Two-Bit Musings.

π™Ύπš—πšŽ π™±πš’πš π™±πšŠπšŒπš”πš’πšŠπš›πš.

πš‚πš˜πš–πšŽπšπš’πš–πšŽπšœ 𝙸 πš•πš’πš”πšŽ 𝚝𝚘 πšœπš’πš πš’πš— πšœπš’πš•πšŽπš—πšŒπšŽ.

𝙸 πš™πš›πšŽπšπšŽπš—πš πšπš‘πšŠπš πšπš’πš–πšŽ πš’πšœ 𝚊𝚝 𝚊 πšœπšπšŠπš—πš-πšœπšπš’πš•πš•, πšŠπš—πš πš•πš’πš”πšŽ πšŠπš— πšŠπš›πšŒπš‘πš’πšπšŽπšŒπš, πš‘πšŠπšŸπšŽ πšŠπš— πš˜πš™πšŽπš— πšŽπš‘πš™πšŠπš—πšœπšŽ 𝚘𝚏 πš™πš˜πšœπšœπš’πš‹πš’πš•πš’πšπš’ πš‹πšŽπšπš˜πš›πšŽ πš–πšŽ.

πš†πš‘πšŠπš 𝚍𝚘 𝙸 πš πšŠπš—πš 𝚘𝚞𝚝 𝚘𝚏 πšπš‘πš’πšœ πš•πš’πšπšŽ?

πš†πš‘πšŠπš 𝚍𝚘 πš˜πšπš‘πšŽπš›πšœ πš πšŠπš—πš?

. . .

𝙸 πšπš‘πš’πš—πš” 𝚘𝚏 π™»πš˜πš›πš 𝚘𝚏 πšπš‘πšŽ π™΅πš•πš’πšŽπšœ. π™½πš˜ πšŽπš‘πš’πšœπšπš’πš—πš πšπš˜πšŸπšŽπš›πš—πš–πšŽπš—πšπšœ; πš—πš˜ πšŽπšŒπš˜πš—πš˜πš–πš’πšŒ πšŽπš‘πš™πš•πš˜πš’πšπšŠπšπš’πš˜πš—.

π™Ήπšžπšœπš 𝚊 πš‘πšŠπš—πšπšπšžπš• 𝚘𝚏 πš‘πšžπš–πšŠπš—πšœ πš˜πš— 𝚊 πš™πš’πšŽπšŒπšŽ 𝚘𝚏 π™Ώπš•πšŠπš—πšŽπš π™΄πšŠπš›πšπš‘.

𝙰 πšπš›πšŽπšœπš‘ πšœπšπšŠπš›πš.

. . .

πš†πš‘πšŠπš 𝚍𝚘 𝚠𝚎 πš—πšŽπšŽπš?

πš†πš‘πšŠπš πš–πšŠπš”πšŽπšœ 𝚊 πšπšžπš•πšπš’πš•πš•πš’πš—πš πš•πš’πšπšŽ?

π™·πš˜πš  𝚍𝚘 𝚠𝚎 πš‘πš˜πš™πšŽ 𝚝𝚘 πšŽπšŸπš˜πš•πšŸπšŽ?

π™±πšŽπšŒπšŠπšžπšœπšŽ πš’πš πš’πšœ πš†π™΄.

πš†π™΄, πš—πš˜πš πš“πšžπšœπš 𝙼𝙴.

. . .

πš‚πš—πšŠπš™π™³πš›πšŠπšπš˜πš—’𝚜 π™»πš’πšπšπš•πšŽ πšπšŽπšŒπš’πš™πšŽ πšπš˜πš› 𝚊 π™·πšŽπšŠπš•πšπš‘πš’ π™·πšžπš–πšŠπš— π™΄πš‘πš™πšŽπš›πš’πšŽπš—πšŒπšŽ:

β€’ π™Ώπšžπš‹πš•πš’πšŒ π™΄πšπšžπšŒπšŠπšπš’πš˜πš—

π™Έπš πš’πšœ πšπš‘πšŽ πšŠπš—πšœπš πšŽπš› 𝚝𝚘 πšŠπš—πš’ πššπšžπšŽπšœπšπš’πš˜πš—, πš•πš˜πšŸπšŽ. π™±πš’ πšπšŽπšŠπšŒπš‘πš’πš—πš πš˜πšžπš› πšŒπš‘πš’πš•πšπš›πšŽπš— 𝚝𝚘 πššπšžπšŽπšœπšπš’πš˜πš— πšπš‘πšŽ πš πš˜πš›πš•πš πšŠπš›πš˜πšžπš—πš πšπš‘πšŽπš–, πšŠπš—πš 𝚝𝚘 πšŒπšŽπš•πšŽπš‹πš›πšŠπšπšŽ πšœπšŒπš’πšŽπš—πšπš’πšπš’πšŒ πšπš’πšœπšŒπš˜πšŸπšŽπš›πš’, πš™πš‘πš’πš•πš˜πšœπš˜πš™πš‘πš’, πšŠπš—πš πšπš‘πšŽ πš•πšŠπš—πšπšžπšŠπšπšŽ πšŠπš›πšπšœ, 𝚠𝚎 πš™πš•πšŠπš—πš 𝚜𝚎𝚎𝚍𝚜 πšπš˜πš› 𝚊 πš–πš˜πš›πšŽ πš‘πšžπš–πšŠπš—πšŽ πšœπš˜πšŒπš’πšŽπšπš’. πšƒπš‘πšŽπš›πšŽ πš’πšœ πšŠπš‹πšœπš˜πš•πšžπšπšŽπš•πš’ πš—πš˜ πš“πšžπšœπšπš’πšπš’πšŠπš‹πš•πšŽ πš›πšŽπšŠπšœπš˜πš— πšπš˜πš› πšžπš—πšπšŽπš›πšπšžπš—πšπšŽπš πš™πšžπš‹πš•πš’πšŒ πšœπšŒπš‘πš˜πš˜πš•πšœ. π™ΏπšŽπš›πš’πš˜πš.

β€’ π™Ώπšžπš‹πš•πš’πšŒ π™·πšŽπšŠπš•πšπš‘πšŒπšŠπš›πšŽ

π™·πšžπš–πšŠπš— πš‹πšŽπš’πš—πšπšœ 𝚐𝚎𝚝 πšœπš’πšŒπš”. π™΄πšŸπšŽπš›πš’ πšœπš’πš—πšπš•πšŽ πš˜πš—πšŽ 𝚘𝚏 𝚞𝚜. πš†πšŽ πš™πšŠπš’ 𝚝𝚊𝚑𝚎𝚜 πšπš˜πš› πš–πšŠπš—πš’ πš™πšžπš‹πš•πš’πšŒ πšœπšŽπš›πšŸπš’πšŒπšŽπšœ, πšŠπš—πš πššπšžπšŠπš•πš’πšπš’ πš‘πšŽπšŠπš•πšπš‘πšŒπšŠπš›πšŽ πšœπš‘πš˜πšžπš•πš πš‹πšŽ πš—πš˜ πšπš’πšπšπšŽπš›πšŽπš—πš. πš†πšŽ πšŠπš•πš• πš—πšŽπšŽπš πš’πš, πšŠπš—πš 𝚠𝚎 πšœπš‘πš˜πšžπš•πš πšŠπš•πš• πš‹πšŽ πšŠπš‹πš•πšŽ 𝚝𝚘 𝚞𝚜𝚎 πš’πš πš πš’πšπš‘πš˜πšžπš πš‘πšŠπšœπšœπš•πšŽ πš˜πš› πš•πš’πš—πš’πš—πš πšπš‘πšŽ πš™πš˜πšŒπš”πšŽπšπšœ 𝚘𝚏 πšπš‘πšŽ πš˜πš—πšŽ πš™πšŽπš›πšŒπšŽπš—πš.

β€’ π™Ώπšžπš‹πš•πš’πšŒ πšπšŽπšœπš˜πšžπš›πšŒπšŽπšœ

𝙸 πšπšŽπšŽπš• πšŸπšŽπš›πš’ πš‘πšŠπš™πš™πš’ πš πš‘πšŽπš— 𝙸 𝚜𝚎𝚎 πšœπš’πšπš—πšœ πšπš˜πš› πš™πšžπš‹πš•πš’πšŒ πš•πš’πš‹πš›πšŠπš›πš’πšŽπšœ. π™Έπš’𝚜 𝚊 πšŒπš˜πš–πš–πšžπš—πš’πšπš’ πš›πšŽπšœπš˜πšžπš›πšŒπšŽ πš•πš’πš”πšŽ πšŠπš—πš’ πš˜πšπš‘πšŽπš›; πš™πšŽπš˜πš™πš•πšŽ πšπšŽπšœπšŽπš›πšŸπšŽ 𝚝𝚘 πš”πš—πš˜πš  πš’πšπšœ πš•πš˜πšŒπšŠπšπš’πš˜πš—. π™»πš’πš‹πš›πšŠπš›πš’πšŽπšœ, πš™πšŠπš›πš”πšœ, πš™πš˜πšœπšπšŠπš• πšœπšŽπš›πšŸπš’πšŒπšŽπšœ, πšŠπš—πš πš‹πšŠπšœπš’πšŒ πšžπšπš’πš•πš’πšπš’πšŽπšœ πš•πš’πš”πšŽ πšŽπš•πšŽπšŒπšπš›πš’πšŒπš’πšπš’ πšŠπš—πš πšŒπš•πšŽπšŠπš—, πšπš›πš’πš—πš”πšŠπš‹πš•πšŽ πš πšŠπšπšŽπš› πšœπš‘πš˜πšžπš•πš πš‹πšŽ πš›πšŽπšŠπšπš’πš•πš’ πšŠπšŸπšŠπš’πš•πšŠπš‹πš•πšŽ 𝚝𝚘 𝚞𝚜 πšŠπš•πš•. πšƒπš‘πšŽ πš–πš˜πš›πšŽ 𝚠𝚎 πšžπš—πšπšŽπš›πšπšžπš—πš πšŠπš—πš/πš˜πš› πš™πš›πš’πšŸπšŠπšπš’πš£πšŽ πšπš‘πšŽπšœπšŽ πš›πšŽπšœπš˜πšžπš›πšŒπšŽπšœ, πšπš‘πšŽ πš–πš˜πš›πšŽ πš™πš˜πšŸπšŽπš›πšπš’ 𝚠𝚎 πšŒπš›πšŽπšŠπšπšŽ 𝚝𝚘 πš‹πšŽπšπš›πšžπšπšπš’πš—πšπš•πš’ πšπšŽπšŠπš• πš πš’πšπš‘ πš•πšŠπšπšŽπš›.

β€’ πš‚πšžπšœπšπšŠπš’πš—πšŠπš‹πš•πšŽ π™Ώπš›πšŠπšŒπšπš’πšŒπšŽπšœ

πšƒπš‘πšŽπš›πšŽ’𝚜 πš—πš˜ πšœπšžπšŒπš‘ πšπš‘πš’πš—πš 𝚊𝚜 𝚊 πšπš›πšŽπšŽ πš•πšžπš—πšŒπš‘, πšπš›πš’πšŽπš—πšπšœ. π™΄πšŸπšŽπš›πš’ πšŒπšŠπš› πš›πš’πšπšŽ, πšŽπšŸπšŽπš›πš’ πšœπšπš’πš›πš˜πšπš˜πšŠπš– πšŒπšžπš™, πšŠπš—πš πšŽπšŸπšŽπš›πš’ πšπšžπš‹ 𝚘𝚏 πš‹πšŠπšπš‘πš πšŠπšπšŽπš› πš‘πšŠπšœ 𝚝𝚘 𝚐𝚘 πšœπš˜πš–πšŽπš πš‘πšŽπš›πšŽ. π™»πšŽπš’𝚜 πš πš˜πš›πš” πšπš˜πšπšŽπšπš‘πšŽπš› 𝚝𝚘 πšπš’πš—πš 𝚊 𝚠𝚊𝚒 πš πš‘πšŽπš›πšŽ 𝚠𝚎 πšŒπšŠπš— πšŽπš—πš“πš˜πš’ πš˜πšžπš› πšŒπš›πšŽπšŠπšπšžπš›πšŽ πšŒπš˜πš–πšπš˜πš›πšπšœ 𝙰𝙽𝙳 πš›πšŽπšœπš™πšŽπšŒπš πš˜πšžπš› πšŽπš—πšŸπš’πš›πš˜πš—πš–πšŽπš—πš. πš‚πšžπš›πšŽπš•πš’, 𝚠𝚎 πšŒπšŠπš— 𝚍𝚘 πš‹πšŽπšπšπšŽπš›.

. . .

πš‚πš˜ πš’πš— πšœπš‘πš˜πš›πš, π™³πšŽπšŠπš› πšπšŽπšŠπšπšŽπš›?

πš†πšŽ πšŠπš›πšŽ πšŠπš•πš• πšŒπš˜πš—πš—πšŽπšŒπšπšŽπš.

π™Έπš πš–πšŠπš’ πš‹πšŽ 𝚎𝚊𝚜𝚒 𝚝𝚘 πšπšžπš›πš— 𝚊 πš‹πš•πš’πš—πš 𝚎𝚒𝚎 𝚝𝚘 πšπš‘πšŽπšœπšŽ πšœπš’πšœπšπšŽπš–πš’πšŒ πš’πšœπšœπšžπšŽπšœ, πš–πšŠπš—πš’ 𝚘𝚏 πš πš‘πš’πšŒπš‘ πš–πšŠπš’ πš—πš˜πš 𝚊𝚏𝚏𝚎𝚌𝚝 𝚞𝚜.

𝙸 πšŒπš˜πš–πš™πš˜πšœπšŽ πšπš‘πšŽπšœπšŽ πš’πšπšŽπšŠπšœ πšπš›πš˜πš– 𝚊 πš™πš•πšŠπšŒπšŽ 𝚘𝚏 πš™πš›πš’πšŸπš’πš•πšŽπšπšŽ: 𝙸 πš‘πšŠπšŸπšŽ 𝚊 πšπšžπš•πš• πš‹πšŽπš•πš•πš’, 𝚊 πšπšžπš•πš• πšπšŠπš—πš” 𝚘𝚏 𝚐𝚊𝚜, πšŠπš—πš πšŠπš— πšŽπš‘πšŒπšŽπš•πš•πšŽπš—πš πšŒπš›πšŽπšπš’πš πšœπšŒπš˜πš›πšŽ. π™Όπš’ πš•πš’πšœπš 𝚘𝚏 πš—πšŽπšŽπšπšœ πšŠπš—πš πš πšŠπš—πšπšœ πš›πšŠπš›πšŽπš•πš’ 𝚐𝚘 πšžπš—πš–πšŽπš.

π™±πšžπš πš’πš’𝚜 πš—πš˜πš πšŠπš•πš• πšŠπš‹πš˜πšžπš πš–πšŽ.

π™±πšžπš πš’πš’𝚜 πš—πš˜πš πšŠπš•πš• πšŠπš‹πš˜πšžπš πš–πšŽ.

π™±πšžπš πš’πš’𝚜 πš—πš˜πš πšŠπš•πš• πšŠπš‹πš˜πšžπš πš–πšŽ.

. . .

π™Ύπš—πšŽ πš™πš•πšŠπš—πšŽπš.

π™Ύπš—πšŽ πš‘πšžπš–πšŠπš— πš›πšŠπšŒπšŽ.

π™Ύπš—πšŽ πš•πš’πšπšŽ 𝚝𝚘 πš•πš’πšŸπšŽ πš πš’πšπš‘ πšŒπš˜πš–πš™πšŠπšœπšœπš’πš˜πš—, πš’πš—πšπšŽπš•πš•πš’πšπšŽπš—πšŒπšŽ, πšŠπš—πš πš‘πš˜πš™πšŽ.

𝙸 πš‘πš˜πš™πšŽ.

My Ultimate Library: Part 1.

My Ultimate Library: Part 1.

SnapDragon lists her tried-and-true, doesn’t-remember-life-without-them books.

Take a Quiet Moment, 2017. California. Original Photo by SnapDragon X. All rights reserved.

My signature move at parties is to ask people to list their favorite things–movies, bands, desserts–without overthinking their response.

“Ready, gut-reaction, go!”

So in fairness, I’ve decided to list my all-time favorite books using this method. No second-guessing. No re-dos. Just what comes to mind as I type this, all in one sitting.

These are the stories that have shaped me; they without a doubt make the cut for Part 1 of My Ultimate Library.

It should also be noted that for Part 1 I am only listing works of fiction.

So. . . Ready, gut-reaction, GO!”

SnapDragon’s Ultimate Library: Part 1

Animal Farm by George Orwell

To Kill a Mockingbird by Harper Lee

The Grapes of Wrath by John Steinbeck

Song of Solomon by Toni Morrison

Nineteen Eighty-Four by George Orwell

The Pearl by John Steinbeck

Invisible Man by Ralph Ellison

Native Son by Richard Wright

Under the Dome by Stephen King

Lord of the Flies by William Golding

The Catcher in the Rye by J.D. Salinger

The Glass Castle by Jeannette Walls

A Raisin in the Sun by Lorraine Hansberry

Charlotte’s Web by E.B. White

Different Seasons by Stephen King

. . .

All right! So, I just paused for a significant moment. I suppose that indicates the conclusion of Part 1.

Stay tuned for Part 2!

Happy Reading, friends.

The 100 Classics Reading Challenge: The Rules.

The 100 Classics Reading Challenge: The Rules.

See SnapDragon’s selection process for her Ultimate Library.

Heaven at Home, 2019. Original Photo by SnapDragon X. All rights reserved.

So you like to read, eh?

Then welcome to Snippets of SnapDragon’s newest feature:

The 100 Classics Reading Challenge!

(cue ribbon cutting and confetti cascades)

As a certified high school English teacher, a post-graduate of English studies and creative writing, and just a bonafide lover of fiction, I decided it was time to create. . .

The Ultimate Library.

So I asked myself, “What are my favorite novels of all time? What are my favorite novels to teach? What are some novels, new and old, of critical acclaim?”

I envisioned a wall of empty shelves.

What to choose? There are so many novels I haven’t even read yet! (Gulp.)

So I decided to give myself some homework, by creating one doozy of a reading list.

The Rules:

  1. I decided to select 100 volumes for this venture. I say volumes because some of the titles are a part of a set, or trilogy. (For example, The Iliad and The Odyssey came in one volume. So while these are two separate novels, they only fill one space out of my designated 100.)
  2. All 100 volumes are works I have not yet read. As I said, I realized that there were so many “classics” that I’ve never even cracked open. So like a kid in a candy shoppe (or… me in a candy shoppe) I went on a book-buying binge.
  3. I’m a Formalist. Simply put, I want a story to speak for itself. While historical context and the author’s biographical influence can add layers of meaning to a work, that is not how I judge a novel. These 100 volumes were selected by title alone, and therefore do not meet certain quotas based on an author’s gender, race, age, or philosophy.

So there you have it!

My shelves are stocked, yo.

I began this challenge on my 30th birthday, and vowed to finish all 100 by my 40th. Considering I’ve only made it through three so far, I have my doubts about this timeline. (I like to read other stuff, too!)

But I shall not give up!

Check out my next post for the full list!

Happy reading, friends.