reading list
Moby Dick
Herman Melville
There are few joys in life as distinct as reading a great novel, and fewer still which can exceed sharing that joy with a friend who is also reading that great novel with you. Highlight of my month has been Howard's and mine's informal book club as we talk about Dick. In another turn of events, I am grateful that my tl has somehow detected I'm/we're reading this book, since I've been getting lots of Moby content this month.
E.g. a Cut article bemoaning "My Husband Has No Friends: for some wives, first comes love, then comes marriage, then comes ... managing their spouses social life?" quoted by a cetologist via "Stop turning structural problems into men's persona failings! This was the entirely predictable result of the decline of the whale fishery!"
and the gem found which surfaced without any explicit reference to Melville:
I think your attitude towards the "whale facts" chapter really determines whether you are my type of reader
and finally, a Dick truther quoting a listicle engagement bait post that says
If you want to get into the classics without hitting a reading slump, put down:
- Moby-Dick by Herman Melville
- Ulysses by James Joyce
- War and Peace by Leo Tolstoy
- Don Quixote by Miguel de Cervantes
Pick up these fast-paced masterpieces instead:
(which, like, imma stop you right there @ verified account based in <you know where>) QT'd aptly by:
- put down moby dick
- realize you’re being stupid
- smack yourself about the head
- pick up moby dick
This book came to mind, alongside a few Dostoevsky novels, as quintessential examples of "boring classics" which I disqualified from enjoyment without any prior investigation as to why it's considered to be one of the greatest novels of all time in a lengthy email thread with Zach Baumgartner. It's so fucking funny and the experimental bits made me realize that the things I love about more-recent novels all have roots in Melville's monomaniac fever dream. He walked (with lots of whale fact chapters) so that Joyce could run.
3 - The Spouter-Inn
Better sleep with a sober cannibal than a drunken Christian.
9 - The Sermon
This chapter is so fire (like up there with the Grand Inquisitor section), it comes as a dose a seriousness after the hilarious sleepover antics with Queequeg:
But what is this lesson that the book of Jonah teaches? Shipmates, it is a two-stranded lesson; a lesson to us all as sinful men, and a lesson to me as a pilot of the living God. As sinful men, it is a lesson to us all, because it is a story of the sin, hard-heartedness, suddenly awakened fears, the swift punishment, repentance, prayers, and finally the deliverance and joy of Jonah. As with all sinners among men, the sin of this son of Amittai was in his wilful disobedience of the command of God—never mind now what that command was, or how conveyed—which he found a hard command. But all the things that God would have us do are hard for us to do—remember that—and hence, he oftener commands us than endeavors to persuade. And if we obey God, we must disobey ourselves; and it is in this disobeying ourselves, wherein the hardness of obeying God consists.
Then Jonah prayed unto the Lord out of the fish’s belly. But observe his prayer, and learn a weighty lesson. For sinful as he is, Jonah does not weep and wail for direct deliverance. He feels that his dreadful punishment is just. He leaves all his deliverance to God, contenting himself with this, that spite of all his pains and pangs, he will still look towards His holy temple. And here, shipmates, is true and faithful repentance; not clamorous for pardon, but grateful for punishment. And how pleasing to God was this conduct in Jonah, is shown in the eventual deliverance of him from the sea and the whale. Shipmates, I do not place Jonah before you to be copied for his sin but I do place him before you as a model for repentance. Sin not; but if you do, take heed to repent of it like Jonah.
The dutiful converse of the St. Francis prayer – be not a coward in the face of your mission:
This, shipmates, this is that other lesson; and woe to that pilot of the living God who slights it. Woe to him whom this world charms from Gospel duty! Woe to him who seeks to pour oil upon the waters when God has brewed them into a gale! Woe to him who seeks to please rather than to appal! Woe to him whose good name is more to him than goodness! Woe to him who, in this world, courts not dishonor! Woe to him who would not be true, even though to be false were salvation! Yea, woe to him who, as the great Pilot Paul has it, while preaching to others is himself a castaway!
11 - Nightgown
Nor did I at all object to the hint from Queequeg that perhaps it were best to strike a light, seeing that we were so wide awake; and besides he felt a strong desire to have a few quiet puffs from his Tomahawk. Be it said, that though I had felt such a strong repugnance to his smoking in the bed the night before, yet see how elastic our stiff prejudices grow when love once comes to bend them. For now I liked nothing better than to have Queequeg smoking by me, even in bed, because he seemed to be full of such serene household joy then.
12 - Biographical
Queequeg was a native of Kokovoko, an island far away to the West and South. It is not down in any map; true places never are.
16 / 18 - The Ship / His Mark
Using lays (fractions of a total bounty) to describe the opposite of like ~the lion's share.
Ishamel hoping for maybe the 275th, which is about as meager as it goes, before Peleg downgrades him to the 666th lay. Both Peleg and Bildad seem like devout Quakers and are appalled at the "son of darkness" Queeqeg whom Ishmael vouches for as a "son of God" just like we're all God's children (awwww) and then Master Queeq snipes some shit with his harpoon demonstrating his crackshot whaling abilities and immediately gets 90th lay:
“Cap’ain, you see him small drop tar on water dere? You see him? well, spose him one whale eye, well, den!” and taking sharp aim at it, he darted the iron right over old Bildad’s broad brim, clean across the ship’s decks, and struck the glistening tar spot out of sight.
“Now,” said Queequeg, quietly hauling in the line, “spos-ee him whale-e eye; why, dad whale dead.”
“Quick, Bildad,” said Peleg, to his partner, who, aghast at the close vicinity of the flying harpoon, had retreated towards the cabin gangway. “Quick, I say, you Bildad, and get the ship’s papers. We must have Hedgehog there, I mean Quohog, in one of our boats. Look ye, Quohog, we’ll give ye the ninetieth lay, and that’s more than ever was given a harpooneer yet out of Nantucket.
21 - Going Aboard
Ishamel and the formiddable marksman Queeqeg continue to develop their friendship and Queeq explains his origins as the son of a Polynesian King. It is customary where he comes from to use the conquered / lower orders as footstools:
Queequeg removed himself to just beyond the head of the sleeper, and lighted his tomahawk pipe. I sat at the feet. We kept the pipe passing over the sleeper, from one to the other. Meanwhile, upon questioning him, in his broken fashion Queequeg gave me to understand that, in his land, owing to the absence of settees and sofas of all sorts, the king, chiefs, and great people generally, were in the custom of fattening some of the lower orders for ottomans; and to furnish a house comfortably in that respect, you had only to buy up eight or ten lazy fellows, and lay them round in the piers and alcoves. Besides, it was very convenient on an excursion; much better than those garden-chairs which are convertible into walking-sticks; upon occasion, a chief calling his attendant, and desiring him to make a settee of himself under a spreading tree, perhaps in some damp marshy place.
While narrating these things, every time Queequeg received the tomahawk from me, he flourished the hatchet-side of it over the sleeper’s head.
“What’s that for, Queequeg?”
“Perry easy, kill-e; oh! perry easy!”
“He was going on with some wild reminiscences about his tomahawkpipe, which, it seemed, had in its two uses both brained his foes and soothed his soul, when we were directly attracted to the sleeping rigger.”
36 - The Quarter-Deck
Ahab is such a fun character, and the little stage cues alongside his walls of soliloquy are so fun:
If man will strike, strike through the mask! How can the prisoner reach outside except by thrusting through the wall? To me, the white whale is that wall, shoved near to me. Sometimes I think there’s naught beyond. But ’tis enough. He tasks me; he heaps me; I see in him outrageous strength, with an inscrutable malice sinewing it. That inscrutable thing is chiefly what I hate; and be the white whale agent, or be the white whale principal, I will wreak that hate upon him. Talk not to me of blasphemy, man; I’d strike the sun if it insulted me. For could the sun do that, then could I do the other; since there is ever a sort of fair play herein, jealousy presiding over all creations. But not my master, man, is even that fair play. Who’s over me? Truth hath no confines.
37 - Sunset
“Or, if you will, like so many ant-hills of powder, they all stand before me; and I their match. Oh, hard! that to fire others, the match itself must needs be wasting! What I’ve dared, I’ve willed; and what I’ve willed, I’ll do! They think me mad—Starbuck does; but I’m demoniac, I am madness maddened! That wild madness that’s only calm to comprehend itself! The prophecy was that I should be dismembered; and—Aye! I lost this leg. I now prophesy that I will dismember my dismemberer. Now, then, be the prophet and the fulfiller one.”
39 - First Night-Watch
I know not all that may be coming, but be it what it will, I'll go to it laughing.
Ignorance is the parent of fear
48 - The First Lowering
Description of Stubb encouraging his crew to row send shivers down me spine:
“Look at that chap now,” philosophically drawled Stubb, who, with his unlighted short pipe, mechanically retained between his teeth, at a short distance, followed after—“He’s got fits, that Flask has. Fits? yes, give him fits—that’s the very word—pitch fits into ’em. Merrily, merrily, hearts-alive. Pudding for supper, you know;—merry’s the word. Pull, babes—pull, sucklings—pull, all. But what the devil are you hurrying about? Softly, softly, and steadily, my men. Only pull, and keep pulling; nothing more. Crack all your backbones, and bite your knives in two—that’s all. Take it easy—why don’t ye take it easy, I say, and burst all your livers and lungs!”
“But what it was that inscrutable Ahab said to that tiger-yellow crew of his—these were words best omitted here; for you live under the blessed light of the evangelical land. Only the infidel sharks in the audacious seas may give ear to such words, when, with tornado brow, and eyes of red murder, and foam-glued lips, Ahab leaped after his prey.
Meanwhile, all the boats tore on. The repeated specific allusions of Flask to “that whale,” as he called the fictitious monster which he declared to be incessantly tantalizing his boat’s bow with its tail—these allusions of his were at times so vivid and life-like, that they would cause some one or two of his men to snatch a fearful look over the shoulder. But this was against all rule; for the oarsmen must put out their eyes, and ram a skewer through their necks; usage pronouncing that they must have no organs but ears, and no limbs but arms, in these critical moments.
I am boat
49 - The Hyena
There are certain queer times and occasions in this strange mixed affair we call life when a man takes this whole universe for a vast practical joke, though the wit thereof he but dimly discerns, and more than suspects that the joke is at nobody’s expense but his own.
53 - The Gam
“But what is a Gam? You might wear out your index-finger running up and down the columns of dictionaries, and never find the word. Dr. Johnson never attained to that erudition; Noah Webster’s ark does not hold it. Nevertheless, this same expressive word has now for many years been in constant use among some fifteen thousand true born Yankees. Certainly, it needs a definition, and should be incorporated into the Lexicon. With that view, let me learnedly define it.
GAM. Noun—A social meeting of two (or more) Whale-ships, generally on a cruising-ground; when, after exchanging hails, they exchange visits by boats’ crews: the two captains remaining, for the time, on board of one ship, and the two chief mates on the other.
64 - Stubb's Supper
One of the funniest chapters of any book I've ever read. Stubb kills a whale and the crew gets to feast and you can just tell that Melville is having fun here:
About midnight that steak was cut and cooked; and lighted by two lanterns of sperm oil, Stubb stoutly stood up to his spermaceti supper at the capstan-head, as if that capstan were a sideboard. Nor was Stubb the only banqueter on whale’s flesh that night. Mingling their mumblings with his own mastications, thousands on thousands of sharks, swarming round the dead leviathan, smackingly feasted on its fatness. The few sleepers below in their bunks were often startled by the sharp slapping of their tails against the hull, within a few inches of the sleepers’ hearts. Peering over the side you could just
Stubb instructs the cook to go sermonize to the sharks and receives a lesson on oratory:
“Cook,” said Stubb, rapidly lifting a rather reddish morsel to his mouth, “don’t you think this steak is rather overdone? You’ve been beating this steak too much, cook; it’s too tender. Don’t I always say that to be good, a whale-steak must be tough? There are those sharks now over the side, don’t you see they prefer it tough and rare? What a shindy they are kicking up! Cook, go and talk to ’em; tell ’em they are welcome to help themselves civilly, and in moderation, but they must keep quiet. Blast me, if I can hear my own voice. Away, cook, and deliver my message. Here, take this lantern,” snatching one from his sideboard; “now then, go and preach to ’em!”
Sullenly taking the offered lantern, old Fleece limped across the deck to the bulwarks; and then, with one hand dropping his light low over the sea, so as to get a good view of his congregation, with the other hand he solemnly flourished his tongs, and leaning far over the side in a mumbling voice began addressing the sharks, while Stubb, softly crawling behind, overheard all that was said.
“Fellow-critters: I’se ordered here to say dat you must stop dat dam noise dare. You hear? Stop dat dam smackin’ ob de lip! Massa Stubb say dat you can fill your dam bellies up to de hatchings, but by Gor! you must stop dat dam racket!”
“Cook,” here interposed Stubb, accompanying the word with a sudden slap on the shoulder,—“Cook! why, damn your eyes, you mustn’t swear that way when you’re preaching. That’s no way to convert sinners, Cook!”
“Who dat? Den preach to him yourself,” sullenly turning to go.
“No, Cook; go on, go on.”
“Well, den, Belubed fellow-critters:”—
“Right!” exclaimed Stubb, approvingly. “coax ’em to it; try that,” and Fleece continued.
“Dough you is all sharks, and by natur wery woracious, yet I zay to you, fellow-critters, dat dat woraciousness—’top dat dam slappin’ ob de tail! How you tink to hear, ’spose you keep up such a dam slappin’ and bitin’ dare?”
“Cook,” cried Stubb, collaring him, “I wont have that swearing. Talk to ’em gentlemanly.”
Once more the sermon proceeded.
“Your woraciousness, fellow-critters, I don’t blame ye so much for; dat is natur, and can’t be helped; but to gobern data wicked natur, dat is de pint. You is sharks, sartin; but if you gobern de shark in you, why den you be angel; for all angel is not’ing more dan de shark well goberned. Now, look here, bred’ren, just try wonst to be cibil, a helping yourselbs from dat whale. Don’t be tearin’ de blubber out your neighbour’s mout, I say. Is not one shark good right as toder to dat whale? And, by Gor, none on you has de right to dat whale; dat whale belong to some one else. I know some o’ you has berry brig mout, brigger dan oders; but den de brig mouts sometimes has de small bellies; so dat de brigness ob de mout is not to swallar wid, but to bite off de blubber for de small fry ob sharks, dat can’t get into de scrouge to help demselves.”
“Well done, old Fleece!” cried Stubb, “that’s Christianity; go on.”
89 - Fast-Fish and Loose-Fish
Like how can you not love the whale facts chapters? This is the sort of thing that comes far enough into the book already filled to the brim with 'nuff cetology for me to take Melville at his word and for me to not think this is all entirely fabricated:
I. A Fast-Fish belongs to the party fast to it. II. A Loose-Fish is fair game for anybody who can soonest catch it.
These pleadings, and the counter pleadings, being duly heard, the very learned judge in set terms decided, to wit,—That as for the boat, he awarded it to the plaintiffs, because they had merely abandoned it to save their lives; but that with regard to the controverted whale, harpoons, and line, they belonged to the defendants; the whale, because it was a Loose-Fish at the time of the final capture; and the harpoons and line because when the fish made off with them, it (the fish) acquired a property in those articles; and hence anybody who afterwards took the fish had a right to them. Now the defendants afterwards took the fish; ergo, the aforesaid articles were theirs.
A common man looking at this decision of the very learned Judge, might possibly object to it. But ploughed up to the primary rock of the matter, the two great principles laid down in the twin whaling laws previously quoted, and applied and elucidated by Lord Ellenhorough in the above cited case; these two laws touching Fast-Fish and Loose-Fish, I say, will, on reflection; be found the fundamentals of all human jurisprudence; for notwithstanding its complicated tracery of sculpture, the Temple of the Law, like the Temple of the Philistines, has but two props to stand on.
Ishmael is so fish-pilled by this point, he sees everything in terms of fish. Luigi's mansion ass frame of reference.
102 - A Bower in the Arsacides
The skeleton dimensions I shall now proceed to set down are copied verbatim from my right arm, where I had them tattooed; as in my wild wanderings at that period, there was no other secure way of The skeleton dimensions I shall now proceed to set down are copied verbatim from my right arm, where I had them tattooed; as in my wild wanderings at that period, there was no other secure way of preserving such valuable statistics. But as I was crowded for space, and wished the other parts of my body to remain a blank page for a poem I was then composing—at least, what untattooed parts might remain—I did not trouble myself with the odd inches; nor, indeed, should inches at all enter into a congenial admeasurement of the whale.
so true
135 - The Chase–Third Day
“I turn my body from the sun. What ho, Tashtego! let me hear thy hammer. Oh! ye three unsurrendered spires of mine; thou uncracked keel; and only god-bullied hull; thou firm deck, and haughty helm, and Pole-pointed prow,—death-glorious ship! must ye then perish, and without me? Am I cut off from the last fond pride of meanest shipwrecked captains? Oh, lonely death on lonely life! Oh, now I feel my topmost greatness lies in my topmost grief. Ho, ho! from all your furthest bounds, pour ye now in, ye bold billows of my whole foregone life, and top this one piled comber of my death! Towards thee I roll, thou all-destroying but unconquering whale; to the last I grapple with thee; from hell’s heart I stab at thee; for hate’s sake I spit my last breath at thee. Sink all coffins and all hearses to one common pool! and since neither can be mine, let me then tow to pieces, while still chasing thee, though tied to thee, thou damned whale! Thus, I give up the spear!"
related
| Read | Author | Title | Pages | Published | Genre | Rating | Rating' | Tags | Recommended by |
|---|---|---|---|---|---|---|---|---|---|
| 9/16/26 | Herman Melville | Moby Dick | 608 | 1851 | Fiction | 8.450 | 8.278 | Howarddd | |
| 4/13/26 | Cormac McCarthy | Blood Meridian | 349 | 1985 | Fiction | 8.650 | 8.500 | American classic | |
| 9/29/25 | John Williams | Stoner | 278 | 1965 | Fiction | 8.250 | 8.056 | American classic | |
| 8/25/25 | Roberto Bolaño | Amulet | 154 | 1999 | Fiction | 7.000 | 6.667 | metempsychosis | |
| 7/31/25 | William Faulkner | As I Lay Dying | 288 | 1930 | Fiction | 7.750 | 7.500 | American classic | Dasha |
| 5/24/25 | Herman Melville | Bartleby the Scrivener | 74 | 1853 | Fiction | 7.000 | 6.667 | Ben Roth | |
| 2/7/25 | James Joyce | Ulysses | 732 | 1920 | Fiction | 8.181 | 7.978 | metempsychosis | |
| 10/30/24 | David Foster Wallace | Infinite Jest | 1451 | 1996 | Fiction | 10.000 | 10.000 | metempsychosis | |
| 3/21/24 | John Steinbeck | East of Eden | 601 | 1952 | Fiction | 8.688 | 8.542 | American classic | Jack H. |
| 10/15/17 | William Golding | Lord of the Flies | 189 | 1954 | Fiction | 7.000 | 6.667 | American classic | |
| 8/12/17 | Kurt Vonnegut | Slaughterhouse Five | 190 | 1969 | Fiction | 7.750 | 7.500 | American classic | Sean G. |
| 10/10/16 | William Faulkner | The Sound and the Fury | 326 | 1927 | Fiction | 8.250 | 8.056 | American classic | Steg |
| 5/20/16 | J.D. Salinger | Catcher in the Rye | 232 | 1951 | Fiction | 3.000 | 2.222 | American classic | |
| 12/4/25 | Thomas Pynchon | Mason & Dixon | 773 | 1977 | Historical Fiction | 8.000 | 7.778 | metempsychosis | |
| 8/8/25 | Samuel Johnson | The Lives of English Poets | 560 | 1779 | Non-Fiction | N/A | N/A | Gam/lackthereof | |
| 3/25/25 | Caroline McManus | Anamnesis | 698 | 2024 | Ergodic | 4.000 | 3.333 | metempsychosis | |
| 3/2/25 | Cassandra Khaw | The Salt Grows Heavy | 112 | 2023 | Horror | 7.650 | 7.389 | metempsychosis | |
| 11/13/26 | Donna Tartt | The Secret History | 559 | 1992 | Fiction | 8.000 | 7.778 | Kayla | |
| 10/22/26 | Yu Miri | Tokyo Ueno Station | 192 | 2021 | Fiction | 6.000 | 5.556 | ||
| 10/21/26 | Don DeLillo | Mao II | 256 | 1992 | Fiction | 8.000 | 7.778 | ||
| 10/16/26 | Mikhail Lermontov | A Hero of Our Time | 208 | 1840 | Fiction | 7.450 | 7.167 | Zack B. | |
| 10/12/26 | Fyodor Dostoevsky | White Nights | 96 | 1848 | Fiction | 6.500 | 6.111 | Taylor R. | |
| 10/6/26 | Rohinton Mistry | A Fine Balance | 624 | 1995 | Fiction | 7.650 | 7.389 | Kayla | |
| 10/4/26 | Don DeLillo | Pafko at the Wall | 96 | 2001 | Fiction | 7.250 | 6.944 | ||
| 9/25/26 | William Gaddis | Carpenter's Gothic | 288 | 1985 | Fiction | 8.500 | 8.333 | ||
| 9/24/26 | Osamu Dazai | No Longer Human | 177 | 1948 | Fiction | 7.650 | 7.389 | ||
| 9/7/26 | Don DeLillo | White Noise | 320 | 1985 | Fiction | 7.750 | 7.500 | Ben Roth | |
| 9/5/26 | John Williams | Nothing but the Night | 144 | 1948 | Fiction | 7.350 | 7.056 | ||
| 8/26/26 | Stefan Zweig | Beware of Pity | 392 | 1939 | Fiction | 7.850 | 7.611 | ||
| 8/18/26 | Miroslav Krleža | On the Edge of Reason | 192 | 1938 | Fiction | 7.850 | 7.611 | ||
| 8/13/26 | Cormac McCarthy | Cities of the Plain The Border Trilogy (3) | 292 | 1998 | Fiction | 7.750 | 7.500 | ||
| 8/10/26 | Cormac McCarthy | The Crossing The Border Trilogy (2) | 426 | 1994 | Fiction | 7.500 | 7.222 | ||
| 8/6/26 | Cormac McCarthy | All the Pretty Horses The Border Trilogy (1) | 302 | 1992 | Fiction | 7.625 | 7.361 | ||
| 8/4/26 | Ray Bradbury | There Will Come Soft Rains | 5 | 1950 | Fiction | 6.750 | 6.389 | ||
| 7/31/26 | Mikhail Bulgakov | Heart of a Dog | 123 | 1968 | Fiction | 7.350 | 7.056 | Zack B. | |
| 7/29/26 | Min Jin Lee | Pachinko | 544 | 2017 | Fiction | 6.583 | 6.204 | ||
| 7/20/26 | Thomas Mann | The Magic Mountain | 706 | 1924 | Fiction | 7.300 | 7.000 | Scott | |
| 6/28/26 | Ivan Turgenev | Fathers and Sons | 226 | 1862 | Fiction | 7.000 | 6.667 | Scott | |
| 6/6/26 | Mikhail Bulgakov | The Master and Margarita | 450 | 1967 | Fiction | 7.650 | 7.389 | ||
| 5/5/26 | Brian Evenson | Altmann's Tongue | 278 | 1994 | Fiction | 6.500 | 6.111 | ||
| 5/1/26 | Laura Knowlin | if only i had told her | 391 | 2024 | Fiction | 6.033 | 5.593 | ||
| 4/27/26 | Jean Raspail | The Camp of the Saints | 356 | 1973 | Fiction | 5.500 | 5.000 | ||
| 4/22/26 | Virginia Woolf | To the Lighthouse | 209 | 1927 | Fiction | 7.350 | 7.056 | Ben Roth | |
| 4/19/26 | Benjamín Labatut | When We Cease to Understand the World | 192 | 2021 | Fiction | 8.000 | 7.778 | ||
| 4/18/26 | László Krasznahorkai | Chasing Homer | 96 | 2019 | Fiction | 6.650 | 6.278 | ||
| 4/17/26 | Cormac McCarthy | No Country for Old Men | 320 | 2005 | Fiction | 8.250 | 8.056 | ||
| 4/11/26 | Patrick White | Voss | 442 | 1957 | Fiction | 7.650 | 7.389 | ||
| 4/5/26 | John Williams | Augustus | 336 | 1971 | Fiction | 8.250 | 8.056 | ||
| 4/5/26 | Joseph Andras | Tomorrow They Won't Dare to Murder Us | 144 | 2021 | Fiction | 8.000 | 7.778 | ||
| 4/2/26 | Roberto Bolaño | Posthumous Stories | 160 | 2025 | Fiction | 7.000 | 6.667 | ||
| 4/2/26 | Sophocles | Oedipus Rex | 94 | -429 | Fiction | 7.000 | 6.667 | ||
| 4/1/26 | Makenna Goodman | Helen of Nowhere | 160 | 2025 | Fiction | 7.350 | 7.056 | ||
| 3/31/26 | Roberto Bolaño | The Return | 208 | 2010 | Fiction | 7.115 | 6.795 | ||
| 3/27/26 | Roberto Bolaño | The Third Reich | 277 | 1989 | Fiction | 7.750 | 7.500 | ||
| 3/25/26 | Roberto Bolaño | Nazi Literature in the Americas | 237 | 1996 | Fiction | 8.250 | 8.056 | ||
| 3/23/26 | Roberto Bolaño | The Skating Rink | 192 | 1993 | Fiction | 7.350 | 7.056 | ||
| 3/22/26 | Roberto Bolaño | The Insufferable Gaucho | 164 | 2003 | Fiction | 7.625 | 7.361 | ||
| 3/21/26 | Roberto Bolaño | A Little Lumpen Novelita | 128 | 2002 | Fiction | 7.550 | 7.278 | ||
| 3/20/26 | Roberto Bolaño | Antwerp | 119 | 2002 | Fiction | 7.250 | 6.944 | ||
| 3/19/26 | David Foster Wallace | The Broom of the System | 467 | 1987 | Fiction | 7.875 | 7.639 | ||
| 3/14/26 | Alexis Wright | Praiseworthy | 736 | 2023 | Fiction | 7.125 | 6.806 | ||
| 3/4/26 | André Gide | The Immoralist | 154 | 1902 | Fiction | 7.000 | 6.667 | Ben Roth | |
| 3/3/26 | Stefan Zweig | Chess | 84 | 1942 | Fiction | 8.500 | 8.333 | ||
| 2/28/26 | Lucy Ellmann | Ducks, Newburyport | 1022 | 2019 | Fiction | 2.000 | 1.111 | ||
| 2/16/26 | Natsuo Kirino | Out | 416 | 1992 | Fiction | 5.000 | 4.444 | ||
| 1/30/26 | William H. Gass | The Tunnel | 652 | 1995 | Fiction | 8.550 | 8.389 | Ben Roth | |
| 1/25/26 | Jon Fosse | A New Name Septology (3) | 228 | 2021 | Fiction | 7.000 | 6.667 | ||
| 1/25/26 | Jacqueline Harpman | I Who Have Never Known Men | 184 | 1995 | Fiction | 6.850 | 6.500 | Jessika | |
| 1/24/26 | Jon Fosse | The Other Name Septology (1) | 351 | 2019 | Fiction | 6.500 | 6.111 | ||
| 1/24/26 | Jon Fosse | I is Another Septology (2) | 271 | 2020 | Fiction | 6.833 | 6.481 | ||
| 1/20/26 | John Williams | Butcher's Crossing | 274 | 1960 | Fiction | 7.750 | 7.500 | ||
| 1/19/26 | Raymond Carver | What We Talk About When We Talk About Love | 176 | 1981 | Fiction | 6.500 | 6.111 | ||
| 1/18/26 | Sally Rooney | Beautiful World, Where Are You | 368 | 2021 | Fiction | 6.250 | 5.833 | Kayla | |
| 1/1/26 | Juan Rulfo | Pedro Páramo | 144 | 1955 | Fiction | 7.850 | 7.611 | ||
| 12/26/25 | Boris and Arkady Strugatsky | One Billion Years to the End of the World | 176 | 1977 | Fiction | 7.450 | 7.167 | ||
| 12/23/25 | Sally Rooney | Intermezzo | 448 | 2024 | Fiction | 7.850 | 7.611 | ||
| 11/27/25 | Vladimir Sorokin | Their Four Hearts | 204 | 1994 | Fiction | 7.500 | 7.222 | ||
| 11/10/25 | David Markson | Wittgenstein's Mistress | 248 | 1988 | Fiction | 8.250 | 8.056 | Dasha | |
| 10/22/25 | Milan Kundera | The Unbearable Lightness of Being | 314 | 1984 | Fiction | 8.200 | 8.000 | Ben Roth | |
| 10/15/25 | Louis-Ferdinand Céline | Guignol's Band | 287 | 1944 | Fiction | 6.000 | 5.556 | ||
| 10/12/25 | László Krasznahorkai | Sátántangó | 333 | 1985 | Fiction | 7.850 | 7.611 | ||
| 10/9/25 | Vigdis Hjorth | Will and Testament | 336 | 2016 | Fiction | 8.000 | 7.778 | ||
| 10/2/25 | Brett Easton Ellis | The Informers | 240 | 1994 | Fiction | 7.000 | 6.667 | ||
| 9/18/25 | Fyodor Dostoevsky | Poor Folk | 288 | 1846 | Fiction | 6.750 | 6.389 | Tommy A. | |
| 9/16/25 | David Foster Wallace | Brief Interviews with Hideous Men | 288 | 1999 | Fiction | 8.633 | 8.481 | ||
| 9/4/25 | Sue Monk Kidd | The Book of Longings | 432 | 2020 | Fiction | 6.350 | 5.944 | ||
| 8/9/25 | Toni Morrison | Song of Solomon | 338 | 1977 | Fiction | 7.350 | 7.056 | Ben Roth | |
| 8/7/25 | Roberto Bolaño | Monsieur Pain | 134 | 1999 | Fiction | 8.100 | 7.889 | ||
| 8/6/25 | Denis Johnson | Train Dreams | 116 | 2002 | Fiction | 7.450 | 7.167 | Ben Roth | |
| 8/6/25 | Christina Brooke-Rose | Amalgamemnon | 152 | 1984 | Fiction | 7.250 | 6.944 | Dasha | |
| 8/5/25 | Thomas Pynchon | The Crying of Lot 49 | 152 | 1965 | Fiction | 8.750 | 8.611 | Preston | |
| 8/5/25 | Roberto Bolaño | By Night in Chile | 118 | 2000 | Fiction | 7.250 | 6.944 | ||
| 8/3/25 | Roberto Bolaño | The Savage Detectives | 656 | 1998 | Fiction | 7.167 | 6.852 | Dasha | |
| 7/14/25 | Mark Z. Danielewski | The Fifty Year Sword | 280 | 2005 | Fiction | 5.500 | 5.000 | ||
| 7/11/25 | Vladimir Nabokov | The Enchanter | 144 | 1986 | Fiction | 7.750 | 7.500 | ||
| 7/10/25 | Vladimir Nabokov | Look at the Harlequins! | 224 | 1974 | Fiction | 8.286 | 8.095 | ||
| 7/7/25 | Vladimir Nabokov | Nabokov's Dozen | 214 | 1958 | Fiction | 6.635 | 6.261 | ||
| 7/7/25 | Vladimir Nabokov | Transparent Things | 127 | 1972 | Fiction | 8.250 | 8.056 | ||
| 7/4/25 | Dino Buzzati | The Tartar Steppe | 198 | 1940 | Fiction | 7.650 | 7.389 | Ben Roth | |
| 6/24/25 | Vladimir Nabokov | Ada or Ardor: A Family Chronicle | 500 | 1969 | Fiction | 6.550 | 6.167 | ||
| 6/19/25 | Vladimir Nabokov | Pnin | 208 | 1957 | Fiction | 7.650 | 7.389 | ||
| 6/9/25 | Vladimir Nabokov | Bend Sinister | 272 | 1947 | Fiction | 7.250 | 6.944 | ||
| 6/7/25 | Vladimir Nabokov | The Gift | 384 | 1938 | Fiction | 6.250 | 5.833 | ||
| 6/3/25 | Vladimir Nabokov | Invitation to a Beheading | 240 | 1936 | Fiction | 7.500 | 7.222 | ||
| 5/31/25 | Gillian Flynn | Sharp Objects | 252 | 2006 | Fiction | 7.000 | 6.667 | ||
| 5/31/25 | Vladimir Nabokov | Laughter in the Dark | 304 | 1933 | Fiction | 7.350 | 7.056 | ||
| 5/27/25 | Hubert Selby Jr. | Last Exit to Brooklyn | 320 | 1964 | Fiction | 8.708 | 8.565 | King | |
| 5/9/25 | Vladimir Nabokov | King, Queen, Knave | 272 | 1928 | Fiction | 7.600 | 7.333 | ||
| 5/9/25 | Vladimir Nabokov | The Eye | 128 | 1930 | Fiction | 6.500 | 6.111 | ||
| 5/8/25 | Vladimir Nabokov | Mary | 144 | 1926 | Fiction | 7.250 | 6.944 | ||
| 4/20/25 | Vladimir Nabokov | Glory | 224 | 1932 | Fiction | 6.750 | 6.389 | ||
| 4/19/25 | Vladimir Nabokov | Despair | 240 | 1934 | Fiction | 7.000 | 6.667 | ||
| 4/18/25 | Jane Austen | Sense and Sensibility | 432 | 1811 | Fiction | 7.750 | 7.500 | Emma | |
| 4/18/25 | Vladimir Nabokov | The Luzhin Defense | 280 | 1930 | Fiction | 7.850 | 7.611 | ||
| 4/15/25 | David Foster Wallace | The Pale King | 636 | 2011 | Fiction | 7.750 | 7.500 | ||
| 4/14/25 | Elisa Shua Dusapin | The Pachinko Parlor | 164 | 2018 | Fiction | 7.850 | 7.611 | ||
| 1/30/25 | Leo Tolstoy | The Death of Ivan Ilyich | 128 | 1886 | Fiction | 6.750 | 6.389 | King | |
| 1/29/25 | Hubert Selby Jr. | Requiem for a Dream | 288 | 1978 | Fiction | 7.500 | 7.222 | ||
| 1/21/25 | Kaveh Akbar | Martyr! | 352 | 2024 | Fiction | 7.750 | 7.500 | Tommy A. | |
| 1/14/25 | James Baldwin | Go Tell it on the Mountain | 272 | 1952 | Fiction | 8.000 | 7.778 | ||
| 1/12/25 | James Baldwin | If Beale Street Could Talk | 197 | 1974 | Fiction | 6.250 | 5.833 | ||
| 1/10/25 | James Baldwin | Giovanni's Room | 159 | 1956 | Fiction | 6.500 | 6.111 | ||
| 1/10/25 | Anthony Burgess | A Clockwork Orange | 243 | 1962 | Fiction | 7.500 | 7.222 | ||
| 1/4/25 | Khaled Hosseini | Kite Runner | 371 | 2003 | Fiction | 6.750 | 6.389 | ||
| 12/26/24 | Fyodor Dostoevsky | Notes from Underground | 168 | 1864 | Fiction | 7.500 | 7.222 | Tommy A. | |
| 12/10/24 | Neal Stephenson | Zodiac | 316 | 1988 | Fiction | 7.000 | 6.667 | ||
| 11/6/24 | Fyodor Dostoevsky | The Gambler | 191 | 1866 | Fiction | 6.500 | 6.111 | ||
| 11/5/24 | Fyodor Dostoevsky | The Double | 144 | 1846 | Fiction | 6.250 | 5.833 | ||
| 10/25/24 | Vladimir Nabokov | The Real Life of Sebastian Knight | 236 | 1941 | Fiction | 7.150 | 6.833 | ||
| 10/25/24 | Various | 40 x 40 | 394 | 2003 | Fiction | 7.500 | 7.222 | ||
| 10/20/24 | Fyodor Dostoevsky | The Idiot | 486 | 1869 | Fiction | 7.125 | 6.806 | Tommy A. | |
| 10/18/24 | John Kennedy Toole | A Confederacy of Dunces | 405 | 1980 | Fiction | 7.750 | 7.500 | Tommy A. | |
| 10/13/24 | Italo Calvino | Invisible Cities | 179 | 1972 | Fiction | 5.500 | 5.000 | ||
| 10/1/24 | Fyodor Dostoevsky | Crime and Punishment | 527 | 1866 | Fiction | 7.286 | 6.984 | Tommy A. | |
| 9/30/24 | Jorge Luis Borges | The Zahir | 13 | 1949 | Fiction | 7.250 | 6.944 | ||
| 9/26/24 | Haruki Murakami | Kafka on the Shore | 505 | 2002 | Fiction | 5.875 | 5.417 | ||
| 9/25/24 | Franz Kafka | In the Penal Colony | 33 | 1919 | Fiction | 7.500 | 7.222 | ||
| 9/25/24 | Ray Bradbury | The Veldt | 13 | 1950 | Fiction | 6.500 | 6.111 | ||
| 9/19/24 | William Faulkner | Light in August | 498 | 1932 | Fiction | 7.350 | 7.056 | ||
| 9/9/24 | Thomas Pynchon | V. | 545 | 1963 | Fiction | 7.221 | 6.912 | ||
| 8/14/24 | Fyodor Dostoevsky | The Brothers Karamazov | 898 | 1880 | Fiction | 8.654 | 8.504 | Tommy A. | |
| 8/5/24 | Brian O'Raleigh | Passage to Inis Mór | 305 | 2020 | Fiction | 7.750 | 7.500 | Grandpa | |
| 6/28/24 | Te-Ping Chen | The Land of Big Numbers | 236 | 2021 | Fiction | 5.625 | 5.139 | ||
| 6/26/24 | Various | American Short Fiction Vol. 9, Issue 33 | 128 | 2006 | Fiction | 7.625 | 7.361 | ||
| 6/20/24 | James Joyce | A Portrait of the Artist as a Young Man | 299 | 1916 | Fiction | 6.500 | 6.111 | ||
| 6/7/24 | Philip Roth | Everyman | 193 | 2006 | Fiction | 4.500 | 3.889 | ||
| 6/6/24 | Jorge Luis Borges | Tlön, Uqbar, Orbis Tertius | 16 | 1940 | Fiction | 7.750 | 7.500 | Chabon | |
| 6/3/24 | Cormac McCarthy | The Road | 257 | 2006 | Fiction | 7.500 | 7.222 | Chabon | |
| 5/30/24 | Vladimir Nabokov | Lolita | 336 | 1955 | Fiction | 8.213 | 8.014 | ||
| 5/17/24 | Neil Gaiman | American Gods | 518 | 2001 | Fiction | 5.125 | 4.583 | Nick W. | |
| 4/9/24 | Roberto Bolaño | 2666: A Novel | 912 | 2004 | Fiction | 8.150 | 7.944 | roon | |
| 2/19/24 | Ray Bradbury | Mars is Heaven | 12 | 1948 | Fiction | 8.000 | 7.778 | ||
| 9/1/23 | Máirtín Ó Cadhain | Graveyard Clay | 328 | 1949 | Fiction | 6.750 | 6.389 | ||
| 12/13/22 | Adam Silvera | They Both Die at the End | 243 | 2017 | Fiction | 2.000 | 1.111 | ||
| 7/25/22 | Ray Bradbury | The Illustrated Man | 256 | 1969 | Fiction | 7.500 | 7.222 | ||
| 6/13/22 | Stephen King | The Institute | 576 | 2019 | Fiction | 6.500 | 6.111 | ||
| 6/12/19 | Stephen King | The Stand | 1153 | 1978 | Fiction | 8.500 | 8.333 | Dad | |
| 4/20/18 | Anthony Powell | The Acceptance World A Dance to the Music of Time (3) | 353 | 1955 | Fiction | 6.750 | 6.389 | Steg | |
| 4/17/18 | Anthony Powell | A Buyer's Market A Dance to the Music of Time (2) | 292 | 1952 | Fiction | 6.750 | 6.389 | Steg | |
| 4/15/18 | Anthony Powell | A Question of Upbringing A Dance to the Music of Time (1) | 230 | 1951 | Fiction | 6.750 | 6.389 | Steg | |
| 3/10/18 | Virginia Woolf | Mrs. Dalloway | 224 | 1925 | Fiction | 6.500 | 6.111 | Steg | |
| 11/12/17 | Kazuo Ishiguro | Never Let Me Go | 304 | 2005 | Fiction | 4.000 | 3.333 | ||
| 9/1/17 | Hunter S. Thompson | Fear and Loathing in Las Vegas | 225 | 1971 | Fiction | 6.000 | 5.556 | Alex W. | |
| 6/21/17 | Fredrik Backman | And Every Morning the Way Home Gets Longer and Longer | 96 | 2016 | Fiction | 9.000 | 8.889 | Mom | |
| 5/27/17 | Franz Kafka | The Trial | 150 | 1925 | Fiction | 7.500 | 7.222 | ||
| 2/15/17 | Frank O'Connor | The Drunkard | 6 | 1948 | Fiction | 8.000 | 7.778 | ||
| 10/20/16 | Charles Dickens | A Tale of Two Cities | 544 | 1859 | Fiction | 6.750 | 6.389 | ||
| 5/20/16 | Kurt Vonengut | Timequake | 278 | 2011 | Fiction | 8.250 | 8.056 | Sean G. | |
| 9/11/14 | Guy De Maupassant | The Prisoners | 24 | 1880 | Fiction | 7.500 | 7.222 | ||
| 3/15/13 | Richard Connell | The Most Dangerous Game | 18 | 1924 | Fiction | 7.250 | 6.944 | Mom |