Gorgias
Platon, Greece ca. 380 BC
Parzival "Percival"
Wolfram von Eschenbach, 'Germany' ca. 1210
A Midsummer Night's Dream
William Shakespeare, England 1590s
El ingenioso hidalgo don Quijote de la Mancha "Don Quixote I"
Miguel de Cervantes, Spain 1605
Segunda parte del ingenioso hidalgo don Quijote de la Mancha "Don Quixote II"
Miguel de Cervantes, Spain 1615
Lebens-Ansichten des Katers Murr nebst fragmentarischer Biographie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern. Erster Band
"The Life and Opinions of the Tomcat Murr together with a fragmentary Biography of Kapellmeister Johannes Kreisler on Random Sheets of Waste Paper. First Volume"
Ernst Theodor Amadeus Hoffmann, Berlin 1819
Aus dem Leben eines Taugenichts "Memoirs of a Good-for-Nothing"
Joseph von Eichendorff, Berlin 1826
Geroy nashevo vremeni "A Hero of Our Time"
Mikhail Lermontov, Russia 1840
Der Hochwald
Adalbert Stifter, Austrian Empire 1841/1844
Les Trois Mousquetaires "The Three Musketeers"
Alexandre Dumas, France 1844
Sylvie. Souvenirs du Valois
Gerard de Nerval, France 1853
Mozart auf der Reise nach Prag "Mozart on the way to Prague"
Eduard Mörike, Königreich Württemberg 1855
Tennessee’s Partner
Bret Harte, USA 1869
Röda rummet “The Red Room“
August Strindberg, Sweden 1879
Brat'ya Karamazovy "The Brothers Karamazov"
Fyodor Dostoyevsky, Russia 1880
Also sprach Zarathustra "Thus Spoke Zarathustra"
Friedrich Nietzsche, Germany 1885
Maihime "The Dancing Girl"
Ogai Mori, Japan 1890
Utakata no ki "Foam on the Waves"
Ogai Mori, Japan 1890
Fumizukai
Ogai Mori, Japan 1891
Pan
Knut Hamsun, Norway 1894
The First Men in the Moon
H. G. Wells, UK 1901
Gradiva. Ein pompejanisches Phantasiestück
Wilhelm Jensen, Austria-Hungary 1902
Na Srebrnym Globie "On the Silver Globe"
Jerzy Zulawski, Poland 1903
On Baile's Strand
William Butler Yeats, Ireland 1903
A Pal utcai fiuk "The Paul Street Boys"
Ferenc Molnar, Hungary 1906
Die Weise von Liebe und Tod des Cornets Christoph Rilke "The Lay of the Love and Death of Christoph Cornet Rilke"
Rainer Maria Rilke, Germany 1906
Nils Holgerssons underbara resa genom Sverige "The Wonderful Adventures of Nils"
Selma Lagerlof, Sweden 1906
Nils Holgerssons underbara resa genom Sverige "Further Adventures of Nils"
Selma Lagerlof, Sweden 1907
Rabok “Prisoners“
Ferenc Molnar, Austria-Hungary 1907
The Lady of the Shroud
Bram Stoker, UK 1909
Der Opfergang
Rudolf Georg Binding, Germany 1911
Gan "The Wild Goose"
Ogai Mori, Japan 1911
Le Grand Meaulnes "The Great Meaulnes"
Alain-Fournier, France 1913
Peterburg “Petersburg“
Andrei Bely, Russia 1913
Ameisenberg
Heinrich Wolfgang Seidel, Germany 1914
Himmelsvolk "People of the Sky"
Waldemar Bonsels, Germany 1915
Androcles and the Lion
George Bernard Shaw, UK 1916 [1912]
Die Flucht
Ernst Barany Bjell [Pseudonym of Ernst Wiechert], Germany 1916
Die Schmetterlingspuppe
Wilhelm Lehmann, Germany 1918
My “We“
Yevgeny Zamyatin, Soviet Union 1920
Phantastische Nacht "Fantastic Night"
Stefan Zweig, Germany 1922
Desire Under the Elms
Eugene O'Neill, USA 1924
Die Tigerin. Eine absonderliche Liebesgeschichte
Walter Serner, Germany 1925
Godekes Knecht
Hans Leip, Germany 1925
Bella
Jean Giraudoux, France 1926
A gőzoszlop "Column of Steam"
Ferenc Molnar, Hungary 1926
Jatek a kastelyban “The Play's the Thing"”
Ferenc Molnar, Hungary 1926
Amerika
Franz Kafka, Germany 1927
Jazz
Hans Janowitz, Germany 1927
Therese Desqueyroux
Francois Mauriac, France 1927
Colline “Hill of Destiny”
Jean Giono, France 1929
Gli indifferenti "Times of Indifference"
Alberto Moravia, Italy 1929
Léviathan “Leviathan“
Julien Green, France 1929
The Apple Cart
George Bernard Shaw, UK 1929
Der Provinzlärm
Wilhelm Lehmann, Germany 1930
Narziß und Goldmund "Narcissus and Goldmund"
Herman Hesse, Germany 1930
The Dream Life of Balso Snell
Nathanael West, USA 1931
Hunger nach Glück
Friedrich Eisenlohr, Germany 1932
Manhattan Love Song
Cornell Woolrich, USA 1932
Moselfahrt aus Liebeskummer
Rudolf Georg Binding, Germany 1932
Some Must Watch
Ethel Lina White, UK 1933
Eine unglückliche Liebe "A Sad Affair"
Wolfgang Koeppen, Germany 1934
Kuro tokage “The Black Lizard“
Edogawa Ranpo, Japan 1934
L'homme de Londres "The Man from London"
Georges Simenon, France 1934
Tropic of Cancer
Henry Miller, France 1934
Rosenemil
Georg Hermann, Netherlands 1935
Gang durch das Ried
Elisabeth Langgässer, Germany 1936
Şarpele "The Serpent"
Mircea Eliade, Romania 1936
Schwarze Weide "Black Willow"
Horst Lange, Germany 1937
Die Legende vom heiligen Trinker "The Legend of the Holy Drinker "
Joseph Roth, Netherlands 1939
Hulanhe zhuan "Tales of Hulan River"
Hong Xiao, Hong Kong 1940
Vendegjatek Bolzanoban “Casanova in Bolzano”
Sandor Marai, Hungary 1940
Le verite sur Bebe Donge “The Truth About Bebe Donge“
Georges Simenon, France 1942
Black Angel
Cornell Woolrich, USA 1943
Die Gesellschaft vom Dachboden "The Attic Pretenders"
Ernst Kreuder, Germany 1946
Die Tänzerin "The Dancing Girl"
Rudolf TImmermans, Germany 1946
Elisabeth
Gilbert Cordier, France 1946
Enthymesis oder W.I.E.H.
Arno Schmidt, Germany 1946
Chroniques I. Un roi sans divertissement "A King Without Distraction"
Jean Giono, France 1947
Il compagno
Cesare Pavese, Italy 1947
In a Lonely Place
Dorothy B. Hughes, USA 1947
Gadir oder Erkenne dich selbst
Arno Schmidt, Germany 1948
La pelle "The Skin"
Curzio Malaparte, Italy 1949
Nineteen Eighty-Four
George Orwell, UK 1949
Romulus der Große "Romulus the Great"
Friedrich Durrenmatt, Switzerland 1949
Ryoju “The Hunting Gun“
Yasushi Inoue, Japan 1949
Tithidore “When the Time is Right“
Buddhadeva Bose, India 1949
The Feast
Margaret Kennedy, UK 1950
Der Verlorene
Peter Lorre, West Germany 1951
Le Hussard sur le toit "The Horseman on the Roof"
Jean Giono, France 1951
Tauben im Gras "Pigeons in the Grass"
Wolfgang Koeppen, West Germany 1951
Herein ohne anzuklopfen
Ernst Kreuder, West Germany 1954
Ferdydurke [2nd, new version]
Witold Gombrowicz, Poland 1937/1956
Memushiri kouchi "Nip the Buds, Shoot the Kids"
Kenzaburo Oe, Japan 1958
Die galanten Abenteuer Münchhausens
Joachim Kupsch, East Germany 1958
Orpheus Descending
Tennessee Williams, USA 1958
The Haunting of Hill House
Shirley Jackson, USA 1959
Franny and Zooey
Jerome David Salinger, USA 1961
Der Überläufer [new, abridged version]
Wilhelm Lehmann, (West) Germany 1927/1962
Die Physiker "The Physicists"
Friedrich Dürrenmatt, Switzerland 1962
Instantanés
Alain Robbe-Grillet, France 1962
Ansichten eines Clowns "The Clown"
Heinrich Boll, West Germany 1963
Aa, kouya "Ah, Wilderness"
Shuji Terayama, Japan 1966
Le déserteur
Jean Giono, France 1966
Freedom from the Known
Mary Lutyens [editor]/Jiddu Krishnamurti, USA 1969
Kagirinaku tōmei ni chikai burū "Almost Transparent Blue"
Ryū Murakami, Japan 1976
Postřižiny “Cutting it Short"
Bohumil Hrabal, Czechoslovakia 1976
Andre Bazin
Dudley Andrew, USA 1978
Die unendliche Geschichte "The Neverending Story"
Michael Ende, West Germany 1979
The Hitchhiker's Guide to the Galaxy
Douglas Adams, UK 1979
Honkakubo ibun
Yasushi Inoue, Japan 1981
The Body
Stephen King, USA 1982
The Gunslinger
Stephen King, USA 1982
Die Klavierspielerin "The Piano Teacher"
Elfriede Jelinek, Austria 1983
Die Verwundung und andere frühe Erzählungen
Heinrich Böll, West Germany 1983
The Talisman
Peter Straub/Stephen King, USA 1984
Justiz "The Execution of Justice"
Friedrich Dürrenmatt, Switzerland 1985
La salle de bain "The Bathroom"
Jean-Philippe Toussaint, France 1985
An Autobiography
Peter Cushing, UK 1986
Hardwired
Walter Jon Williams, USA 1986
It
Stephen King, USA 1986
Sandrosen. Orientalische Reportagen
Georg Brunold, West Germany 1987
Felidae
Akif Pirincci, West Germany 1989
Moon Palace
Paul Auster, USA 1989
Tsugumi "Goodbye Tsugumi"
Banana Yoshimoto, Japan 1989
Ling shan
Xingjian Gao, Taiwan 1990
Huozhe “To Live!“
Hua Yu, China 1992
Die 100 Besten Horror-Filme
Hans Schifferle, Germany 1994
L'Instant de ma mort
Maurice Blanchot, France 1994
Kussun daikoku
Ko Machida, Japan 1996
Chemische Reinigung
Silvia Szymanski, Germany 1998
Being Dead
Jim Crace, UK 1999
Die 13½ Leben des Käpt'n Blaubär "The 13½ Lives of Captain Bluebear"
Walter Moers, Germany 1999
Being John Malkovich
Charlie Kaufman, USA 2000
Ich habe mit Antonin Artaud über Gott gesprochen
Sylvere Lotringer, Germany 2001
La Petite Bijou "Little Jewel"
Patrick Modiano, France 2001
Taiyo machi "Waiting for the Sun"
Hitonari Tsuji, Japan 2001
Kar "Snow"
Orhan Pamuk, Turkey 2002
Fundbüro
Siegfried Lenz, Germany 2003
Die Stadt der träumenden Bücher "The City of Dreaming Books"
Walter Moers, Germany 2004
Lunar Park
Bret Easton Ellis, USA 2005
Geschichten vom Kino
Alexander Kluge, Germany 2007
Schweigeminute
Siegfried Lenz, Germany 2008
The Buried Giant
Kazuo Ishiguro, UK 2015
Serye pčёly “Grey Bees“
Andrej Kurkow, Ukraine 2018
The Second Sleep
Robert Harris, UK 2019
Favorite Literature
Favorite Literature
Last edited by wba on Sun Jul 21, 2024 7:24 pm, edited 58 times in total.
"I too am a child burned by future experiences, fallen back on myself and already suspecting the certainty that in the end only those will prove benevolent who believe in nothing." – Marran Gosov
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josiahmorgan11
- Posts: 121
- Joined: Fri Dec 14, 2018 7:20 am
This is an admirable list. I've never been a fan of Easton Ellis but yet to check out Lunar Park. Happy to see It find a home here among all the classics. It is true that we must regard pop culture as true, academic cultural artifact. I saw my first ever episode of Law And Order: Special Victims Unit last night and was shocked by how interesting it was on an exploitative level. Had a similar John Waters-esque response to seeing my first episode of RuPaul's Drag Race. Yet I can't handle Criminal Minds or The Bachelor for two parallel texts. There is validity in even the lowest of culture. Though, King, I'd say, is a true modernist. High culture that accidentally broke through or found a home in genre workings.
Hmm, I don't know, I'm not into pop culture, nor am I interested in pop culture.
I also don't know nothing about the cultural stuff Ellis' characters reference or enjoy, etc.
I just go by great writing, that's all. And Lunar Park is amazing writing (especially in the first half of the novel).
I've so far only read 3 books by Ellis, which were all more or less the same stuff, but showed a huge development in his writing skills.
Less Than Zero is a mildly interesting curio, which is in my opinion only remarkable, because it was written by such a young guy.
It showed some talent, but didn't prepare me for American Psycho, which is basically a rehash, but shows a writer in complete control of his skills - which are plenty. A remarkable book for any time and any place, and one which most every writer would be proud of. And I've also read Lunar Park, which is even better, even if it is wildly uneven (the whole Stephen King stuff, and the fact that it does have a plot, doesn't really work) and doesn't have the stylistic coherence and unity of American Psycho. But the writing is even better, when it is rehashing Less Than Zero and American Psycho - which it is doing A LOT. Basically it seems Ellis was/is writing the same novel again and again, but putting something new in it to amuse himself (or challenge himself, or trick himself into thinking he isn't just basically writing the same stuff once more). Anyway, as I don't care for plot, story, coherence, vision, etc. nowhere as much as I care about each word and the usage of language and literature as literature, Ellis could be writing the same book every month as far as I care. In my book he's a great writer, he's great with words and sentences, and such.
I like King, but he seems to have gotten worse with age, - which probably began when he got off the drugs somewhere at the end of the 80s/beginning of the 90s. But some of his stuff is incredible. The Gunslinger is at times so out there, so psychedelic, for example. Wonderful work.
PS: I do enjoy exploitation in art very much, though, in a lot of different forms and on a few different levels. I know exploitation is part of pop culture, so maybe that's a way where popular culture sneaks into my "personal bubble" without me noticing it much. But I love and enjoy exploitation more on a "serious" level, as something that speaks on a more direct, visceral level, which is seemingly also surreal at the same time, cause that is what life is like. But I absolutely take it seriously. I don't like irony in general and I don't enjoy "tongue-in-cheek" stuff and such. I also don't like satire. So basically I shouldn't like a lot of Ellis, it seems. But as I said, I'm not that much into content and more into form.
I also don't know nothing about the cultural stuff Ellis' characters reference or enjoy, etc.
I just go by great writing, that's all. And Lunar Park is amazing writing (especially in the first half of the novel).
I've so far only read 3 books by Ellis, which were all more or less the same stuff, but showed a huge development in his writing skills.
Less Than Zero is a mildly interesting curio, which is in my opinion only remarkable, because it was written by such a young guy.
It showed some talent, but didn't prepare me for American Psycho, which is basically a rehash, but shows a writer in complete control of his skills - which are plenty. A remarkable book for any time and any place, and one which most every writer would be proud of. And I've also read Lunar Park, which is even better, even if it is wildly uneven (the whole Stephen King stuff, and the fact that it does have a plot, doesn't really work) and doesn't have the stylistic coherence and unity of American Psycho. But the writing is even better, when it is rehashing Less Than Zero and American Psycho - which it is doing A LOT. Basically it seems Ellis was/is writing the same novel again and again, but putting something new in it to amuse himself (or challenge himself, or trick himself into thinking he isn't just basically writing the same stuff once more). Anyway, as I don't care for plot, story, coherence, vision, etc. nowhere as much as I care about each word and the usage of language and literature as literature, Ellis could be writing the same book every month as far as I care. In my book he's a great writer, he's great with words and sentences, and such.
I like King, but he seems to have gotten worse with age, - which probably began when he got off the drugs somewhere at the end of the 80s/beginning of the 90s. But some of his stuff is incredible. The Gunslinger is at times so out there, so psychedelic, for example. Wonderful work.
PS: I do enjoy exploitation in art very much, though, in a lot of different forms and on a few different levels. I know exploitation is part of pop culture, so maybe that's a way where popular culture sneaks into my "personal bubble" without me noticing it much. But I love and enjoy exploitation more on a "serious" level, as something that speaks on a more direct, visceral level, which is seemingly also surreal at the same time, cause that is what life is like. But I absolutely take it seriously. I don't like irony in general and I don't enjoy "tongue-in-cheek" stuff and such. I also don't like satire. So basically I shouldn't like a lot of Ellis, it seems. But as I said, I'm not that much into content and more into form.
To please the majority is the requirement of the Planet Cinema. As far as I'm concerned, I don't make a concession to viewers, these victims of life, who think that a film is made only for their enjoyment, and who know nothing about their own existence.
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josiahmorgan11
- Posts: 121
- Joined: Fri Dec 14, 2018 7:20 am
I think I perhaps miscommunicated myself here because I agree with all that you said. I believe exploitation is directly tied to pop culture of course, and pop culture and market oriented culture is directly exploitative for hopefully obvious market based reasons. You sell Lunar Park well. I'm sure you'd love Dennis Cooper's debut novel 'Closer' so I'd check that out when you get the chance. It's something special for sure.
What have you read by Ellis?
Will try to remember Cooper.
Will try to remember Cooper.
To please the majority is the requirement of the Planet Cinema. As far as I'm concerned, I don't make a concession to viewers, these victims of life, who think that a film is made only for their enjoyment, and who know nothing about their own existence.
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josiahmorgan11
- Posts: 121
- Joined: Fri Dec 14, 2018 7:20 am
Read no Ellis at all so entirely unfamiliar. On the King note; I'm a big fan of his 90s era, like pretty much everything he did up to and including Lisey's Story. Not so sure about since then.
Cooper well worth remembering but certainly controversial.
Cooper well worth remembering but certainly controversial.
I regard his 90's work as his somewhat "esoteric" era, where he tried some different stuff and new perspectives, with somewhat mixed results. But I think he was generally in decline after It (1986).
Last edited by wba2 on Sun Dec 23, 2018 3:40 am, edited 1 time in total.
To please the majority is the requirement of the Planet Cinema. As far as I'm concerned, I don't make a concession to viewers, these victims of life, who think that a film is made only for their enjoyment, and who know nothing about their own existence.
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josiahmorgan11
- Posts: 121
- Joined: Fri Dec 14, 2018 7:20 am
Will keep you updated next year when I reread the lot.