2020 in books and music

The less said about this year the better (at the moment and in this space, at least).

My current total of books read for the year stands at 136 and I’m sure I’ll finish a few more before year’s end, though they probably won’t make this list, so I’m posting it earlier than usual. I will update later if this changes. As it turns out I read more books last year, but I suspect I spent more actual hours reading this year due to the circumstances. I think I read more longer books this year, which probably accounts for the difference. Once Goodreads provides my year-end stats I can compare number of pages read and see if this is the case (Update: turns out my suspicions were off the markso far I’ve read about 10,000 less pages this year than my total for last year. Definitely not going to make up that difference in the next couple of weeks).

Concentration was definitely a problem this year. As a result I found myself switching between books, starting and stopping books, and completely abandoning books more than usual. But reading remained my top leisure activity and provided a safe refuge from the chaos and negative energy in the world.

If you’re a Goodreads user you can view my entire list of books read here.

Top reads (in order within each genre by date read):

Note: in most cases links are to my Goodreads reviews, not all of which are actual reviews)

Novels/Novellas:

The Box Man / Kōbō Abe (review)
Wide Sargasso Sea / Jean Rhys (review)
The Atrocity Exhibition / J. G. Ballard (review)
The Doll / Lukas Tomin (review)
Dézafi / Frankétienne (review)
The Golden Cut / Merl Fluin (review)
The Diary of Mr. Pinke / Ewald Murrer (review)
Mount Analogue / René Daumal (review)
Rogomelec / Leonor Fini (review)
Mangled Hands / Johnny Stanton (review)
The Model / Robert Aickman (review)
The Narrator / Michael Cisco (review)
The Undying Present / Syd Staiti (review)
The Warren / Brian Evenson (review)
Yesterday / Ágota Kristóf (review)
Such Small Hands / Andrés Barba (review)
The Bridges / Tarjei Vesaas (review)
Malicroix / Henri Bosco (review)
The Left Hand of Darkness / Ursula K. Le Guin

Short Stories:

All of Your Most Private Places / Meghan Lamb (review)
Secret Hours / Michael Cisco (review)
The Sleep of the Righteous / Wolfgang Hilbig (review)
Waystations of the Deep Night / Marcel Brion (review)
Unreasonable Hours / Julio Cortázar (review)
The Delicate Prey and Other Stories / Paul Bowles (review)
Morbid Tales / Quentin S. Crisp (review)
The Doll Maker and Other Tales of the Uncanny / Sarban (review)
The Sea-Rabbit; Or, the Artist of Life / Wendy Walker (review)
The Unsettled Dust / Robert Aickman (review)
The Earth Wire / Joel Lane (review)

Poetry:

Autumn Sonata: Selected Poems / Georg Trakl (review)
A Certain Plume / Henri Michaux (review)
Coma Crossing: Collected Poems / Roger Gilbert-Lecomte (review)
The Last Gold of Expired Stars: Complete Poems 1908–1914 / Georg Trakl (review)

Drama:

Complete Plays / Sarah Kane (review)

Cross-Genre:

The House of Illnesses / Unica Zürn (review)
Nights as Day, Days as Night / Michel Leiris (review)
The Star Opens Slowly / Casi Cline (review)
Desire for a Beginning Dread of One Single End / Edmond Jabès (review)
Wasteland / New Juche (review)

Literary Anthologies:

Man in the Black Coat: Russia’s Literature of the Absurd / Oberiuty (review)

Nonfiction:

The Trouble With Being Born / E. M. Cioran (review)
Mutations: The Many Strange Faces of Hardcore Punk / Sam McPheeters (review)

Comix:

The Portable Frank / Jim Woodring (review)
Nijigahara Holograph / Inio Asano
Gast / Carol Swain (review)
My Favorite Thing Is Monsters: Vol. 1 / Emil Ferris (review)

________________________________________________________________

MUSIC

I listened to a lot of mixes this year, as opposed to full albums, so I’m keeping the list short, tailored mostly to bands whose songs I keep replaying. I will note that not much has changed with my favorites over the past few years. Occasionally a new band gets added to the heavy rotation roster, but it’s often within an existing favored genre. Nearly everything Justin Broadrick touches continues to floor me. The drone doom and wider post-metal genres in general are popular zones, supplemented with frequent forays into ambient, post-punk, industrial, and retro trips to hardcore, punk, and 80s alternative rock. Much like with my reading tastes, a solidification seems to have occurred. I blame middle age.

The (very) abridged list of what got me through 2020, in no particular order (links in most cases direct to artist Bandcamp pages):

True Widow
Emma Ruth Rundle
Helms Alee
Thou
Jesu
Final
Transitional
Scorn
Nadja
Pelican
Seefeel
Dead Can Dance

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