Now the year is turning and the eeriness comes: what are you reading in autumn 2021?

back on Stamped From The begiing by Ibram X Kendi
Currently reading about some semiu hypocritical misunderstandings by W.E.B. Du bois and other things contemporary to it. Last chapter had been on the Birth Of A nation. Kendi has been describing ertas since ther 17th century in realtion to one figurehead figure so late 19th & early 20 th century tie in with Webby and KIendi is not afraid to show some serious flaws I think he has shown some reason for his epistemology but it is not a fully balanced one anyway.
I just read about a feud with Marcus Garvey who I have to read . Did try I think in the mid 80s. But do want to know more right now. & now setting myself up with way too much to read in way too short a time. Which is never teh best set up. Just aware taht there is a lot of reading I should have done a lot earlier. Alsdo want to read Ida Welles and Booker T Washington though the latter does seem to be way too wishy washy. Oh & want to read Pan African stuff though not sure if teh focus of what was umbrellaed by that term would still be right.
Du Bois did set up or help set up the initial meetings in the early years of teh 20th century. hope things are way beyond taht now but don't know and probably should do.
Anyway I enjoy Kendi I enjoy learning about what he is saying and it does make me want to read more by the people he is talking about.
I am aware taht he has his own biases and i think he is too. But every human being has biases and it is better to acknowledge and try to show what those are in order to get a more objective perspective. Though taht very idea may be mythic.

Just finishging the appendices to Steven H gardner's first volume of Anothe rTuneless Racket.
just read him talking about the mysoynistic thuggery of teh Stranglers and how he can't get beyond the 1st 3 lps or at least those are the 3 he mainly focuses on. I think he has picked up copies of later Cornwe;; era stuff but doesn't listen to them much.
So have enjoyed reading himn talking about a bunch of bands taht I am semi aware of and a few i know a bit better. So will move onto his next volume some time soon. JUst got so many books taht I want to have already read right now that I want to read. & a stack that I keep buying. & still a fw i regret not having grabbed when I had the chance etc.
this was my bog book for teh last while, is set out in a good way for that purpose I think.
Havea few books set up to replace it. May go back to the history of torture in the Uk since the 1940s or carl Sagan's Demon-Haunted World or THinking Fast & slow by Daniel Kahneman

"is it end of year time? is there normally a separate thread for that?"

We make a new thread every year. Here is last year's.

What did you read in 2020?

yeah, thought as much but the ilb board posts didn't scroll back that far

Xpost Hi Stevo, don't know how available Library of America editions are in the UK, but their DuBois collection is incredible---as an analytical scholar, pioneering sociologist, farseeing polemicist, artist---always a magnetic read---he's as strong as any American author I can think of---totally agree w the blurb here: "It is no exaggeration to say that [Du Bois] anticipated, and influenced, many of the events that led to the making of the modern world."---Washington Post
https://loa.org/books/39-writings?gclid=EAIaIQobChMI3J_Csbbw9AIVE4eGCh3qGQ48EAAYASAAEgIPzPD_BwE
Also the collection Blackwater, which incl. his essays, allegories, science fiction, fitting together, back and forth through the "walls" of genre and subgenre.

"Allegories" may not be the right word: no codes, just extensions of his characteristic concerns, thought patterns, stylistic excursions.

That's not an LoA publication, may be more widely available in the UK.

Hi zak m, nice list there. I'm always glad to see someone reading Peter's work :-)

I finished Julia Drescher's 'Disarticulation' as well as Hugh Tribbey's 'EF Zero' between Friday and yesterday evening.

I was in the mood to read an older novel, and so decided to pick up Silas Marner for a re-read. Love this book so much.

i've been working on mailer's the executioner's song for about a month, picking it up and reading a hundred pages or so, then giving it a rest. just reached the midway point and am feeling mildly frustrated that there's still so much of this thing left to read. i did find it very gripping for a while, and there's a genuinely vivid sense of the bleakness of this landscape, the depressing hollowness of so many of these characters' lives, the pointlessness and cruel randomness of the violence...but i can't shake the sinking feeling that the guy at the center of this epic is just not a very interesting person. maybe that's the point, though.

also picked up a collection of melville stories and am making my way through that. bartleby is still a perfect story (funny, too, even if it's also crushingly sad), and the sketches are amusing. reread billy budd for the first time in many years. it's a very strange story, in some ways an off-putting one, despite its greatness; even in such a brief narrative, melville can't stop himself from going on tangent after tangent, circling around what he really wants to say...

I started in on Edith Wharton's House of Mirth. Everyone in it so far is what my dad would have called 'a real piece of work'.

I've wanted to read it a third time but I suspect I might be drawing breaths.

i've been working on mailer's the executioner's song for about a month, picking it up and reading a hundred pages or so, then giving it a rest. just reached the midway point and am feeling mildly frustrated that there's still so much of this thing left to read. i did find it very gripping for a while, and there's a genuinely vivid sense of the bleakness of this landscape, the depressing hollowness of so many of these characters' lives, the pointlessness and cruel randomness of the violence...but i can't shake the sinking feeling that the guy at the center of this epic is just not a very interesting person. maybe that's the point, though.

J.D., I read it around this time 2013 and had a similar response. Harlot's Ghost is it for me.

Frank, Peter Eisenman's House VI: The Client's Response

Finally, the diagrams for House VI are symbiotic with its reality; the house is not an object in the traditional sense -- that is the end result of a process -- but more accurately a record of a process. The house, like the set of diagrammed transformations on which its design is based, is a series of film stills compressed in time and space. Thus, the process itself becomes an object; but not an object as an aesthetic experience or as a series of iconic meanings. Rather, it becomes an exploration into the range of potential manipulations latent in the nature of architecture, unavailable to our consciousness because they are obscured by cultural preconceptions.

-- Peter Eisenman

The coup de grace came more than a decade later, when we had spent all of our savings on the renovation of the house, and had to increase our mortgage to six figures.

-- Suzanne Frank

I'm not very interested in doing any more of these houses. I came to a dead end. I'm very proud of the houses that I've executed and the designs I've executed and they stand as a certain body of work, and that's past. This is a transitional period in my work - a kind of drying out between that, sort of what I call my "cocaine period," and where I'm going to be five years from now.

-- Peter Eisenman

...Instead it nearly turned into a fight of the ordinary kind when Eisenman, in a pattern that I only later learned was utterly commonplace, grew so paranoid at my presence in his office that he accused me of espionage (“How would you like it if I came to your office and spied on you?”) and drove me backward—a well-practiced bully—to the elevator...

-- A magazine article quoted by an ILXor years ago

By 1987, the house was already in a frightful state. The coating of stucco that had been applied was a shambles. There were streaks of stucco over windows, as well as clumps of it on the walls. Will Calhoun's Renovations Specialists had built up a good reputation in Cornwall within a few years, and so we asked that company to remove the stucco. In the process of doing so the workers discovered rotting beneath it. It shortly became clear that House VI needed to be virtually rebuilt; much of it would have to be torn down and carefully reconstructed...

-- Suzanne Frank

Reading Dancer From the Dance, which is fantastic, but progress is slowed tracking down each song mentioned and then getting lost in the music.

otm

J.D., I read it around this time 2013 and had a similar response. Harlot's Ghost is it for me.

― So who you gonna call? The martini police (Alfred, Lord Sotosyn), Monday, December 20, 2021 10:26 PM (yesterday)

i'm determined to get to that one someday! i also own mailer's lee harvey oswald book which i feel kinda obligated to read eventually.

Don't sleep on Armies of the Night--his very own kind of New Journalism, at its peak, and more satisfying than any of his fiction that I've managed to read---maybe if he'd done his own research, incl. eyewitness reporting and interviews(rather than sifting through Larry Schiller's mounds o' data) for The Executioner's Song, it would have turned out better.
Re-reading Billy Budd in the Library of America edition, I got the impression, from his appended notes and outtakes, that he wanted us to look over the narrator's shoulder and draw our own conclusions--that we could see how trapped in their own times, own heads and lives all the characters were, the narrator too---but also I thought he might be leaving it to us to (possibly) sympathize most of all with Billy, as I suspect Melville, being Melville, probably did---but the gamble was that we might do this more if no DO YOU SEE like just about all other Victorian fiction seems to have done (I haven't read it all, but happens a lot)
Also, some authors did back off, ultimately, from anything that might too sympathetic to rebellion and killing, unless, possibly as very obvious and reductive melodrama of self-defense etc.

House of Mirth should be stocked on the horror shelves

xpost So maybe there was some uncertainty on his part in the way the story was delivered, like stammerin' Billy's fateful outburst, kicking against it all.

Yeah Chuck, and the movie's pretty scary too (starring Gillian Anderson).

Just read Harriet the Spy, didn't take to it straight away and may have stopped if i hadn't remembered a Lily Dale post that mentioned her love of this book in passing.

I'm astonished. It's not at all what I expected and though it has some thin veneer of kid lit, it's probably one of the most complex, unsettling and lifelike novels i've read. There's a ton of stuff to unpack.

I'm mainly posting this in the hope that Lily Dale might be persuaded to share any thoughts on Harriet the Spy.

My favorite book. I read it in...sixth grade.

Ole Golly was right. Sometimes you have to lie.

It seems that I will have to read HARRIET THE SPY.

Liekwise. And add House of Mirth to the re-read pile.

House of Mirth should be stocked on the horror shelves

― Chuck_Tatum, Monday, December 20, 2021 10:13 PM

otm

Louise Fitzhugh taught me how to think like a writer.

lol, I also just read Harriet and The Long Secret (also prompted by the discussions on this board.) They were great. I wonder what I would have of them as a kid. They're very non-condescending.

thanks for that recommendation table, i like that notley poem a lot (perhaps it appeals particularly because i'm not in the US?). i've read bits and pieces of her work, both the poetry and the critical writing, and oddly more of the latter. i would like to get more into the early work

good to hear of someone else reading joyelle mcsweeney. i've followed her career for a while now and her most recent book (i think), 'toxicon and arachne' is astonishing. one of the best poets working today.

Hi Deflatormouse! It was actually The Long Secret that I posted about - I like Harriet the Spy a lot, but The Long Secret was the one I read over and over as a kid. I think what appealed to me was the sense it gave of permission - permission to be angry for no reason, permission to be outraged and in pain when you got your period, instead of wishing for it like a Judy Blume heroine, permission to not like your family very much. That last one wasn't one I had personal application for - my family was/is great. But one of the absolutely essential things about Louise Fitzhugh imo is the way she consistently says, "Hey, a lot of thoughtless, self-involved people have kids and are mediocre parents to them - not abusive, but not good, either. And if you have parents like that, they're not going to get any better, and it's okay to not like them."

I prefer it too. The depiction of the gang of rich kooks descending on Water Mill, that beautiful post-clambake talk about God with her dad, the Jenkins family and their evangelism and acquisitional spirit (Fitzhugh makes the connection) -- beautiful.

lol dogs, I don't know if I posted about it here, but I think 'Toxicon & Arachne' is awful...but I'm not allowed to say that publicly because of the subject matter. oh well.

Thanks, Lily Dale. Great post! I want to read the Long Secret right away, of course, but unbelievably NYPL doesn't seem to have a single circulating copy??? I guess I'll have to buy it...

Harriet does a lot of things you wouldn't expect of a kids' book. wtf did I just read? It doesn't really have any clear point, it demands further inquiry. There's so much mirroring in it, it's practically a funhouse. Most of the characters aren't really good or bad, but the parents suck for sure and Janie Gibbs's mother is the closest thing to a Disney villainess.

Is there enough interest for a Fitzhugh thread?

Alfred, your link is broken :(

> but unbelievably NYPL doesn't seem to have a single circulating copy?

amazon uk only has the first one as an ebook, none of the others. maybe that's why.

Alfred, your link is broken :(

― The 25 Best Songs Ever Ranked In Order (Deflatormouse),

Oops! Here's the link.

Harriet's parents come off significantly better in The Long Secret.

They have 1 copy of the Long Secret as an audio e-book (currently checked out, not that i'd want it) and 2 reference copies at the Schwarzman bldg for in-library use only. Very strange.

xxp. thanks for the new link!

Typical of Louise Fitzhugh’s tact...

Yeah, good example

The only time Fitzhugh almost disappoints me in that regard is where she employs a psychiatrist (obviously where this was going) to bring the story to a swift resolution by explaining everything. But thankfully the shrink only tells us what we already knew, and mainly just reinforces the obliviousness of the parents.

I'm currently reading The Friend by Sigrid Nunez. The titular friend seems at first to be her old friend, a professor of literature and lady's man, who has recently died at his own hand. A bit later it seems the titular friend will be the first friend's Great Dane, which she feels obliged to take in after his non-dog-loving wife has exiled it to a kennel. The book builds up a good head of steam in the first several chapters, but then there is a palpable deflationary hiss as she fritters away the next several chapters with digressions. I'll have to see if the momentum can be regained.

(I am very glad that the pinefox plans to read Harriet the Spy. I might stick to my memory of it in case anything changes. I recommended it to my brother for his daughters this Christmas.)

Flet is the only Joyelle Mcsweeney I've read, besides some translations maybe. It's prose or prose-y, another "poet's sci-fi" - a lot of fun to read imo, especially as a antidote to mundane dystopias. Some great sentences and imagery (my low bar for enjoyment I guess). Haven't read Toxicon and Arachne but I know how fraught subject matter can swallow a conversation... Reading Harmony Holiday's Negro League Baseball slowly. So far I am connecting with it less than some of the more recent books of hers I've read - - but enjoying the looseness -- it's a nice horizontal book with sprawling lines.

revisiting some of the books i've enjoyed this year:

deep wheel orcadia

i was surprised how well this worked. the spareness of the orkney – orkney 'supplemented by a large reserve of Scots' – seems entirely appropriate to people working at a subsistence level on the edge of void. in this space *everything* is on the edge of things, Orcadian, so to speak. the poetic lines connect only the essential elements together – people, their labour, love – so that those things feel connected to each other with no intervening matter (appropriately enough in space), and to the 'haaf' (deep space) around them. in other words people *become* their labour, in the way that subsistence labour is your life. here Olaf and Astrid out sailing/farming for Light (their income):

Thay work the park the station wis biggie
tae wirk, hint the fuel at fuels,
the oyl at owls

a interstellar system o industry,
traed, galactic expansion: Light.
Inga an Olaf is aye a kord
wi voltage differes, atmospheric
dabble, mairjins

...they work the work that the station was built to do, gathergleansnatching the fuel that fuels, the oil that oils
an interstellar system of industry, trade, galactic expansion: Light.
Inga and Olaf are always a chord with voltage differentials, atmospheric ripplesagitationconfusionchoppiness, margins.

v occasionally orkney parallels, english/scots (deep wheel orcadia/mars) and gender/youth/age politics/and the experience of youth returning home, are clumsily mapped, but for the most part the elements combine v effectively. and around and into their lenten space, the pressure of the past/future/other world is pushing in through their computer screens and machinery, and the whole is broken up into songs of the individuals and events taking place in the community.

Sheu snacks the monitors wan by wan,
fer the plant tae idle the sleepan oors.

Sheu lillilus tae her machines
her aald face in ivry gless

- but no, yin's no her face. Sheu blenks.
A karl sportan some kinno helmet

(but maed of some kinno metal? an glessless?)
is skirlan - but silent. He chairges the screen.

A flist o Light. Sheu shuts her een
but feels the sair lowe trou her lids.

But eftir a spell sheu peeks an than
thir notheen thir. Nae willan Light,

nae flegsome man. Sheu skites ootbye
an slams the doar, an waits ahint hid,

an sings a peedie bit looder, looder
as the hivy clankan an crashan inbye

at isno the weel-kent tick o the plant
mairkan hids time, but soonds instead -

no - ya - no - but -
like steel brakkan steel, a draem o a sword

She turns off the monitors one by one, for the plant to idle the sleeping hours.
She lullabies to her machines, her old face in each grey mirrorglass
- but no, that's not her face. She blinks. An older man wearing a kind of helmet
(but made of a kind of metal? and without glass?( is shrieksqualling - but silent. He charges the screen.
A rushrageboastbang of Light. She shuts her eyes but feels the harshdireoppressive flameglowflickerflare through her lids.

But after a short while she looks and then there's nothing there.
No wildwandering Light,
no terrifying man. She slidebouncesshoots outside and slams the door, and waits behind it,
and sings a little louder, louder than the heavy clanking and crashing inside
that is not the familiar tick of the plant marking time, but sounds instead -
no-yes-no-but-like steel breaking steel, a dream of a sword.

'like steel brakkan steel, a draem o a sword' shows how the lyrical is reached out of the spare functions of the space station 'tirlan in the haaf' (turntwistwhirlspinning in deep space) and the language.

The relationship between Astrid - a returning student - and Darling - a high born on the run from her family on Mars, is intimate and touching:

Than eftir, whan the cruisies brighten tae morneen,
wi Darling yet sleepan, Astrid busks an leuks
fae porthole tae bunk, fae the tide tae Darling's hair,
an speirs o the gods, at dinno exist, if
thir both fund whit thay waant, or need, or no,
or if thir maed hid, or if hid ivver matters.

Then later, when the lamps brighten to morning, with Darling still asleep, Astrid dressprepares and looks from porthole to bedbunk, from the seatimetide to Darling's hair, and asks of the gods, who do not exist, if they have both found what they want, or need, or not, or if they have created it, or if it even matters.

it does quite a lot well and is full of lovely moments - the archaeologist – english speaking, on the outside – being invited, unexpectedly, shyly, by the barman, to a festive dance at his bar:

Thir quiet a piece. He poors, sheu drinks, thay smile.
An a thowt comes tae Eynar at warms him, o somtheen
he coud share wi this bonnie aakward body.

"If thoo waants tae ken fock better, come
tae the Dance Firstday next. Hid's wiss at wird best."
Noor coudno, sheu didno, sheu wadno waant tae impose,
disno think sheu'd be walcome, canno dance,

but Eynar's insistan wi more an more blide wirds
as ony gien the night. Forbye, Noor waants
tae gang, an dance. Whan sheu's finished her drink,
he asks, "A'll see thee thir?" an Noor says, "Yaas."

They are quiet for a placedistancepartwhile. He pours, she drinks, they snile. And a thought comes to Eynar that warms him, of something he could sahre with this finepretty awkward personbody.
"If you want to know us folk better, come to the Dance next Firstday. It's us at our best." Noor couldn't, she didn't, she wouldn't want to impose, doesn't think she'd be welcome, can't dance,

but Eynar's inissting with ore and more happyfondpleased words than any he's offered all night. Besides, Noor wants to go, and dance. When she's finished her drink, he asks, "I'll se you there?" and Noor says "Yes."

but it all takes place at the sharp end of an impoverished place, at the edge of a mystery, and with no future

So mibbe this bairn'll waant tae brak

the next speed barrier, or the next?
In this peedie bunk, draeman
o cities, draeman o meanan more.
Or draeman a love fer a dwynan piece?
Whit wan o this futurs is bruckit most?

So maybe this child will want to break

the next speed barrier, or the next? In this little bedbunk, dreaming of cities, dreaming of meaning more? Or dreaming a love for a pinefadewithinering placedistancepartwhile? And which of these futures is the most brokenrubbishruined?

and in fact at the sharp edge of commerce, the question they all live their lives with, which the songs in DSO exist to question:

fer then this twa taal men
dinno hiv tae blether
aboot the peedie chairs

or age, or wirk, or Light,
or whit lot o credits
this haep o dirt is wirth.

because then these two t all men don't have to talkchatramble about the little chairs
or age, or work, or Light, or how manymuch credits this heap of mudshitrubbish is worth.

so yes, by no means perfect, but a striking, affecting, rich book with plenty to explore and bits, lines, thoughts, images that resonate.

currently dipping into The Atlas of Anomalous AI ed. Ben Vickers and K Allado-McDowell. It's an attempt to bring Aby Warburg's 'mapping' of cultural images and memory to the field of AI, to help it escape the 'westernised Hollywood futures that dominate popular discussions of AI'

that attempt is i think necessary and useful, but *goddam*, 'cultural' writers or critics like this need to be a lot more careful about the language they use and how it connects to the practicalities of AI. No Aby Warburg did not create a way of working that 'could be called digital' – it's not at all digital. if you're imprecise about this sort of thing, you're not doing the hard work about where there are connections.

there are reasons to think about colonialism wrt to AI, but these writers often take a lazy route to it (similar to Tom McCarthy in that recent LRB essay we complained about), and they need to distinguish carefully between the mechanics of capitalism and colonialism.

eg to call 'the black box of AI' (an enclosure, apparently) 'a hyperdimensional space' requires some... definition i think? 1) AI can often be hidden, but that doesn't mean it's a black box - in fact transparency around data updates and use case failures is an important part of the practical usage of AI. Not all providers do this, but it's definitely a practical thing that can be done, which belies the black box definition here. hyperdimensional space - well it's true that much of the data will have considerable amounts of metadata, which possibly make it something described as hyperdimensional. and indeed the 'curse of dimensionality' creating sparse local data everywhere is a well-known problem in AI/ML. here it's deployed as a sort of fuzzy high-concept word that links AI to *shamanism*.

However, as an encyclopedia of images and relevant or peripherally relevant thinking, it does serve a useful function. and it's worth entertaining the hokum, which may be just a shortcut to some interesting approaches to thinking about AI. eg medieval maps of the humanistic space wider than ours is today, that is to say of a scholastic humanism that required the supernatural as the competion of the natural world and will map angels and daemons onto a cosmos with terra and subterranean tenebrae activae, may help us think how we get outside a contemporary technocratic humanism that places us at the centre of things and allows new spaces to be mapped in new ways.

i should add there are good artists like james bridle mapping this space it’s just you have to tread with some care.

Zak M. and dogs, I think that McSweeney is at her best in the critical mode— her book, The Necropastoral, is really astonishingly cogent and well-thought through literary criticism. I have never found much in her poetry— it is, at its heart, "workshopcore," seemingly crafted for the exact environment that McSweeney was educated within and teaches within. It is not very interesting, to my mind, but I know that's a minority opinion.

Re: Toxicon, it functions similarly to Prageeta Sharma's book about the sudden death of her husband, in my mind— both are important books, but I don't find either of them interesting-qua-poetry or convincing as books about loss, but that is probably more a function of the ultimately subjective experience of immense grief than anything else, so I don't say much about either.

I've been trying for months to read the fairly recent Kipling biography If, by Christopher Benfey, and I think I'm just going to have to give up. It started out ok, with the young Kipling, just arrived in America, tracking down Mark Twain's house and managing to talk his way in. But now I'm at the bit where the author talks about Kipling's friendship with Wolcott Balestier, and it's written in this awful suggestive wink-wink-nudge-nudge way that never actually says Wolcott was gay or argues in so many words that Kipling was involved with him romantically, but instead says stuff like this:

Pale as fine porcelain and impossibly slender, Balestier resembled nothing so much as a graceful Meissen figurine, illuminated by candlelight.

If there had been an understanding between Kipling and Carrie...the couple had kept it a secret even from their closest friends. Was there a long-simmering romance, hidden to all? Or had Wolcott Balestier, dying in Dresden, exacted a deathbed promise from his sister to marry his best friend?

(For the record, I've got no objection to the idea of Kipling being gay or bi, though I think the most compelling evidence for his having romantic (not necessarily sexual) feelings toward men is in his writing rather than his biography, and I don't think there's sufficient evidence to say for sure what those feelings added up to. But I dislike the contortions writers go through to hide a lack of evidence for their assertions, and I really dislike it when those contortions feel like the writer elbowing me in the ribs.)

I also dislike that particular contortional style of certain biographers, Lily Dale. I've even found myself reading fewer biographies as a result!

Those two quotes would make me want to throw the book across the room, shouting imprecations.

Currently reading the new Gary Shteyngart (fun), and the Brothers Karamozov for the first time. Other than that, here's what I read this year, a lot of escapism but definitely some good & enjoyable stuff in there:

Arkady Martine - A Memory Called Empire
Hari Kunzru - Red Pill
Lorrie Moore - Birds of America
Wells Tower - Everything Ravaged, Everything Burned
Barrett Edward Swanson - Lost in Summerland (Essays)
Lorrie Moore - Bark
Patricia Lockwood - Nobody Is Talking About This
Natalie Zina Walschots - Hench
John le Carre - Little Drummer Girl
Rachel Cusk - Second Place
Meghan O’Gieblyn - God, Human, Animal, Machine: Technology, Metaphor, and the Search for Meaning
Patricia Lockwood - Priestdaddy
Robin Kelley - Thelonious Monk: The Life & Times of an American Original*
Lauren Groff - Matrix
Ursula K. Le Guin - A Wizard of Earthsea
Jonathan Franzen - Crossroads
Claire Vaye Watkins - I Love You But I’ve Chosen Darkness
Ayad Akhtar - American Dervish

Do we have a thread for 2021's reading lists yet? I still need to transfer from my planner to a document on the computer. I know it's longer than it's ever been, I think.

Do we have a thread for 2021's reading lists yet?

We do now. What did you read in 2021?

Thank you, Aimless!