishi&lt;br /&gt;Austerlitz – W.G. Sebald&lt;br /&gt;Platform – Michael Houellebecq&lt;br /&gt;Schooling – Heather McGowan&lt;br /&gt;Atonement – Ian McEwan&lt;br /&gt;The Corrections – Jonathan Franzen&lt;br /&gt;Don’t Move – Margaret Mazzantini&lt;br /&gt;The Body Artist – Don DeLillo&lt;br /&gt;&lt;b&gt;Fury – Salman Rushdie&lt;/b&gt; - 1&lt;br /&gt;At Swim, Two Boys – Jamie O’Neill&lt;br /&gt;Choke – Chuck Palahniuk&lt;br /&gt;Life of Pi – Yann Martel&lt;br /&gt;The Feast of the Goat – Mario Vargos Llosa&lt;br /&gt;An Obedient Father – Akhil Sharma&lt;br /&gt;The Devil and Miss Prym – Paulo Coelho&lt;br /&gt;Spring Flowers, Spring Frost – Ismail Kadare&lt;br /&gt;White Teeth – Zadie Smith&lt;br /&gt;The Heart of Redness – Zakes Mda&lt;br /&gt;Under the Skin – Michel Faber&lt;br /&gt;Ignorance – Milan Kundera&lt;br /&gt;Nineteen Seventy Seven – David Peace&lt;br /&gt;Celestial Harmonies – Péter Esterházy&lt;br /&gt;City of God – E.L. Doctorow&lt;br /&gt;How the Dead Live – Will Self&lt;br /&gt;The Human Stain – Philip Roth&lt;br /&gt;The Blind Assassin – Margaret Atwood&lt;br /&gt;After the Quake – Haruki Murakami&lt;br /&gt;Small Remedies – Shashi Deshpande&lt;br /&gt;Super-Cannes – J.G. Ballard&lt;br /&gt;House of Leaves – Mark Z. Danielewski&lt;br /&gt;Blonde – Joyce Carol Oates&lt;br /&gt;Pastoralia – George Saunder&lt;br /&gt;&lt;br /&gt;&lt;b&gt;1900s&lt;/b&gt;&lt;br /&gt;&lt;b&gt;Timbuktu – Paul Auster&lt;/b&gt; - 2&lt;br /&gt;The Romantics – Pankaj Mishra&lt;br /&gt;Cryptonomicon – Neal Stephenson&lt;br /&gt;As If I Am Not There – Slavenka Drakuli?&lt;br /&gt;Everything You Need – A.L. Kennedy&lt;br /&gt;Fear and Trembling – Amélie Nothomb&lt;br /&gt;The Ground Beneath Her Feet – Salman Rushdie&lt;br /&gt;Disgrace – J.M. Coetzee&lt;br /&gt;Sputnik Sweetheart – Haruki Murakami&lt;br /&gt;Elementary Particles – Michel Houellebecq&lt;br /&gt;Intimacy – Hanif Kureishi&lt;br /&gt;Amsterdam – Ian McEwan&lt;br /&gt;Cloudsplitter – Russell Banks&lt;br /&gt;All Souls Day – Cees Nooteboom&lt;br /&gt;The Talk of the Town – Ardal O’Hanlon&lt;br /&gt;Tipping the Velvet – Sarah Waters&lt;br /&gt;The Poisonwood Bible – Barbara Kingsolver&lt;br /&gt;Glamorama – Bret Easton Ellis&lt;br /&gt;Another World – Pat Barker&lt;br /&gt;The Hours – Michael Cunningham&lt;br /&gt;Veronika Decides to Die – Paulo Coelho&lt;br /&gt;Mason &amp; Dixon – Thomas Pynchon&lt;br /&gt;The God of Small Things – Arundhati Roy&lt;br /&gt;Memoirs of a Geisha – Arthur Golden&lt;br /&gt;Great Apes – Will Self&lt;br /&gt;Enduring Love – Ian McEwan&lt;br /&gt;Underworld – Don DeLillo&lt;br /&gt;Jack Maggs – Peter Carey&lt;br /&gt;The Life of Insects – Victor Pelevin&lt;br /&gt;American Pastoral – Philip Roth&lt;br /&gt;The Untouchable – John Banville&lt;br /&gt;Silk – Alessandro Baricco&lt;br /&gt;Cocaine Nights – J.G. Ballard&lt;br /&gt;Hallucinating Foucault – Patricia Duncker&lt;br /&gt;Fugitive Pieces – Anne Michaels&lt;br /&gt;The Ghost Road – Pat Barker&lt;br /&gt;Forever a Stranger – Hella Haasse&lt;br /&gt;Infinite Jest – David Foster Wallace&lt;br /&gt;The Clay Machine-Gun – Victor Pelevin&lt;br /&gt;Alias Grace – Margaret Atwood&lt;br /&gt;The Unconsoled – Kazuo Ishiguro&lt;br /&gt;Morvern Callar – Alan Warner&lt;br /&gt;&lt;b&gt;The Information – Martin Amis&lt;/b&gt; - 3&lt;br /&gt;The Moor’s Last Sigh – Salman Rushdie&lt;br /&gt;Sabbath’s Theater – Philip Roth&lt;br /&gt;The Rings of Saturn – W.G. Sebald&lt;br /&gt;The Reader – Bernhard Schlink&lt;br /&gt;A Fine Balance – Rohinton Mistry&lt;br /&gt;Love’s Work – Gillian Rose&lt;br /&gt;The End of the Story – Lydia Davis&lt;br /&gt;&lt;b&gt;Mr. Vertigo – Paul Auster&lt;/b&gt; - 4&lt;br /&gt;The Folding Star – Alan Hollinghurst&lt;br /&gt;Whatever – Michel Houellebecq&lt;br /&gt;Land – Park Kyong-ni&lt;br /&gt;The Master of Petersburg – J.M. Coetzee&lt;br /&gt;The Wind-Up Bird Chronicle – Haruki Murakami&lt;br /&gt;Pereira Declares: A Testimony – Antonio Tabucchi&lt;br /&gt;City Sister Silver – Jàchym Topol&lt;br /&gt;How Late It Was, How Late – James Kelman&lt;br /&gt;Captain Corelli’s Mandolin – Louis de Bernieres&lt;br /&gt;Felicia’s Journey – William Trevor&lt;br /&gt;Disappearance – David Dabydeen&lt;br /&gt;The Invention of Curried Sausage – Uwe Timm&lt;br /&gt;&lt;b&gt;The Shipping News – E. Annie Proulx&lt;/b&gt; - 5&lt;br /&gt;Trainspotting – Irvine Welsh&lt;br /&gt;Birdsong – Sebastian Faulks&lt;br /&gt;Looking for the Possible Dance – A.L. Kennedy&lt;br /&gt;Operation Shylock – Philip Roth&lt;br /&gt;Complicity – Iain Banks&lt;br /&gt;On Love – Alain de Botton&lt;br /&gt;What a Carve Up! – Jonathan Coe&lt;br /&gt;A Suitable Boy – Vikram Seth&lt;br /&gt;The Stone Diaries – Carol Shields&lt;br /&gt;The Virgin Suicides – Jeffrey Eugenides&lt;br /&gt;The House of Doctor Dee – Peter Ackroyd&lt;br /&gt;The Robber Bride – Margaret Atwood&lt;br /&gt;The Emigrants – W.G. Sebald&lt;br /&gt;The Secret History – Donna Tartt&lt;br /&gt;Life is a Caravanserai – Emine Özdamar&lt;br /&gt;The Discovery of Heaven – Harry Mulisch&lt;br /&gt;A Heart So White – Javier Marias&lt;br /&gt;Possessing the Secret of Joy – Alice Walker&lt;br /&gt;Indigo – Marina Warner&lt;br /&gt;The Crow Road – Iain Banks&lt;br /&gt;&lt;b&gt;Written on the Body – Jeanette Winterson&lt;/b&gt; - 6&lt;br /&gt;Jazz – Toni Morrison&lt;br /&gt;The English Patient – Michael Ondaatje&lt;br /&gt;Smilla’s Sense of Snow – Peter Høeg&lt;br /&gt;&lt;b&gt;The Butcher Boy – Patrick McCabe&lt;/b&gt; - 7&lt;br /&gt;Black Water – Joyce Carol Oates&lt;br /&gt;The Heather Blazing – Colm Tóibín&lt;br /&gt;Asphodel – H.D. (Hilda Doolittle)&lt;br /&gt;Black Dogs – Ian McEwan&lt;br /&gt;Hideous Kinky – Esther Freud&lt;br /&gt;Arcadia – Jim Crace&lt;br /&gt;Wild Swans – Jung Chang&lt;br /&gt;American Psycho – Bret Easton Ellis&lt;br /&gt;&lt;b&gt;Time’s Arrow – Martin Amis&lt;/b&gt; - 8&lt;br /&gt;Mao II – Don DeLillo&lt;br /&gt;Typical – Padgett Powell&lt;br /&gt;Regeneration – Pat Barker&lt;br /&gt;Downriver – Iain Sinclair&lt;br /&gt;Señor Vivo and the Coca Lord – Louis de Bernieres&lt;br /&gt;Wise Children – Angela Carter&lt;br /&gt;Get Shorty – Elmore Leonard&lt;br /&gt;Amongst Women – John McGahern&lt;br /&gt;Vineland – Thomas Pynchon&lt;br /&gt;Vertigo – W.G. Sebald&lt;br /&gt;Stone Junction – Jim Dodge&lt;br /&gt;&lt;b&gt;The Music of Chance – Paul Auster&lt;/b&gt; - 9&lt;br /&gt;The Things They Carried – Tim O’Brien&lt;br /&gt;A Home at the End of the World – Michael Cunningham&lt;br /&gt;Like Life – Lorrie Moore&lt;br /&gt;&lt;b&gt;Possession – A.S. Byatt&lt;/b&gt; - 10&lt;br /&gt;&lt;b&gt;The Buddha of Suburbia – Hanif Kureishi&lt;/b&gt; - 115&lt;br /&gt;The Midnight Examiner – William Kotzwinkle&lt;br /&gt;A Disaffection – James Kelman&lt;br /&gt;Sexing the Cherry – Jeanette Winterson&lt;br /&gt;&lt;b&gt;Moon Palace – Paul Auster&lt;/b&gt; - 116&lt;br /&gt;Billy Bathgate – E.L. Doctorow&lt;br /&gt;&lt;b&gt;Remains of the Day – Kazuo Ishiguro&lt;/b&gt; - 11&lt;br /&gt;The Melancholy of Resistance – László Krasznahorkai&lt;br /&gt;The Temple of My Familiar – Alice Walker&lt;br /&gt;The Trick is to Keep Breathing – Janice Galloway&lt;br /&gt;The History of the Siege of Lisbon – José Saramago&lt;br /&gt;Like Water for Chocolate – Laura Esquivel&lt;br /&gt;A Prayer for Owen Meany – John Irving&lt;br /&gt;&lt;b&gt;London Fields – Martin Amis&lt;/b&gt; - 12&lt;br /&gt;The Book of Evidence – John Banville&lt;br /&gt;Cat’s Eye – Margaret Atwood&lt;br /&gt;&lt;b&gt;Foucault’s Pendulum – Umberto Eco&lt;/b&gt; - 13&lt;br /&gt;The Beautiful Room is Empty – Edmund White&lt;br /&gt;Wittgenstein’s Mistress – David Markson&lt;br /&gt;&lt;b&gt;The Satanic Verses – Salman Rushdie&lt;/b&gt; - 14&lt;br /&gt;The Swimming-Pool Library – Alan Hollinghurst&lt;br /&gt;&lt;b&gt;Oscar and Lucinda – Peter Carey&lt;/b&gt; - 15&lt;br /&gt;Libra – Don DeLillo&lt;br /&gt;The Player of Games – Iain M. Banks&lt;br /&gt;Nervous Conditions – Tsitsi Dangarembga&lt;br /&gt;The Long Dark Teatime of the Soul – Douglas Adams&lt;br /&gt;Dirk Gently’s Holistic Detective Agency – Douglas Adams&lt;br /&gt;The Radiant Way – Margaret Drabble&lt;br /&gt;The Afternoon of a Writer – Peter Handke&lt;br /&gt;&lt;b&gt;The Black Dahlia – James Ellroy&lt;/b&gt; - 117&lt;br /&gt;The Passion – Jeanette Winterson&lt;br /&gt;The Pigeon – Patrick Süskind&lt;br /&gt;The Child in Time – Ian McEwan&lt;br /&gt;Cigarettes – Harry Mathews&lt;br /&gt;&lt;b&gt;The Bonfire of the Vanities – Tom Wolfe&lt;/b&gt; - 16&lt;br /&gt;&lt;b&gt;The New York Trilogy – Paul Auster&lt;/b&gt; - 17&lt;br /&gt;World’s End – T. Coraghessan Boyle&lt;br /&gt;Enigma of Arrival – V.S. Naipaul&lt;br /&gt;The Taebek Mountains – Jo Jung-rae&lt;br /&gt;&lt;b&gt;Beloved – Toni Morrison&lt;/b&gt; - 18&lt;br /&gt;Anagrams – Lorrie Moore&lt;br /&gt;Matigari – Ngugi Wa Thiong’o&lt;br /&gt;Marya – Joyce Carol Oates&lt;br /&gt;&lt;b&gt;Watchmen – Alan Moore &amp; David Gibbons&lt;/b&gt; - 19&lt;br /&gt;The Old Devils – Kingsley Amis&lt;br /&gt;Lost Language of Cranes – David Leavitt&lt;br /&gt;An Artist of the Floating World – Kazuo Ishiguro&lt;br /&gt;Extinction – Thomas Bernhard&lt;br /&gt;Foe – J.M. Coetzee&lt;br /&gt;The Drowned and the Saved – Primo Levi&lt;br /&gt;Reasons to Live – Amy Hempel&lt;br /&gt;The Parable of the Blind – Gert Hofmann&lt;br /&gt;Love in the Time of Cholera – Gabriel García Márquez&lt;br /&gt;Oranges Are Not the Only Fruit – Jeanette Winterson&lt;br /&gt;The Cider House Rules – John Irving&lt;br /&gt;A Maggot – John Fowles&lt;br /&gt;Less Than Zero – Bret Easton Ellis&lt;br /&gt;Contact – Carl Sagan&lt;br /&gt;&lt;b&gt;The Handmaid’s Tale – Margaret Atwood&lt;/b&gt; - 21&lt;br /&gt;Perfume – Patrick Süskind&lt;br /&gt;Old Masters – Thomas Bernhard&lt;br /&gt;&lt;b&gt;White Noise – Don DeLillo&lt;/b&gt; - 22&lt;br /&gt;Queer – William Burroughs&lt;br /&gt;Hawksmoor – Peter Ackroyd&lt;br /&gt;Legend – David Gemmell&lt;br /&gt;&lt;b&gt;Dictionary of the Khazars – Milorad Pavic&lt;/b&gt; - 23&lt;br /&gt;The Bus Conductor Hines – James Kelman&lt;br /&gt;The Year of the Death of Ricardo Reis – José Saramago&lt;br /&gt;The Lover – Marguerite Duras&lt;br /&gt;Empire of the Sun – J.G. Ballard&lt;br /&gt;The Wasp Factory – Iain Banks&lt;br /&gt;Nights at the Circus – Angela Carter&lt;br /&gt;&lt;b&gt;The Unbearable Lightness of Being – Milan Kundera&lt;/b&gt; - 24&lt;br /&gt;Blood and Guts in High School – Kathy Acker&lt;br /&gt;Neuromancer – William Gibson&lt;br /&gt;Flaubert’s Parrot – Julian Barnes&lt;br /&gt;Money: A Suicide Note – Martin Amis&lt;br /&gt;Shame – Salman Rushdie&lt;br /&gt;Worstward Ho – Samuel Beckett&lt;br /&gt;Fools of Fortune – William Trevor&lt;br /&gt;La Brava – Elmore Leonard&lt;br /&gt;Waterland – Graham Swift&lt;br /&gt;The Life and Times of Michael K – J.M. Coetzee&lt;br /&gt;The Diary of Jane Somers – Doris Lessing&lt;br /&gt;The Piano Teacher – Elfriede Jelinek&lt;br /&gt;The Sorrow of Belgium – Hugo Claus&lt;br /&gt;If Not Now, When? – Primo Levi&lt;br /&gt;A Boy’s Own Story – Edmund White&lt;br /&gt;The Color Purple – Alice Walker&lt;br /&gt;&lt;b&gt;Wittgenstein’s Nephew – Thomas Bernhard&lt;/b&gt; - 25&lt;br /&gt;A Pale View of Hills – Kazuo Ishiguro&lt;br /&gt;Schindler’s Ark – Thomas Keneally&lt;br /&gt;The House of the Spirits – Isabel Allende&lt;br /&gt;The Newton Letter – John Banville&lt;br /&gt;&lt;b&gt;On the Black Hill – Bruce Chatwin&lt;/b&gt; - 26&lt;br /&gt;&lt;b&gt;Concrete – Thomas Bernhard&lt;/b&gt; - 27&lt;br /&gt;The Names – Don DeLillo&lt;br /&gt;Rabbit is Rich – John Updike&lt;br /&gt;Lanark: A Life in Four Books – Alasdair Gray&lt;br /&gt;The Comfort of Strangers – Ian McEwan&lt;br /&gt;July’s People – Nadine Gordimer&lt;br /&gt;Summer in Baden-Baden – Leonid Tsypkin&lt;br /&gt;Broken April – Ismail Kadare&lt;br /&gt;Waiting for the Barbarians – J.M. Coetzee&lt;br /&gt;&lt;b&gt;Midnight’s Children – Salman Rushdie&lt;/b&gt; - 28&lt;br /&gt;Rites of Passage – William Golding&lt;br /&gt;Rituals – Cees Nooteboom&lt;br /&gt;Confederacy of Dunces – John Kennedy Toole&lt;br /&gt;City Primeval – Elmore Leonard&lt;br /&gt;&lt;b&gt;The Name of the Rose – Umberto Eco&lt;/b&gt; - 29&lt;br /&gt;&lt;b&gt;The Book of Laughter and Forgetting – Milan Kundera&lt;/b&gt; - 30&lt;br /&gt;&lt;b&gt;Smiley’s People – John Le Carré&lt;/b&gt; - 31&lt;br /&gt;Shikasta – Doris Lessing&lt;br /&gt;A Bend in the River – V.S. Naipaul&lt;br /&gt;Burger’s Daughter - Nadine Gordimer&lt;br /&gt;The Safety Net – Heinrich Böll&lt;br /&gt;&lt;b&gt;If On a Winter’s Night a Traveler – Italo Calvino&lt;/b&gt; - 31&lt;br /&gt;&lt;b&gt;The Hitchhiker’s Guide to the Galaxy – Douglas Adams&lt;/b&gt; - 32&lt;br /&gt;&lt;b&gt;The Cement Garden – Ian McEwan&lt;/b&gt; - 33&lt;br /&gt;The World According to Garp – John Irving&lt;br /&gt;Life: A User’s Manual – Georges Perec&lt;br /&gt;&lt;b&gt;The Sea, The Sea – Iris Murdoch&lt;/b&gt; - 34&lt;br /&gt;The Singapore Grip – J.G. Farrell&lt;br /&gt;Yes – Thomas Bernhard&lt;br /&gt;The Virgin in the Garden – A.S. Byatt&lt;br /&gt;In the Heart of the Country – J.M. Coetzee&lt;br /&gt;The Passion of New Eve – Angela Carter&lt;br /&gt;Delta of Venus – Anaïs Nin&lt;br /&gt;The Shining – Stephen King&lt;br /&gt;Dispatches – Michael Herr&lt;br /&gt;Petals of Blood – Ngugi Wa Thiong’o&lt;br /&gt;Song of Solomon – Toni Morrison&lt;br /&gt;The Hour of the Star – Clarice Lispector&lt;br /&gt;The Left-Handed Woman – Peter Handke&lt;br /&gt;Ratner’s Star – Don DeLillo&lt;br /&gt;The Public Burning – Robert Coover&lt;br /&gt;&lt;b&gt;Interview With the Vampire – Anne Rice&lt;/b&gt; - 35&lt;br /&gt;Cutter and Bone – Newton Thornburg&lt;br /&gt;Amateurs – Donald Barthelme&lt;br /&gt;Patterns of Childhood – Christa Wolf&lt;br /&gt;Autumn of the Patriarch – Gabriel García Márquez&lt;br /&gt;W, or the Memory of Childhood – Georges Perec&lt;br /&gt;A Dance to the Music of Time – Anthony Powell&lt;br /&gt;Grimus – Salman Rushdie&lt;br /&gt;The Dead Father – Donald Barthelme&lt;br /&gt;Fateless – Imre Kertész&lt;br /&gt;Willard and His Bowling Trophies – Richard Brautigan&lt;br /&gt;High Rise – J.G. Ballard&lt;br /&gt;Humboldt’s Gift – Saul Bellow&lt;br /&gt;Dead Babies – Martin Amis&lt;br /&gt;&lt;b&gt;Correction – Thomas Bernhard&lt;/b&gt; - 36&lt;br /&gt;Ragtime – E.L. Doctorow&lt;br /&gt;The Fan Man – William Kotzwinkle&lt;br /&gt;Dusklands – J.M. Coetzee&lt;br /&gt;The Lost Honor of Katharina Blum – Heinrich Böll&lt;br /&gt;&lt;b&gt;Tinker Tailor Soldier Spy – John Le Carré&lt;/b&gt; - 37&lt;br /&gt;Breakfast of Champions – Kurt Vonnegut, Jr.&lt;br /&gt;Fear of Flying – Erica Jong&lt;br /&gt;A Question of Power – Bessie Head&lt;br /&gt;The Siege of Krishnapur – J.G. Farrell&lt;br /&gt;The Castle of Crossed Destinies – Italo Calvino&lt;br /&gt;Crash – J.G. Ballard&lt;br /&gt;The Honorary Consul – Graham Greene&lt;br /&gt;Gravity’s Rainbow – Thomas Pynchon&lt;br /&gt;The Black Prince – Iris Murdoch&lt;br /&gt;Sula – Toni Morrison&lt;br /&gt;&lt;b&gt;Invisible Cities – Italo Calvino&lt;/b&gt; - 38&lt;br /&gt;The Breast – Philip Roth&lt;br /&gt;The Summer Book – Tove Jansson&lt;br /&gt;G – John Berger&lt;br /&gt;Surfacing – Margaret Atwood&lt;br /&gt;House Mother Normal – B.S. Johnson&lt;br /&gt;In A Free State – V.S. Naipaul&lt;br /&gt;The Book of Daniel – E.L. Doctorow&lt;br /&gt;Fear and Loathing in Las Vegas – Hunter S. Thompson&lt;br /&gt;Group Portrait With Lady – Heinrich Böll&lt;br /&gt;The Wild Boys – William Burroughs&lt;br /&gt;Rabbit Redux – John Updike&lt;br /&gt;&lt;b&gt;The Sea of Fertility – Yukio Mishima&lt;/b&gt; - 39&lt;br /&gt;The Driver’s Seat – Muriel Spark&lt;br /&gt;The Ogre – Michael Tournier&lt;br /&gt;The Bluest Eye – Toni Morrison&lt;br /&gt;Goalie’s Anxiety at the Penalty Kick – Peter Handke&lt;br /&gt;I Know Why the Caged Bird Sings – Maya Angelou&lt;br /&gt;Mercier et Camier – Samuel Beckett&lt;br /&gt;Troubles – J.G. Farrell&lt;br /&gt;Jahrestage – Uwe Johnson&lt;br /&gt;The Atrocity Exhibition – J.G. Ballard&lt;br /&gt;Tent of Miracles – Jorge Amado&lt;br /&gt;Pricksongs and Descants – Robert Coover&lt;br /&gt;Blind Man With a Pistol – Chester Hines&lt;br /&gt;Slaughterhouse-five – Kurt Vonnegut, Jr.&lt;br /&gt;The French Lieutenant’s Woman – John Fowles&lt;br /&gt;The Green Man – Kingsley Amis&lt;br /&gt;Portnoy’s Complaint – Philip Roth&lt;br /&gt;The Godfather – Mario Puzo&lt;br /&gt;Ada – Vladimir Nabokov&lt;br /&gt;Them – Joyce Carol Oates&lt;br /&gt;A Void/Avoid – Georges Perec&lt;br /&gt;Eva Trout – Elizabeth Bowen&lt;br /&gt;Myra Breckinridge – Gore Vidal&lt;br /&gt;The Nice and the Good – Iris Murdoch&lt;br /&gt;Belle du Seigneur – Albert Cohen&lt;br /&gt;Cancer Ward – Aleksandr Isayevich Solzhenitsyn&lt;br /&gt;The First Circle – Aleksandr Isayevich Solzhenitsyn&lt;br /&gt;2001: A Space Odyssey – Arthur C. Clarke&lt;br /&gt;Do Androids Dream of Electric Sheep? – Philip K. Dick&lt;br /&gt;Dark as the Grave Wherein My Friend is Laid – Malcolm Lowry&lt;br /&gt;The German Lesson – Siegfried Lenz&lt;br /&gt;In Watermelon Sugar – Richard Brautigan&lt;br /&gt;A Kestrel for a Knave – Barry Hines&lt;br /&gt;The Quest for Christa T. – Christa Wolf&lt;br /&gt;Chocky – John Wyndham&lt;br /&gt;&lt;b&gt;The Electric Kool-Aid Acid Test – Tom Wolfe&lt;/b&gt; - 41&lt;br /&gt;The Cubs and Other Stories – Mario Vargas Llosa&lt;br /&gt;One Hundred Years of Solitude - Gabriel García Márquez&lt;br /&gt;&lt;b&gt;The Master and Margarita – Mikhail Bulgakov&lt;/b&gt; - 42&lt;br /&gt;Pilgrimage – Dorothy Richardson&lt;br /&gt;&lt;b&gt;The Joke – Milan Kundera&lt;/b&gt; - 43&lt;br /&gt;No Laughing Matter – Angus Wilson&lt;br /&gt;The Third Policeman – Flann O’Brien&lt;br /&gt;A Man Asleep – Georges Perec&lt;br /&gt;The Birds Fall Down – Rebecca West&lt;br /&gt;Trawl – B.S. Johnson&lt;br /&gt;In Cold Blood – Truman Capote&lt;br /&gt;The Magus – John Fowles&lt;br /&gt;The Vice-Consul – Marguerite Duras&lt;br /&gt;Wide Sargasso Sea – Jean Rhys&lt;br /&gt;Giles Goat-Boy – John Barth&lt;br /&gt;&lt;b&gt;The Crying of Lot 49 – Thomas Pynchon&lt;/b&gt; - 44&lt;br /&gt;Things – Georges Perec&lt;br /&gt;The River Between – Ngugi wa Thiong’o&lt;br /&gt;August is a Wicked Month – Edna O’Brien&lt;br /&gt;God Bless You, Mr. Rosewater – Kurt Vonnegut&lt;br /&gt;&lt;b&gt;Everything That Rises Must Converge – Flannery O’Connor&lt;/b&gt; - 45&lt;br /&gt;The Passion According to G.H. – Clarice Lispector&lt;br /&gt;Sometimes a Great Notion – Ken Kesey&lt;br /&gt;Come Back, Dr. Caligari – Donald Bartholme&lt;br /&gt;Albert Angelo – B.S. Johnson&lt;br /&gt;Arrow of God – Chinua Achebe&lt;br /&gt;The Ravishing of Lol V. Stein – Marguerite Duras&lt;br /&gt;Herzog – Saul Bellow&lt;br /&gt;V. – Thomas Pynchon&lt;br /&gt;&lt;b&gt;Cat’s Cradle – Kurt Vonnegut&lt;/b&gt; - 40&lt;br /&gt;The Graduate – Charles Webb&lt;br /&gt;Manon des Sources – Marcel Pagnol&lt;br /&gt;&lt;b&gt;The Spy Who Came in from the Cold – John Le Carré&lt;/b&gt; - 46&lt;br /&gt;The Girls of Slender Means – Muriel Spark&lt;br /&gt;Inside Mr. Enderby – Anthony Burgess&lt;br /&gt;&lt;b&gt;The Bell Jar – Sylvia Plath&lt;/b&gt; - 47&lt;br /&gt;One Day in the Life of Ivan Denisovich – Aleksandr Isayevich Solzhenitsyn&lt;br /&gt;The Collector – John Fowles&lt;br /&gt;One Flew Over the Cuckoo’s Nest – Ken Kesey&lt;br /&gt;&lt;b&gt;A Clockwork Orange – Anthony Burgess&lt;/b&gt; - 48&lt;br /&gt;Pale Fire – Vladimir Nabokov&lt;br /&gt;The Drowned World – J.G. Ballard&lt;br /&gt;The Golden Notebook – Doris Lessing&lt;br /&gt;Labyrinths – Jorg Luis Borges&lt;br /&gt;Girl With Green Eyes – Edna O’Brien&lt;br /&gt;The Garden of the Finzi-Continis – Giorgio Bassani&lt;br /&gt;&lt;b&gt;Stranger in a Strange Land – Robert Heinlein&lt;/b&gt; - 49&lt;br /&gt;&lt;b&gt;Franny and Zooey – J.D. Salinger&lt;/b&gt; - 50&lt;br /&gt;A Severed Head – Iris Murdoch&lt;br /&gt;Faces in the Water – Janet Frame&lt;br /&gt;Solaris – Stanislaw Lem&lt;br /&gt;Cat and Mouse – Günter Grass&lt;br /&gt;The Prime of Miss Jean Brodie – Muriel Spark&lt;br /&gt;&lt;b&gt;Catch-22 – Joseph Heller&lt;/b&gt; - 51&lt;br /&gt;The Violent Bear it Away – Flannery O’Connor&lt;br /&gt;How It Is – Samuel Beckett&lt;br /&gt;Our Ancestors – Italo Calvino&lt;br /&gt;The Country Girls – Edna O’Brien&lt;br /&gt;&lt;b&gt;To Kill a Mockingbird – Harper Lee&lt;/b&gt; - 52&lt;br /&gt;&lt;b&gt;Rabbit, Run – John Updike&lt;/b&gt; - 53&lt;br /&gt;Promise at Dawn – Romain Gary&lt;br /&gt;Cider With Rosie – Laurie Lee&lt;br /&gt;Billy Liar – Keith Waterhouse&lt;br /&gt;Naked Lunch – William Burroughs&lt;br /&gt;The Tin Drum – Günter Grass&lt;br /&gt;Absolute Beginners – Colin MacInnes&lt;br /&gt;Henderson the Rain King – Saul Bellow&lt;br /&gt;Memento Mori – Muriel Spark&lt;br /&gt;Billiards at Half-Past Nine – Heinrich Böll&lt;br /&gt;Breakfast at Tiffany’s – Truman Capote&lt;br /&gt;The Leopard – Giuseppe Tomasi di Lampedusa&lt;br /&gt;Pluck the Bud and Destroy the Offspring – Kenzaburo Oe&lt;br /&gt;A Town Like Alice – Nevil Shute&lt;br /&gt;The Bitter Glass – Eilís Dillon&lt;br /&gt;Things Fall Apart – Chinua Achebe&lt;br /&gt;Saturday Night and Sunday Morning – Alan Sillitoe&lt;br /&gt;Mrs. ‘Arris Goes to Paris – Paul Gallico&lt;br /&gt;Borstal Boy – Brendan Behan&lt;br /&gt;The End of the Road – John Barth&lt;br /&gt;The Once and Future King – T.H. White&lt;br /&gt;The Bell – Iris Murdoch&lt;br /&gt;Jealousy – Alain Robbe-Grillet&lt;br /&gt;Voss – Patrick White&lt;br /&gt;The Midwich Cuckoos – John Wyndham&lt;br /&gt;Blue Noon – Georges Bataille&lt;br /&gt;Homo Faber – Max Frisch&lt;br /&gt;On the Road – Jack Kerouac&lt;br /&gt;Pnin – Vladimir Nabokov&lt;br /&gt;Doctor Zhivago – Boris Pasternak&lt;br /&gt;The Wonderful “O” – James Thurber&lt;br /&gt;Justine – Lawrence Durrell&lt;br /&gt;Giovanni’s Room – James Baldwin&lt;br /&gt;The Lonely Londoners – Sam Selvon&lt;br /&gt;The Roots of Heaven – Romain Gary&lt;br /&gt;Seize the Day – Saul Bellow&lt;br /&gt;The Floating Opera – John Barth&lt;br /&gt;&lt;b&gt;The Lord of the Rings – J.R.R. Tolkien&lt;/b&gt; - 54&lt;br /&gt;&lt;b&gt;The Talented Mr. Ripley – Patricia Highsmith&lt;/b&gt; - 55&lt;br /&gt;Lolita – Vladimir Nabokov&lt;br /&gt;A World of Love – Elizabeth Bowen&lt;br /&gt;The Trusting and the Maimed – James Plunkett&lt;br /&gt;The Quiet American – Graham Greene&lt;br /&gt;The Last Temptation of Christ – Nikos Kazantzákis&lt;br /&gt;The Recognitions – William Gaddis&lt;br /&gt;The Ragazzi – Pier Paulo Pasolini&lt;br /&gt;Bonjour Tristesse – Françoise Sagan&lt;br /&gt;I’m Not Stiller – Max Frisch&lt;br /&gt;Self Condemned – Wyndham Lewis&lt;br /&gt;The Story of O – Pauline Réage&lt;br /&gt;A Ghost at Noon – Alberto Moravia&lt;br /&gt;&lt;b&gt;Lord of the Flies – William Golding&lt;/b&gt; - 56&lt;br /&gt;Under the Net – Iris Murdoch&lt;br /&gt;The Go-Between – L.P. Hartley&lt;br /&gt;&lt;b&gt;The Long Goodbye – Raymond Chandler&lt;/b&gt;  - 57&lt;br /&gt;The Unnamable – Samuel Beckett&lt;br /&gt;Watt – Samuel Beckett&lt;br /&gt;Lucky Jim – Kingsley Amis&lt;br /&gt;Junkie – William Burroughs&lt;br /&gt;The Adventures of Augie March – Saul Bellow&lt;br /&gt;Go Tell It on the Mountain – James Baldwin&lt;br /&gt;&lt;b&gt;Casino Royale – Ian Fleming&lt;/b&gt;  - 58&lt;br /&gt;The Judge and His Hangman – Friedrich Dürrenmatt&lt;br /&gt;&lt;b&gt;Invisible Man – Ralph Ellison&lt;/b&gt;  - 59&lt;br /&gt;&lt;b&gt;The Old Man and the Sea – Ernest Hemingway&lt;/b&gt; - 60&lt;br /&gt;Wise Blood – Flannery O’Connor&lt;br /&gt;The Killer Inside Me – Jim Thompson&lt;br /&gt;Memoirs of Hadrian – Marguerite Yourcenar&lt;br /&gt;Malone Dies – Samuel Beckett&lt;br /&gt;Day of the Triffids – John Wyndham&lt;br /&gt;&lt;b&gt;Foundation – Isaac Asimov&lt;/b&gt; - 61&lt;br /&gt;The Opposing Shore – Julien Gracq&lt;br /&gt;&lt;b&gt;The Catcher in the Rye – J.D. Salinger&lt;/b&gt; - 62&lt;br /&gt;The Rebel – Albert Camus&lt;br /&gt;Molloy – Samuel Beckett&lt;br /&gt;The End of the Affair – Graham Greene&lt;br /&gt;The Abbot C – Georges Bataille&lt;br /&gt;The Labyrinth of Solitude – Octavio Paz&lt;br /&gt;The Third Man – Graham Greene&lt;br /&gt;The 13 Clocks – James Thurber&lt;br /&gt;Gormenghast – Mervyn Peake&lt;br /&gt;The Grass is Singing – Doris Lessing&lt;br /&gt;I, Robot – Isaac Asimov&lt;br /&gt;The Moon and the Bonfires – Cesare Pavese&lt;br /&gt;The Garden Where the Brass Band Played – Simon Vestdijk&lt;br /&gt;Love in a Cold Climate – Nancy Mitford&lt;br /&gt;The Case of Comrade Tulayev – Victor Serge&lt;br /&gt;The Heat of the Day – Elizabeth Bowen&lt;br /&gt;Kingdom of This World – Alejo Carpentier&lt;br /&gt;The Man With the Golden Arm – Nelson Algren&lt;br /&gt;&lt;b&gt;Nineteen Eighty-Four – George Orwell&lt;/b&gt;  - 63&lt;br /&gt;All About H. Hatterr – G.V. Desani&lt;br /&gt;Disobedience – Alberto Moravia&lt;br /&gt;Death Sentence – Maurice Blanchot&lt;br /&gt;The Heart of the Matter – Graham Greene&lt;br /&gt;Cry, the Beloved Country – Alan Paton&lt;br /&gt;Doctor Faustus – Thomas Mann&lt;br /&gt;The Victim – Saul Bellow&lt;br /&gt;Exercises in Style – Raymond Queneau&lt;br /&gt;If This Is a Man – Primo Levi&lt;br /&gt;Under the Volcano – Malcolm Lowry&lt;br /&gt;The Path to the Nest of Spiders – Italo Calvino&lt;br /&gt;The Plague – Albert Camus&lt;br /&gt;Back – Henry Green&lt;br /&gt;Titus Groan – Mervyn Peake&lt;br /&gt;The Bridge on the Drina – Ivo Andri?&lt;br /&gt;Brideshead Revisited – Evelyn Waugh&lt;br /&gt;&lt;b&gt;Animal Farm – George Orwell&lt;/b&gt; - 64&lt;br /&gt;Cannery Row – John Steinbeck&lt;br /&gt;The Pursuit of Love – Nancy Mitford&lt;br /&gt;Loving – Henry Green&lt;br /&gt;Arcanum 17 – André Breton&lt;br /&gt;Christ Stopped at Eboli – Carlo Levi&lt;br /&gt;The Razor’s Edge – William Somerset Maugham&lt;br /&gt;Transit – Anna Seghers&lt;br /&gt;Ficciones – Jorge Luis Borges&lt;br /&gt;Dangling Man – Saul Bellow&lt;br /&gt;The Little Prince – Antoine de Saint-Exupéry&lt;br /&gt;Caught – Henry Green&lt;br /&gt;The Glass Bead Game – Herman Hesse&lt;br /&gt;Embers – Sandor Marai&lt;br /&gt;Go Down, Moses – William Faulkner&lt;br /&gt;&lt;b&gt;The Outsider – Albert Camus&lt;/b&gt; - 65&lt;br /&gt;In Sicily – Elio Vittorini&lt;br /&gt;The Poor Mouth – Flann O’Brien&lt;br /&gt;The Living and the Dead – Patrick White&lt;br /&gt;Hangover Square – Patrick Hamilton&lt;br /&gt;Between the Acts – Virginia Woolf&lt;br /&gt;The Hamlet – William Faulkner&lt;br /&gt;&lt;b&gt;Farewell My Lovely – Raymond Chandler&lt;/b&gt; - 66&lt;br /&gt;For Whom the Bell Tolls – Ernest Hemingway&lt;br /&gt;&lt;b&gt;Native Son – Richard Wright&lt;/b&gt; - 67&lt;br /&gt;The Power and the Glory – Graham Greene&lt;br /&gt;The Tartar Steppe – Dino Buzzati&lt;br /&gt;Party Going – Henry Green&lt;br /&gt;The Grapes of Wrath – John Steinbeck&lt;br /&gt;Finnegans Wake – James Joyce&lt;br /&gt;At Swim-Two-Birds – Flann O’Brien&lt;br /&gt;Coming Up for Air – George Orwell&lt;br /&gt;Goodbye to Berlin – Christopher Isherwood&lt;br /&gt;Tropic of Capricorn – Henry Miller&lt;br /&gt;Good Morning, Midnight – Jean Rhys&lt;br /&gt;&lt;b&gt;The Big Sleep – Raymond Chandler&lt;/b&gt; - 68&lt;br /&gt;After the Death of Don Juan – Sylvie Townsend Warner&lt;br /&gt;Miss Pettigrew Lives for a Day – Winifred Watson&lt;br /&gt;Nausea – Jean-Paul Sartre&lt;br /&gt;Rebecca – Daphne du Maurier&lt;br /&gt;Cause for Alarm – Eric Ambler&lt;br /&gt;Brighton Rock – Graham Greene&lt;br /&gt;&lt;b&gt;U.S.A. – John Dos Passos&lt;/b&gt; - 69&lt;br /&gt;Murphy – Samuel Beckett&lt;br /&gt;&lt;b&gt;Of Mice and Men – John Steinbeck&lt;/b&gt; - 70&lt;br /&gt;&lt;b&gt;Their Eyes Were Watching God – Zora Neale Hurston&lt;/b&gt; - 71&lt;br /&gt;&lt;b&gt;The Hobbit – J.R.R. Tolkien&lt;/b&gt; - 72&lt;br /&gt;The Years – Virginia Woolf&lt;br /&gt;In Parenthesis – David Jones&lt;br /&gt;The Revenge for Love – Wyndham Lewis&lt;br /&gt;Out of Africa – Isak Dineson (Karen Blixen)&lt;br /&gt;To Have and Have Not – Ernest Hemingway&lt;br /&gt;Summer Will Show – Sylvia Townsend Warner&lt;br /&gt;Eyeless in Gaza – Aldous Huxley&lt;br /&gt;The Thinking Reed – Rebecca West&lt;br /&gt;Gone With the Wind – Margaret Mitchell&lt;br /&gt;Keep the Aspidistra Flying – George Orwell&lt;br /&gt;Wild Harbour – Ian MacPherson&lt;br /&gt;&lt;b&gt;Absalom, Absalom! – William Faulkner&lt;/b&gt; - 73&lt;br /&gt;At the Mountains of Madness – H.P. Lovecraft&lt;br /&gt;Nightwood – Djuna Barnes&lt;br /&gt;Independent People – Halldór Laxness&lt;br /&gt;Auto-da-Fé – Elias Canetti&lt;br /&gt;The Last of Mr. Norris – Christopher Isherwood&lt;br /&gt;They Shoot Horses, Don’t They? – Horace McCoy&lt;br /&gt;The House in Paris – Elizabeth Bowen&lt;br /&gt;England Made Me – Graham Greene&lt;br /&gt;&lt;b&gt;Burmese Days – George Orwell&lt;/b&gt; - 74&lt;br /&gt;The Nine Tailors – Dorothy L. Sayers&lt;br /&gt;Threepenny Novel – Bertolt Brecht&lt;br /&gt;Novel With Cocaine – M. Ageyev&lt;br /&gt;The Postman Always Rings Twice – James M. Cain&lt;br /&gt;Tropic of Cancer – Henry Miller&lt;br /&gt;A Handful of Dust – Evelyn Waugh&lt;br /&gt;Tender is the Night – F. Scott Fitzgerald&lt;br /&gt;&lt;b&gt;Thank You, Jeeves – P.G. Wodehouse&lt;/b&gt; - 75&lt;br /&gt;Call it Sleep – Henry Roth&lt;br /&gt;&lt;b&gt;Miss Lonelyhearts – Nathanael West&lt;/b&gt; - 76&lt;br /&gt;Murder Must Advertise – Dorothy L. Sayers&lt;br /&gt;The Autobiography of Alice B. Toklas – Gertrude Stein&lt;br /&gt;Testament of Youth – Vera Brittain&lt;br /&gt;A Day Off – Storm Jameson&lt;br /&gt;The Man Without Qualities – Robert Musil&lt;br /&gt;A Scots Quair (Sunset Song) – Lewis Grassic Gibbon&lt;br /&gt;Journey to the End of the Night – Louis-Ferdinand Céline&lt;br /&gt;&lt;b&gt;Brave New World – Aldous Huxley&lt;/b&gt; - 77&lt;br /&gt;Cold Comfort Farm – Stella Gibbons&lt;br /&gt;To the North – Elizabeth Bowen&lt;br /&gt;The Thin Man – Dashiell Hammett&lt;br /&gt;The Radetzky March – Joseph Roth&lt;br /&gt;The Waves – Virginia Woolf&lt;br /&gt;The Glass Key – Dashiell Hammett&lt;br /&gt;Cakes and Ale – W. Somerset Maugham&lt;br /&gt;The Apes of God – Wyndham Lewis&lt;br /&gt;Her Privates We – Frederic Manning&lt;br /&gt;Vile Bodies – Evelyn Waugh&lt;br /&gt;&lt;b&gt;The Maltese Falcon – Dashiell Hammett&lt;/b&gt; - 78&lt;br /&gt;Hebdomeros – Giorgio de Chirico&lt;br /&gt;Passing – Nella Larsen&lt;br /&gt;A Farewell to Arms – Ernest Hemingway&lt;br /&gt;Red Harvest – Dashiell Hammett&lt;br /&gt;Living – Henry Green&lt;br /&gt;The Time of Indifference – Alberto Moravia&lt;br /&gt;All Quiet on the Western Front – Erich Maria Remarque&lt;br /&gt;Berlin Alexanderplatz – Alfred Döblin&lt;br /&gt;The Last September – Elizabeth Bowen&lt;br /&gt;Harriet Hume – Rebecca West&lt;br /&gt;&lt;b&gt;The Sound and the Fury – William Faulkner&lt;/b&gt; - 79&lt;br /&gt;Les Enfants Terribles – Jean Cocteau&lt;br /&gt;Look Homeward, Angel – Thomas Wolfe&lt;br /&gt;Story of the Eye – Georges Bataille&lt;br /&gt;Orlando – Virginia Woolf&lt;br /&gt;Lady Chatterley’s Lover – D.H. Lawrence&lt;br /&gt;The Well of Loneliness – Radclyffe Hall&lt;br /&gt;The Childermass – Wyndham Lewis&lt;br /&gt;Quartet – Jean Rhys&lt;br /&gt;Decline and Fall – Evelyn Waugh&lt;br /&gt;Quicksand – Nella Larsen&lt;br /&gt;Parade’s End – Ford Madox Ford&lt;br /&gt;Nadja – André Breton&lt;br /&gt;Steppenwolf – Herman Hesse&lt;br /&gt;Remembrance of Things Past – Marcel Proust&lt;br /&gt;To The Lighthouse – Virginia Woolf&lt;br /&gt;Tarka the Otter – Henry Williamson&lt;br /&gt;&lt;b&gt;Amerika – Franz Kafka&lt;/b&gt; - 80&lt;br /&gt;The Sun Also Rises – Ernest Hemingway&lt;br /&gt;Blindness – Henry Green&lt;br /&gt;&lt;b&gt;The Castle – Franz Kafka&lt;/b&gt; - 81&lt;br /&gt;The Good Soldier Švejk – Jaroslav Hašek&lt;br /&gt;The Plumed Serpent – D.H. Lawrence&lt;br /&gt;One, None and a Hundred Thousand – Luigi Pirandello&lt;br /&gt;&lt;b&gt;The Murder of Roger Ackroyd – Agatha Christie&lt;/b&gt; - 82&lt;br /&gt;The Making of Americans – Gertrude Stein&lt;br /&gt;Manhattan Transfer – John Dos Passos&lt;br /&gt;Mrs. Dalloway – Virginia Woolf&lt;br /&gt;&lt;b&gt;The Great Gatsby – F. Scott Fitzgerald&lt;/b&gt; - 83&lt;br /&gt;The Counterfeiters – André Gide&lt;br /&gt;&lt;b&gt;The Trial – Franz Kafka&lt;/b&gt; - 84&lt;br /&gt;The Artamonov Business – Maxim Gorky&lt;br /&gt;The Professor’s House – Willa Cather&lt;br /&gt;Billy Budd, Foretopman – Herman Melville&lt;br /&gt;The Green Hat – Michael Arlen&lt;br /&gt;The Magic Mountain – Thomas Mann&lt;br /&gt;We – Yevgeny Zamyatin&lt;br /&gt;A Passage to India – E.M. Forster&lt;br /&gt;The Devil in the Flesh – Raymond Radiguet&lt;br /&gt;Zeno’s Conscience – Italo Svevo&lt;br /&gt;Cane – Jean Toomer&lt;br /&gt;Antic Hay – Aldous Huxley&lt;br /&gt;Amok – Stefan Zweig&lt;br /&gt;The Garden Party – Katherine Mansfield&lt;br /&gt;The Enormous Room – E.E. Cummings&lt;br /&gt;Jacob’s Room – Virginia Woolf&lt;br /&gt;&lt;b&gt;Siddhartha – Herman Hesse&lt;/b&gt; - 85&lt;br /&gt;The Glimpses of the Moon – Edith Wharton&lt;br /&gt;Life and Death of Harriett Frean – May Sinclair&lt;br /&gt;The Last Days of Humanity – Karl Kraus&lt;br /&gt;Aaron’s Rod – D.H. Lawrence&lt;br /&gt;&lt;b&gt;Babbitt – Sinclair Lewis&lt;/b&gt; - 86&lt;br /&gt;Ulysses – James Joyce&lt;br /&gt;The Fox – D.H. Lawrence&lt;br /&gt;Crome Yellow – Aldous Huxley&lt;br /&gt;The Age of Innocence – Edith Wharton&lt;br /&gt;&lt;b&gt;Main Street – Sinclair Lewis&lt;/b&gt; - 87&lt;br /&gt;Women in Love – D.H. Lawrence&lt;br /&gt;Night and Day – Virginia Woolf&lt;br /&gt;Tarr – Wyndham Lewis&lt;br /&gt;The Return of the Soldier – Rebecca West&lt;br /&gt;The Shadow Line – Joseph Conrad&lt;br /&gt;Summer – Edith Wharton&lt;br /&gt;Growth of the Soil – Knut Hamsen&lt;br /&gt;Bunner Sisters – Edith Wharton&lt;br /&gt;A Portrait of the Artist as a Young Man – James Joyce&lt;br /&gt;Under Fire – Henri Barbusse&lt;br /&gt;Rashomon – Akutagawa Ryunosuke&lt;br /&gt;The Good Soldier – Ford Madox Ford&lt;br /&gt;The Voyage Out – Virginia Woolf&lt;br /&gt;Of Human Bondage – William Somerset Maugham&lt;br /&gt;The Rainbow – D.H. Lawrence&lt;br /&gt;The Thirty-Nine Steps – John Buchan&lt;br /&gt;Kokoro – Natsume Soseki&lt;br /&gt;Locus Solus – Raymond Roussel&lt;br /&gt;Rosshalde – Herman Hesse&lt;br /&gt;Tarzan of the Apes – Edgar Rice Burroughs&lt;br /&gt;The Ragged Trousered Philanthropists – Robert Tressell&lt;br /&gt;Sons and Lovers – D.H. Lawrence&lt;br /&gt;Death in Venice – Thomas Mann&lt;br /&gt;The Charwoman’s Daughter – James Stephens&lt;br /&gt;Ethan Frome – Edith Wharton&lt;br /&gt;Fantômas – Marcel Allain and Pierre Souvestre&lt;br /&gt;Howards End – E.M. Forster&lt;br /&gt;Impressions of Africa – Raymond Roussel&lt;br /&gt;Three Lives – Gertrude Stein&lt;br /&gt;Martin Eden – Jack London&lt;br /&gt;Strait is the Gate – André Gide&lt;br /&gt;Tono-Bungay – H.G. Wells&lt;br /&gt;The Inferno – Henri Barbusse&lt;br /&gt;A Room With a View – E.M. Forster&lt;br /&gt;The Iron Heel – Jack London&lt;br /&gt;The Old Wives’ Tale – Arnold Bennett&lt;br /&gt;The House on the Borderland – William Hope Hodgson&lt;br /&gt;Mother – Maxim Gorky&lt;br /&gt;&lt;b&gt;The Secret Agent – Joseph Conrad&lt;/b&gt; - 88&lt;br /&gt;The Jungle – Upton Sinclair&lt;br /&gt;Young Törless – Robert Musil&lt;br /&gt;The Forsyte Sage – John Galsworthy&lt;br /&gt;The House of Mirth – Edith Wharton&lt;br /&gt;Professor Unrat – Heinrich Mann&lt;br /&gt;Where Angels Fear to Tread – E.M. Forster&lt;br /&gt;Nostromo – Joseph Conrad&lt;br /&gt;Hadrian the Seventh – Frederick Rolfe&lt;br /&gt;The Golden Bowl – Henry James&lt;br /&gt;The Ambassadors – Henry James&lt;br /&gt;The Riddle of the Sands – Erskine Childers&lt;br /&gt;The Immoralist – André Gide&lt;br /&gt;The Wings of the Dove – Henry James&lt;br /&gt;Heart of Darkness – Joseph Conrad&lt;br /&gt;&lt;b&gt;The Hound of the Baskervilles – Sir Arthur Conan Doyle&lt;/b&gt; - 89&lt;br /&gt;Buddenbrooks – Thomas Mann&lt;br /&gt;Kim – Rudyard Kipling&lt;br /&gt;Sister Carrie – Theodore Dreiser&lt;br /&gt;Lord Jim – Joseph Conrad&lt;br /&gt;&lt;br /&gt;&lt;b&gt;1800s&lt;/b&gt;&lt;br /&gt;Some Experiences of an Irish R.M. – Somerville and Ross&lt;br /&gt;The Stechlin – Theodore Fontane&lt;br /&gt;&lt;b&gt;The Awakening – Kate Chopin&lt;/b&gt; - 90&lt;br /&gt;&lt;b&gt;The Turn of the Screw – Henry James&lt;/b&gt; - 91&lt;br /&gt;&lt;b&gt;The War of the Worlds – H.G. Wells&lt;/b&gt; - 92&lt;br /&gt;The Invisible Man – H.G. Wells&lt;br /&gt;What Maisie Knew – Henry James&lt;br /&gt;Fruits of the Earth – André Gide&lt;br /&gt;Dracula – Bram Stoker&lt;br /&gt;Quo Vadis – Henryk Sienkiewicz&lt;br /&gt;The Island of Dr. Moreau – H.G. Wells&lt;br /&gt;The Time Machine – H.G. Wells&lt;br /&gt;Effi Briest – Theodore Fontane&lt;br /&gt;Jude the Obscure – Thomas Hardy&lt;br /&gt;The Real Charlotte – Somerville and Ross&lt;br /&gt;&lt;b&gt;The Yellow Wallpaper – Charlotte Perkins Gilman&lt;/b&gt; - 93&lt;br /&gt;Born in Exile – George Gissing&lt;br /&gt;Diary of a Nobody – George &amp; Weedon Grossmith&lt;br /&gt;&lt;b&gt;The Adventures of Sherlock Holmes – Sir Arthur Conan Doyle&lt;/b&gt; - 94&lt;br /&gt;News from Nowhere – William Morris&lt;br /&gt;New Grub Street – George Gissing&lt;br /&gt;Gösta Berling’s Saga – Selma Lagerlöf&lt;br /&gt;Tess of the D’Urbervilles – Thomas Hardy&lt;br /&gt;The Picture of Dorian Gray – Oscar Wilde&lt;br /&gt;The Kreutzer Sonata – Leo Tolstoy&lt;br /&gt;La Bête Humaine – Émile Zola&lt;br /&gt;By the Open Sea – August Strindberg&lt;br /&gt;Hunger – Knut Hamsun&lt;br /&gt;The Master of Ballantrae – Robert Louis Stevenson&lt;br /&gt;Pierre and Jean – Guy de Maupassant&lt;br /&gt;Fortunata and Jacinta – Benito Pérez Galdés&lt;br /&gt;The People of Hemsö – August Strindberg&lt;br /&gt;The Woodlanders – Thomas Hardy&lt;br /&gt;She – H. Rider Haggard&lt;br /&gt;The Strange Case of Dr. Jekyll and Mr. Hyde – Robert Louis Stevenson&lt;br /&gt;The Mayor of Casterbridge – Thomas Hardy&lt;br /&gt;Kidnapped – Robert Louis Stevenson&lt;br /&gt;King Solomon’s Mines – H. Rider Haggard&lt;br /&gt;Germinal – Émile Zola&lt;br /&gt;&lt;b&gt;The Adventures of Huckleberry Finn – Mark Twain&lt;/b&gt; - 95&lt;br /&gt;Bel-Ami – Guy de Maupassant&lt;br /&gt;Marius the Epicurean – Walter Pater&lt;br /&gt;Against the Grain – Joris-Karl Huysmans&lt;br /&gt;The Death of Ivan Ilyich – Leo Tolstoy&lt;br /&gt;A Woman’s Life – Guy de Maupassant&lt;br /&gt;Treasure Island – Robert Louis Stevenson&lt;br /&gt;The House by the Medlar Tree – Giovanni Verga&lt;br /&gt;The Portrait of a Lady – Henry James&lt;br /&gt;Bouvard and Pécuchet – Gustave Flaubert&lt;br /&gt;Ben-Hur – Lew Wallace&lt;br /&gt;Nana – Émile Zola&lt;br /&gt;&lt;b&gt;The Brothers Karamazov – Fyodor Dostoevsky&lt;/b&gt; - 96&lt;br /&gt;The Red Room – August Strindberg&lt;br /&gt;Return of the Native – Thomas Hardy&lt;br /&gt;Anna Karenina – Leo Tolstoy&lt;br /&gt;Drunkard – Émile Zola&lt;br /&gt;Virgin Soil – Ivan Turgenev&lt;br /&gt;Daniel Deronda – George Eliot&lt;br /&gt;The Hand of Ethelberta – Thomas Hardy&lt;br /&gt;The Temptation of Saint Anthony – Gustave Flaubert&lt;br /&gt;Far from the Madding Crowd – Thomas Hardy&lt;br /&gt;The Enchanted Wanderer – Nicolai Leskov&lt;br /&gt;Around the World in Eighty Days – Jules Verne&lt;br /&gt;In a Glass Darkly – Sheridan Le Fanu&lt;br /&gt;The Devils – Fyodor Dostoevsky&lt;br /&gt;Erewhon – Samuel Butler&lt;br /&gt;Spring Torrents – Ivan Turgenev&lt;br /&gt;Middlemarch – George Eliot&lt;br /&gt;Through the Looking Glass, and What Alice Found There – Lewis Carroll&lt;br /&gt;King Lear of the Steppes – Ivan Turgenev&lt;br /&gt;He Knew He Was Right – Anthony Trollope&lt;br /&gt;War and Peace – Leo Tolstoy&lt;br /&gt;Sentimental Education – Gustave Flaubert&lt;br /&gt;Phineas Finn – Anthony Trollope&lt;br /&gt;Maldoror – Comte de Lautréaumont&lt;br /&gt;The Idiot – Fyodor Dostoevsky&lt;br /&gt;The Moonstone – Wilkie Collins&lt;br /&gt;Little Women – Louisa May Alcott&lt;br /&gt;Thérèse Raquin – Émile Zola&lt;br /&gt;The Last Chronicle of Barset – Anthony Trollope&lt;br /&gt;Journey to the Centre of the Earth – Jules Verne&lt;br /&gt;&lt;b&gt;Crime and Punishment – Fyodor Dostoevsky&lt;/b&gt; - 97&lt;br /&gt;Alice’s Adventures in Wonderland – Lewis Carroll&lt;br /&gt;Our Mutual Friend – Charles Dickens&lt;br /&gt;Uncle Silas – Sheridan Le Fanu&lt;br /&gt;&lt;b&gt;Notes from the Underground – Fyodor Dostoevsky&lt;/b&gt; - 98&lt;br /&gt;The Water-Babies – Charles Kingsley&lt;br /&gt;Les Misérables – Victor Hugo&lt;br /&gt;Fathers and Sons – Ivan Turgenev&lt;br /&gt;Silas Marner – George Eliot&lt;br /&gt;Great Expectations – Charles Dickens&lt;br /&gt;On the Eve – Ivan Turgenev&lt;br /&gt;Castle Richmond – Anthony Trollope&lt;br /&gt;The Mill on the Floss – George Eliot&lt;br /&gt;The Woman in White – Wilkie Collins&lt;br /&gt;The Marble Faun – Nathaniel Hawthorne&lt;br /&gt;Max Havelaar – Multatuli&lt;br /&gt;A Tale of Two Cities – Charles Dickens&lt;br /&gt;Oblomovka – Ivan Goncharov&lt;br /&gt;Adam Bede – George Eliot&lt;br /&gt;Madame Bovary – Gustave Flaubert&lt;br /&gt;North and South – Elizabeth Gaskell&lt;br /&gt;Hard Times – Charles Dickens&lt;br /&gt;&lt;b&gt;Walden – Henry David Thoreau&lt;/b&gt; - 99&lt;br /&gt;Bleak House – Charles Dickens&lt;br /&gt;Villette – Charlotte Brontë&lt;br /&gt;Cranford – Elizabeth Gaskell&lt;br /&gt;Uncle Tom’s Cabin; or, Life Among the Lonely – Harriet Beecher Stowe&lt;br /&gt;The Blithedale Romance – Nathaniel Hawthorne&lt;br /&gt;The House of the Seven Gables – Nathaniel Hawthorne&lt;br /&gt;&lt;b&gt;Moby-Dick – Herman Melville&lt;/b&gt; - 100&lt;br /&gt;&lt;b&gt;The Scarlet Letter – Nathaniel Hawthorne&lt;/b&gt; - 101&lt;br /&gt;David Copperfield – Charles Dickens&lt;br /&gt;Shirley – Charlotte Brontë&lt;br /&gt;Mary Barton – Elizabeth Gaskell&lt;br /&gt;The Tenant of Wildfell Hall – Anne Brontë&lt;br /&gt;&lt;b&gt;Wuthering Heights – Emily Brontë&lt;/b&gt; - 102&lt;br /&gt;Agnes Grey – Anne Brontë&lt;br /&gt;&lt;b&gt;Jane Eyre – Charlotte Brontë&lt;/b&gt; - 103&lt;br /&gt;Vanity Fair – William Makepeace Thackeray&lt;br /&gt;The Count of Monte-Cristo – Alexandre Dumas&lt;br /&gt;La Reine Margot – Alexandre Dumas&lt;br /&gt;The Three Musketeers – Alexandre Dumas&lt;br /&gt;The Purloined Letter – Edgar Allan Poe&lt;br /&gt;Martin Chuzzlewit – Charles Dickens&lt;br /&gt;&lt;b&gt;The Pit and the Pendulum – Edgar Allan Poe&lt;/b&gt; - 104&lt;br /&gt;Lost Illusions – Honoré de Balzac&lt;br /&gt;A Christmas Carol – Charles Dickens&lt;br /&gt;Dead Souls – Nikolay Gogol&lt;br /&gt;The Charterhouse of Parma – Stendhal&lt;br /&gt;&lt;b&gt;The Fall of the House of Usher – Edgar Allan Poe&lt;/b&gt; - 105&lt;br /&gt;The Life and Adventures of Nicholas Nickleby – Charles Dickens&lt;br /&gt;Oliver Twist – Charles Dickens&lt;br /&gt;The Nose – Nikolay Gogol&lt;br /&gt;Le Père Goriot – Honoré de Balzac&lt;br /&gt;Eugénie Grandet – Honoré de Balzac&lt;br /&gt;The Hunchback of Notre Dame – Victor Hugo&lt;br /&gt;The Red and the Black – Stendhal&lt;br /&gt;The Betrothed – Alessandro Manzoni&lt;br /&gt;&lt;b&gt;Last of the Mohicans – James Fenimore Cooper&lt;/b&gt; - 106&lt;br /&gt;The Private Memoirs and Confessions of a Justified Sinner – James Hogg&lt;br /&gt;The Albigenses – Charles Robert Maturin&lt;br /&gt;Melmoth the Wanderer – Charles Robert Maturin&lt;br /&gt;The Monastery – Sir Walter Scott&lt;br /&gt;Ivanhoe – Sir Walter Scott&lt;br /&gt;&lt;b&gt;Frankenstein – Mary Wollstonecraft Shelley&lt;/b&gt; - 107&lt;br /&gt;Northanger Abbey – Jane Austen&lt;br /&gt;Persuasion – Jane Austen&lt;br /&gt;Ormond – Maria Edgeworth&lt;br /&gt;Rob Roy – Sir Walter Scott&lt;br /&gt;Emma – Jane Austen&lt;br /&gt;Mansfield Park – Jane Austen&lt;br /&gt;&lt;b&gt;Pride and Prejudice – Jane Austen&lt;/b&gt;  - 108&lt;br /&gt;The Absentee – Maria Edgeworth&lt;br /&gt;Sense and Sensibility – Jane Austen&lt;br /&gt;Elective Affinities – Johann Wolfgang von Goethe&lt;br /&gt;Castle Rackrent – Maria Edgeworth&lt;br /&gt;&lt;br /&gt;&lt;b&gt;1700s&lt;/b&gt;&lt;br /&gt;Hyperion – Friedrich Hölderlin&lt;br /&gt;The Nun – Denis Diderot&lt;br /&gt;Camilla – Fanny Burney&lt;br /&gt;The Monk – M.G. Lewis&lt;br /&gt;Wilhelm Meister’s Apprenticeship – Johann Wolfgang von Goethe&lt;br /&gt;The Mysteries of Udolpho – Ann Radcliffe&lt;br /&gt;The Interesting Narrative – Olaudah Equiano&lt;br /&gt;The Adventures of Caleb Williams – William Godwin&lt;br /&gt;Justine – Marquis de Sade&lt;br /&gt;Vathek – William Beckford&lt;br /&gt;The 120 Days of Sodom – Marquis de Sade&lt;br /&gt;Cecilia – Fanny Burney&lt;br /&gt;Confessions – Jean-Jacques Rousseau&lt;br /&gt;Dangerous Liaisons – Pierre Choderlos de Laclos&lt;br /&gt;Reveries of a Solitary Walker – Jean-Jacques Rousseau&lt;br /&gt;Evelina – Fanny Burney&lt;br /&gt;The Sorrows of Young Werther – Johann Wolfgang von Goethe&lt;br /&gt;Humphrey Clinker – Tobias George Smollett&lt;br /&gt;The Man of Feeling – Henry Mackenzie&lt;br /&gt;A Sentimental Journey – Laurence Sterne&lt;br /&gt;Tristram Shandy – Laurence Sterne&lt;br /&gt;The Vicar of Wakefield – Oliver Goldsmith&lt;br /&gt;The Castle of Otranto – Horace Walpole&lt;br /&gt;Émile; or, On Education – Jean-Jacques Rousseau&lt;br /&gt;Rameau’s Nephew – Denis Diderot&lt;br /&gt;Julie; or, the New Eloise – Jean-Jacques Rousseau&lt;br /&gt;Rasselas – Samuel Johnson&lt;br /&gt;Candide – Voltaire&lt;br /&gt;The Female Quixote – Charlotte Lennox&lt;br /&gt;Amelia – Henry Fielding&lt;br /&gt;Peregrine Pickle – Tobias George Smollett&lt;br /&gt;Fanny Hill – John Cleland&lt;br /&gt;Tom Jones – Henry Fielding&lt;br /&gt;Roderick Random – Tobias George Smollett&lt;br /&gt;Clarissa – Samuel Richardson&lt;br /&gt;Pamela – Samuel Richardson&lt;br /&gt;Jacques the Fatalist – Denis Diderot&lt;br /&gt;Memoirs of Martinus Scriblerus – J. Arbuthnot, J. Gay, T. Parnell, A. Pope, J. Swift&lt;br /&gt;Joseph Andrews – Henry Fielding&lt;br /&gt;&lt;b&gt;A Modest Proposal – Jonathan Swift&lt;/b&gt; - 109&lt;br /&gt;&lt;b&gt;Gulliver’s Travels – Jonathan Swift&lt;/b&gt; - 110&lt;br /&gt;Roxana – Daniel Defoe&lt;br /&gt;Moll Flanders – Daniel Defoe&lt;br /&gt;Love in Excess – Eliza Haywood&lt;br /&gt;&lt;b&gt;Robinson Crusoe – Daniel Defoe&lt;/b&gt; - 111&lt;br /&gt;A Tale of a Tub – Jonathan Swift&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Pre-1700&lt;/b&gt;&lt;br /&gt;Oroonoko – Aphra Behn&lt;br /&gt;The Princess of Clèves – Marie-Madelaine Pioche de Lavergne, Comtesse de La Fayette&lt;br /&gt;&lt;b&gt;The Pilgrim’s Progress – John Bunyan&lt;/b&gt; - 112&lt;br /&gt;Don Quixote – Miguel de Cervantes Saavedra&lt;br /&gt;The Unfortunate Traveller – Thomas Nashe&lt;br /&gt;Euphues: The Anatomy of Wit – John Lyly&lt;br /&gt;Gargantua and Pantagruel – Françoise Rabelais&lt;br /&gt;The Thousand and One Nights – Anonymous&lt;br /&gt;The Golden Ass – Lucius Apuleius&lt;br /&gt;Aithiopika – Heliodorus&lt;br /&gt;Chaireas and Kallirhoe – Chariton&lt;br /&gt;Metamorphoses – Ovid&lt;br /&gt;Aesop’s Fables – Aesopus&lt;br /&gt;</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:7058</id>
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    <title>cognitive dissonance</title>
    <published>2008-02-22T06:48:48Z</published>
    <updated>2008-02-22T06:48:48Z</updated>
    <lj:music>burial - untrue</lj:music>
    <content type="html">The truth is that when I go on vacation, besides getting away from work, I am also trying to get away from all the russians (if you read this, no offense intended, sasha). i'm not sure i could explain exactly what i mean any better than that -- just to be someplace for a while where everything is a noticeably... easier. and i'm not talking about all the nasty "patriotism" that's been growing for the last three or four years, that's something different, and i'm glad to be away from it, but just as i'm glad to avoid american "patriotism."&lt;br /&gt;&lt;br /&gt;but see, here's the weird thing, what i really wanted to post about: here i am in stupid little skiing town in austria, full of tourists of all stripes, and i'm walking around asking myself, "where are my people?" (i.e. those self-same russians). is this freedom or alienation? i'm not sure.&lt;br /&gt;&lt;br /&gt;even stranger: last night i go into an italian restaurant here. (a "real" one, i think, i.e. most of the waiters really seemed to be italian.) the menu is in italian and german - no problem since everybody knows the names of italian food and my restaurant german is adequate. when the waiter brings my food, he asks, "Хлеб?" I just kind of stare at him. "What?" I say. "Khleb?" he asks again, making some kind of bread-like gesture. "No." I say, and he's clearly  proud that he's figured out where I'm from. He even brings me another menu - in Italian and Russian - for dessert. I try and think what "stereotypical" signal I could be giving off that leads him to think I am a Russian tourist, e.g. displaying roll of hundred-dollar bills? no. expensive but tastelessly dressed bottle blonde on my arm? no. furry hat? vodka shots? no and no. (and basically the only words I've said are "torteillini bolognese" and "valpolicella".)</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:5153</id>
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    <title>okay, okay, my 2007 best of list</title>
    <published>2008-01-02T11:08:27Z</published>
    <updated>2008-01-02T11:29:23Z</updated>
    <category term="2007"/>
    <category term="list"/>
    <lj:music>Rihanna - Don't Stop the Music</lj:music>
    <content type="html">A succinct list, vs. the wordy version on &lt;a href="http://www.last.fm/user/Mitya/journal/2007/12/26/606847/"&gt;last.fm&lt;/a&gt;. Toward the end, I'm definitely kind of scraping the bottom of the barrel, but more or less this pretty much covers the full list of "new" songs that I at one point or another said, "Hey, right now I really want to listen to X."&lt;br /&gt;&lt;br /&gt;&lt;a name="cutid1"&gt;&lt;/a&gt;&lt;br /&gt;Songs, almost 50 of them:&lt;br /&gt;1. Regina Spektor - Better&lt;br /&gt;2. Stars - Window Bird&lt;br /&gt;3. Yelle - Tristesee/Joie&lt;br /&gt;4. Tegan and Sara - The Con&lt;br /&gt;5. Sonicflyer - Sun in My Pocket&lt;br /&gt;6. Margaret Berger - Will You Remember Me Tomorrow?&lt;br /&gt;7. Alicia Keys - No One&lt;br /&gt;8. Beirut - Nantes&lt;br /&gt;9. Zemfira - Мы разбиваемся&lt;br /&gt;10. Girls Aloud - Teenage Dirtbag (Call the Shots)&lt;br /&gt;11. The Aphrodisiacs - The Hour is Late But Please Consider&lt;br /&gt;12. Kylie Minogue - In My Arms (2 Hearts)&lt;br /&gt;13. Charlotte Hatherley - Behave&lt;br /&gt;14. Bloc Party - Flux (JFX Remix)&lt;br /&gt;15. Fall Out Boy - "The Take Over, the Breaks Over"&lt;br /&gt;16. Spoon - You Got Yr. Cherry Bomb&lt;br /&gt;17. LCD Soundsystem - All My Friends (Someone Great)&lt;br /&gt;18. Thomas/Mayer - Überwiesen&lt;br /&gt;19. Gui Boratto - Beautiful Life&lt;br /&gt;20. Sugababes - About You Now&lt;br /&gt;21. Emma Pollock - Adrenaline&lt;br /&gt;22. Timbaland - The Way I Are (feat. Keri Hilson &amp; D.O.E.)&lt;br /&gt;23. Imperial Teen - Everyone Wants to Know&lt;br /&gt;24. The Early Years - So Far Gone (The Simple Solution)&lt;br /&gt;25. Roisin Murphy - Overpowered&lt;br /&gt;26. Of Montreal - Heimdalsgate Like a Promethean Curse&lt;br /&gt;27. Siobhan Donaghy - 12 Bar Acid Blues&lt;br /&gt;28. Tracey Thorn - Raise the Roof&lt;br /&gt;29. T2 - Heartbroken (feat. Jodie Aysha)&lt;br /&gt;30. Groove Armada - Song 4 Mutya (Out of Control)&lt;br /&gt;31. Feist - My Moon My Man (1234)&lt;br /&gt;32. !!! - Must Be the Moon&lt;br /&gt;33. Rilo Kiley - Silver Lining&lt;br /&gt;34. Digitalism - Pogo&lt;br /&gt;35. Robyn - Robotboy&lt;br /&gt;36. Enrique Iglesias - Do You Know? (The Ping Pong Song)&lt;br /&gt;37. Kate Nash - Foundations&lt;br /&gt;38. The National - Fake Empire&lt;br /&gt;39. Yulia Savicheva - Nikak (Юлия Савичева - Никак)&lt;br /&gt;40. The Chemical Brothers - Burst Generator&lt;br /&gt;41. Amy McDonald - Mr. Rock and Roll&lt;br /&gt;42. Blonde Redhead - 23&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;This year saw a number of albums that I &lt;i&gt;felt&lt;/i&gt; were good, but didn't find myself wanting to listen to that often. I made a good faith effort to follow up on some of &lt;span class='ljuser ljuser-name_alexmacpherson' lj:user='alexmacpherson' style='white-space: nowrap;'&gt;&lt;a href='http://alexmacpherson.livejournal.com/profile'&gt;&lt;img src='http://l-stat.livejournal.com/img/userinfo.gif' alt='[info]' width='17' height='17' style='vertical-align: bottom; border: 0; padding-right: 1px;' /&gt;&lt;/a&gt;&lt;a href='http://alexmacpherson.livejournal.com/'&gt;&lt;b&gt;alexmacpherson&lt;/b&gt;&lt;/a&gt;&lt;/span&gt;'s R&amp;B recommendations, and it shows up here rather than my singles list.&lt;br /&gt;&lt;br /&gt;&lt;a name="cutid2"&gt;&lt;/a&gt;&lt;br /&gt;As this is my first pass thinking about albums, I may tinker a bit later, but these five albums all clearly got a lot of repeat, full-album play from me. It's interesting that I didn't even think of M.I.A. when putting together my songs list, even though "Boys" is a standout. &lt;i&gt;Total 8&lt;/i&gt; was the easy winner here, though.&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Top Five:&lt;/b&gt;&lt;br /&gt;1. Various Artists - Total 8 (Kompakt)&lt;br /&gt;2. Digitalism - Idealism&lt;br /&gt;3. Beirut - The Flying Club Cup&lt;br /&gt;4. M.I.A. - Kala&lt;br /&gt;5. Gui Boratto - Chromophobia&lt;br /&gt;&lt;br /&gt;&lt;b&gt;The bulge bracket:&lt;/b&gt; Some of these got a fair amount of play but were somehow disappointing (T&amp;S), others "charted" well despite themselves (Rilo Kiley, Of Montreal). Towards the bottom of the list we've got stuff that I won't say is out and out bad, but which I probably won't listen to (Mekons, Coral) as well as things that I either haven't paid attention to (Roisin) or honestly listened to (Skepta, Bural). Pretty much every full album I acquired this year...&lt;br /&gt;&lt;br /&gt;6. Tegan and Sara - The Con&lt;br /&gt;7. Rilo Kiley - Under the Black Light&lt;br /&gt;8. Alicia Keys - As I Am&lt;br /&gt;9. Zемфира - Спасибо (Zemfira - Spasiba)&lt;br /&gt;10. Of Montreal - Hissing Fauna, Are You the Destroyer?&lt;br /&gt;11. Мумий Тролль - Амба (Mumiy Troll - Amba)&lt;br /&gt;12. Wilco - Sky Blue Sky&lt;br /&gt;13. !!! - Myth Takes&lt;br /&gt;14. Keren Ann - Keren Ann&lt;br /&gt;15. The Chemical Brothers - We Are the Night&lt;br /&gt;16. Spoon - Ga Ga Ga Ga Ga&lt;br /&gt;17. Amerie - Because I Love It&lt;br /&gt;18. Rihanna - Good Girl Gone Bad&lt;br /&gt;19. Kylie - X&lt;br /&gt;20. The Hours - Narcissus Road&lt;br /&gt;21. Girls Aloud - Tangled Up&lt;br /&gt;22. Blonde Redhead - 23&lt;br /&gt;23. The National - Boxer&lt;br /&gt;24. Crowded House - Time on Earth&lt;br /&gt;25. Various Artists - After Dark: Italians Do It Better&lt;br /&gt;26. Ulrich Schauss - Goodbye&lt;br /&gt;27. Roisin Murphy - Overpowered&lt;br /&gt;28. Sophie Ellis-Bextor - Trip the Light Fantastic&lt;br /&gt;29. Son Volt - The Search&lt;br /&gt;30. Siobhan Donaghy - Ghosts&lt;br /&gt;31. Stars - In Our Bedroom After the War&lt;br /&gt;32. Justice - †&lt;br /&gt;33. Britney Spears - Blackout&lt;br /&gt;34. Field Music - Tones of Town&lt;br /&gt;35. Tracey Thorn - Out of the Woods&lt;br /&gt;36. Kelly Rowland - Ms. Kelly&lt;br /&gt;37. Skepta - Greatest Hits&lt;br /&gt;38. Burial - Untrue&lt;br /&gt;39. Klaxons - Myths of the Near Future&lt;br /&gt;40. Buffalo Tom - Three Easy Pieces&lt;br /&gt;41. Bryan Ferry - Dylanesque&lt;br /&gt;42. Bloc Party - A Weekend in the City&lt;br /&gt;43. The Good, the Bad &amp; the Queen - The Good, the Bad &amp; the Queen&lt;br /&gt;44. Mekons - Natural&lt;br /&gt;45. The Coral - Roots and Echoes&lt;br /&gt;&lt;br /&gt;&lt;a name="cutid3"&gt;&lt;/a&gt;&lt;br /&gt;&lt;b&gt;The bottom of the barrel&lt;/b&gt;&lt;br /&gt;I am unable to delete these from my hard drive because I'm a pack rat. &lt;br /&gt;- Feist - The Reminder - A couple of good singles and a lot of MOR. No thanks.&lt;br /&gt;- The Arcade Fire - The Neon Bible - This time it just seems like histrionics.&lt;br /&gt;- The Go! Team - Proof of Youth - No magic this time. :( &lt;br /&gt;- Patrick Wolf - The Magic Position - Although "The Magic Position" is actually okay, I think my  subconscious associates the whole album with the distorted vocals at the start of "Accident and Emergency." One of the few albums that will make me reach for the stop key.&lt;br /&gt;</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:4638</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/4638.html"/>
    <link rel="self" type="text/xml" href="http://blue-russian.livejournal.com/data/atom/?itemid=4638"/>
    <title>Yawn, why am i doing quizzes when i should be on the way to the gym?</title>
    <published>2007-11-24T06:41:50Z</published>
    <updated>2007-11-24T06:41:50Z</updated>
    <lj:music>Gina G - Ooh Aah... Just A Little Bit</lj:music>
    <content type="html">&lt;div style="border:1px solid black;background-color:white;color:black;text-align:center;"&gt;&lt;br /&gt;		&lt;p&gt;My score on &lt;a href="http://www.okcupid.com/tests/3076838567116464195/Brutally-Honest-Personality"&gt;The Brutally Honest Personality Test&lt;/a&gt;:&lt;/p&gt;&lt;br /&gt;		&lt;p&gt;&lt;span style="font-size:18pt;font-weight:bold;"&gt;Loser - INTP&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;		&lt;span style="font-size:12pt"&gt;(6% Extraversion, 53% Intuition, 80% Thinking, 40% Judging)&lt;/span&gt;&lt;/p&gt;&lt;br /&gt;		&lt;p&gt;&lt;a href="http://is3.okcupid.com/users/136/238/13623884563866545256/mt1165223494.jpg"&gt;http://is3.okcupid.com/users/136/238/13623884563866545256/mt1165223494.jpg&lt;/a&gt;&lt;/p&gt;&lt;br /&gt;		&lt;p style="text-align: left; padding: 10px;"&gt;Talked to another human being lately? I'm serious. You value knowledge above ALL else. You love new ideas, and become very excited over abstractions and theories. The fact that nobody else cares still hasn't become apparent to you... &lt;br /&gt;&lt;br /&gt;Nerd's a great word to describe you, and I seriously couldn't care less about the different definitions of the word and why you're actually more of a geek than a nerd. Don't pretend you weren't thinking that. You want every single miniscule fact and theory to be presented correctly. &lt;br /&gt;&lt;br /&gt;Critical? Sarcastic? Cynical? Pessimistic? Just a few words to describe you when you're at your very best...*cough* Sorry, I mean worst. Picking up the dudes or dudettes isn't something you find easy, but don't worry too much about it. You can blame it on your personality type now. &lt;br /&gt;&lt;br /&gt;On top of all this, you're shy. Nice one, wench. No wonder you're on OKCupid!  Now, quickly go and delete everything about "theoretical questions" from your profile page. As long as nobody tries to start a conversation with you, just MAYBE you'll now have a chance of picking up a date. But don't get your hopes up. &lt;br /&gt;&lt;br /&gt;I am interested though. If a tree fell over in a forest, would it really make a sound? &lt;br /&gt;&lt;br /&gt; ***************** &lt;br /&gt;&lt;br /&gt;If you want to learn more about your personality type in a slightly less negative way, &amp;check out this. &lt;br /&gt;&lt;br /&gt; ***************** &lt;br /&gt;&lt;br /&gt; The other personality types are as follows...  &lt;br /&gt;&amp;Loner - Introverted Sensing Feeling Perceiving &lt;br /&gt;&amp;Pushover - Introverted Sensing Feeling Judging &lt;br /&gt;&amp;Criminal - Introverted Sensing Thinking Perceiving &lt;br /&gt;&amp;Borefest - Introverted Sensing Thinking Judging &lt;br /&gt;&amp;Almost Perfect - Introverted iNtuitive Feeling Perceiving &lt;br /&gt;&amp;Freak - Introverted iNtuitive Feeling Judging &lt;br /&gt;&lt;br /&gt;&amp;Crackpot - Introverted iNtuitive Thinking Judging &lt;br /&gt;&lt;br /&gt;&amp;Clown - Extraverted Sensing Feeling Perceiving &lt;br /&gt;&amp;Sap - Extraverted Sensing Feeling Judging &lt;br /&gt;&amp;Commander - Extraverted Sensing Thinking Perceiving &lt;br /&gt;&amp;Do Gooder - Extraverted Sensing Thinking Judging &lt;br /&gt;&amp;Scumbag - Extraverted iNtuitive Feeling Perceiving &lt;br /&gt;&amp;Busybody - Extraverted iNtuitive Feeling Judging &lt;br /&gt;&amp;Prick - Extraverted iNtuitive Thinking Perceiving &lt;br /&gt;&amp;Dictator - Extraverted iNtuitive Thinking Judging &lt;/p&gt;&lt;br /&gt;		&lt;p&gt;Link: &lt;a href="http://www.okcupid.com/tests/3076838567116464195/Brutally-Honest-Personality"&gt;The Brutally Honest Personality Test&lt;/a&gt;&lt;br /&gt;		(&lt;a href="http://www.okcupid.com"&gt;OkCupid Free Online Dating&lt;/a&gt;)&lt;/p&gt;&lt;br /&gt;	&lt;/div&gt;&lt;br /&gt;&lt;br /&gt;(And no, I'm &lt;i&gt;not&lt;/i&gt; on OKCupid.)</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:4376</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/4376.html"/>
    <link rel="self" type="text/xml" href="http://blue-russian.livejournal.com/data/atom/?itemid=4376"/>
    <title>lord i love the king of spain today</title>
    <published>2007-11-12T08:45:54Z</published>
    <updated>2007-11-12T08:45:54Z</updated>
    <content type="html">&lt;a href="http://news.bbc.co.uk/2/hi/americas/7089131.stm"&gt;http://news.bbc.co.uk/2/hi/americas/7089131.stm&lt;/a&gt;</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:4316</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/4316.html"/>
    <link rel="self" type="text/xml" href="http://blue-russian.livejournal.com/data/atom/?itemid=4316"/>
    <title>haiku meme</title>
    <published>2007-11-05T07:43:57Z</published>
    <updated>2007-11-05T07:43:57Z</updated>
    <lj:music>the wordless hum of the ventilation system</lj:music>
    <content type="html">&lt;form action="http://memes.angrygoats.net/post/haiku" method="post"&gt;&lt;table align="center" border="0" bgcolor="#ddddff" style="border: 1px solid black;"&gt;&lt;tr&gt;&lt;th&gt;&lt;a href="http://memes.angrygoats.net/"&gt;Haiku&lt;sup&gt;2&lt;/sup&gt;&lt;/a&gt; for blue_russian&lt;/th&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;blockquote align="right" style="text-align:right;border-right:1px solid #bbbbdd; padding:5px;"&gt; can't change people&lt;br /&gt;go for someone who you can&lt;br /&gt;listen to all that&lt;/blockquote&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align="center"&gt;&lt;input type="text" size="8" name="haiku_username" value="blue_russian" /&gt; @ &lt;select name="haiku_server"&gt;&lt;option value="livejournal.com" selected="selected"&gt;livejournal.com&lt;/option&gt;&lt;/select&gt;&lt;input value="blue_russian@livejournal.com" type="hidden" name="haiku_referrer" /&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align="center"&gt;&lt;input type="submit" value="What&amp;#39;s my Haiku?"&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td align="center" bgcolor="#bbbbdd"&gt;&lt;small&gt;&lt;a href="http://grahame.livejournal.com/"&gt;Created by Grahame&lt;/a&gt;&lt;/small&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;/form&gt;</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:3736</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/3736.html"/>
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    <title>90s albums meme</title>
    <published>2007-10-07T03:13:48Z</published>
    <updated>2007-10-07T03:13:48Z</updated>
    <lj:music>Zemfira - In Me</lj:music>
    <content type="html">Fudged in places, e.g. I find it difficult to imagine I've never heard &lt;i&gt;Dummy&lt;/i&gt; all the way through, but I can't actually remember it. Also, as usual, there are very few of these albums that I really feel passionate about per se (as opposed to individual songs) nowadays. And (no fun!) I can't honestly say anything immediately jumped out at me as missing, although I do prefer Laser Guided Melodies out of the Spiritualized albums.&lt;br /&gt;&lt;br /&gt;&lt;a name="cutid1"&gt;&lt;/a&gt;&lt;br /&gt;—Bold = own &lt;br /&gt;—Italics = heard all through/used to own &lt;br /&gt;—Strikethrough = hate (heard or not)&lt;br /&gt;—Underline = wd like one day to hear&lt;br /&gt;—Asterisk = replay much bcz love&lt;br /&gt;&lt;br /&gt;&lt;b&gt;1 Nirvana - Nevermind 1991&lt;br /&gt;2 Radiohead - OK Computer 1997*&lt;br /&gt;3 Massive Attack - Blue Lines 1991&lt;br /&gt;4 R.E.M. - Automatic for the People 1992*&lt;br /&gt;5 Beck - Odelay	1996&lt;br /&gt;6 Primal Scream - Screamadelica 1991&lt;br /&gt;7 My Bloody Valentine -	Loveless 1991*&lt;/b&gt;&lt;br /&gt;&lt;u&gt;8 Portishead - Dummy 1994&lt;/u&gt;&lt;br /&gt;&lt;b&gt;9 Oasis	- (What's the Story) Morning Glory? 1995*&lt;br /&gt;10 U2 - Achtung, Baby 1991*&lt;br /&gt;11 Oasis - Definitely Maybe 1994&lt;br /&gt;12 Radiohead - The Bends 1995&lt;/b&gt;&lt;br /&gt;13 Jeff Buckley - Grace 1994&lt;br /&gt;14 DJ Shadow - Endtroducing... 1996&lt;br /&gt;15 Tricky - Maxinquaye 1995&lt;br /&gt;&lt;b&gt;16 Pavement - Slanted and Enchanted 1992&lt;/b&gt;&lt;br /&gt;&lt;i&gt;17 Public Enemy - Fear of a Black Planet 1990*&lt;/i&gt;&lt;br /&gt;18 Lauryn Hill - The Miseducation of Lauryn Hill 1998&lt;br /&gt;&lt;b&gt;19 Air - Moon Safari 1998&lt;br /&gt;20 Nirvana - In Utero 1993&lt;br /&gt;21 Pulp - Different Class 1995*&lt;/b&gt;&lt;br /&gt;22 The Flaming Lips - The Soft Bulletin 1999&lt;br /&gt;23 Dr. Dre - The Chronic 1992&lt;br /&gt;24 Björk - Debut 1993&lt;br /&gt;&lt;b&gt;25 P J Harvey - To Bring You My Love 1995&lt;br /&gt;26 Pearl Jam - Ten 1991&lt;br /&gt;27 Blur	- Parklife 1994&lt;br /&gt;28 Smashing Pumpkins - Siamese Dream 1993&lt;/b&gt;&lt;br /&gt;29 Wu-Tang Clan - Enter the Wu-Tang (36 Chambers) 1993&lt;br /&gt;30 Bob Dylan - Time Out of Mind 1997&lt;br /&gt;&lt;b&gt;31 Metallica - Metallica ("The Black Album") 1991&lt;br /&gt;32 The Verve - Urban Hymns 1997&lt;br /&gt;33 R.E.M. - Out of Time 1991&lt;br /&gt;34 Moby - Play 1999&lt;/b&gt;&lt;br /&gt;35 Magnetic Fields - 69 Love Songs 1999&lt;br /&gt;&lt;b&gt;&lt;s&gt;36 Red Hot Chili Peppers - Blood Sugar Sex Magik 1991&lt;/s&gt;&lt;/b&gt;&lt;br /&gt;37 Lucinda Williams - Car Wheels on a Gravel Road 1998&lt;br /&gt;38 Mercury Rev - Deserter's Songs 1998&lt;br /&gt;39 Nine Inch Nails - The Downward Spiral 1994&lt;br /&gt;&lt;b&gt;40 Liz Phair - Exile in Guyville 1993&lt;/b&gt;&lt;br /&gt;41 The Chemical Brothers - Dig Your Own Hole 1997&lt;br /&gt;&lt;b&gt;42 The Smashing Pumpkins - Mellon Collie and the Infinite Sadness 1995&lt;br /&gt;43 Rage Against the Machine - Rage Against the Machine 1992&lt;br /&gt;44 Pavement - Crooked Rain, Crooked Rain 1994&lt;br /&gt;45 Sigur Ros - Agaetis Byrjun 1999**&lt;/b&gt;&lt;br /&gt;&lt;i&gt;46 Beastie Boys - Ill Communication 1994&lt;/i&gt;&lt;br /&gt;&lt;u&gt;47 Hole	- Live Through This 1994&lt;/u&gt;&lt;br /&gt;&lt;b&gt;48 Spiritualized - Ladies and Gentlemen We Are Floating in Space 1997*&lt;/b&gt;&lt;br /&gt;&lt;s&gt;49 Soundgarden - Superunknown 1994&lt;/s&gt;&lt;br /&gt;50 Beck	- Mellow Gold 1994&lt;br /&gt;&lt;b&gt;51 Nirvana - MTV Unplugged in New York 1994&lt;/b&gt;&lt;br /&gt;52 A Tribe Called Quest	- The Low End Theory 1991&lt;br /&gt;&lt;u&gt;53 Fugees - The Score 1996&lt;/u&gt;&lt;br /&gt;54 Happy Mondays - Pills 'n' Thrills and Bellyaches 1990&lt;br /&gt;55 Björk - Post 1995&lt;br /&gt;&lt;i&gt;56 Daft Punk - Homework 1997&lt;/i&gt;&lt;br /&gt;57 Tortoise - Millions Now Living Will Never Die 1996&lt;br /&gt;58 Massive Attack - Mezzanine 1998&lt;br /&gt;59 Bonnie "Prince" Billy - I See a Darkness 1999&lt;br /&gt;60 Leftfield - Leftism 1995&lt;br /&gt;61 Slint - Spiderland 1991&lt;br /&gt;&lt;i&gt;62 Belle and Sebastian - If You're Feeling Sinister 1996&lt;/i&gt;&lt;br /&gt;&lt;b&gt;63 P J Harvey - Rid of Me 1993&lt;/b&gt;&lt;br /&gt;&lt;i&gt;64 Beastie Boys - Check Your Head 1992&lt;/i&gt;&lt;br /&gt;65 Johnny Cash - American Recordings 1994&lt;br /&gt;&lt;i&gt;66 Sinéad O'Connor - I Do Not Want What I Haven't Got 1990&lt;/i&gt;&lt;br /&gt;&lt;b&gt;67 Fatboy Slim - You've Come a Long Way, Baby 1998&lt;/b&gt;&lt;br /&gt;68 Basement Jaxx - Remedy 1999&lt;br /&gt;&lt;i&gt;69 Alanis Morissette - Jagged Little Pill 1995&lt;/i&gt;&lt;br /&gt;70 Buena Vista Social Club - Buena Vista Social Club 1997&lt;br /&gt;&lt;b&gt;71 Jane's Addiction - Ritual De Lo Habitual 1990&lt;/b&gt;&lt;br /&gt;72 The Prodigy - Music for the Jilted Generation 1994&lt;br /&gt;&lt;b&gt;73 P J Harvey - Dry 1992&lt;/b&gt;&lt;br /&gt;74 Björk - Homogenic 1997&lt;br /&gt;75 The Prodigy - The Fat of the Land 1997&lt;br /&gt;76 Nas - Illmatic 1994&lt;br /&gt;77 Green Day - Dookie 1994&lt;br /&gt;78 Roni Size/Reprazent - New Forms 1997&lt;br /&gt;79 Eminem - The Slim Shady LP 1999&lt;br /&gt;80 The Notorious B.I.G. - Ready to Die 1994&lt;br /&gt;81 The Orb - The Orb's Adventures Beyond the Ultraworld 1991&lt;br /&gt;82 Aphex Twin - Selected Ambient Works 85-92 1992&lt;br /&gt;&lt;b&gt;83 Suede - Suede 1993*&lt;br /&gt;84 Manic Street Preachers - Everything Must Go 1996*&lt;br /&gt;85 Neil Young and Crazy Horse - Ragged Glory 1990&lt;br /&gt;86 Wilco - Summer Teeth 1999*&lt;/b&gt;&lt;br /&gt;87 Pet Shop Boys - Behaviour 1990&lt;br /&gt;88 Tori Amos - Little Earthquakes 1992&lt;br /&gt;89 Bob Dylan - Live 1966 - The "Royal Albert Hall" Concert 1998&lt;br /&gt;90 Weezer - Weezer ("The Blue Album") 1994&lt;br /&gt;&lt;i&gt;91 Teenage Fanclub - Bandwagonesque 1991&lt;/i&gt;&lt;br /&gt;&lt;b&gt;&lt;s&gt;92 Sonic Youth - Goo 1990&lt;/s&gt;&lt;/b&gt;&lt;br /&gt;93 Tom Waits - Mule Variations 1999&lt;br /&gt;94 The LA's - The LA's 1990&lt;br /&gt;95 Goldie - Timeless 1995&lt;br /&gt;96 The Chemical Brothers - Exit Planet Dust 1995&lt;br /&gt;97 Nick Cave &amp; The Bad Seeds - The Boatman's Call 1997&lt;br /&gt;&lt;b&gt;98 The Breeders - Last Splash 1993&lt;/b&gt;&lt;br /&gt;&lt;i&gt;99 Madonna - Ray of Light 1998&lt;/i&gt;&lt;br /&gt;100 Depeche Mode - Violator 1990&lt;br /&gt;101 Missy Misdemeanor Elliott - Supa Dupa Fly 1997&lt;br /&gt;102 Manu Chao - Clandestino 1998&lt;br /&gt;&lt;u&gt;103 Neutral Milk Hotel - In the Aeroplane over the Sea 1998&lt;br /&gt;104 Talk Talk - Laughing Stock 1991&lt;br /&gt;105 OutKast - Aquemini	 1998&lt;/u&gt;&lt;br /&gt;&lt;b&gt;106 Blur - Blur 1997&lt;/b&gt;&lt;br /&gt;107 TLC - CrazySexyCool 1994</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:3399</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/3399.html"/>
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    <title>Off to Scotland...</title>
    <published>2007-08-07T17:56:12Z</published>
    <updated>2007-08-07T17:56:12Z</updated>
    <lj:music>Kirsty MacColl - Wrong Again (no really)</lj:music>
    <content type="html">via la la Londinium tomorrow. Poorly organized so I am missing Poptimism, although since "poorly organized" = "have organized nothing besides plane ticket and taxi to airport" that should probably be the least of my worries. I should probably be looking into that rather that trying to load up my iPod with Scottish pop, eh?&lt;br /&gt;&lt;br /&gt;Hopefully I will get an e-mail tomorrow with my B&amp;B arrangements for the Great Glen sorted, at least. One of the advantages of developed country travel - sod it, everything can be sorted if you're willing/able to pay.</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:3177</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/3177.html"/>
    <link rel="self" type="text/xml" href="http://blue-russian.livejournal.com/data/atom/?itemid=3177"/>
    <title>Well, that's that, then.</title>
    <published>2007-07-21T21:07:01Z</published>
    <updated>2007-07-21T21:15:29Z</updated>
    <category term="harry potter"/>
    <category term="books"/>
    <category term="jk rowling"/>
    <content type="html">&lt;br&gt;&lt;br /&gt;&lt;img src="http://pics.livejournal.com/blue_russian/pic/0000222f" border="0" /&gt;&lt;br /&gt;&lt;br&gt;&lt;br /&gt;Just finished Harry Potter, and when I say finished, this time I mean it. No spoilers, and, frankly, I'm not sure I want to spoil the satisfaction by thinking about it too much at the moment. Anyway, cheers to you, JK Rowling - I don't begrudge you one penny of what you've earned. In fact, few people deserve it more.</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:2981</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/2981.html"/>
    <link rel="self" type="text/xml" href="http://blue-russian.livejournal.com/data/atom/?itemid=2981"/>
    <title>League of Pop "Live"</title>
    <published>2007-05-26T14:02:49Z</published>
    <updated>2007-05-26T14:02:49Z</updated>
    <content type="html">Well, not exactly. For any of you with broadband connections who haven't taken the time to download all the League of Pop tracks (or didn't want to spend the time labelling the files), you can listen to a surprising number of the submissions on last.fm, via this little widget thing that I am pasting in right here:&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;table class="lfmWidget20070526135454" cellpadding="0" cellspacing="0" border="0" style="width:184px;"&gt;&lt;tr class="lfmHead"&gt;&lt;td&gt;&lt;a title="Music tagged league of pop" href="http://www.last.fm/listen/usertags/Mitya/league%20of%20pop" target="_blank" style="display:block;overflow:hidden;height:20px;width:184px;background:url(http://panther1.last.fm/widgets/images/en/header/radio/regular_blue.gif) no-repeat 0 -20px;text-decoration:none;"&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr class="lfmEmbed"&gt;&lt;td&gt;&lt;lj-embed id="1" /&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr class="lfmFoot"&gt;&lt;td style="background:url(http://panther1.last.fm/widgets/images/footer_bg/blue.gif) repeat-x 0 0;text-align:right;"&gt;&lt;table cellspacing="0" cellpadding="0" border="0" style="width:184px;"&gt;&lt;tr&gt;&lt;td class="lfmConfig"&gt;&lt;a href="http://www.last.fm/widgets/?widget=radio&amp;amp;url=usertags%2FMitya%2Fleague%2520of%2520pop&amp;amp;colour=blue&amp;amp;width=regular&amp;amp;autostart=&amp;amp;from=widget" title="Get your own" target="_blank" style="display:block;overflow:hidden;width:85px;height:20px;float:right;background:url(http://panther1.last.fm/widgets/images/en/footer/blue.gif) no-repeat 0 -20px;text-decoration:none;"&gt;&lt;/a&gt;&lt;/td&gt;&lt;td class="lfmView" style="width:74px;"&gt;&lt;a href="http://www.last.fm/user/Mitya/" title="View Mitya&amp;#39;s profile" target="_blank" style="display:block;overflow:hidden;width:74px;height:20px;background:url(http://panther1.last.fm/widgets/images/en/footer/blue.gif) no-repeat -85px -20px;text-decoration:none;"&gt;&lt;/a&gt;&lt;/td&gt;&lt;td class="lfmPopup" style="width:25px;"&gt;&lt;a href="http://www.last.fm/widgets/popup/?widget=radio&amp;amp;url=usertags%2FMitya%2Fleague%2520of%2520pop&amp;amp;colour=blue&amp;amp;width=regular&amp;amp;autostart=&amp;amp;from=widget&amp;amp;resize=1" title="Load this radio in a pop up" target="_blank" style="display:block;overflow:hidden;width:25px;height:20px;background:url(http://panther1.last.fm/widgets/images/en/footer/blue.gif) no-repeat -159px -20px;text-decoration:none;"&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;&lt;br /&gt;&lt;br /&gt;This is supposed to work with livejournal. So, keep your fingers crossed...</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:2689</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/2689.html"/>
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    <title>off to the pub</title>
    <published>2007-04-13T16:08:11Z</published>
    <updated>2007-04-13T16:08:11Z</updated>
    <content type="html">one of the things i love about london (among other places, moscow not among them unforutnately) is going down to the pub after work. we are counting the minutes...</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:2121</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/2121.html"/>
    <link rel="self" type="text/xml" href="http://blue-russian.livejournal.com/data/atom/?itemid=2121"/>
    <title>Off to London. Today is the greatest day...</title>
    <published>2007-04-11T10:13:53Z</published>
    <updated>2007-04-11T10:13:53Z</updated>
    <lj:music>Margaret Berger - Will You Remember Me Tomorrow?</lj:music>
    <content type="html">so far this month, anyway. Between last night and this morning, I totally cleaned up my apartment (desperately necessary), which actually brought me a great deal of pleasure. Ironically I only did this because I am heading out of town for a few days, and a friend will be crashing there while I'm away.&lt;br /&gt;&lt;br /&gt;But it's the "away" that I am really happy about. I &lt;i&gt;so&lt;/i&gt; need to travel regularly to keep my spirits up, even if, like this trip, I don't really have anything particularly planned (and I am going to a rather familiar and definitely expensive place).&lt;br /&gt;&lt;br /&gt;Okay, back to work...</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:1936</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/1936.html"/>
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    <title>Further to today's discussion</title>
    <published>2007-03-28T18:24:20Z</published>
    <updated>2007-03-28T18:24:20Z</updated>
    <content type="html">I want to dash down a few thoughts now as I'm thinking of them, despite being quite tired and potentially not making much sense. Maybe I will repost to poptismists tomorrow, if they seem worth it.&lt;br /&gt;&lt;br /&gt;Pop vs. Indie&lt;br /&gt;Pop for me quite simply is music that is music that is designed to be easily accessible.  That ease may be complete (production/arrangement, performance, song structure, melody, to come up with categories off the top of my head) or it may be only partial (my classic example here is "Enter Sandman" by Metallica, which I would argue is totally pop, despite being inapproachable to many people based on the production and performance).&lt;br /&gt;&lt;br /&gt;Not all pop is popular, and this is where things get confusing. What are our options?&lt;br /&gt;&lt;i&gt;Failed (bad?) pop&lt;/i&gt; - This is the stuff that really is aimed for mass market consumption, "product" that doesn't sell. Let's say Lisa Scott-Lee is an example (although I haven't actually heard any of her stuff, so maybe that's not fair. But you get the idea.&lt;br /&gt;&lt;br /&gt;This is probably also a good time to answer a question that looks at this the other way around: Is everything that's popular by definition "pop"? My gut tells me "no," especially in the present when the charts - our standard measure of popularity until now - can be relatively influenced by relatively few sales. Setting that aside, though, I still have my doubts. An example, again not the best one, but a vivid one from my personal memory, is "When Doves Cry" by Prince. I HATED this song when it came out. It was undeniably catchy (and popular), but at the same time, the arrangement and performance were completely bizarre. I remember clearly thinking, and complaining to friends, "This isn't a &lt;i&gt;song&lt;/i&gt;." Back to our categories, though...&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Unambitious pop&lt;/i&gt; - A working definition - a lot of this is called commonly "indie" (which is itself an term with such broad meanings as to be almost useless, despite the fact that most people who follow music closely probably instictively feel it in their bones). What does it include? Well, one group would be music that follows all the pop conventions above BUT which flouts popular conventions, frequently... well, let's say "current styles." There are lots of examples here - this might be, say, a jangly guitar band in the era of Britney Spears and *Nsync. My submission to the League of Pop this week was unambitious - there really isn't anything un-pop about it, it just happens to be a) jangly, somewhat twee guitar pop and b) sung in Swedish.&lt;br /&gt;&lt;br /&gt;What is indie, then? Well there's a straightforward "factual" definition, which is simply the kind of music produced by someone with limited finances and/or skills. Growing out of that you have, say, an indie "sound," that sort of lo-fi shambolism that has been popular in various places at different times. There's a certain "willful indie" - who are the people who quite actively avoid sounding like anything popular, either in terms of production values or the other criteria I mention above.  (When that willfulness also brings ambitious to musical Art, that's when you start getting close to prog. See here, Mew.)&lt;br /&gt;&lt;br /&gt;Okay... enough thoughts for now. This will never be super-rigorous, both because I'm not a cultural studies graduate student and because I don't think it's possible, but it still needs a bit more work. To be continued...&lt;br /&gt;&lt;br /&gt;If you're reading, comments welcome.</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:1760</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/1760.html"/>
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    <title>Relationship advice from Mel C</title>
    <published>2007-03-26T06:06:18Z</published>
    <updated>2007-03-26T06:10:01Z</updated>
    <category term="emo alert"/>
    <content type="html">&lt;i&gt;I've always been faithful. But I don't believe in working at a relationship. If it needs working at, then it's probably broken. Don't kid yourself: you can't change people. Go for someone who you can really talk to.&lt;/i&gt; (This among other &lt;a href="http://music.guardian.co.uk/pop/story/0,,2040523,00.html"&gt;strung together thoughts&lt;/a&gt; in the Guardian.)&lt;br /&gt;&lt;br /&gt;Reading this was one of those moments where someone verbalizes something that, on one hand, is completely obvious, and on the other, completely undermines your worldview.&lt;br /&gt;&lt;br /&gt;I have always believed - quite realistically, I thought - that relationships were something you have to work at. (Ironically enough, I also still believe in love at first sight.) Maybe it's the shock of seeing "If it needs working at, then it's probably broken" stuck logically in the middle of a set of statements that I agree with.&lt;br /&gt;&lt;br /&gt;Maybe Mel is totally rubbish at relationships. Or maybe she's just resigned herself - as I have not been able to - to the idea that life is a tapestry, and most of the relationships are just short threads that don't run its length.</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:1518</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/1518.html"/>
    <link rel="self" type="text/xml" href="http://blue-russian.livejournal.com/data/atom/?itemid=1518"/>
    <title>Reading is fundamental, Alexei Ivanovich!</title>
    <published>2007-03-17T11:18:18Z</published>
    <updated>2007-03-17T11:25:17Z</updated>
    <category term="reading is fundamental"/>
    <lj:music>Supergrass - "Sometimes I Make You Sad"</lj:music>
    <content type="html">&lt;a href="http://www.ozon.ru/context/detail/id/1363236/"&gt;&lt;img alt="Игрок. Федор Достоевский" align="right" src="http://www.ozon.ru/multimedia/books_covers/1000080212.jpg" height="150"&gt;&lt;/a&gt;Yesterday I finished my second book in two weeks, namely &lt;a target="_new" href="http://en.wikipedia.org/wiki/Fyodor_Dostoevsky"&gt;Dostoevsky&lt;/a&gt;'s &lt;i&gt;The Gambler&lt;/i&gt;.&lt;br /&gt;&lt;br /&gt;Yes, I read it in Russian! I am proud of myself, too, although the truth is that over the last five or so years, almost any substantial reading I've done is as much the result of being driven to освоить (master) the language as it is the pure pleasure of reading.&lt;br /&gt;&lt;br /&gt;I usually tell people that Dostoevsky is my favorite Russian writer, and I guess that is basically true: I read &lt;i&gt;Notes from the Underground&lt;/i&gt;, &lt;i&gt;Crime and Punishment&lt;/i&gt;, and &lt;i&gt;The Brothers Karamazov&lt;/i&gt; all out of more of less pure personal interest, which is certainly many more pages that any other "classic" Russian author.  I've read a bit of Tolstoy, and Chekhov of course, and Nabokov, but really a just sampling.&lt;br /&gt;&lt;br /&gt;&lt;a href="http://www.amazon.co.uk/Double-Gambler-Vintage-Classics/dp/0375719016/ref=sr_1_4/026-3865643-3646831?ie=UTF8&amp;amp;s=books&amp;amp;qid=1174129254&amp;amp;sr=1-4"&gt;&lt;img hspace="5" alt="The Gambler. Fyodor Dostoevsky" align="left" src="http://www.randomhouse.com/catalog/covers_450/9780375719011.jpg" height="150"&gt;&lt;/a&gt;It's been a while, though, since I picked up any of the classics, basically since my unsuccessful effort at &lt;a href="http://www.amazon.co.uk/Demons-Novel-Three-F-M-Dostoevsky/dp/0099140012/ref=sr_1_2/026-3865643-3646831?ie=UTF8&amp;amp;s=books&amp;amp;qid=1174128573&amp;amp;sr=1-2"&gt;&lt;i&gt;Demons&lt;/i&gt;&lt;/a&gt; three or so years ago. Somehow the idea of engaging the 18th or 19th century simply hasn't been appealing. But after finishing my previous book - I'll write about it later in the week, maybe - I immediately wanted another cheap paperback (84 rubles or $3.25! and that was overpaying), and this was the only thing even halfway recommending itself at the time.&lt;br /&gt;&lt;br /&gt;And what do you know? A perfect read. My guess at the time was that it was another one of those novellas that written in a serialized form - lots of short chapters of more or less the same length. A bit of philosophizing, yes, but also definitely plot-driven.</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:1150</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/1150.html"/>
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    <title>Convenient, isn't it?</title>
    <published>2007-03-15T06:58:19Z</published>
    <updated>2007-03-15T07:35:06Z</updated>
    <category term="politics"/>
    <content type="html">&lt;a href="http://news.bbc.co.uk/2/hi/americas/6452573.stm"&gt;Key 9/11 suspect confesses guilt&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;I'm sorry - does anybody really believe a confession that appears after someone has been held for five years, incommunicado or virtually so, with no hope of a trial, and interrogated under conditions that - even by a generous assessment - test the limits of what is and is not "torture"?&lt;br /&gt;&lt;br /&gt;Please.&lt;br /&gt;&lt;br /&gt;(A more thorough story &lt;a href="http://www.nytimes.com/2007/03/15/us/15gitmo.html?_r=1&amp;amp;hp=&amp;amp;oref=slogin&amp;amp;pagewanted=all"&gt;here in the NYT&lt;/a&gt; - accesible at the moment, although a free subscription is required)</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:970</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/970.html"/>
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    <title>Fall in love with something new</title>
    <published>2007-01-10T20:51:59Z</published>
    <updated>2007-03-15T07:00:46Z</updated>
    <category term="music"/>
    <lj:music>The Faces - "Wicked Messenger"</lj:music>
    <content type="html">Someone asked over in the The Other Place, in an excruciatingly long-titled thread, about those presumably rare moments in hours and hours of listening to music when a chill runs down your spine and you remember why it is you listen to all that music.  Lately I've been a bit worried about that: as handy as iPods are, having virtually every piece of music I've ever liked more or less instantly accessible seems desensitizing. Not only is it all there, but shuffle almost guarantees that it's impossible to forget a group or an album, because something is always randomly being dragged out of obscurity. Or you're scrolling through everything you own, looking for whatever specific song-whim you have, and being reminded in painful detail of it all.&lt;br /&gt;&lt;br /&gt;But there's always something new coming along, and despite all odds, history is still spitting out diamonds. Just a few minutes ago I was listening to &lt;span class='ljuser ljuser-name_stevem78' lj:user='stevem78' style='white-space: nowrap;'&gt;&lt;a href='http://stevem78.livejournal.com/profile'&gt;&lt;img src='http://l-stat.livejournal.com/img/userinfo.gif' alt='[info]' width='17' height='17' style='vertical-align: bottom; border: 0; padding-right: 1px;' /&gt;&lt;/a&gt;&lt;a href='http://stevem78.livejournal.com/'&gt;&lt;b&gt;stevem78&lt;/b&gt;&lt;/a&gt;&lt;/span&gt;'s last.fm radio and heard "Louise," an old Human League track. An electro version of that moment when Neil Young sends Crazy Horse off the stage and plays "The Needle and the Damage Done" on solo acoustic, it's just a relatively simple synth line and Phil's vocal, another little story that somehow builds up a head of emotion, and then lets it off in a one-line chorus. Amazing, and even moreso that I don't think I'd ever heard it before.&lt;br /&gt;&lt;br /&gt;Other groovy stuff over the last few days: "Behave" by Charlotte Hatherley, and "Mon Homme Presse" by Valerie Leiullot (which I wrote about over on &lt;a href="http://www.last.fm/user/Mitya/journal/2007/01/7/308817/"&gt;last.fm&lt;/a&gt;). Neither of which seem particularly poptimist to me.</content>
  </entry>
  <entry>
    <id>urn:lj:livejournal.com:atom1:blue_russian:719</id>
    <link rel="alternate" type="text/html" href="http://blue-russian.livejournal.com/719.html"/>
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    <title>End of Year List: Albums</title>
    <published>2007-01-03T09:35:40Z</published>
    <updated>2007-01-03T09:35:40Z</updated>
    <category term="last.fm"/>
    <lj:music>Scissor Sisters - "She's My Man"</lj:music>
    <content type="html">&lt;i&gt;[cross-posted from &lt;a href="http://www.last.fm/user/Mitya/journal/2007/01/3/305176/"&gt;last.fm&lt;/a&gt;; i need to figure out how to automate that somehow]&lt;/i&gt;&lt;br /&gt;&lt;br /&gt;I started to write "I didn't do very well on full albums this year," but then I checked iTunes, and it turned out much better than I expected. That may reflect quality, but in any case...&lt;br /&gt;&lt;br /&gt;&lt;table&gt;
&lt;tr&gt;
&lt;td align="top"&gt;&lt;img src="http://images.amazon.com/images/P/B000ELL0R2.01._SCMZZZZZZZ_.jpg" width="100"&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src="http://images.amazon.com/images/P/B000CS4L1E.01._SCMZZZZZZZ_.jpg" width="100"&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src="http://images.amazon.com/images/P/B000E6GBY4.01._SCMZZZZZZZ_.jpg" width="100"&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src="http://images.amazon.com/images/P/B000ECWYI0.01._SCMZZZZZZZ_.jpg" width="100"&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src="http://ec2.images-amazon.com/images/P/B000EMSUQA.01._AA240_SCLZZZZZZZ_V51399687_.jpg" width="100"&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src="http://images.amazon.com/images/P/B000CBSHK2.01.MZZZZZZZ.jpg" width="100"&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src="http://images.amazon.com/images/P/B000ERU6JO.01._SCMZZZZZZZ_.jpg" width="100"&gt;&lt;br /&gt;&lt;br /&gt;&lt;img src="http://images.amazon.com/images/P/B000F0UV1S.01._SCMZZZZZZZ_.jpg" width="100"&gt;&lt;/td&gt;
&lt;td align="top"&gt;By any measure, the two albums of the year for me have to be &lt;b&gt;Secret Machines - &lt;i&gt;Ten Silver Drops&lt;/i&gt;&lt;/b&gt; and &lt;b&gt;Neko Case - &lt;i&gt;Fox Confessor Brings the Flood&lt;/i&gt;&lt;/b&gt;. I'm fairly empirical about these things - &lt;i&gt;Ten Silver Drops&lt;/i&gt; is the first album in a long time where I really got to know virtually every song, where I didn't think, "Oh, I want to hear [single x]" and then heard jumped away from the album as soon as another whim took me. On those terms, maybe &lt;i&gt;Fox Confessor&lt;/i&gt; wasn't quite as strong, but it's still quite deep.&lt;br /&gt;&lt;br /&gt;Leading the rest of the pack, I'd highlight two other strong albums: &lt;b&gt;&lt;i&gt;Cannibal Sea&lt;/i&gt;&lt;/b&gt; by &lt;b&gt;The Essex Green&lt;/b&gt;, which suffers somewhat for being just another indie-pop album amongst thousands, but it's packed full of hooky songs and just suggestive enough of 60s power-pop (think "And Your Bird Can Sing") to give you a warm glow. On the other side of the coin, I'd also highly recommend &lt;b&gt;Scritti Politti's &lt;i&gt;White Bread Black Beer&lt;/i&gt;&lt;/b&gt;, which sounds like nothing else. I've never been a fan of the band, or even understood why anyone would care about them, until this year, when something &lt;span class='ljuser ljuser-name_freakytigger' lj:user='freakytigger' style='white-space: nowrap;'&gt;&lt;a href='http://freakytigger.livejournal.com/profile'&gt;&lt;img src='http://l-stat.livejournal.com/img/userinfo.gif' alt='[info]' width='17' height='17' style='vertical-align: bottom; border: 0; padding-right: 1px;' /&gt;&lt;/a&gt;&lt;a href='http://freakytigger.livejournal.com/'&gt;&lt;b&gt;freakytigger&lt;/b&gt;&lt;/a&gt;&lt;/span&gt; wrote prompted me to listen to "The Boom Boom Bap." Something about it stuck, and moreover made me wonder what that sound would be like carried over a full album. To a degree it's mood music to me - I don't find myself wanting to hear a particular song, just feeling like putting the album on.&lt;br /&gt;&lt;br /&gt;Finally, a bit of a consensus album, such as there is on the internet: &lt;b&gt;&lt;i&gt;Silent Shout&lt;/i&gt;&lt;/b&gt;. I really like one song ("Silent Shout") and one title ("We Share Our Mother's Health"), but the fact of the matter is that I keep coming back to this album. &lt;b&gt;The Knife&lt;/b&gt; is one of the few bands recently that I regret not seeing live.&lt;br /&gt;&lt;br /&gt;All together, I guess some 20 albums "rated" for me this year. Here's the rest of the list:&lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;b&gt;Lily Allen - Alright, Still&lt;/b&gt; - Solid, although I wouldn't miss half the album if it disappeared from my hard drive (in which case it would compare unfavorably to &lt;i&gt;Paris&lt;/i&gt;, which had four great songs.&lt;br /&gt;&lt;li&gt;&lt;b&gt;Beth Orton - Comfort of Strangers&lt;/b&gt; - Disappointing. I think it needed a strong(er) single, and I think Beth's movement away electronica touches and/or a full band takes away a lot of her distinctiveness.&lt;br /&gt;&lt;li&gt;&lt;b&gt;Snow Patrol - Eyes Open&lt;/b&gt; - Somehow this album got a lot of play, which bewilders me, given that it's just a retread of Final Straw (and therefore less interesting). I guess it's got hooks, though.&lt;br /&gt;&lt;li&gt;&lt;b&gt;Justin Timberlake - FutureSex/LoveSounds&lt;/b&gt; - It's been a long time since I've heard a good new Marvin Gaye album. I was surprised that I liked this, although after that first week I've found myself hitting "skip" when a song comes up. Maybe it's not a singles album.&lt;br /&gt;&lt;li&gt;&lt;b&gt;Jarvis Cocker - Jarvis&lt;/b&gt; - Yeah, yeah, I love Jarvis, but there are really on three good songs here ("Don't Let Him Waste Your Time," "A to I," and "Running the World") and some real clunkers ("Black Magic").&lt;br /&gt;&lt;li&gt;&lt;b&gt;Bob Dylan - Modern Times&lt;/b&gt; - I am totally NOT a Dylan fan; I guess I was in the mood for some blues? Maybe low expectations are starting to work in his favor. &lt;br /&gt;&lt;li&gt;&lt;b&gt;Paul Simon - Surprise&lt;/b&gt; - Eno's electronics occasionally stick out like a sore thumb, and the presence of a song from an animated movie galls, but somehow the album is pleasantly listenable, which I haven't been able to say about Simon for about 16 years.&lt;br /&gt;&lt;li&gt;&lt;b&gt;Scissor Sisters - Ta-Dah&lt;/b&gt; - One monster single, one okay one. Why isn't the rest of the album that good?&lt;br /&gt;&lt;li&gt;&lt;b&gt;Belle and Sebastian - The Life Pursuit&lt;/b&gt; - Would you believe that I had never listened to &lt;i&gt;Tigermilk&lt;/i&gt; or &lt;i&gt;If You're Feeling Sinister&lt;/i&gt; before this came out? They're both quite good, although I wonder if this is better. I remember thinking that to myself at the beginning of the year, and then never really returning to the album.&lt;br /&gt;&lt;li&gt;&lt;b&gt;Cat Power - The Greatest&lt;/b&gt; - The trend this year was for albums that were solid but uncharismatic, and here's another one. I put this on all the time, but I raving about it is beyond me. (Release the damn Blondie cover already!)&lt;br /&gt;&lt;li&gt;&lt;b&gt;The Pipettes - We Are the Pipettes&lt;/b&gt; - See &lt;i&gt;Jarvis&lt;/i&gt; above.&lt;br /&gt;&lt;li&gt;&lt;b&gt;Marisa Monte - Universo ao Meu Redor&lt;/b&gt;, and&lt;br /&gt;&lt;li&gt;&lt;b&gt;Marisa Monte - Infinito Particular&lt;/b&gt; - Like the Beth album, these were a big disappointment. In fact I would've bought the expensive South American imports were it not for the DRM. Maybe the two albums at once were too much to absorb, but again, I felt no singles and I needed to.&lt;/ul&gt;&lt;br /&gt;Also-rans and late entries:&lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;b&gt;Mňága a Žďorp - Dutý, ale free&lt;/b&gt;&lt;br /&gt;&lt;li&gt;&lt;b&gt;Ellen Allien &amp; Apparat - Orchestra of Bubbles&lt;/b&gt;&lt;br /&gt;&lt;li&gt;&lt;b&gt;Yeah Yeah Yeahs - Show Your Bones&lt;/b&gt;&lt;br /&gt;&lt;li&gt;&lt;b&gt;Peter Bjorn and John - Writer's Block&lt;/b&gt;&lt;br /&gt;&lt;li&gt;&lt;b&gt;Танцы Минус - ЭЮЯ&lt;/b&gt;&lt;/ul&gt;(I liked them, more or less, just not much to say about them.)&lt;/td&gt;
&lt;/tr&gt;
&lt;/table&gt;</content>
  </entry>
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