One Hundred Years of Solitude

    
One Hundred Years of Solitude
by Gabriel Garcia Marquez
read: circa 1997
Guardian 1000 Novels

This was one of the assigned books before senior year of high school, world literature. One of the quotes on the back of the book was "the first piece of literature since the Book of Genesis that should be required reading for the entire human race." I read the novel and liked it, but that praise seemed overblown to me, and my senior year English teacher told me once he felt the same way. Still, I always felt like I was missing something.

Under the Volcano

Under the Volcano
by Malcolm Lowry
read: 2014
Time 100 Novels, Modern Library #11, Guardian 1000 Novels

I'm not a lover of stream-of-consciousness novels, but Under the Volcano uses the technique to great effect, putting the reader in the mind of consul Geoffrey Firmin as he descends into alcoholic destruction. Time sometimes jumps to simulate an alcoholic blackout, disorienting the reader, and the narrative swirls between the present and the past, obscured with a haze of beer, tequila, and the devil mescal.

Cat's Cradle

    
Cat's Cradle
by Kurt Vonnegut
read: circa 1997

Cat's Cradle is an almost wistful post-apocalyptic novel.

Breakfast of Champions

    
Breakfast of Champions
by Kurt Vonnegut
read: circa 2000
Guardian 1000 Novels

I read this back in college, but I remember almost nothing about it - just the fictional painting "The Temptation of St. Anthony," one vertical line on a solid field. The painting draws a lot of criticism, but the artist feels that the fact that any child can reproduce it is a good thing, not a drawback. I think about this a lot when it comes to music: many great folks compositions have simple rhythms, chord structures, and rhyme schemes.

Sirens of Titan

    
Sirens of Titan
by Kurt Vonnegut
read: 2014
Guardian 1000 Novels

Vonnegut was one of the first "literature" authors I got into, reading books like Cat's Cradle and Slaughterhouse Five when I was in high school. He's a natural bridge into more serious stuff for someone like me who grew up reading science fiction almost exclusively, as his books often have sci-fi elements. He also has a conversational narrative style that's easy to read. Sirens of Titan was written in 1959, but the prose still feels fresh because it's written in the same style modern authors like Jonathan Safron Foer use today.

A Portrait of the Artist as a Young Man

   
A Portrait of the Artist as a Young Man
by James Joyce
read: circa 2005, re-read 2014
Modern Library #3, Guardian 1000 Novels

Stephen Dedalus, the protoganist of A Portrait of the Artist as a Young Man, is one of the more insular characters in literature. There are other characters in the novel - his father, some of his teachers, a few classmates - but their threads are vague and mostly irrelevant to the narrative. The story is about Stephen's interior journey, from star pupil at a prep school, to frequenter of whore-houses, to guilt-wracked religious zealot, and finally to the titular artist.

Stephen is drawn to language early in life, not just the meaning but the sounds of the words themselves, even commenting that the lines in his spelling book "were like poetry." When he ultimately writes a villanelle, his experience is that "the liquid letters of speech, symbols of the element of mystery, flowed forth over his brain." James Joyce is known for his use of language for rhythm and sound as well as meaning; we can see some of the foundation for that here.

Galveston

Galveston
by Nic Pizzolatto
read: 2014

Galveston is True Detective creator / writer Nic Pizzolatto's first novel. There are some similar themes to True Detective: it's ostensibly a crime novel, though protagonist Roy is on the wrong side of the law. It takes place in the same general area of the country, spilling from New Orleans to Galveston, Texas, and back. Most significantly, it features a hard-boiled character over a long period of time. In both Galveston and True Detective, Pizzolatto uses the passage of time to ruminate on the phenomenon of storytelling. Once events have passed, they exist only in the stories those who remember them tell. An ex-girlfriend of Roy's tells him:

"Listen to me," she said. "The past isn't real." This struck the center of me like a pickax. She said, "you remember what you want."

At another point, after explaining how he got into a life of crime, Roy thinks, "It was true, but the story didn't feel correct. It didn't really explain anything, did it?"

This is how Pizzolatto's worlds are built: on a shaky foundation of stories. The past is malleable, and since in the long run everything is past, all of reality is ultimately subject to the biases and vagaries of those who live to tell about it.

EDIT: That said, Pizzolatto isn't making the case that there's no such thing as objective truth; in fact, the objective truth is important to the characters in the story. Late in the story, Roy is confronted with the choice to tell his story to a new generation or let it die with him, and he elects to keep the truth alive.