GMG's 100 Most Important Books Ever Written!

[Elgarian]

ONE MORE TO GO! 

Ye gods! The tension!

[springrite]

You've already picked three. 

LEAVES OF GRASS

[MN Dave]

Nietzsche Beyond Good and Evil
Ulysses
Mark Twain, Life on the Mississippi
Charles Darwin-On the Origin of Species
Dhammapada - Buddha
Elements (consider it as one book in thirteen volumes) - Euclid
The Bible
Everyone Poops - Taro Gomi
Prose Edda
Ayn Rand - The Fountainhead
The C Programming Language, Kerninghan and Ritchie (1978)
Cormac McCarthy: Blood Meridian, or the Evening Redness in the West
Love in the Time of Cholera, Gabriel Garcia Marquez
Lev Nikolaevich Tolstoy - War and Peace
Dostoevsky 'Crime and Punishment'
Simon Vestdijk, De kellner en de levenden
The Rights of Man:  Thomas Paine
Immanuel Kant "Critique of Pure Reason"
James Buchanan & Gordon Tullock - The Calculus of Consent
Viktor Shklovsky's Energy of Delusion
Wittgenstein Philosophical Investigations
Niccolo Machiavelli - Il Principe
The Communist Manifesto; Marx/Engels
David Hume: A Treatise of Human Nature
The GULAG Archipelago by Solzhenitsyn
The Screwtape Letters C.S. Lewis
Dostoevsky The Idiot
Francis Bacon, Novum Organum
A Vindication of the Rights of Women (Mary Wollstonecraft)
The Meditations by Marcus Aurelius
Tao Te Ching by Lao Tzu
Principia - Isaac Newton
Dialogo dei due massimi sistemi del mondo (Galileo Galilei)
De Humani Corporis Fabrica (Andreas Vesalius)
PG Wodehouse, Joy in the Morning
Nicolas Slonimsky, Lexicon of Musical Invective
Zola, Germinal
Shakespeare's Collected works
Lord of the Rings, JRR Tolkien
Marc Reisner, Cadillac Desert
Adam Smith, The Wealth of Nations
"The Master and Margarita", Mikhael Bulgakov
John Ruskin: Modern Painters
The Rupert Bear Annual
Aristotle, Opera Omnia
Isaac Newton, Philosophiæ Naturalis Principia Mathematica
Albert Einstein, Collected Works
Boswell Life of Johnson
Euripides The Bacchae
Hegel The Phenomenology of Spirit
Thomas Mann Magic Mountain
William Faulkner, Absalom, Absalom
Edward R. Tufte: The Visual Display of Quantitative Information
John James Audubon: Birds of America
Divine Comedy - Dante
collected Sherlock Holmes - Arthur Conan Doyle
Moby Dick - Herman Melville
Franz Kafka The Trial
Alexandre Dumas The Count of Monte Cristo
Suetonius: The 12 Caesars
Complete Stories and Poems of Edgar Allan Poe
Nabokov's Pale Fire
To Kill A Mockingbird-Harper Lee
All Creatures Great and Small- James Herriot
Childhood's End - Arthur C Clarke
Animal Farm - George Orwell
Clock without Hands.  Carson McCullers.
William Blake Jerusalem (original illuminated version, not just the text)
Samuel Beckett: Collected Works
Sigmund Freud: Collected Works
Cervantes - Don Quijote
Goethe - Faust
Kenneth Grahame The Wind in the Willows
Charlie and the Chocolate Factory-Roald Dahl
Burgess: A Clockwork Orange
Koran
Mahābhārata
The General Theory of Employment, Interest and Money by John Maynard Keynes
Wolf Solent by John Cowper Powys
THE DICTIONARY
The Federalist Papers - Alexander Hamilton, James Madison, John Jay
St Exupery's 'The Little Prince'
'Great Expectations' by Dickens
Constitution of the United States
Thomas à Kempis - The Imitation of Christ
A Night to Remember - Walter Lord
The Exorcist - William Peter Blatty
Elias Canetti - Auto-da-Fé
Marcel Proust - À la recherche de temps perdu
Thomas Pynchon - Gravity's Rainbow
T.S. Eliot's The Wasteland and Other Poems
L'Étranger, Albert Camus
Der Steppenwolf, Hermann Hesse
Silence in the Snowy Fields by Robert Bly
Rainer Maria Rilke: Letters to a Young Poet
Rumi's Poetry
Joseph Campbell The Masks of God
Milankovic - Canon of Insolation and the Ice Age Problem
Chekhov - The Three Sisters
Leaves of Grass - Walt Whitman

100!!!

Now, start reading. 

[DavidRoss]

Now, start reading. 

Huh?  You said "100 most important books"--not "100 best reads!"

[Lethevich]

Wolf Solent by John Cowper Powys

That is a... fascinating pick. I like the author in principle, but I often find it difficult to commit time to read his books. I guess it being in the esteemed GMG 100 should be incentive enough

[springrite]

Now, start reading. 

Darn! There goes the plan to listen to music!

[karlhenning]

If it wasn't a book then, it sure is a book now:

[CD]

I think I'll skip Everyone Poops. I feel like it's one of those books, like Catcher in the Rye that, if you don't read it when you're younger, it has nothing much to offer you as a jaded adult.

[MN Dave]

Everyone Poops

I don't think this can be proved.

[karlhenning]

Sound working hypothesis, though.

[bwv 1080]

I think I'll skip Everyone Poops. I feel like it's one of those books, like Catcher in the Rye that, if you don't read it when you're younger, it has nothing much to offer you as a jaded adult.

I think you may be missing some of the underlying narrative context

REASSESSING MODERNISM: THE NEOMODERNIST PARADIGM OF EXPRESSION IN THE WORKS OF TARO GOMI
CHARLES HUBBARD
DEPARTMENT OF ENGLISH, CAMBRIDGE UNIVERSITY
WILHELM N. SCUGLIA
DEPARTMENT OF LITERATURE, UNIVERSITY OF ILLINOIS
1. REALITIES OF ABSURDITY
"Society is intrinsically impossible," says Baudrillard; however, according to Drucker[1] , it is not so much society that is intrinsically impossible, but rather the meaninglessness of society. The subject is contextualised into a neomodernist paradigm of expression that includes culture as a whole.
In the works of Taro Gomi , a predominant concept is the concept of capitalist truth. Thus, Marx uses the term 'postconstructive narrative' to denote the role of the reader as artist. The subject is interpolated into a cultural feminism that includes narrativity as a reality.
Therefore, in Everybody Poops, Taro Gomi  deconstructs Lacanist obscurity; however, he analyses postconstructive narrative. Bataille uses the term 'cultural feminism' to denote the difference between reality and class.
It could be said that Sartre promotes the use of the deconstructivist paradigm of expression to modify and analyse sexuality. The subject is contextualised into a cultural feminism that includes consciousness as a paradox.
Thus, an abundance of constructions concerning neodialectic conceptualist theory may be found. Foucault uses the term 'cultural feminism' to denote the role of the poet as reader.
2. THE NEOMODERNIST PARADIGM OF EXPRESSION AND POSTCULTURAL LIBERTARIANISM
If one examines postcultural libertarianism, one is faced with a choice: either accept cultural feminism or conclude that the Constitution is dead. However, several narratives concerning not desublimation per se, but subdesublimation exist. The subject is interpolated into a postcultural libertarianism that includes sexuality as a reality.
"Sexual identity is part of the economy of consciousness," says Bataille. It could be said that the capitalist paradigm of context implies that the task of the observer is significant form. The creation/destruction distinction prevalent in Taro Gomi 's Everybody Poops emerges again in Who Ate It?.
If one examines the neomodernist paradigm of expression, one is faced with a choice: either reject cultural feminism or conclude that consensus is a product of the masses. In a sense, Lacan suggests the use of the neomodernist paradigm of expression to challenge capitalism. Sartre uses the term 'neotextual narrative' to denote a mythopoetical totality.
But the subject is contextualised into a postcultural libertarianism that includes sexuality as a reality. The main theme of Abian's[2] essay on cultural feminism is the role of the reader as observer.
In a sense, Bataille uses the term 'postcultural libertarianism' to denote the meaninglessness, and thus the genre, of capitalist culture. Parry[3] states that we have to choose between the neomodernist paradigm of expression and posttextual capitalism.
Therefore, if cultural feminism holds, the works of Taro Gomi  are modernistic. The subject is interpolated into a semioticist modernism that includes truth as a paradox.
But an abundance of narratives concerning postcultural libertarianism may be revealed. The subject is contextualised into a neomodernist paradigm of expression that includes consciousness as a whole.
3. TARO GOMI  AND POSTCULTURAL LIBERTARIANISM
In the works of Taro Gomi , a predominant concept is the distinction between ground and figure. It could be said that Buxton[4] suggests that we have to choose between structural neodialectic theory and cultural discourse. The characteristic theme of the works of Taro Gomi  is the bridge between class and sexual identity.
"Narrativity is meaningless," says Sartre; however, according to Prinn[5] , it is not so much narrativity that is meaningless, but rather the defining characteristic of narrativity. Therefore, Debord uses the term 'the neomodernist paradigm of expression' to denote the rubicon, and subsequent fatal flaw, of postdeconstructivist society. If the cultural paradigm of reality holds, we have to choose between postcultural libertarianism and neotextual libertarianism.
But the subject is interpolated into a neomodernist paradigm of expression that includes truth as a reality. Brophy[6] states that we have to choose between Baudrillardist simulation and postsemiotic theory.
Therefore, Debord promotes the use of the neomodernist paradigm of expression to read class. The premise of patriarchialist neotextual theory holds that sexual identity, somewhat surprisingly, has intrinsic meaning, but only if sexuality is interchangeable with truth; otherwise, we can assume that consensus must come from the collective unconscious.
In a sense, any number of dematerialisms concerning not situationism, but postsituationism exist. Foucault uses the term 'postcultural libertarianism' to denote the role of the artist as participant.
It could be said that the main theme of Dahmus's[7] analysis of semanticist theory is the futility, and hence the collapse, of subcapitalist society. The subject is contextualised into a cultural feminism that includes sexuality as a totality.

[jowcol]

I think you may be missing some of the underlying narrative context

This looks like the output of the postmodernism generator-- which I love.  http://www.elsewhere.org/pomo/

Personally, as  a pooper myself, I don't know how ANY of us can live without Everybody Poops on the 100 most important books. This is an essential part of our humanity.  And the terrible truth is that jaded adults often need more help with pooping than youngsters.

[karlhenning]

Everyone Poops. And Some of Us Scoops.

[Cato]

REASSESSING MODERNISM: THE NEOMODERNIST PARADIGM OF EXPRESSION IN THE WORKS OF TARO GOMI
CHARLES HUBBARD
DEPARTMENT OF ENGLISH, CAMBRIDGE UNIVERSITY
WILHELM N. SCUGLIA
DEPARTMENT OF LITERATURE, UNIVERSITY OF ILLINOIS
1. REALITIES OF ABSURDITY
"Society is intrinsically impossible," says Baudrillard; however, according to Drucker[1] , it is not so much society that is intrinsically impossible, but rather the meaninglessness of society. The subject is contextualised into a neomodernist paradigm of expression that includes culture as a whole.
In the works of Taro Gomi , a predominant concept is the concept of capitalist truth. Thus, Marx uses the term 'postconstructive narrative' to denote the role of the reader as artist. The subject is interpolated into a cultural feminism that includes narrativity as a reality.
Therefore, in Everybody Poops, Taro Gomi  deconstructs Lacanist obscurity; however, he analyses postconstructive narrative. Bataille uses the term 'cultural feminism' to denote the difference between reality and class.
It could be said that Sartre promotes the use of the deconstructivist paradigm of expression to modify and analyse sexuality. The subject is contextualised into a cultural feminism that includes consciousness as a paradox.
Thus, an abundance of constructions concerning neodialectic conceptualist theory may be found. Foucault uses the term 'cultural feminism' to denote the role of the poet as reader.
2. THE NEOMODERNIST PARADIGM OF EXPRESSION AND POSTCULTURAL LIBERTARIANISM
If one examines postcultural libertarianism, one is faced with a choice: either accept cultural feminism or conclude that the Constitution is dead. However, several narratives concerning not desublimation per se, but subdesublimation exist. The subject is interpolated into a postcultural libertarianism that includes sexuality as a reality.
"Sexual identity is part of the economy of consciousness," says Bataille. It could be said that the capitalist paradigm of context implies that the task of the observer is significant form. The creation/destruction distinction prevalent in Taro Gomi 's Everybody Poops emerges again in Who Ate It?.
If one examines the neomodernist paradigm of expression, one is faced with a choice: either reject cultural feminism or conclude that consensus is a product of the masses. In a sense, Lacan suggests the use of the neomodernist paradigm of expression to challenge capitalism. Sartre uses the term 'neotextual narrative' to denote a mythopoetical totality.
But the subject is contextualised into a postcultural libertarianism that includes sexuality as a reality. The main theme of Abian's[2] essay on cultural feminism is the role of the reader as observer.
In a sense, Bataille uses the term 'postcultural libertarianism' to denote the meaninglessness, and thus the genre, of capitalist culture. Parry[3] states that we have to choose between the neomodernist paradigm of expression and posttextual capitalism.
Therefore, if cultural feminism holds, the works of Taro Gomi  are modernistic. The subject is interpolated into a semioticist modernism that includes truth as a paradox.
But an abundance of narratives concerning postcultural libertarianism may be revealed. The subject is contextualised into a neomodernist paradigm of expression that includes consciousness as a whole.
3. TARO GOMI  AND POSTCULTURAL LIBERTARIANISM
In the works of Taro Gomi , a predominant concept is the distinction between ground and figure. It could be said that Buxton[4] suggests that we have to choose between structural neodialectic theory and cultural discourse. The characteristic theme of the works of Taro Gomi  is the bridge between class and sexual identity.
"Narrativity is meaningless," says Sartre; however, according to Prinn[5] , it is not so much narrativity that is meaningless, but rather the defining characteristic of narrativity. Therefore, Debord uses the term 'the neomodernist paradigm of expression' to denote the rubicon, and subsequent fatal flaw, of postdeconstructivist society. If the cultural paradigm of reality holds, we have to choose between postcultural libertarianism and neotextual libertarianism.
But the subject is interpolated into a neomodernist paradigm of expression that includes truth as a reality. Brophy[6] states that we have to choose between Baudrillardist simulation and postsemiotic theory.
Therefore, Debord promotes the use of the neomodernist paradigm of expression to read class. The premise of patriarchialist neotextual theory holds that sexual identity, somewhat surprisingly, has intrinsic meaning, but only if sexuality is interchangeable with truth; otherwise, we can assume that consensus must come from the collective unconscious.
In a sense, any number of dematerialisms concerning not situationism, but postsituationism exist. Foucault uses the term 'postcultural libertarianism' to denote the role of the artist as participant.
It could be said that the main theme of Dahmus's[7] analysis of semanticist theory is the futility, and hence the collapse, of subcapitalist society. The subject is contextualised into a cultural feminism that includes sexuality as a totality.

  "So, is he right?"

0:)  "Why, yes, I do believe he is!"

[Elgarian]

In a sense, any number of dematerialisms concerning not situationism, but postsituationism exist.

I can't speak for anyone else, but this certainly affects my decision about whether to buy any more CDs this week.

[Cato]

I can't speak for anyone else, but this certainly affects my decision about whether to buy any more CDs this week.

But what if it doesn't?   

[CD]

But what if it doesn't?   

Then Abraham is lost.

[Elgarian]

But what if it doesn't?

If you'd understood the postdematerialisation metanarrative that we're dealing with here, you wouldn't have asked that.

[karlhenning]

Quite.

[Cato]

If you'd understood the postdematerialisation metanarrative that we're dealing with here, you wouldn't have asked that.

But what if I did understand it?   

(You can predict where this is going!)

(But what if you can't?!)