My 2012 self-published short story I Drank the Toxic Cocktail is now over 1,000 Smashwords downloads! It's gone... some sort of metal, I presume. Keep in mind these are Smashwords downloads alone, and do not represent downloads on Barnes & Noble, iTunes, Chapters, any other fine site, or shared files.
It's now reasonably popular! Get your downloaded copy before the infinite supply expires!
Wednesday, October 15, 2014
Sunday, September 28, 2014
September's Book: Songs of Love & Death
Songs of Love & Death ed. by George R.R. Martin and Gardner Dozois
Science Fiction / Fantasy (2010 - 468 pp.)
Songs of Love & Death is, as advertised in the book's dust jacket, a "star-studded cross-genre anthology" replete with "brand-new tales of ill-fated love". While some of the stories end more happily than this, the theme holds generally, as even the more fortunate characters endure hardships that thrust their relationships into jeopardy. There are seventeen stories in total, ranging from 15-39 pages, each by a different prolific science fiction or fantasy author. That George R.R. Martin is one of the two editors is what grabbed my attention at first. I had not read any of the authors here before.
As with any anthology, Songs of Love & Death is up and down. There were times when I couldn't stop reading it and times when I had to force myself to keep going. The former made up for the latter. The opportunity to sample so many authors is one of the biggest draws of a book like this, so I could see reading 15-39 pages of a bad story being worth not having to read 300 pages of something I wouldn't like later. I read the book over the course of twenty-four days (September 3-26), reading a maximum of one story each day, so it was a far more methodical read than my usual mad dashes near the end of the month. (This is especially apparent in my reading of Maus, which began on July 31 despite being July's book, and in numerous 2012 Book a Week entries.)
Some of the stories kept me in suspense the whole time - I've shown them in my "Highlights" section below. "Rooftops" is as swashbuckling as an urban low fantasy story can be, although the end is frustrating. "Hurt Me" is the most chilling story in the whole book, giving the reader a feeling of something wrong yet mysterious lurking throughout the plot. "The Thing About Cassandra" is likely the best written and also has some interesting plot twists, although the end is a little confusing. "His Wolf" plays with the editorial edict of writing a story about lost love in the most playful way found in the entire book. "Kaskia" combines an '80s nostalgia sort of cyberpunk with a decidedly modern narration style that places it firmly in the (almost) present day. "The Man in the Mirror" takes the sort of setting "Hurt Me" has but replaces the horror with something closer to warmth but not quite there. "A Leaf on the Wind of All Hallows", the final and longest entry, is a WWII fiction story with just enough of the supernatural to break it away from pure historical fiction, which is an interesting reprieve from the aliens and sorcery throughout many of the others.
Not all of the stories connected with my admittedly at least somewhat fantasy nerdy self. Some of the stories ("Demon Lover", "The Wayfarer's Advice", "Blue Boots", "You, and You Alone") are essentially teen fiction, which immediately limits my attachment to them. The semi-frequent loss of female virginity theme ("The Marrying Maid" and "Blue Boots" come to mind first) drives home this dissonance between my experience and that of a possible different reader, given my understandable lack of experience in this realm. "Love Hurts", the book's initial tale, occurs in a pre-existing universe I had never explored before (Jim Butcher's Harry Dresden series), so although I enjoyed the plot, I had a more difficult time appreciating the titular character than a reader who is already a Jim Butcher fan would have. "Courting Trouble" and "The Demon Dancer" fit very traditionally into their genres (science fiction and urban fantasy respectively), making them fun getaways from my usual reading but not the highlights they would likely be to devotees of those genres.
A minor qualm that comes up in a few stories is the use of slang while in third-person omniscient. As effective as it in dialogue to show many characters' informal speaking styles, in the third person it breaks from the atmosphere of having everything be descriptive and value-neutral. It is also a little jarring to see modern-day turns of phrase in historical settings, even when said by characters who speak casually. The juxtaposition of historical setting and modern diction is difficult to deal with effectively, though, as the alternative is often anachronistic over-correction.
Something particularly stunning about my apparent lack of science fiction and fantasy knowledge is that every one of these authors has written dozens of books (over a hundred, in the case of a couple), yet I had only heard of a few of the authors and only a few of the awards they've won. Whether I look further into many of these authors probably hinges on whether I happen to run into their books at a bookstore and find them interesting, which is of absolutely no help for anyone seeking recommendations, I realize.
Oddly, two of the best stories, "M.L.N. Hanover's "Hurt Me" and Yasmine Galenorn's "Man in the Mirror", involve similar concepts. In each, a deceased man haunts a woman under similar circumstances. Frustratingly, many of the best stories were the shorter ones. For a particularly annoying example, Neil Gaiman's "The Thing About Cassandra" is only 15 pages long. Similarly, "Hurt Me" is only 19 pages. As someone who generally veers toward short rather than long, in everything from writing essays to listening to albums, I suppose it makes sense I'd prefer the shorter stories. Diana Gabaldon's "A Leaf on the Wind of All Hallows", the longest at 39 pages yet also at the upper end of a strong second tier of this book's stories, is a notable exception to this very loose rule.
Highlights:
"Rooftops" by Carrie Vaughn
"Hurt Me" by M.L.N. Hanover
"The Thing About Cassandra" by Neil Gaiman*
As with any anthology, Songs of Love & Death is up and down. There were times when I couldn't stop reading it and times when I had to force myself to keep going. The former made up for the latter. The opportunity to sample so many authors is one of the biggest draws of a book like this, so I could see reading 15-39 pages of a bad story being worth not having to read 300 pages of something I wouldn't like later. I read the book over the course of twenty-four days (September 3-26), reading a maximum of one story each day, so it was a far more methodical read than my usual mad dashes near the end of the month. (This is especially apparent in my reading of Maus, which began on July 31 despite being July's book, and in numerous 2012 Book a Week entries.)
Some of the stories kept me in suspense the whole time - I've shown them in my "Highlights" section below. "Rooftops" is as swashbuckling as an urban low fantasy story can be, although the end is frustrating. "Hurt Me" is the most chilling story in the whole book, giving the reader a feeling of something wrong yet mysterious lurking throughout the plot. "The Thing About Cassandra" is likely the best written and also has some interesting plot twists, although the end is a little confusing. "His Wolf" plays with the editorial edict of writing a story about lost love in the most playful way found in the entire book. "Kaskia" combines an '80s nostalgia sort of cyberpunk with a decidedly modern narration style that places it firmly in the (almost) present day. "The Man in the Mirror" takes the sort of setting "Hurt Me" has but replaces the horror with something closer to warmth but not quite there. "A Leaf on the Wind of All Hallows", the final and longest entry, is a WWII fiction story with just enough of the supernatural to break it away from pure historical fiction, which is an interesting reprieve from the aliens and sorcery throughout many of the others.
Not all of the stories connected with my admittedly at least somewhat fantasy nerdy self. Some of the stories ("Demon Lover", "The Wayfarer's Advice", "Blue Boots", "You, and You Alone") are essentially teen fiction, which immediately limits my attachment to them. The semi-frequent loss of female virginity theme ("The Marrying Maid" and "Blue Boots" come to mind first) drives home this dissonance between my experience and that of a possible different reader, given my understandable lack of experience in this realm. "Love Hurts", the book's initial tale, occurs in a pre-existing universe I had never explored before (Jim Butcher's Harry Dresden series), so although I enjoyed the plot, I had a more difficult time appreciating the titular character than a reader who is already a Jim Butcher fan would have. "Courting Trouble" and "The Demon Dancer" fit very traditionally into their genres (science fiction and urban fantasy respectively), making them fun getaways from my usual reading but not the highlights they would likely be to devotees of those genres.
A minor qualm that comes up in a few stories is the use of slang while in third-person omniscient. As effective as it in dialogue to show many characters' informal speaking styles, in the third person it breaks from the atmosphere of having everything be descriptive and value-neutral. It is also a little jarring to see modern-day turns of phrase in historical settings, even when said by characters who speak casually. The juxtaposition of historical setting and modern diction is difficult to deal with effectively, though, as the alternative is often anachronistic over-correction.
Something particularly stunning about my apparent lack of science fiction and fantasy knowledge is that every one of these authors has written dozens of books (over a hundred, in the case of a couple), yet I had only heard of a few of the authors and only a few of the awards they've won. Whether I look further into many of these authors probably hinges on whether I happen to run into their books at a bookstore and find them interesting, which is of absolutely no help for anyone seeking recommendations, I realize.
Oddly, two of the best stories, "M.L.N. Hanover's "Hurt Me" and Yasmine Galenorn's "Man in the Mirror", involve similar concepts. In each, a deceased man haunts a woman under similar circumstances. Frustratingly, many of the best stories were the shorter ones. For a particularly annoying example, Neil Gaiman's "The Thing About Cassandra" is only 15 pages long. Similarly, "Hurt Me" is only 19 pages. As someone who generally veers toward short rather than long, in everything from writing essays to listening to albums, I suppose it makes sense I'd prefer the shorter stories. Diana Gabaldon's "A Leaf on the Wind of All Hallows", the longest at 39 pages yet also at the upper end of a strong second tier of this book's stories, is a notable exception to this very loose rule.
Highlights:
"Rooftops" by Carrie Vaughn
"Hurt Me" by M.L.N. Hanover
"The Thing About Cassandra" by Neil Gaiman*
"Kaskia" by Peter S. Beagle
"Man in the Mirror" by Yasmine Galenorn (unsure if Michael Jackson reference is intentional)
A full list of the stories is here.
*I recently bought Neil Gaiman's Coraline. Considering I've been recommended Gaiman's work on numerous occasions and Coraline is my favourite movie of 2009, I anticipate only good results. Stay tuned for this one in a future installment, Gaiman fans.
"Man in the Mirror" by Yasmine Galenorn (unsure if Michael Jackson reference is intentional)
A full list of the stories is here.
*I recently bought Neil Gaiman's Coraline. Considering I've been recommended Gaiman's work on numerous occasions and Coraline is my favourite movie of 2009, I anticipate only good results. Stay tuned for this one in a future installment, Gaiman fans.
Ease of Reading: 9
Educational Content: 1
Monday, September 1, 2014
A Heartwarming Answer on Quora
It's true. I post on Quora.
Today, I stumbled across this great answer to the question "Have you ever fallen in love with your best friend?" (paraphrased)
It brought me a smile as I thought of my life and how thankful I am for all the wonderful people I have in it. Hopefully it does for yours too.
Today, I stumbled across this great answer to the question "Have you ever fallen in love with your best friend?" (paraphrased)
It brought me a smile as I thought of my life and how thankful I am for all the wonderful people I have in it. Hopefully it does for yours too.
Sunday, August 31, 2014
August's Book: The Count of Monte Cristo
The Count of Monte Cristo by Alexandre Dumas
Literature (1844 - 460 pp.)
This entry will not be particularly academic, as a mountain of academic material has already been written on The Count of Monte Cristo. There is not much more I can reasonably add on a blog. Additionally, I will only hint at a few parts of the book, as The Count of Monte Cristo is so plot-driven it is difficult to comment on much without accidentally giving spoilers. While it may seem like the story is so well-known there is no harm in spoiling it, some people have not read even the most obvious literary choices.
The Count of Monte Cristo combines early modern French romance with travelogue to create a swashbuckling adventure story. Our hero, Edmond Dantes, is a successful young merchant sailor who is wronged by his peers for various reasons and then whirled through a twisting, exciting adventure. This adventure is primarily located in Marseilles and Paris, but detours to Rome and (offstage) to Greece. Dumas's consistent references to Hamlet and to Greco-Roman mythology underscores the educated nature of most of the characters, who are mostly noble either by birth or by acquisition of a title.
Two of the defining aspects of The Count of Monte Cristo are the melodrama and the humour. Characters regularly go on lengthy rants in flowery language, often about threatening to commit suicide whenever something goes wrong. More surprising is that sometimes the third-person omniscient narrator is similarly flowery. A well-written example is when considering a character's choice of future husband: "What devotion does she deserve from him for whom she has sacrificed everything! How ought she really to be supremely loved! She becomes at once a queen and a wife, and it becomes impossible to thank her sufficiently." (300) However over the top a passage like this is, it makes me smile. Similarly, Dumas is fond of cracking jokes within the narration. Possibly the funniest example is in explaining the difficulty for an ignoble man to appear noble among strangers: "Many, also, who were not aware of the circumstances attending his withdrawal from Paris, were struck with the worthy appearance, the gentlemanly bearing, and the knowledge of the world displayed by the old patrician, who certainly played the nobleman very well, as long as he said nothing, and made no arithmetical calculations." (430) The mental image of incompetence here is enough to make the reader feel like one of Dumas's elites.
Dumas demonstrates no interest in showing what characters like Danglars, a banker, or Villefort, a lawyer, actually do for a living. Danglars delivers exhortations on the importance of money above all else while speculating wildly; Villefort froths at the mouth while discussing a very one-sided view of justice. Everything is moulded to Dumas's principal interest of crafting a riveting adventure. Other details, like how someone fresh out of a long-term prison sentence can retain social skills, are equally fantastical. The one time The Count of Monte Cristo is not quite so riveting is when characters, most notably Albert de Morcerf and Franz d'Epinay, appear seemingly out of nowhere in order to be more mysterious, which may come off as confusing rather than intriguing. Even so, all the characters' valuable secrets are generally revealed a few dozen pages later. The book's winding plot is eventually explained in full, with no lingering question at the end.
Interesting fact: The Count of Monte Cristo is approximately 464,000 words, yet the edition I read is only 460 pages. That is a little over 1,000 words per page. Anyone reading the same edition may find that each page takes about twice as long to read as that of a different book. There is a good reason why.
Thanks to a friend for recommending this one. As it was serialized from 1844-1845 in its original incarnation, it proved quite voluminous for a series of blog entries called Book a Month. Just about anything can be read in a short period of time, though... I suppose.
Ease of Reading: 8
Educational Content: 3
Literature (1844 - 460 pp.)
This entry will not be particularly academic, as a mountain of academic material has already been written on The Count of Monte Cristo. There is not much more I can reasonably add on a blog. Additionally, I will only hint at a few parts of the book, as The Count of Monte Cristo is so plot-driven it is difficult to comment on much without accidentally giving spoilers. While it may seem like the story is so well-known there is no harm in spoiling it, some people have not read even the most obvious literary choices.
The Count of Monte Cristo combines early modern French romance with travelogue to create a swashbuckling adventure story. Our hero, Edmond Dantes, is a successful young merchant sailor who is wronged by his peers for various reasons and then whirled through a twisting, exciting adventure. This adventure is primarily located in Marseilles and Paris, but detours to Rome and (offstage) to Greece. Dumas's consistent references to Hamlet and to Greco-Roman mythology underscores the educated nature of most of the characters, who are mostly noble either by birth or by acquisition of a title.
Two of the defining aspects of The Count of Monte Cristo are the melodrama and the humour. Characters regularly go on lengthy rants in flowery language, often about threatening to commit suicide whenever something goes wrong. More surprising is that sometimes the third-person omniscient narrator is similarly flowery. A well-written example is when considering a character's choice of future husband: "What devotion does she deserve from him for whom she has sacrificed everything! How ought she really to be supremely loved! She becomes at once a queen and a wife, and it becomes impossible to thank her sufficiently." (300) However over the top a passage like this is, it makes me smile. Similarly, Dumas is fond of cracking jokes within the narration. Possibly the funniest example is in explaining the difficulty for an ignoble man to appear noble among strangers: "Many, also, who were not aware of the circumstances attending his withdrawal from Paris, were struck with the worthy appearance, the gentlemanly bearing, and the knowledge of the world displayed by the old patrician, who certainly played the nobleman very well, as long as he said nothing, and made no arithmetical calculations." (430) The mental image of incompetence here is enough to make the reader feel like one of Dumas's elites.
Dumas demonstrates no interest in showing what characters like Danglars, a banker, or Villefort, a lawyer, actually do for a living. Danglars delivers exhortations on the importance of money above all else while speculating wildly; Villefort froths at the mouth while discussing a very one-sided view of justice. Everything is moulded to Dumas's principal interest of crafting a riveting adventure. Other details, like how someone fresh out of a long-term prison sentence can retain social skills, are equally fantastical. The one time The Count of Monte Cristo is not quite so riveting is when characters, most notably Albert de Morcerf and Franz d'Epinay, appear seemingly out of nowhere in order to be more mysterious, which may come off as confusing rather than intriguing. Even so, all the characters' valuable secrets are generally revealed a few dozen pages later. The book's winding plot is eventually explained in full, with no lingering question at the end.
Interesting fact: The Count of Monte Cristo is approximately 464,000 words, yet the edition I read is only 460 pages. That is a little over 1,000 words per page. Anyone reading the same edition may find that each page takes about twice as long to read as that of a different book. There is a good reason why.
Thanks to a friend for recommending this one. As it was serialized from 1844-1845 in its original incarnation, it proved quite voluminous for a series of blog entries called Book a Month. Just about anything can be read in a short period of time, though... I suppose.
Ease of Reading: 8
Educational Content: 3
Sunday, August 3, 2014
July's Book: Maus
Maus by Art Spiegelman
Graphic Novel (1991 - 159+136 pp.)
Maus, a graphic novel in two parts, is renowned comic book artist Art Spiegelman's transcription of two years of conversations he had with his now deceased father Vladek, a Polish Jewish Holocaust survivor. The book(s) alternate between life in Europe from about 1930-1945 and life in Queens, New York in the late 1970s. Different national and ethnic groups are shown as different animals, most notably Jews as mice, Germans as cats, and Poles as pigs. Art, whom I call "Spiegelman" through this entry, shows anguish throughout the book(s) as to how he will represent Holocaust-related events, his relationship with his father, and how to show his father's less desirable traits without conjuring up visions of negative stereotypes of Jews.
I won't get into any political or historical commentary here, as I try to approach my sources as neutrally as possible. Sure, I could get upset that Spiegelman portrays my mother's ancestry as a bunch of pigs, but that wouldn't be much different from a segment of Iran that was offended by 300. I'd rather accept someone's perspective and appreciate a work for what it is than worry about taking offence to things.
The storytelling is quite good. The reader gets an idea as to how Vladek lived, who his family was, what their priorities were, and how World War II changed everything forever. Although I do not know graphic novels that well, I enjoyed the animation thoroughly. Spiegelman invested a considerable amount of work into the panels, which came out in serialized form in his Raw magazine for eleven years (1980-1991). The direct quotations from the family members in their dialects, the emotion the characters demonstrate, and the lack of large blocks of text make Maus a fun, accessible work.
The most interesting part to me is Art and Vladek's relationship. The mention of children being forced to finish food on their plates before eating anything else (I: 43) is something I've encountered in some of my experiences with Continental European culture more generally. Vladek's extreme financial conservatism is evident in statements like, from his second wife Mala, "He has hundreds of thousands of dollars in the bank, and he lives like a pauper!" (I: 132) Mala often comes off as overly desirous of Vladek's money, though, especially from Vladek himself, so the reader is left to wonder whether anyone is right or wrong in the frequent arguments about money in the Spiegelman household. A particularly hilarious/worrisome episode comes when Vladek, unable to eat old cereal, attempts to return it despite the box being opened (II: 78).
Spiegelman's struggles with the book go to an existential level. He grapples with attempts to commercialize Maus, something he opposes virulently, (II: 42) and with an inability to draw tin shop equipment he has never seen (II: 46). Then there is the guilt of worrying about things like how to properly depict an electric drill press when so much of the book concerns death and lost love.
Ironically, Maus is very human. It's not educational in terms of politics or history, as I disclaimed above, but it's great for learning about how peoples' experiences shape their lives. It makes me wish I could interview my grandfather, whose story from the same time and place would have been fascinating to tell...
Ease of Reading: 8
Educational Content: 6
P.S. I have a bit of a history of publishing these blog entries on my birthday. It's more fun than a lot of the other things I could be doing, I suppose.
Graphic Novel (1991 - 159+136 pp.)
Maus, a graphic novel in two parts, is renowned comic book artist Art Spiegelman's transcription of two years of conversations he had with his now deceased father Vladek, a Polish Jewish Holocaust survivor. The book(s) alternate between life in Europe from about 1930-1945 and life in Queens, New York in the late 1970s. Different national and ethnic groups are shown as different animals, most notably Jews as mice, Germans as cats, and Poles as pigs. Art, whom I call "Spiegelman" through this entry, shows anguish throughout the book(s) as to how he will represent Holocaust-related events, his relationship with his father, and how to show his father's less desirable traits without conjuring up visions of negative stereotypes of Jews.
I won't get into any political or historical commentary here, as I try to approach my sources as neutrally as possible. Sure, I could get upset that Spiegelman portrays my mother's ancestry as a bunch of pigs, but that wouldn't be much different from a segment of Iran that was offended by 300. I'd rather accept someone's perspective and appreciate a work for what it is than worry about taking offence to things.
The storytelling is quite good. The reader gets an idea as to how Vladek lived, who his family was, what their priorities were, and how World War II changed everything forever. Although I do not know graphic novels that well, I enjoyed the animation thoroughly. Spiegelman invested a considerable amount of work into the panels, which came out in serialized form in his Raw magazine for eleven years (1980-1991). The direct quotations from the family members in their dialects, the emotion the characters demonstrate, and the lack of large blocks of text make Maus a fun, accessible work.
The most interesting part to me is Art and Vladek's relationship. The mention of children being forced to finish food on their plates before eating anything else (I: 43) is something I've encountered in some of my experiences with Continental European culture more generally. Vladek's extreme financial conservatism is evident in statements like, from his second wife Mala, "He has hundreds of thousands of dollars in the bank, and he lives like a pauper!" (I: 132) Mala often comes off as overly desirous of Vladek's money, though, especially from Vladek himself, so the reader is left to wonder whether anyone is right or wrong in the frequent arguments about money in the Spiegelman household. A particularly hilarious/worrisome episode comes when Vladek, unable to eat old cereal, attempts to return it despite the box being opened (II: 78).
Spiegelman's struggles with the book go to an existential level. He grapples with attempts to commercialize Maus, something he opposes virulently, (II: 42) and with an inability to draw tin shop equipment he has never seen (II: 46). Then there is the guilt of worrying about things like how to properly depict an electric drill press when so much of the book concerns death and lost love.
Ironically, Maus is very human. It's not educational in terms of politics or history, as I disclaimed above, but it's great for learning about how peoples' experiences shape their lives. It makes me wish I could interview my grandfather, whose story from the same time and place would have been fascinating to tell...
Ease of Reading: 8
Educational Content: 6
P.S. I have a bit of a history of publishing these blog entries on my birthday. It's more fun than a lot of the other things I could be doing, I suppose.
Thursday, July 3, 2014
June's Book: The Game
The Game: Penetrating the Secret Society of Pickup Artists by Neil Strauss
Journalism (2005 - 452 pp.)
The Game is journalist Neil Strauss's foray into the world of pickup artists (PUAs), which he does in true investigative fashion - by becoming one of them for two years. The adventures Strauss and other PUAs get into are some of the most entertaining things I've ever read, and I speak as someone who's read Strauss before. I've also taken more notes on this book than any other. Rather than being like, say, a history book with a thesis and a narrative that builds toward that thesis, The Game often feels like an unending barrage of crazy quotations. For a full list of my favourite quotations from the book, click here.
Some brief background: A PUA is someone who approaches strangers with the intention of closing (in Mystery's terms, number-close, kiss-close, and I'm sure you can imagine a few others). PUA training is typically given in seminar form by a guru to AFCs (average frustrated chumps) who want to become better socially, have more girlfriends, and so on. There are also lots of acronyms involved, as you may have already guessed. A glossary of them, and other terms, appears on page 439. The art of pickup started in 1970 with Eric Weber's book How to Pick Up Girls before taking off in the '80s and '90s with the teachings of Ross Jeffries. Since then, mPUAs (master pickup artists) like Mystery, Style (Strauss's pseudonym) and David DeAngelo have emerged. The community typically consists of online message boards and local hangout spots called lairs in various cities. The timeline in The Game is the early 2000s, as the reader is reminded through references to then-popular Kazaa (190) and Party Poker (192). The only development since that I'm aware of is the mainstreaming of pickup through reality shows.
The book starts with Strauss, an AFC at the time, agreeing to write a story on PUAs when goaded to do so by a friend. This segues nicely into Strauss's first time meeting Mystery, at one of Mystery's seminars. That first seminar contains some of Mystery's statements of philosophy, such as "A pickup artist must be the exception to the rule. You must not do what everyone else does. Ever", (18) and "Think of tonight as a video game. It's not real. Every time you do an approach, you are playing this game." (19) Being special in some way, or "demonstrating value" as Mystery puts it, comes off as a codification of a basic social principle. The second quotation sums up the book in some ways. Pickup is in large part about treating each rejection as a chance to respawn.
Strauss's first reaction to Mystery is that "This was a guy who thought about seduction nonstop, like a mad scientist working on a formula to turn peanuts into gasoline." (22) Strauss's humour shines through frequently in quotations like these. In expressing disbelief at his first time seeing PUAs in the field (in this case, Mystery and a wingman entitled Sin), Strauss notes that:
To Mystery and Sin, these clubs didn't seem to be reality. They had no problem whispering in students' ears while they were talking to women, dropping pickup terminology in front of strangers, and even interrupting a student during a set and explaining, in front of his group, what he was doing wrong. They were so confident and their talk was so full of incomprehensible jargon that the women rarely even raised an eyebrow, let alone suspected they were being used to train wanna-be ladies' men. (27)
Mystery's lack of trepidation about being seen as a PUA is evident from the above. Strauss's comparative lack of confidence at the start of the book is shown in "Sexual Frustration", a poem he wrote as a teen. (30-31) A more prosaic depiction of Strauss's pre-PUA existence is that "Somewhere, in another life, I used to wake up in the morning, sit at a desk before even eating or showering, and stew in my own filth as I sat typing on a computer and not getting laid." (227) Gaining confidence is a crucial first step to becoming a PUA. For those wondering, a set is a number of people being approached. For example, a group of three people is a three-set.
Not even the most hallowed PUAs have always had such confidence. Ross Jeffries is described as being "beaten down". (124) A quotation from Jeffries about rival and former student David DeAngelo highlights the combination of competitiveness and insecurity capable of existing within the seduction community: "The guy is so fucking good-looking and well-connected in the nightclub scene it just astounds me that people think he could ever understand their situation and the difficulties they encounter in dealing with women." (125) This can be coupled with a feeling of being denied something, as in the following conversation between Mystery and Strauss: "'I'm the world's greatest pickup artist,' [Mystery] grumbled in my direction. 'How come I don't have a girlfriend?' [Strauss:]'Well, maybe because you're the world's greatest pickup artist.'" (182) The frankness of the situation, that Mystery has such a difficult time maintaining a relationship throughout the book despite at times seeming to want one, speaks to the surprisingly isolated and wanting life of the PUA. In a particularly crass demonstration of desiring women from afar, Extramask, a student of Mystery's, remarks that he plans to "pound out the biggest batch thinking about that girl who just kissed you" to Strauss early in the book. (64)
Different PUAs have different solutions to this problem. Some are admirable in their sheer honesty, whereas others are inexplicable. One otherwise unmentioned PUA approaches 125 women in one day, an impressive feat regardless of his intentions, which are never stated. The man claims to feel far more confident after the experience, albeit with little success. (298) At the very least, it must have been fun to try. A stark contrast is found in a method Rasputin advises during a seminar. Keep in mind the following was said to a crowd of men during a motivational speech: "You don't shower or shave for a month, until you smell like a sewer. Then you walk around for two weeks wearing a dress and a goalie mask with a dildo strapped to the front. That's what I did. And you will never be afraid of public humiliation again." (140) This is a method for improving confidence I find far more difficult to embrace. It is highly entertaining to read, though.
A rather ironic issue PUAs tend to face is their rapid exposure to more men than women. The seduction community consists almost entirely of men, and friendships with fellow PUAs are far more likely to last than encounters with women. Strauss observes, "Since I'd started spending so much time with PUAs, I'd lowered my standards for who I hung out with... And though the community was all about women, it was also completely devoid of them." (129) In the case of gurus offering seminars, often at substantial rates, seduction is about competing for paying students rather than for women. Jeffries, Mystery and others compete for students throughout the book. Popular techniques are cyclical in the community, leading Strauss to find that "These were trends that had nothing to do with women and everything to do with male ego." (232) The most jarring example of the lack of women in the seduction community occurs late, when Project Hollywood (a mansion full of PUAs) is falling apart: "At Papa's twenty-fourth birthday, not a single woman showed up." (424) Papa is the same PUA who once acquired Paris Hilton's phone number at a taco stand, (256) although he never saw her after that, and whose name appears on the mansion's lease.
On the sadder side, a certain dissatisfaction can come from so much pickup. At a particularly distressed point, Strauss muses that "Every girl in my life could disappear and never call me again, and I wouldn't have cared." (373) When he finally meets one who does make him care, it's almost too late. After so long in the game, Strauss notes that asking a woman out to dinner feels strange to him: "It was so AFC of me. I was asking her out on a date." She, of course, said that "I was wondering when you were finally going to ask." (400) When the date arrived, Strauss admits that "It was one of the toughest dinners of my life. We'd spent so much time together already that I literally had no more material left. I was forced to be myself." (409) Thankfully, the couple survives this dreaded dinner date. Even so, it serves as a cautionary tale for having pickup skills but little else. Strauss's words of wisdom earlier in the book that "...the best way to pick up women is to have something better to do than pick up women" (301) ring true here.
Since I've read the book, a few friends have asked me what I think about PUAs. Some variation of "Isn't this unethical?" inevitably surfaces. Without fail, I've replied that I think there's a good side and a bad side to the seduction community. The good side is that the mPUAs often function as quite effective motivational speakers. For people who have a difficult time approaching others in social situations, having a community to talk to about socializing is probably a boon. The bad side is the falsehood that sometimes surfaces in peoples' personalities. Examples come up with Jeffries, as in when Strauss notes that "there was something artificial and rehearsed about the way he spoke, the way he moved, the way he looked at me" (48) and with Mystery, who, before Strauss befriends him, "seemed to be a conscious, rehearsed invention". (20) Tyler Durden is probably the worst of them in terms of this issue, as Strauss is told later in the book that "[Tyler Durden]'s not motivated by girls. He's motivated by acquisition and power." (427) When it stops being about social interaction as a way to meet people and starts being about social interaction as a way to control them, that's when it gets dangerous.
I expected to completely disagree with the everything the book stood for which I've done before. What I ended up doing was reflecting on my own social interactions, comparing them to those of the PUAs. I'm not a Satanist or a communist, but could I be a pickup artist? Yes and no. Yes, absolutely, in the sense that I'm comfortable approaching people in social situations, even - gasp - HB10s. (These are women so attractive they merit a 10/10 score based on their looks. How this is calculated is never explained.) No, absolutely not, in the sense that a Mystery phrase like "Everything I say in a pickup has an ulterior motive" (152) goes completely against anything I would ever do. I've also never used canned material, nor would I ever. Those who continually do so fail the "Are You a Social Robot?" test (300). It's that good/bad dynamic again. Then again, everything is.
A note on the term "AFC": As someone who grew up during the latter half of the unprecedented 13-year streak of Superbowls in which the NFC emerged victorious (1985-1997, those being the years in which those Superbowls were played), the idea that AFC game is weak brought a smile to my face.
Ease of Reading: 8
Educational Content: N/A*
*How educational this book is goes by a variety of factors, including but not limited to:
1. Gender. The book is very male-centred in that the only pickup artists witnessed are men.
2. Marital status. I can't imagine this book being that educational to married people, with a few notable exceptions.
3. Social inclinations. Some people just aren't interested in pickup. Further, some people feel like they don't need it. People in either category may not gain as much as others.
Journalism (2005 - 452 pp.)
The Game is journalist Neil Strauss's foray into the world of pickup artists (PUAs), which he does in true investigative fashion - by becoming one of them for two years. The adventures Strauss and other PUAs get into are some of the most entertaining things I've ever read, and I speak as someone who's read Strauss before. I've also taken more notes on this book than any other. Rather than being like, say, a history book with a thesis and a narrative that builds toward that thesis, The Game often feels like an unending barrage of crazy quotations. For a full list of my favourite quotations from the book, click here.
Some brief background: A PUA is someone who approaches strangers with the intention of closing (in Mystery's terms, number-close, kiss-close, and I'm sure you can imagine a few others). PUA training is typically given in seminar form by a guru to AFCs (average frustrated chumps) who want to become better socially, have more girlfriends, and so on. There are also lots of acronyms involved, as you may have already guessed. A glossary of them, and other terms, appears on page 439. The art of pickup started in 1970 with Eric Weber's book How to Pick Up Girls before taking off in the '80s and '90s with the teachings of Ross Jeffries. Since then, mPUAs (master pickup artists) like Mystery, Style (Strauss's pseudonym) and David DeAngelo have emerged. The community typically consists of online message boards and local hangout spots called lairs in various cities. The timeline in The Game is the early 2000s, as the reader is reminded through references to then-popular Kazaa (190) and Party Poker (192). The only development since that I'm aware of is the mainstreaming of pickup through reality shows.
The book starts with Strauss, an AFC at the time, agreeing to write a story on PUAs when goaded to do so by a friend. This segues nicely into Strauss's first time meeting Mystery, at one of Mystery's seminars. That first seminar contains some of Mystery's statements of philosophy, such as "A pickup artist must be the exception to the rule. You must not do what everyone else does. Ever", (18) and "Think of tonight as a video game. It's not real. Every time you do an approach, you are playing this game." (19) Being special in some way, or "demonstrating value" as Mystery puts it, comes off as a codification of a basic social principle. The second quotation sums up the book in some ways. Pickup is in large part about treating each rejection as a chance to respawn.
Strauss's first reaction to Mystery is that "This was a guy who thought about seduction nonstop, like a mad scientist working on a formula to turn peanuts into gasoline." (22) Strauss's humour shines through frequently in quotations like these. In expressing disbelief at his first time seeing PUAs in the field (in this case, Mystery and a wingman entitled Sin), Strauss notes that:
Mystery's lack of trepidation about being seen as a PUA is evident from the above. Strauss's comparative lack of confidence at the start of the book is shown in "Sexual Frustration", a poem he wrote as a teen. (30-31) A more prosaic depiction of Strauss's pre-PUA existence is that "Somewhere, in another life, I used to wake up in the morning, sit at a desk before even eating or showering, and stew in my own filth as I sat typing on a computer and not getting laid." (227) Gaining confidence is a crucial first step to becoming a PUA. For those wondering, a set is a number of people being approached. For example, a group of three people is a three-set.
Not even the most hallowed PUAs have always had such confidence. Ross Jeffries is described as being "beaten down". (124) A quotation from Jeffries about rival and former student David DeAngelo highlights the combination of competitiveness and insecurity capable of existing within the seduction community: "The guy is so fucking good-looking and well-connected in the nightclub scene it just astounds me that people think he could ever understand their situation and the difficulties they encounter in dealing with women." (125) This can be coupled with a feeling of being denied something, as in the following conversation between Mystery and Strauss: "'I'm the world's greatest pickup artist,' [Mystery] grumbled in my direction. 'How come I don't have a girlfriend?' [Strauss:]'Well, maybe because you're the world's greatest pickup artist.'" (182) The frankness of the situation, that Mystery has such a difficult time maintaining a relationship throughout the book despite at times seeming to want one, speaks to the surprisingly isolated and wanting life of the PUA. In a particularly crass demonstration of desiring women from afar, Extramask, a student of Mystery's, remarks that he plans to "pound out the biggest batch thinking about that girl who just kissed you" to Strauss early in the book. (64)
Different PUAs have different solutions to this problem. Some are admirable in their sheer honesty, whereas others are inexplicable. One otherwise unmentioned PUA approaches 125 women in one day, an impressive feat regardless of his intentions, which are never stated. The man claims to feel far more confident after the experience, albeit with little success. (298) At the very least, it must have been fun to try. A stark contrast is found in a method Rasputin advises during a seminar. Keep in mind the following was said to a crowd of men during a motivational speech: "You don't shower or shave for a month, until you smell like a sewer. Then you walk around for two weeks wearing a dress and a goalie mask with a dildo strapped to the front. That's what I did. And you will never be afraid of public humiliation again." (140) This is a method for improving confidence I find far more difficult to embrace. It is highly entertaining to read, though.
A rather ironic issue PUAs tend to face is their rapid exposure to more men than women. The seduction community consists almost entirely of men, and friendships with fellow PUAs are far more likely to last than encounters with women. Strauss observes, "Since I'd started spending so much time with PUAs, I'd lowered my standards for who I hung out with... And though the community was all about women, it was also completely devoid of them." (129) In the case of gurus offering seminars, often at substantial rates, seduction is about competing for paying students rather than for women. Jeffries, Mystery and others compete for students throughout the book. Popular techniques are cyclical in the community, leading Strauss to find that "These were trends that had nothing to do with women and everything to do with male ego." (232) The most jarring example of the lack of women in the seduction community occurs late, when Project Hollywood (a mansion full of PUAs) is falling apart: "At Papa's twenty-fourth birthday, not a single woman showed up." (424) Papa is the same PUA who once acquired Paris Hilton's phone number at a taco stand, (256) although he never saw her after that, and whose name appears on the mansion's lease.
On the sadder side, a certain dissatisfaction can come from so much pickup. At a particularly distressed point, Strauss muses that "Every girl in my life could disappear and never call me again, and I wouldn't have cared." (373) When he finally meets one who does make him care, it's almost too late. After so long in the game, Strauss notes that asking a woman out to dinner feels strange to him: "It was so AFC of me. I was asking her out on a date." She, of course, said that "I was wondering when you were finally going to ask." (400) When the date arrived, Strauss admits that "It was one of the toughest dinners of my life. We'd spent so much time together already that I literally had no more material left. I was forced to be myself." (409) Thankfully, the couple survives this dreaded dinner date. Even so, it serves as a cautionary tale for having pickup skills but little else. Strauss's words of wisdom earlier in the book that "...the best way to pick up women is to have something better to do than pick up women" (301) ring true here.
Since I've read the book, a few friends have asked me what I think about PUAs. Some variation of "Isn't this unethical?" inevitably surfaces. Without fail, I've replied that I think there's a good side and a bad side to the seduction community. The good side is that the mPUAs often function as quite effective motivational speakers. For people who have a difficult time approaching others in social situations, having a community to talk to about socializing is probably a boon. The bad side is the falsehood that sometimes surfaces in peoples' personalities. Examples come up with Jeffries, as in when Strauss notes that "there was something artificial and rehearsed about the way he spoke, the way he moved, the way he looked at me" (48) and with Mystery, who, before Strauss befriends him, "seemed to be a conscious, rehearsed invention". (20) Tyler Durden is probably the worst of them in terms of this issue, as Strauss is told later in the book that "[Tyler Durden]'s not motivated by girls. He's motivated by acquisition and power." (427) When it stops being about social interaction as a way to meet people and starts being about social interaction as a way to control them, that's when it gets dangerous.
I expected to completely disagree with the everything the book stood for which I've done before. What I ended up doing was reflecting on my own social interactions, comparing them to those of the PUAs. I'm not a Satanist or a communist, but could I be a pickup artist? Yes and no. Yes, absolutely, in the sense that I'm comfortable approaching people in social situations, even - gasp - HB10s. (These are women so attractive they merit a 10/10 score based on their looks. How this is calculated is never explained.) No, absolutely not, in the sense that a Mystery phrase like "Everything I say in a pickup has an ulterior motive" (152) goes completely against anything I would ever do. I've also never used canned material, nor would I ever. Those who continually do so fail the "Are You a Social Robot?" test (300). It's that good/bad dynamic again. Then again, everything is.
A note on the term "AFC": As someone who grew up during the latter half of the unprecedented 13-year streak of Superbowls in which the NFC emerged victorious (1985-1997, those being the years in which those Superbowls were played), the idea that AFC game is weak brought a smile to my face.
Ease of Reading: 8
Educational Content: N/A*
*How educational this book is goes by a variety of factors, including but not limited to:
1. Gender. The book is very male-centred in that the only pickup artists witnessed are men.
2. Marital status. I can't imagine this book being that educational to married people, with a few notable exceptions.
3. Social inclinations. Some people just aren't interested in pickup. Further, some people feel like they don't need it. People in either category may not gain as much as others.
The Game: The Quotations
Below is a comprehensive list of my favourite quotations from The Game. My other favourites are included in the main entry. Some are surprisingly uplifting given the rest of the book, whereas others are simply entertaining. In the exact sort of chaotic fashion in which pickup artists often appear to live life, I've made no effort to differentiate them. Warning: Spoilers lie ahead. That's why this is a separate entry. Note that a startling number of these are courtesy of Mystery, who must have been one of the most fun interviews in the whole book.
"Nobody wants to sleep with a writer. They're at the bottom of the social ladder. You must be a superstar. And not just with women." -Mystery (55)
"...there is no such thing as failure, only learning lessons." -Neil Strauss, quoting a book called Introducing NLP (74)
"In life, people tend to wait for good things to come to them. And by waiting, they miss out." -Neil Strauss (114)
"Talking too fast is usually a sign of a deep lack of confidence... Such people usually become writers." -Juggler (115)
"Three percent [of people approached] respond with enthusiasm [when asked how they're doing]: 'great' or 'super'. Those are the ones you learn to stay away from. They're nuts." -Juggler (117)
"I was experiencing seducer's paradox: The better a seducer I became, the less I loved women. Success was no longer defined by getting laid or finding a girlfriend, but by how well I performed." -Neil Strauss (161)
"'When you can get any girl you want, every guy - even if he's rich or famous - looks at you in a different way because you have something he doesn't,' he said. 'But after a while, I'd bring girls home, and I didn't want to have sex with them anymore. I just wanted to talk. So we'd talk all night and bond on a very deep level, and then I'd walk them to the subway in the morning. That's when I started to leave it behind. I realized that I got my entire validation from women. Women became like gods to me, but false gods. So I went to find the real God.'" -Dustin (165)
"It's not that I'm scared of commitment; it's that I'm scared of arguing with someone I love over whose turn it is to the dishes, of losing the desire to have sex with the woman lying next to me every night, of taking a back seat in her heart to our children, of resenting someone for limiting my freedom to be selfish." -Neil Strauss (180)
"The idea of having many girls in many ports can be wholesomely nurtured." -Mystery (185)
"...most people in this world are not closers. They don't finish what they start; they don't live what they dream; they sabotage their own progress because they're afraid they won't find what they seek." -Neil Strauss (194)
"I want a woman I can respect for her art, like a singer or a super-hot stripper." -Mystery (233)
"Dad always wanted whiskey poured on his grave, so my brother said, 'I just hope he doesn't mind me filtering it through my bladder first.'" -Mystery (234)
"I look at you, and I just know that you were born to protect my sphincter." -Tyler Durden (236)
"Papa's face clouded. He didn't like the word no. He was an only child." -Neil Strauss (255)
"I feel strange and empty, like after a shit." -Mystery (329)
"Seduction was easy compared to [love]." -Neil Strauss (342)
"I'm not an insane maniac. I'm a poser insane maniac. I'm just dealing with the absurdity of existence by shoving absurdity down existence's throat." -Jlaix (353)
"And I was standing there just looking at that ass and that skin thinking, 'I deserve this.'" -Mystery (376)
"You can't handle not being the center of attention for even one minute. That is your tragic flaw." -Tyler Durden, to Mystery (382)
"Perhaps it was really shared emotion and experience that creates relationships, not seven hours of routines followed by two hours of sex." (395)
"[Lisa] lived by the advice most women hypocritically give to men; She wasn't afraid to be herself." -Neil Strauss (399)
"...the bros before hos ethic only exists if you think of the girl as a ho." -Mystery (404)
"I suppose we were all searching for the moves we needed to win at life, the knightly code of conduct, the ways of the alpha male*." -Neil Strauss (415)
"My dick, which I had thought was a completely mindless animal desperate to stick itself in any hole, actually responded to emotion. It had feelings too." -Neil Strauss (416)
"I was never interested in conquering women in a despotic way. I was interested in finding somebody to love." -Eric Weber (430)
"You're much too pretty to let get away." -a young Eric Weber, to his future wife (431)
"The new age couple contend that Tyler Durden and Papa skipped out after local authorities tried to deliver a summons charging them with running a commercial business in a residential zone." -Neil Strauss (449)
Then, of course, the word "sesquipedalian" is used by Strauss on the book's final page. (452)
Oh, why not...
Ease of Reading: 10
Educational Content: 10
*According to Mystery's criteria on page 21, I possess all six of the five factors of an alpha male. No, my math there isn't wrong.
"Nobody wants to sleep with a writer. They're at the bottom of the social ladder. You must be a superstar. And not just with women." -Mystery (55)
"...there is no such thing as failure, only learning lessons." -Neil Strauss, quoting a book called Introducing NLP (74)
"In life, people tend to wait for good things to come to them. And by waiting, they miss out." -Neil Strauss (114)
"Talking too fast is usually a sign of a deep lack of confidence... Such people usually become writers." -Juggler (115)
"Three percent [of people approached] respond with enthusiasm [when asked how they're doing]: 'great' or 'super'. Those are the ones you learn to stay away from. They're nuts." -Juggler (117)
"It's not that I'm scared of commitment; it's that I'm scared of arguing with someone I love over whose turn it is to the dishes, of losing the desire to have sex with the woman lying next to me every night, of taking a back seat in her heart to our children, of resenting someone for limiting my freedom to be selfish." -Neil Strauss (180)
"The idea of having many girls in many ports can be wholesomely nurtured." -Mystery (185)
"...most people in this world are not closers. They don't finish what they start; they don't live what they dream; they sabotage their own progress because they're afraid they won't find what they seek." -Neil Strauss (194)
"I want a woman I can respect for her art, like a singer or a super-hot stripper." -Mystery (233)
"Dad always wanted whiskey poured on his grave, so my brother said, 'I just hope he doesn't mind me filtering it through my bladder first.'" -Mystery (234)
"I look at you, and I just know that you were born to protect my sphincter." -Tyler Durden (236)
"Papa's face clouded. He didn't like the word no. He was an only child." -Neil Strauss (255)
"I feel strange and empty, like after a shit." -Mystery (329)
"Seduction was easy compared to [love]." -Neil Strauss (342)
"I'm not an insane maniac. I'm a poser insane maniac. I'm just dealing with the absurdity of existence by shoving absurdity down existence's throat." -Jlaix (353)
"And I was standing there just looking at that ass and that skin thinking, 'I deserve this.'" -Mystery (376)
"You can't handle not being the center of attention for even one minute. That is your tragic flaw." -Tyler Durden, to Mystery (382)
"Perhaps it was really shared emotion and experience that creates relationships, not seven hours of routines followed by two hours of sex." (395)
"...the bros before hos ethic only exists if you think of the girl as a ho." -Mystery (404)
"I suppose we were all searching for the moves we needed to win at life, the knightly code of conduct, the ways of the alpha male*." -Neil Strauss (415)
"I was never interested in conquering women in a despotic way. I was interested in finding somebody to love." -Eric Weber (430)
"You're much too pretty to let get away." -a young Eric Weber, to his future wife (431)
"The new age couple contend that Tyler Durden and Papa skipped out after local authorities tried to deliver a summons charging them with running a commercial business in a residential zone." -Neil Strauss (449)
Then, of course, the word "sesquipedalian" is used by Strauss on the book's final page. (452)
Oh, why not...
Ease of Reading: 10
Educational Content: 10
*According to Mystery's criteria on page 21, I possess all six of the five factors of an alpha male. No, my math there isn't wrong.
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