Was it a literary once, or did it get voted down? And, Cindy, bwah, but it is not my book. I am a rather devoted Simon's Bitch, though, if that just wouldn't bring up such negative associations in a crime reporter.

Would it be helpful for those of us who nominated books to come back with a condensed version of our recommendation? Here's mine:

The Education of Henry Adams by Henry Adams

Part autobiography, part cynical observation of politics and progress. An insightful and at times darkly humorous exploration of both a remarkable man and the tumultuous age in which he lived.

Eventually I'm going to start pimping for Gospel by Wilton Barnhardt and The Gastronomical Me by M.F.K. Fisher, but for this round, I'd like to throw a few more "classics" into the mix.

Hard Times by Charles Dickens

In our discussions in Literary, a number of people said they'd like to read Dickens, either because they never had or because they'd only read Great Expectations in high school, which is a good way to learn to loathe Dickens. (It's a great book, but perhaps not something to tackle in the 9th grade.) Hard Times is a relatively short work that explores Dickens' social concerns and the affects of an abusive system on both the abused and the people who profit from their work.

A Pairing:

Pudd'nhead Wilson by Mark Twain and To Kill a Mockingbird by Harper Lee

Each book includes a mystery, an exploration of the effects of race and racism, and a courtroom drama. Together I think they could provoke an interesting discussion on the effects of racism and culture, plus they're both wonderful books. Pudd'nhead Wilson is Twain at his most savage and his most funny; To Kill a Mockingbird features one of the more engaging children in literature and one of the better portraits of quiet heroism.

What about calling the thread "809". dewey decimal for literary criticism.

Buffista Book Club: It Should Be Smelly

I'm changing my vote for thread title to this because it makes me smile.

This thread is a focussed discussion group. Please refer to [link] for the current topic, and upcoming book discussions.

I thought the nattering line in the description was Stompy approved. Also "focussed" discussion group may have been a bit of a Freudian slip - let's go with focused.

I'm partial to smelly (and Giles titles in general).

Wolfram, is your profile addy good?

Trudy - yep. Just checked it.

Isn't the Point of Computers to Replace Books?

Casting my vote for the above for the quotey thing.

Wolfram - I actually can't find where the natter line was stompy supported. Seems the other way to me. There might be another segment of the discussion, but here's what I found:

P.M. Marcontell "Voting Discussion: We're Screwing In Light Bulbs AIFG!" Jul 7, 2004 3:59:59 pm PDT

Betsy HP "Voting Discussion: We're Screwing In Light Bulbs AIFG!" Jul 7, 2004 4:55:21 pm PDT

M-W lists both spellings, so I didn't change the spelling when I cut and pasted the language, though, yeah, I spell it with one "s," too.

I like the paired books idea, too, but understand if it's unworkable. I don't like the idea of doing Select The Selector all the time ('cause I think it'll turn into a popularity contest), but in moderation (as David suggested, such as every 4th time), I think it'll work.

I've been holding off on suggesting books, because I haven't been a part of a book club in the past and don't know what would be a reasonable book to suggest. That said, some of the books my wife's read in book clubs (that I've also liked) include:

• The Intuitionist by Colson Whitehead

Amazon: Verticality, architectural and social, is the lofty idea at the heart of Colson Whitehead's odd, sly, and ultimately irresistible first novel. The setting is an unnamed though obviously New Yorkish high-rise city, the time less convincingly future than deliciously other, as it combines 21st-century engineering feats with 19th-century pork-barrel politics and smoky working-class pubs. Elevators are the technological expression of the vertical idea, and Lila Mae Watson, the city's first black female elevator inspector, is its embattled token of upward mobility.

Lila Mae's good ol' boy colleagues in the Department of Elevator Inspectors are understandably jealous of the flawless record that her natural intelligence and diligence have earned, and understandably delighted when Number Eleven in the newly completed Fanny Briggs Memorial Building goes into deadly free fall just hours after Lila Mae has signed off on it, using the controversial "Intuitionist" method of ascertaining elevator safety. It is, after all, an election year in the Elevator Guild, and the Empiricists would do most anything to discredit the Intuitionist faction. Everyone on both sides assumes that Number Eleven was sabotaged and Lila Mae set up to take the fall. "So complete is Number Eleven's ruin," writes Whitehead, "that there's nothing left but the sound of the crash, rising in the shaft, a fall in opposite: a soul." Lila Mae's doom seems equally irreversible.

Whitehead evokes a world so utterly involving to its own denizens that outside reality does not impinge on its perfect solipsism. We the readers are taken hostage as Lila Mae strives to exonerate herself in this urgent adventure full of government spies, underworld hit men, and seductive double agents. Behind the action, always, is the Idea. Lila Mae's quest reveals the existence of heretofore lost writings by James Fulton, father of Intuitionism, a giant of vertical thought, whose fate is mysteriously entwined with her own. If she is able to find and reveal his plan for the Black Box, the perfect, next-generation elevator, the city as it now exists will instantly be obsolescent. The social and economic implications are huge and the denouement is elegantly philosophical. Most impressive of all is the integrity of Whitehead's prose. Eschewing mere cleverness, resisting showoff word play, he somehow manages to strike a tone that's always funny, always fierce, and always entirely respectful of his characters and their world. May the god of second novels smile as broadly on him as did the god of firsts. --Joyce Thompson

• My Year of Meats by Ruth Ozeki

Amazon: Veteran filmaker Ruth Ozeki's novel has been hailed as "one of the heartiest and yes, meatiest debuts in years" (Glamour). It tells the story of a year in the lives of two ordinary women on opposite ends of the earth, brought together by a convergence of extraordinary circumstances. Jane, a struggling filmmaker in New York, is given her big break--a chance to travel through the U.S. to produce a Japanese television program sponsored by an American meat exporting business. But along the way, she discovers some unsavory truths about love, honor, and a particularly damaging hormone called DES that wreaks havoc with her uterus. Meanwhile, Akiko, a painfully thin Japanese woman struggling with bulimia, is being pressured by her child-craving husband to put some meat on her bones--literally. How Jane's and Akiko's lives intersect taps into some of the deepest concerns of our time--how the past informs the present and how we live and love in an ever-shrinking world.

• House of Sleep by Jonathan Coe

Amazon: The House of Sleep is an intricate cat's cradle of a novel, full of both sly satire and oblique meditations on the interstices of love, sleep, memory, and dreams. The setting is Ashdown, a wind-swept old house by the sea that once provided university housing and now is home to a clinic for sleep disorders. During the early 1980s, a group of students meet here, united by little other than a curious preoccupation with sleep. They include Sarah, a narcoleptic who has trouble distinguishing her intensely vivid dreams from reality; her first boyfriend, the fussy egomaniac Gregory, who gets his kicks from pressing his fingers on Sarah's closed eyes; Terry, a film buff who sleeps at least 14 hours a day, dreaming blissful dreams he can never quite remember; and the sensitive Robert, who loves Sarah enough to do anything at all in order to have her. By a series of startling coincidences, the four are drawn back to Ashdown 12 years later, setting into motion a plot so carefully contrived it makes most thrillers look spare and impressionistic. Like a dream, The House of Sleep resonates with repeated images, phrases, even passages; here they serve as narrative glue for a complicated story that moves backward and forward in time and in and out of different points of view. The result is sometimes puzzling, always absorbing, and often very funny indeed.

Sorry, cut off.

I'd like to recommend, because it's one of my favorite books:

• Pale Fire by Vladimir Nabokov

Amazon: Like Lolita, Vladimir Nabokov's Pale Fire is a masterpiece that imprisons us inside the mazelike head of a mad émigré. Yet Pale Fire is more outrageously hilarious, and its narrative convolutions make the earlier book seem as straightforward as a fairy tale. Here's the plot--listen carefully! John Shade is a homebody poet in New Wye, U.S.A. He writes a 999-line poem about his life, and what may lie beyond death. This novel (and seldom has the word seemed so woefully inadequate) consists of both that poem and an extensive commentary on it by the poet's crazy neighbor, Charles Kinbote.

According to this deranged annotator, he had urged Shade to write about his own homeland--the northern kingdom of Zembla. It soon becomes clear that this fabulous locale may well be a figment of Kinbote's colorfully cracked, prismatic imagination. Meanwhile, he manages to twist the poem into an account of Zembla's King Charles--whom he believes himself to be--and the monarch's eventual assassination by the revolutionary Jakob Gradus.

In the course of this dizzying narrative, shots are indeed fired. But it's Shade who takes the hit, enabling Kinbote to steal the dead poet's manuscript and set about annotating it. Is that perfectly clear? By now it should be obvious that Pale Fire is not only a whodunit but a who-wrote-it. There isn't, of course, a single solution. But Nabokov's best biographer, Brian Boyd, has come up with an ingenious suggestion: he argues that Shade is actually guiding Kinbote's mad hand from beyond the grave, nudging him into completing what he'd intended to be a 1,000-line poem. Read this magical, melancholic mystery and see if you agree. --Tim Appelo