Sunday, April 26, 2015

3. Infinite Jest (Wallace) vs 7. The Restaurant At The End of The Universe (Adams)



Previous Matches


Yet More Quote Porn

Infinite Jest
"Morning is the soul's night."

"That it is possible to abuse OTC cold-and allergy remedies in an addictive manner.
That Nyquil is over 50 proof. 

That boring activities becomes, perversely, much less boring if you concentrate on them. 
That if enough people in a silent room are drinking coffee it is possible to make out the sound of steam coming off the coffee.
That sometimes human beings have to sit in one place and, like, hurt.
That you will become way less concerned with what other people think of you when you realize how seldom they do.
That there is such a thing as raw, unalloyed, agendaless kindness.
That it is possible to fall asleep during an anxiety attack. 
That concentrating intently on anything is very hard work."

"Almost nothing important that ever happens to you happens because you engineer it. Destiny has no beeper; destiny always leans trenchcoated out of an alley with some sort of 'psst' that you usually can't even hear because you're in such a rush to or from something important you've tried to engineer."

The Restaurant At The End of The Universe
"The major problem—one of the major problems, for there are several—one of the many major problems with governing people is that of whom you get to do it; or rather of who manages to get people to let them do it to them. To summarize: it is a well-known fact that those people who must want to rule people are, ipso facto, those least suited to do it. To summarize the summary: anyone who is capable of getting themselves made President should on no account be allowed to do the job. To summarize the summary of the summary: people are a problem."

"One of the major problems encountered in time travel is not that of becoming your own father or mother. There is no problem in becoming your own father or mother that a broad-minded and well-adjusted family can't cope with. There is no problem with changing the course of history—the course of history does not change because it all fits together like a jigsaw. All the important changes have happened before the things they were supposed to change and it all sorts itself out in the end. 

 The major problem is simply one of grammar, and the main work to consult in this matter is Dr. Dan Streetmentioner's Time Traveler's Handbook of 1001 Tense Formations. It will tell you, for instance, how to describe something that was about to happen to you in the past before you avoided it by time-jumping forward two days in order to avoid it. The event will be described differently according to whether you are talking about it from the standpoint of your own natural time, from a time in the further future, or a time in the further past and is further complicated by the possibility of conducting conversations while you are actually traveling from one time to another with the intention of becoming your own mother or father. 
 Most readers get as far as the Future Semiconditionally Modified Subinverted Plagal Past Subjunctive Intentional before giving up; and in fact in later editions of the book all pages beyond this point have been left blank to save on printing costs. 
The Hitchhiker's Guide to the Galaxy skips lightly over this tangle of academic abstraction, pausing only to note that the term "Future Perfect" has been abandoned since it was discovered not to be."



Head-to-Head

Characters: The gang in Restaurant were either based on or created many comedy sci-fi tropes, depending on who you ask. Arthur Dent is potentially the greatest only sane man that literature's ever seen, with his rigorous British sensibilities then serving to make him seem a little off-base himself in a way that's hard to place. Marvin's utter depression is a bit that can't be topped, and Zaphod is every political leader's repressed personality wrapped into one insane package.
Still, Infinite Jest is a towering juggernaut of a book that spends literally hundreds of its early pages giving backstory, context and life to characters who are unimportant in their plot roles, but are important for their existence in time and space outside of the strict literature that Wallace writes. Kate Gompert is one of the most powerful extras you'll ever see, and her depression is a genuine answer to Marvin. Don Gately has his own rigorous sensibility in a seeming clown college, but rather than give levity, it helps to frame the real problems faced by the unfortunate residents of the halfway house. Where Restaurant is hilarious with its tropes, Infinite Jest causes real and painful reflection with its tropes. 
Advantage: Infinite Jest. 

Setting: Space is the place, yeah. Adams combines his merry cast of misfits with a universe of literally infinite possibilities to give him all the breathing room he ever needs to set up a good joke. While Enfield, O.N.A.N., and Ennet House are meticulously constructed settings for Wallace's text, they're not as essential to what makes the book actually work as Adams' setting. Both are doubtlessly well-written, but Adams' surroundings are more instrumental to his madness.
Advantage: The Restaurant At The End of The Universe.

Plot: It's hardly a contest here. Restaurant's plot is just a way of moving the characters from one spotlight, laugh-track moment to the next. It's effective, but nothing to write home about. Infinite Jest, meanwhile, isn't as much about the happenings of a month plus tax in the Year of The Depend Adult Ultragarment as much as it is about being entwined in the lives of so many people trying to understand a mile in so many various shoes. It's a bunch of stories in one plot, and it's great. 
Advantage: Infinite Jest. 

Ending: Neither book's last page is entirely spectacular. What Adams does is wind his book down in a way where, with the literal end of time and space behind them, his characters return to a more primitive state in an environment filled with the juiciest of material for satire. The later pages are the stronger pages for sure. 
Infinite Jest, meanwhile—we've been through this. Postmodern book where time is anything but linear, ends on a nonpoint, further/closer reading of earlier passages gives true ending while illustrating one of the main themes of the book just finished. Masterful. 
Advantage: Infinite Jest. 

Language/Writing: Although Douglas Adams has long been revered for his recipe of British silliness and sharp wit, he's out of league on this one. Wallace's prose is what it's all about, and quote porn sections in this and previous entries are all the proof required.
Advantage: Infinite Jest. 

Philosophy: One book was written to make the reader laugh, while the other was to make the reader think. The central existential question of Infinite Jest could fuel the infinite improbability drive in the Heart of Gold with its brain boilings. The difference is in the intent, and it's a wide margin of victory in this case.
Advantage: Infinite Jest. 



Winner Winner Turkey Supper

One of the things I've learned from doing this blog is that, if it ever appears again in any format, book series will be considered one entry. The entirety of The Hitchhiker's Guide To The Galaxy is a top favorite of mine, but one fifth of it can't even really hold court with a book that would still likely trump the whole thing. 
Infinite Jest moves on to the final.

Saturday, April 25, 2015

21. Gone Girl (Flynn) vs 24. Survivor (Palahniuk)



Previous Matches


Yet More Quote Porn

Gone Girl
"It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative (although the word derivative as a criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script."

Survivor

"There are only patterns, patterns on top of patterns, patterns that affect other patterns. Patterns hidden by patterns. Patterns within patterns. If you watch close, history does nothing but repeat itself. What we call chaos is just patterns we haven't recognized. What we call random is just patterns we can't decipher. What we can't understand we call nonsense. What we can't read we call gibberish. There is no free will. There are no variables."

"You realize that people take drugs because it's the only real personal adventure left to them in their time-constrained, law-and-order, property-lined world. It's only in drugs or death we'll see anything new, and death is just too controlling."




Head-to-Head

Characters: Well, the book that contains poor ol' Amy & Nick Dunne has lost this battle in every round, and Tender Branson and the other Creedish cultists are in no way about to see that change. Both books do an admirable job of creating genuine, flawed people in the real world (more on that in a moment); but at the end of the day, Tender Branson's double-edged sword of cool zeitgeist vs domestic terrorist is enough to provoke thought and moral quandary, while Nick and Amy provoke nothing in me but a blood lust for their literary lives. 
Advantage: Survivor. 

Setting: Both of these books arguably take place in current times in the real world. Nick Dunne appears on CNN; Tender Branson gets married at the Superbowl. It's essential to the plot: neither would book would become the circus it does without the rigorous involvement of modern day media. Neither book would have such poignant philosophical thought without the modern backdrop—imagine trying to really hold a mirror to modern society from Middle Earth or from Alderaan. Both books have settings that are well-chosen, well set up, and elaborate because of collective unconscious as much as because of the words that are physically on the page. In some ways, they're different stories in the same book.
Advantage: Push. 

Plot: Pageburners, both. The deaths of supporting cast while the protagonists shamble hurriedly towards the ends of the books help to give tension. Gone Girl pulls a bright accelerant in not telling the reader that Nick didn't do it, leaving his morning as large a mystery as that of his missing wife. Survivor helps mow its pages by beginning on a plane hurtling towards the Earth, and counting the pages down instead of up. Again: these books work in the same ways for the same reasons, and that makes them difficult to separate.
Advantage: Push. 

Ending: Hated Gone Girl. Was perplexed by Survivor. Time and a well-made movie helped to taper my frustration with Gone Girl. An explanation from Palahniuk himself helped to unravel Survivor. Both had their foibles, but upon close inspection, it appears Palahniuk's ending was well-planned and executed from the get-go, while the other was a corner that Flynn had written herself into. 
Advantage: Survivor. 

Language/Writing: Both writers do a great job of rolling some punchy pessimism into their compelling tales. Both express their characters' thoughts and motives in a way that is logical and relatable. Both might try a little too hard to be edgy sometimes, but both succeed anyway. Both are completely enveloping and alluring once the narrative gets rolling. It's really, really hard to separate them on this point in any quantifiable way. 
Advantage: Push. 

Philosophy: Gillian Flynn opines about the difficulty of true originality, about feminism, about 21st century relationships and about modern media. Palahniuk answers the thoughts about the media, and adds in thoughts about religion, duty, and the meaning of life. Palahniuk's is a much more introspective societal mirror. Still, Flynn's higher page count helps to contribute to the fact that I honestly thought more while reading Gone Girl than I did Survivor
Advantage: Gone Girl. 



Winner Winner Turkey Supper

I was two days writing this blog because I was two days deliberating about which book should win. It's a razor-thin margin, a might-as-well-be coin toss. 
Survivor is my choice to move on to the final. 

Thursday, April 23, 2015

Updated Bracket: Semifinal


Only 3 entries left! Get 'em while they're hot!

7. The Restaurant At The End of The Universe (Adams) vs 31. On The Road (Kerouac)


Previous Matches


Still More Quote Porn

The Restaurant At The End of The Universe
"There is a theory which states that if ever anyone discovers exactly what the Universe is for and why it is here, it will instantly disappear and be replaced by something even more bizarre and inexplicable. There is another theory which states that this has already happened."

"How do you know you're having fun if there's no one watching you have it?"

On The Road
"What difference does it make at all? Anonymity in the world of men is better than fame in heaven, for what's heaven? what's earth? All in the mind."

"What is that feeling when you're driving away from people and they recede on the plain till you see their specks dispersing? - it's the too-huge world vaulting us, and it's good-by. But we lean forward to the next crazy venture beneath the skies."



Head-to-Head

Characters: Dean Moriarty. Full stop. On The Road is read for its sense of adventure and Kerouac's irresponsible escapades, and neither of these would possible without Dean's manicured insanity to help bend the night even further. I'm reminded of the wild card episode of It's Always Sunny In Philadelphia; half a century before Charlie Day was barreling out of a speeding van, Dean Moriarty was already a wild card for the ages. 
But then, if we're talking "for the ages", the cast of Restaurant is also pretty timeless. While none of Adams' characters share Moriarty's depth, they're all loony tunes as well, except Arthur—who, thanks to juxtaposition, is another special kind of weird in his rigid normalcy. 
Both crews embark on a long road of lifetime adventure, but as in previous rounds, Dean carries his book to this category win all by himself. 
Advantage: On The Road. 

Setting: Which is weirder, America in the last century, or the universe in a nonspecifically distant future?
Adams takes full advantage of the space that he has to write oddball townships, states and planets. In Restaurant, he even extends it beyond just the one universe. This gives him myriad chances to set up planets full of literary Rube Goldberg devices that result in great gags. 
America's awesome too, and the nightlife sounds exquisite as written by Kerouac. Still, if there's a criticism, it's that if you weren't there with Kerouac (which I, of course, was not), his descriptions of a jazzy night out in New Orleans are a little difficult to differentiate from a swinging night out in San Fran. It all sounds like blurry fun, but the settings don't stand out like Adams' do.
Advantage: The Restaurant At The End of The Universe.

Plot: This one's a bit of a wash. Neither book is about advancing from beginning to end as much as it is about having fun along the way. Both books are boisterous and joyful, but it's not a chore to put either book down like it is some others. 
Advantage: Push. 

Ending: Once Dent & Prefect crash land after supper, Restaurant hauls out some of its funniest bits, along with its scathing social commentaries. On The Road doesn't really end, it just stops when its characters begin to detox themselves of their youth. 
Advantage: The Restaurant At The End of The Universe. 

Language/Writing: British humour! Adams is incredibly sharp, and his jokes come across in text so well that he may as well be next to you, jabbing you with his elbow and exclaiming "Eh? Eh? Ya get it?!" 
Kerouac's book is essentially a road trip bible. His passages about the road, about the night, about the countryside and about adventure may as well be numbered and separated into 39 sections. Imagine reading Old Bull Lee 21:18, the most essential passage of that particular disciple of Paradise. It kinda works. 
The best part of both books is the writing style to me, and for that, I won't penalize either. 
Advantage: Push. 

Philosophy: Neither book is particularly heavy, owing to the lower number of pages and lighter humour in each. On The Road is a sort of childish proposition in the real world, but imparts a sense of adventure that makes it feel so right to never want to grow up. Restaurant is rather bleak in its commentaries on some sectors of society and its not-entirely-subtle jabs at modern leadership, but it keeps the lulz rolling rather than rubbing your face too much in the grave points that it's making. It provokes thought competently without being onerous, and in this instance, that's enough.
Advantage: The Restaurant At The End of The Universe. 



Winner Winner Turkey Supper

A story about a road trip through space is way less grounded in reality than a road trip through America, but that disconnection from reality allows the fun to be a lighter read that still gives some food for thought. 
The Restaurant At The End of The Universe is the fourth book into the semifinal round.

Wednesday, April 22, 2015

3. Infinite Jest (Wallace) vs 11. The Prince of Tides (Conroy)


Previous Matches


Still More Quote Porn

Infinite Jest
"The so-called ‘psychotically depressed’ person who tries to kill herself doesn’t do so out of quote ‘hopelessness’ or any abstract conviction that life’s assets and debits do not square. And surely not because death seems suddenly appealing. The person in whom Its invisible agony reaches a certain unendurable level will kill herself the same way a trapped person will eventually jump from the window of a burning high-rise. Make no mistake about people who leap from burning windows. Their terror of falling from a great height is still just as great as it would be for you or me standing speculatively at the same window just checking out the view; i.e. the fear of falling remains a constant. The variable here is the other terror, the fire’s flames: when the flames get close enough, falling to death becomes the slightly less terrible of two terrors. It’s not desiring the fall; it’s terror of the flames. And yet nobody down on the sidewalk, looking up and yelling ‘Don’t!’ and ‘Hang on!’, can understand the jump. Not really. You’d have to have personally been trapped and felt flames to really understand a terror way beyond falling."

"American experience seems to suggest that people are virtually unlimited in their need to give themselves away, on various levels."

The Prince of Tides
"Now I know that a part of me would like to have traveled the world as he traveled it, a jester of burning faith, a fool and a forest prince brimming with the love of God. I would like to walk his southern world, thanking God for oysters and porpoises, praising God for birdsongs and sheet lightning, and seeing God reflected in pools of creekwater and the eyes of stray cats. I would like to have talked to yard dogs and tanagers as if they were my friends and fellow travelers along the sun-tortured highways, intoxicated with a love of God, swollen with charity like a rainbow, in the thoughtless mingling of its hues, connecting two distant fields in its glorious arc. I would like to have seen the world with eyes incapable of anything but wonder, and a tongue fluent only in praise."

"I wondered if it was just in the house of the dying that you became so acutely aware of the presence of clocks."



Head-to-Head

Characters: Hoo boy. These books are both drawn-out tomes with hundreds of pages spent on minutiae. Infinite Jest wanders nigh-incomprehensibly in early chapters, and only later in the book when the reader has a handle on the timeline and main setting does it become apparent that so many of these early chapters are dedicated solely to contextualizing major and minor players who will later share a stage. This method is incredibly thorough, and it has its pros and cons: when it shines, characters who would otherwise be forgettable (see: Ken Erdedy, Kate Gompert) become memorable stars in their brief contributions to the main plot. Meanwhile, some others who play roles of similar size (Poor Tony Krause, Wardine (Oh God, Wardine's section, why)) have introductions that are written so unappealingly that when the character pops up again, it's an "Oh. you." moment. 
Then, there's The Prince of Tides. No question, the scale is smaller; although the entire small Carolina town is briefly described (and is a character in and of itself), Conroy spends reams of paper building Tom, Savannah, and their gravely wacky family into complex and real characters. The same characters that will cause fits of laughter (see: Henry's promotion for their Esso station) will also cause fits of rage (see: Henry's treatment of his family). I might know Tom Wingo better than I do some close friends because of the detail assigned to him. 
What both books do best: the characters are so well developed that their actions have reason. Nobody is necessarily good or bad, they're just people in odd landscapes, making decisions that are uplifting or frustrating, based upon their learned traits and imperfections.
Advantage: The Prince of Tides gets it, capitalizing on IJ's biggest foible. 

Setting: All those pages, all that detail. Wallace's world is insane but plausible once the insanity is taken as a necessity. The pinnacle of this is definitely the Eschaton scene, although Ennet House & Enfield Tennis Academy are massive and well-defined as backdrops. 
I give so much credit to Conroy for making the oft-mundane come to life; southern literature is a take-it-or-leave-it proposition, but although I most often leave it, I took The Prince of Tides heartily. I think it's likely harder to do a standard to perfection than it is to pull a perfect setting out of novel fiction, but I don't want to split hairs that fine.
Advantage: Push. 

Plot: I read Infinite Jest well over a year ago. While doing a bit of supplemental reading to think critically for this entry, I stumbled across a blog that mentions how intricately tied to Hamlet IJ is. Right down to the first lines of each work: Hamlet's reads "Who's there?", while Infinite Jest replies "I am."
I've read Hamlet and did plenty of supplemental reading when I first finished Infinite Jest, too. This is the first time I've stumbled across that above tidbit. The depth of this book is just un-fucking-real. I wish I had the time and the smarts to decipher all the clever that happens while Wallace tells a story about addiction and the nature of entertainment. 
The Prince of Tides is much less subtle; the plot is the plot. It's a slow burn that's not about to increase your heart rate, but remains captivating throughout. As good as it is, there are far more Prince of Tides plots than there are Infinite Jest plots. 
Advantage: Infinite Jest. 

Ending: Shocking final words that are so known and good that the Simpsons made a joke about it. The Prince of Tides uses even its last two words to reveal more about the characters it has already detailed to great lengths, and honestly they change the landscape of the book a little. It's great, and would best almost any other book in this tournament. 
Infinite Jest, though—the tactic is a seeming non-ending, where the real & satisfying ending requires restudy of some of the book's passages (and/or Google cheating), and then the effort required to find that satisfying ending makes a statement about the nature of entertainment that the book has been working on for a thousand pages. It's so clever and meta that it's an honest reward. 
Advantage: Infinite Jest. 

Writing/Language: Look at the length of those quote porn sections. Expertly crafted paragraphs elucidating powerful opinions. This is what reading is all about. & There is so much more where that came from.
I'm on record as saying Infinite Jest contains my favorite prose ever, but picking a winner between these two juggernauts would cheapen my opinion on them.
Advantage: A world class push.

Philosophy: This is the one category where it's really not close. Both novels contain an abundance of self-pity, but while Conroy uses it to tell a story, Wallace uses it to pose cumbersome existential questions.
Advantage: Infinite Jest. 



Winner Winner Turkey Supper

The Prince of Tides is truly one of the best books I've ever read and likely ever will read (with a movie I've never seen and likely never will see). It's a shame to see it exit in the round of 8, but Infinite Jest literally changed the way I read and, to a lesser extent, the way I think.
Alas, poor Conroy! I knew him, Horatio, a fellow of infinite jest, of most excellent fancy! 
Infinite Jest moves on to the semifinals. 

Monday, April 20, 2015

4. Lamb (Moore) vs 21. Gone Girl (Flynn)



Previous Matches


Still More Quote Porn

Lamb
"Nobody's perfect. Well, there was this one guy, but we killed him."

" 'Look, Josh, there's another message from your mother.'
Josh glanced and looked away. 
'That's not my mother.'
'But look, in the elephant poop, it's a woman's face.'
'I know, but it's not my mother. It's distorted because of the medium. It doesn't even look like her. Look at the eyes.'
I had to climb to the back of the elephant to get another angle on it. He was right, it wasn't his mother.
'I guess you were right. The medium obscured the message.'
'That's what I'm saying.'

Gone Girl
"Tampon commercial, detergent commercial, maxi pad commercial, Windex commercial - you'd think all women do is clean and bleed."

“I feel myself trying to be charming, and then I realize I’m obviously trying to be charming, and then I try to be even more charming to make up for the fake charm, and then I’ve basically turned into Liza Minnelli: I’m dancing in tights and sequins, begging you to love me. There’s a bowler and jazz hands and lots of teeth.”




Head-to-Head

Characters: By this point in the tournament, this is old hat: Nick and Amy Dunne suck. They're well written, but they're so ethereally frustrating that by the end of the book, it was a disappointment that they both lived
In Lamb, Moore casts off the righteous Biblical Christ and makes him more man than myth. Moreover, I'd go for a beer with Biff. 
Advantage: Lamb. 

Setting: Present day America, with a Nancy Grace clone worthy of Tussaud's. BCE equatorial Indochina that reads as vivdly as Shangri-La. Both are admirably written, but Lamb's universe is a feat of imagination that excels despite its loosely-based-on-a-true-story constraint.
Advantage: Lamb.

Plot: Lamb is meandering awesome, fitting BCE religions neatly under an umbrella, and they sound sensible with their powers combined. Gone Girl, though: 3 sittings. For a 400-page plus book. 
As great as Lamb was, there were brief transitional periods where reading approached chore status while I patiently waited for Jesus to find his way to another wise man and/or barrel of laughs. Gone Girl was redlined in third gear until the checkered flag. 
Advantage: Gone Girl.

Ending: See the movie yet? That's how the book should've chopped to black screen, if not taking a slightly more murderous course altogether.
Am I talking about Gone Girl or The Passion of Christ? You decide, dear reader. 
Advantage: Draw. I didn't like either.

Language/Writing: Moore is occasionally profound; above quote porn shows a great conversational bit that is a whole lot more subtle in context (I promise). The banter is top notch: Joshua and Biff sound like real cartoon childhood friends on a caper in Mr. Wilson's backyard. It's expertly written. 
On the other hand, Flynn's writing style contributes so handily to the plot that excels so much: the back-and-forth, Nick-and-Amy sections contrast wonderfully, with Diary Amy's voice being so convincing that it dabbles in horror territory. Further, thrillers are often scant on (if not bankrupt of) real, poignant thoughts, favoring language as a tool to amp intensity rather than give thought. Gillian Flynn does both, without a seam in sight. 
Advantage: Gone Girl by a nose. 

Philosophy: Like many books that would qualify as classic Literature, Lamb surveys philosophy and thoughts from so many before it that were lucid to the point of perfection. 
Fittingly, its opponent is quick to declare that inventiveness is so 19th century. Gone Girl, in so many passages, sincerely struggles with the thought that it's impossible for anything to be new; at best, traits of a persona can be selected from "an endless automat of characters". 
Gone Girl's frank meditation on this point is almost weighty enough to tip the scales, but then Lamb gets so many bonus points for respectfully and cleverly explaining how and why its take on Christianity is that it was pilfered from dogmas before it. Originality might be dead, but creativity blazes on. 
Advantage: Push. 


Winner Winner Turkey Supper

Once again, Gone Girl ties a brilliantly written comedy, potentially underrating both its dramatic merits as well as the accomplished, clever humor of the comedies it faces. An insight into my internal thoughts: Lamb was unquestionably 5 stars, but I think I'd choose either of Small Gods or Hitchhiker's Guide over it in those head to head battles. 
Once again, Gone Girl ties a brilliantly written comedy, and in its every match I mention its assertion that true innovation is a thing of the past. 
Gone Girl ties great comedy book but wins anyway for the third straight time, bookmarking its place in the semifinals.

Sunday, April 19, 2015

1. Lord of The Rings: Return of The King (Tolkien) vs 24. Survivor (Palahniuk)



Previous Matches


Still More Quote Porn

Lord of The Rings: Return of The King
"It must often be so, Sam, when things are in danger: some one has to give them up, lose them, so that others may keep them."

"Go in peace! I will not say: do not weep; for not all tears are an evil."


"Do not spoil the wonder with haste!"


Survivor

"Reality means you live until you die... the real truth is nobody wants reality."

"Don’t quote me on any of this. It’s been a long time since I’ve been test­ed."


"Not that I’m crazy or any­thing, I just want some proof that death isn’t the end."




Head-to-Head

Characters: This tussle boils down to the entirely different roots of the characters: that is, Frodo and Sam (and the rest of the broken fellowship) are medieval, unquestionably good and noble, and their foils are literal monsters who do bad things to good people and just want to watch the world burn. Meanwhile, Tender Branson has this aura that makes me want to root for him one moment because of his insane upbringing, while remembering moments later that the man is literally a domestic terrorist. He's kind of his own foil, really.
There's no media in Middle Earth. Survivor wouldn't be a book without the media. 
In the end, Tolkien's characters helped to create (if not completely created) the basis for the entire fantasy genre, while Palahniuk's characters carry the burden of acting like actual, breathing, shitty people. One set are great because they're so imaginary, the other set are great because they're so real. 
Copout time!
Advantage: Push. 

Setting: The setting for Survivor, while impressive, may well have been pulled from a series of 5:00 news segments on a week that Palahniuk sat down to write it. While it's a real setting that adds gravity to his plot... if Tolkien had source material for Mordor, I don't wanna see it. The grand feat of imagination beats the spectacular adaptation of reality. 
Advantage: Return of The King. 

Plot: I've been forgiving Return of the King's latter sections so far in the tournament, specifically the couple hundred pages with the return to the Shire and the antics of a poor man's Sarumandon't get me wrong, the conclusion of everything Tolkien worked on in the first two books pays off magnificently and the last-minute tension of a triple threat match with the ring in the volcano; it's enthralling! Against plots that don't quite flirt with perfection, everything after is a forgettable foible. 
But, Survivor is just such a tight book, plotwise. Everything is necessary; if anything, it's almost too brief. It's tense, it's relatable, it's relevant, it's interesting. I docked Palahniuk in setting because he only captured the world around him.. but he does it so well, harnessing it to tell a hell of a story. 
Advantage: Survivor. 

Ending: See above rambles. If the moment the ring meets its ultimate fate could be considered the ending, there'd be more of a conversation. No doubt, RotK is a book that feels good to finish, but Tolkien's strategy of gradually dwindling the plot has always been a sour note for me. 
Survivor's ending isn't perfect either: it's almost too symbolic, and obfuscation to the extent of requiring the author's out-of-book explanation isn't ideal to me. Still, starting on page 289 and ending on page one? A+ bit. 
Advantage: Survivor. 

Language/Writing: Tolkien's vast descriptions and songs are charming, and are one of the principle reasons that his work caught on like it did. Still, Palahniuk's way with words and ability to put common experiences into words is more of a draw for me. 
Phrased another way: trying to come up with RoTK quotes for the quote porn sections was taxing; out of context, Tolkien's words don't shine on their own. His context is everything. Conversely, pulling passages from Survivor is easy because, like any given Red Hot Chili Peppers lyric, so many lines make neat statements that they can be stripped of context and still have appeal.
(Though unlike any given Red Hot Chili Peppers lyric, Survivor actually made sense when taken as a cohesive whole. But I digress. As always.)
Advantage: Survivor.

Philosophy: The good guys win in the end vs just look at yourselves, you silly fucking people.
Advantage: Survivor.



Winner Winner Turkey Supper

Take Lord of the Rings as a whole, and we might have a different conversation—but Survivor is one of the most complete pieces of fiction I've ever read, and it's sort of hard for a third of a trilogy to stand against that.
Survivor survives to see the semifinals.

Friday, April 17, 2015

Updated Bracket For Round 3


Ignore the timestamps of the blog posts. So I frigged off for 8 months; I'm gonna finish!

As always, thanks to anyone who's reading this. Yer deadly!

18. Slaughterhouse-Five (Vonnegut) vs 31. On The Road (Kerouac)



Previous Matches


More Quote Porn

On The Road
"I shambled after as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars."

"Lucille would never understand me because I like too many things and get all confused and hung-up running from one falling star to another till I drop. This is the night, what it does to you. I had nothing to offer anybody except my own confusion."

Slaughterhouse-Five
"I have this disease late at night sometimes, involving alcohol and the telephone."

"She was a dull person, but a sensational invitation to make babies."

"Trout, incidentally, had written a book about a money tree. It had twenty-dollar bills for leaves. Its flowers were government bonds. Its fruit was diamonds. It attracted human beings who killed each other around the roots and made very good fertilizer. So it goes."


Head-to-Head

Characters: If a reader enjoys Kurt Vonnegut, it's a given that the same reader will enjoy Billy Pilgrim. The character walks through the horrors of the second world war and through the apparition of space-time with Vonnegut's trademark cynicism and wit. I claimed in round one that Billy Pilgrim is the only memorable character, but reflections this round give me pause. Add Paul Lazzaro, Roland Weary and Edgar Derby to Pilgrim's equation, and it's a shame that more pages aren't spent with the unlikely foursome. Maybe the next Kilgore Trout book will have a feature on them.
But, I'll also stick to my guns on my round one On The Road thoughts: Dean Moriarity is among my favorite characters in fiction. He's delightfully insane and completely unique, but everybody knows a Dean Moriarty. Paradise (Kerouac's alter-ego) is likable as well, and adds pensive context to the blur of the American experience in the fifties—but I'll be honest; it's all about Dean. 
Advantage: Push.

Setting: America by day, as viewed in time-lapsed photographs. America by night, with the haze of the drink on a thousand lively nights. Kerouac vividly brings the country to life. 
But then, equally vivid (but nowhere near as fun) is Vonnegut's depiction of the firebombing of Dresden and a POW situation. Also, maybe an alien zoo. While I can't discount Vonnegut's skill, I like how cohesive On The Road is against its backdrop.
Advantage: On The Road. 

Plot: Both books feature non-linear advancement of plot; Slaughterhouse jumps all over the place like a postmodern book should, while On The Road is sort of a half dozen capers experienced by Sal & Dean with all the interstitial, non-fun chaff cut away. Both are fun, both have aged well, neither feels contrived. 
Advantage: Push.

Ending: While the fights for plot and character see the books draw because they both excel, the fight for an ending falls flat because neither book really follows the old English class plot graph. Not that nonstandard plots aren't a lark (both of these are), but it's hard to give either one points for an ending when they just peter off with more story available after the pages have ceased. 
Advantage: Push. 

Language/Writing: This is another category where both authors and both books are standouts. Vonnegut manages a level sobriety in the most ridiculous of situations (both real and imagined), while Kerouac's charm often lies in his lack of sobriety. 
Kerouac's On The Road was adapted to film similarly to how Fear & Loathing In Las Vegas was adapted: with artisan passages from the text narrated over the film because their essence can't be fully captured outside of the author's words. Not to take away from Slaughterhouse, which I loved, but the vibe from the language in On The Road has a feverish optimism that is thankfully more infectious than its opponent's ironic musings. 
Advantage: On The Road. 

Philosophy: On The Road needs to grow up. One of the principle criticisms against it by fuddy-duddies, both at the time of its release and today, is that it's just plain irresponsible. The saxophones of a hundred nights spent in the music scene of mid-century USA most often result in a flat-broke beatnik. While this is a harsh criticism, it's true for pretty much anybody who isn't Kerouac, and all of Kerouac's artful writing doesn't save it from being a little vapid in the real world. 
Meanwhile, despite a premise that's not even on planet Earth, Vonnegut manages some real thoughts and lessons on some weighty topics. It's not the easiest thing to seriously ponder morality and a real war in the same text that delves into aliens and time travel, but that's part of what makes Vonnegut a one-of-a-kind zeitgeist candidate.
Advantage: Slaughterhouse Five.



Winner Winner Turkey Supper

Billy Pilgrim is the man, and his duty-dance with death is compelling and important. While Sal Paradise's travels are anything but important, his book imbues a sense of adventure in a way that so few have done successfully. Boiling down the difference in this battle to one point: Vonnegut's horrific painting of fire and napalm is striking, as is Kerouac's painting of defiance in the face of the decade of conformity. Today, I'm choosing the happier one with the brighter color palette. So it goes.
On The Road narrowly moves on to round 3.

7. The Restaurant At The End of The Universe (Adams) vs 23. Women (Bukowski)



Previous Matches


More Quote Porn

The Restaurant At The End of The Universe

"I always thought that about the Garden of Eden story," said Ford.
"Eh?"
"Garden of Eden. Tree. Apple. That bit, remember?"
"Yes, of course I do."
"Your God person put an apple tree in the middle of a garden and says, do what you like guys, oh, but don't eat the apple. Surprise surprise, they eat it and he leaps out from behind a bush shouting 'Gotcha!' It wouldn't have made it any different if they hadn't eaten it."
"Why not?"
"Because if you're dealing with somebody who has the sort of mentality which likes leaving hats on the pavement with bricks under them you know perfectly well they won't give up. They'll get you in the end."

"Life is wasted on the living."

Women
"I was glad I wasn't in love, that I wasn't happy with the world. I like being at odds with everything. People in love often become edgy, dangerous. They lose their sense of perspective."

"It made me feel low that I couldn't praise him without reservation. But then if you lied to a man about his talent just because he was sitting across from you, that was the most unforgivable lie of them all, because that was telling him to go on, to continue which was the worst way for a man without any talent to waste his life, finally. But many people did just that, friends and relatives mostly."


Head-to-Head

Characters: To be fair, both of these books contain one-dimensional tropes in the shoes of characters. However, while I elaborated at length in its first match that I was willing to take Women as a period piece and accept its prejudices, it doesn't forgive the fact that the characters are limited to (in period terminology) a few broads and a scallywag.
Advantage: The Restaurant At The End of The Universe. 

Setting: The entire universe versus a run-down apartment in San Francisco. Or maybe it was Los Angeles. 
Adams is simply painting on a larger canvas.
Advantage: The Restaurant At The End of The Universe.

Plot: Both feel about equally realistic to me. 
That said, Restaurant was a spotfest with its plot acting mostly as a vehicle to carry the characters to the next punchline. Alternately, Women honestly left me waiting for the next unfortunate girl to walk through the door and eventually yell at Chianski for being a piece of shit. It was strangely captivating for a comedy, and that gives it an edge. 
Advantage: Women. 

Ending: Women does an excellent job of being a snapshot, which causes the minor drawback that the story doesn't really end in the frame of its pages. Contrast that to Restaurant, where the closing pages contain some of the best comedy bits in the entire Hitchhiker's Guide series. No contest. 
Advantage: The Restaurant At The End of The Universe.

Language/Writing: Bukowski turns a phrase masterfully. A quick trip to Google will prove as much; his quotes are endlessly embossed over images to give added effect. Adams, meanwhile, represents hundreds of years of sharp British wit: able to meticulously place an absurd joke into an otherwise benign sentence. If you skim the words of either author, something is bound to be missed. 
Advantage: The main draw of both books is, perhaps unsurprisingly, a draw.

Philosophy: If I were to summarize the philosophy of both books with a song title from Dr. Dre's 1992 debut album The Chronic (and why not?), Women would, of course, be relayed by the timeless Bitches Ain't Shit. Meanwhile, Restaurant has more of a Let Me Ride vibe. One reads like a carefree spin through space and time, while the other is burdened with the objectification of women. 
...Seriously, though: the merits of Restaurant are in its brief moments of societal commentary, while the depiction of a rockstar lifestyle in Women sounds like a bundle of fun while skipping the merit part. 
Advantage: The Restaurant At The End of The Universe.


Winner Winner Turkey Supper

Ah, Bukowski. Women will always be a guilty pleasure of mine; I've had to defend my appreciation of it more than once. That said, the better-aging, probably-funnier, definitely-more-accessible book moves on. 
The Restaurant At The End of The Universe is on to its third course.