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World's Greatest Draft (3 Viewers)

Wow. I love Berlin. But once again, I'm afraid this is much like the Tolkein and Asimov picks. He writes great songs, but he just does not stack up the great classical composers, including many yet be drafted IMO. If I were judging this category, I strongly suspect this would be my #20 choice.
Tim you are talking out yer #### again. (Snob)That's about 75 picks you'd rank at 20.The category is not just about Classical composers
This category strictly limited to the composers of all forms of music throughout the ages.
For the first half of the 20th century, Berlin was the greatest composer. Sure he didn't write a 3 hour symphony on storage jars, but to suggest this category is the domain of decomposing composers from the 18th century is narrow minded.
Berlin was a fine songwriter, NOT the greatest composer of the first half of the 20th century, sorry. And those decomposing composers you speak of (some of them much more modern than you're suggesting) are simply more sophisticated, sorry.
You can say what you like to Debussy,but there's not much of him left to hear.
 
Updated writeup:

Busy at work, will add more later, but this one needs little intro:

5.18 (98th pick) - Marcel Proust - Novelist

(10 July 1871 – 18 November 1922) was a French novelist, essayist and critic, best known as the author of À la recherche du temps perdu (In Search of Lost Time; aka Remembrance of Things Past), a monumental work of twentieth-century fiction published in seven parts from 1913 to 1927.

ETA: bio information

French novelist Marcel Proust was one of the greatest writers of the twentieth century. His books abandoned plot and dramatic action in favor of the narrator's descriptions of his experiences in the world.

Early years and education

Marcel Proust was born on July 10, 1871, in Auteuil, a suburb of Paris, France. His parents, Dr. Adrien Proust and Jeanne Weil, were wealthy. Proust was a nervous and frail child. When he was nine years old, his first attack of asthma (a breathing disorder) nearly killed him. In 1882 Proust enrolled in the Lycée Condorcet. Only during his last two years of study there did he distinguish himself as a student. After a year of military service, Proust studied law and then philosophy (the study of the world and man's place in it). Proust became known as a brilliant conversationalist with the ability to mimic others, although some considered him a snob and social climber.

First works

In 1892 and 1893 Proust wrote criticism, sketches, and short stories for the journal Le Banquet and to La Revue blanche. His first work, Les Plaisirs et les jours (Pleasures and Days), a collection of short stories and short verse descriptions of artists and musicians, was published in 1896. Proust had made an attempt at a major work in 1895, but he was unsure of himself and abandoned it in 1899. It appeared in 1952 under the title of Jean Santeuil; from thousands of pages, Bernard de Fallois had organized the novel according to a sketchy plan he found among them. Parts of the novel make little sense, and many passages are from Proust's other works. Some, however, are beautifully written. Jean Santeuil is the biography of a made-up character who struggles to follow his artistic calling.

After abandoning Jean Santeuil, Proust returned to his studies, reading widely in other literatures. During 1899 he became interested in the works of the English critic

John Ruskin (1819–1900)
, and after

Ruskin
's death the next year, Proust published an article that established him as a

Ruskin
scholar. Proust wrote several more articles on

Ruskin
, and with the help of an English-speaking friend, Marie Nordlinger, and his mother, Proust translated into French

Ruskin's The Bible of Amiens
(1904) and

Sesame and Lilies
(1906). Reading

Ruskin
's ideas on art helped him form his own ideas and move beyond the problems of Jean Santeuil.

In 1903 Proust's father died. The death of his mother two years later forced Proust into a sanatorium (an institution for rest and recovery), but he stayed less than two months. He emerged once again into society and into print after two years with a series of articles published in Le Figaro during 1907 and 1908. By November 1908 Proust was planning his Contre Sainte-Beuve (published in 1954; On Art and Literature). He finished it during the summer of 1909 and immediately started work on his great novel.

Remembrance of Things Past

Although Proust had by 1909 gathered most of the material that became À la recherche du temps perdu (Remembrance of Things Past), he still felt unable to structure the material. In January 1909 the combination of flavors in a cup of tea and toast brought him sensations that reminded him of his youth in his grandfather's garden. These feelings revealed the hidden self that Proust had spoken of in Contre Sainte-Beuve, and he felt that the process of artistic rebirth was the theme his novel required. In À la recherche du temps perdu Proust was mainly concerned with describing not real life but his narrator Marcel's view of it. Marcel traces his growth through a number of remembered experiences and realizes that these experiences reflect his inner life more truly than does his outer life.

Proust began his novel in 1909 and worked on it until his death. In 1913 he found a publisher who would produce, at the author's expense, the first of three projected volumes Du Côté de chez Swann (Swann's Way). French writer

André Gide
(1869–1951) in 1916 obtained the rights to publish the rest of the volumes. À l'ombre des jeunes filles en fleur (Within a Budding Grove), originally a chapter title, appeared in 1918 as the second volume and won the Goncourt Prize. As other volumes appeared, Proust expanded his material, adding long sections just before publication. Feeling his end approaching, Proust finished drafting his novel and began revising and correcting proofs. On November 18, 1922, Proust died of bronchitis and pneumonia (diseases of the lungs) contracted after a series of asthma attacks. The final volumes of his novel appeared under the direction of his brother Robert.

When I was in high school, my lit teacher made the offhand remark "My best friends are books". At the time I snickered and thought to myself 'wow that is so sad'. When I was older I came to know exactly what that teacher meant.

Books can show us ourselves, and that introspective process can propel us to exponential personal growth. What higher compliment could we pay a true friend than to say 'I'm a better person for knowing them; they bring out the very best in me'?

Rare is the book that can reproduce that experience, but when it happens, it is unforgettable; if you have experienced it yourself, you know it is an incredible secret joy. I call it a secret joy because you can't go around talking about it, people will think you are crazy as a loon :bag: but there are few things in life more satisfying than a book that nourishes the soul.

Remembrance of Things Past is such a book.

Some selected quotes from his masterpiece:

A cathedral, a wave of a storm, a dancer's leap, never turn out to be as high as we had hoped.
A powerful idea communicates some of its power to the man who contradicts it.
Any mental activity is easy if it need not take reality into account.
As soon as one is unhappy one becomes moral.
Habit is a second nature which prevents us from knowing the first, of which it has neither the cruelties nor the enchantments.
Happiness is beneficial for the body but it is grief that develops the powers of the mind.
In reality, in love there is a permanent suffering which joy neutralizes, renders virtual, delays, but which can at any moment become what it would have become long earlier if one had not obtained what one wanted, atrocious.
It is not because other people are dead that our affection for them grows faint, it is because we ourselves are dying.
It is often hard to bear the tears that we ourselves have caused.
It is seldom indeed that one parts on good terms, because if one were on good terms, one would not part.
It's odd how a person always arouses admiration for his moral qualities among the relatives of another with whom he has sexual relations. Physical love, so unjustifiably decried, makes everyone show, down to the least detail, all he has of goodness and self-sacrifice, so that he shines even in the eyes of those nearest to him.
Less disappointing than life, great works of art do not begin by giving us all their best.
Like many intellectuals, he was incapable of saying a simple thing in a simple way.
Often it is just lack of imagination that keeps a man from suffering very much.
Only through art can we emerge from ourselves and know what another person sees.
Our intonations contain our philosophy of life, what each of us is constantly telling himself about things.
People wish to learn to swim and at the same time to keep one foot on the ground.
The duty and the task of a writer are those of an interpreter.
The features of our face are hardly more than gestures which have become permanent.
The fixity of a habit is generally in direct proportion to its absurdity.
The only real voyage of discovery consists not in seeing new landscapes, but in having new eyes, in seeing the universe with the eyes of another, of hundreds of others, in seeing the hundreds of universes that each of them sees.
The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.
The time which we have at our disposal every day is elastic; the passions we feel expand it, those that we inspire contract it, and habit fills up what remains.
The true paradises are the lost paradises.
There is not a woman in the world that possession of whom is as precious as that of the truth which she reveals to us by causing us to suffer.
Those whose suffering is due to love are, as we say of certain invalids, their own physicians.
Time, which changes people, does not alter the image we have retained of them.
We are healed of a suffering only by experiencing it to the full.
We do not succeed in changing things according to our desire, but gradually our desire changes.
We don't receive wisdom; we must discover it for ourselves after a journey that no one can take for us or spare us.
Words do not change their meanings so drastically in the course of centuries as, in our minds, names do in the course of a year or two.
The real voyage of discovery consists not in seeking new landscapes but in having new eyes. We don't receive wisdom; we must discover it for ourselves after a journey that no one can take for us or spare us.– Marcel Proust

The Proust QuestionairreThe questionnaire has its origins in a parlor game popularized (though not devised) by Proust (1871–1922), who believed that, in answering these questions, an individual reveals his or her true nature. Click here to read some responses of noteworthy contemporary figures. The questions:

1. What is your idea of perfect happiness?

2. What is your greatest fear?

3. What is the trait you most deplore in yourself?

4. What is the trait you most deplore in others?

5. Which living person do you most admire?

6. What is your greatest extravagance?

7. What is your current state of mind?

8. What do you consider the most overrated virtue?

9. On what occasion do you lie?

10. What do you most dislike about your appearance?

11. Which living person do you most despise?

12. What is the quality you most like in a man?

13. What is the quality you most like in a woman?

14. Which words or phrases do you most overuse?

15. What or who is the greatest love of your life?

16. When and where were you happiest?

17. Which talent would you most like to have?

18. If you could change one thing about yourself, what would it be?

19. What do you consider your greatest achievement?

20. If you were to die and come back as a person or a thing, what would it be?

21. Where would you most like to live?

22. What is your most treasured possession?

23. What do you regard as the lowest depth of misery?

24. What is your favorite occupation?

25. What is your most marked characteristic?

26. What do you most value in your friends?

27. Who are your favorite writers?

28. Who is your hero of fiction?

29. Which historical figure do you most identify with?

30. Who are your heroes in real life?

31. What are your favorite names?

32. What is it that you most dislike?

33. What is your greatest regret?

34. How would you like to die?

35. What is your motto?
 
Updated writeup:

Sorry, another brief writeup, will expand later.

6.03 (103rd pick) - Paul Cezanne - Painter

(1839-1906) – "Cezanne is the father of us all." This lapidary phrase has been attributed to both Picasso and XXXXX, and certainly it doesn't matter who actually said it, because in either case is true.

While he exhibited with the Impressionist painters, Cézanne left behind the whole group to develop a style of painting never seen so far, which opened the door for the arrival of Cubism and the rest of the vanguards of the twentieth century

ETA: images and bio info

Self Portrait 1875

Jas de Bouffan 1876

Self Portrait 1878-80

Jas de Bouffan 1885-1887

The Card Players 1890 - 92

Mont Sainte-Victoire 1890-94

Man with Pipe 1892-96

Woman in a Green Hat 1894-1895

Ginger Jar and Fruit 1895

Still Life with Curtain 1895

Still Life with Apples and Oranges 1895-1900

Seated Peasant 1895-1900

Quarry and Mont Sainte-Victoire 1898-1900

Large Bathers 1899-1906

Still Life 1900

More paintings here

Visionary ahead of his time, Cezanne's innovative style, use of perspective, composition and color profoundly influenced 20th century art. Picasso developed Cezanne's planar compositions into cubism, and

Matisse
greatly admired his use of color. He used color with passion and creativity, giving his brush strokes structure, solidity, durability. Pablo Picasso said the following of the artist "My one and only master . . . Cezanne was like the father of us all". Cezanne is therefore often described as the "father of modern art". Unfortunately, Cezanne was the ultimate outsider and misunderstood during most of his life. Success came little and late, although young promising painters came to visit him during his last years.

Early Life and work

Paul Cezanne was born on January 19, 1839, as the son of a wealthy banker in the southern French town of Aix-en-Provence. Cezanne develops artistic interest at an early age and joins his boyhood companion and author

Emile Zola
in Paris in 1861, after many disputes with his father over his desire to dedicate himself to painting. Cezanne's stay in Paris lasted only six months. Though attracted by the more radical art forms in Paris, admiring the innovating works by

Eugène Delacroix
,

Gustave Courbet
and

Edouard Manet
, he destroys many canvases during depressive moments and returns home full of self-doubt. A year spent working with his father, however, convinced him to try a painter's life again. Cezanne's early works were dark and composed of heavy, fluid pigment suggesting the moody, romantic expression of previous generations.

Cezanne returns to Paris suffering a new defeat when failing the entrance exam for the Ecole des Beaux-Arts. Worse, his paintings are rejected by the Salon. Thanks to

Pissarro
, he is introduced to Impressionist painters such as

Manet
and

Degas
.

1870

At 30, Cezanne changes his style and his habits. He meets Hortense Fiquet who becomes his mistress for many years. The black and morbid atmosphere of his painting gradually changes as he concentrates on landscape subjects. This period is also known as "constructive", characterized by the grouping of parallel, hatched brushstrokes that have the power to build a feeling of mass. After the birth of his son, Cezanne moved with his family to Pontoise, where

Pissarro
lived. For two years the two men spent long periods together.

Pissarro
introduces him to Impressionist painting and his work is finally exhibited together with other Impressionist works in 1874.

Pissarro
's influence is seen through the somewhat lightened palette. Throughout his career, will faithfully keep painting directly from nature. However, Cezanne reacted against the lack of structure in the Impressionist paintings and said that he intended to make Impressionism into "something solid and durable, like the art of the museums". He did innovate beyond Impressionism and is ranked alongside the Post-Impressionist artists

Seurat
,

Van Gogh
and

Gauguin
.

For many years, still-lifes and landscapes were Cezanne's main topics. Composing more than 200 still-life paintings, Cezanne wants to 'conquer Paris with an apple'. 'Apples and Oranges' is one of his most famous still-life compositions. Applying the same methodical analysis to these works as he did with his landscapes, Cezanne records the slightest variations in tone and color observed over long periods as well as the forms from empirical geometry he considered the most frequent in nature - the 'cylinder, sphere and the cone'.

1880

In 1881, Cezanne's brother-in-law bought a house with a view on the Saint-Victoire mountain. He feels this mountain in his compositions is the essence of all that he had felt had eluded the Impressionists - firmness, solidity, permanence.

When in 1886

Emile Zola
's publishes

L'Oeuvre
, Cezanne was deeply hurt by the resemblances to the main character, which was a failed artist. This leads to the end of his friendship with

Zola
. In the same year, Cezanne reveals the existence of his family to his parents and then marries Hortense. Later that year, Cezanne's father dies, leaving him a comfortable inheritence.

The next few years, Cezanne becomes increasingly isolated from his family in Paris while he stays in Aix. Cutting himself off from the outer world, he lives the life of a recluse.

1890

In his late fifties however, Cezanne's work finally began to attract the attention it deserves. Ambroise Vollard, a renowned art dealer, organises an exhibit of Cezanne's work in Paris in 1895. Appreciation and acceptance of his innovative work follows, and Vollard even buys every painting from Cezanne's studio in 1897. Young artists travel to Aix to see him at work.

End of his life

Cezanne's artistic search leads him to study the same subjects over and over, varying his approach each time. 'The Great Bathers', a monumental piece showing women in a landscape, is a revision of a favourite subject, first explored in 1875.

In later years, Cezanne's health detriorated. On October 22 1906, Cezanne dies of pneumonia.

 
Updated writeup:

OK, don't want to hold anyone up so I will post now.

7.18 (138th pick) - Anton Chekhov - Playwright

Anton Chekhov bio

ETA: full bio

ANTON CHEKHOV (1860-1904)

His audience demanded laughter above all things, and, with his deep sense of the ridiculous, Chekhov asked nothing better. His stories, though often based on themes profoundly tragic, are penetrated by the light and subtle satire that has won him his reputation as a great humourist. But though there was always a smile on his lips, it was a tender one, and his sympathy with suffering often brought his laughter near to tears.

This delicate and original genius was at first subjected to harsh criticism, which Chekhov felt keenly, and THE description in "The Sea-Gull" of the trials of a young author is a cry from Chekhov's own soul. A passionate enemy of all lies and oppression, he already foreshadows in these early writings the protest against conventions and rules, which he afterward put into Treplieff's reply to Sorin in "The Sea-Gull": "Let us have new forms, or else nothing at all."

In 1884 he took his degree as doctor of medicine, and decided to practice, although his writing had by now taken on a professional character. He always gave his calling a high place, and the doctors in his works are drawn with affection and understanding. If any one spoke slightly of doctors in his presence, he would exclaim: "Stop! You don't know what country doctors do for the people!"

Chekhov fully realized later the influence which his profession had exercised on his literary work, and sometimes regretted the too vivid insight it gave him, but, on the other hand, he was able to write: "Only a doctor can know what value my knowledge of science has been to me," and "It seems to me that as a doctor I have described the sicknesses of the soul correctly." For instance, analysis in "The Sea-Gull" of the state of mind of an author has well been called "artistic diagnosis."

The young doctor-writer is described at this time as modest and grave, with flashes of brilliant gaiety. A son of the people, there was in his face an expression that recalled the simple-hearted village lad; his eyes were blue, his glance full of intelligence and kindness, and his manners unaffected and simple. He was an untiring worker, and between his patients and his desk he led a life of ceaseless activity. His restless mind was dominated by a passion of energy and he thought continually and vividly. Often, while jesting and talking, he would seem suddenly to plunge into himself, and his look would grow fixed and deep, as if he were contemplating something important and strange. Then he would ask some unexpected question, which showed how far his mind had roamed.

Success was now rapidly overtaking the young author; his first collection of stories appeared in 1887, another one in the same year had immediate success, and both went through many editions; but, at the same time, the shadows that darkened his later works began to creep over his light-hearted humour.

His impressionable mind began to take on the grey tinge of his time, but much of his sadness may also be attributed to his ever-increasing ill health.

Weary and with an obstinate cough, he went south in 1888, took a little cottage on the banks of a little river "abounding in fish and crabs," and surrendered himself to his touching love for nature, happy in his passion for fishing, in the quiet of the country, and in the music and gaiety of the peasants. "One would gladly sell one's soul," he writes, "for the pleasure of seeing the warm evening sky, and the streams and pools reflecting the darkly mournful sunset." He described visits to his country neighbors and long drives in gay company, during which, he says, "we ate every half hour, and laughed to the verge of colic."

His health, however, did not improve. In 1889 he began to have attacks of heart trouble, and the sensitive artist's nature appears in a remark which he made after one of them. "I walked quickly across the terrace on which the guests were assembled," he said, "with one idea in my mind, how awkward it would be to fall down and die in the presence of strangers."

It was during this transition period of his life, when his youthful spirits were failing him, that the stage, for which he had always felt a fascination, tempted him to write "Ivanoff," and also a dramatic sketch in one act entitled "The Swan Song," though he often declared that he had no ambition to become a dramatist. "The Novel," he wrote, "is a lawful wife, but the Stage is a noisy, flashy, and insolent mistress." He has put his opinion of the stage of his day in the mouth of Treplieff, in "The Sea-Gull," and he often refers to it in his letters as "an evil disease of the towns" and "the gallows on which dramatists are hanged."

He wrote "Ivanoff" at white-heat in two and a half weeks, as a protest against a play he had seen at one of the Moscow theatres. Ivanoff (from Ivan, the commonest of Russian names) was by no means meant to be a hero, but a most ordinary, weak man oppressed by the "immortal commonplaces of life," with his heart and soul aching in the grip of circumstances, one of the many "useless people" of Russia for whose sorrow Chekhov felt such overwhelming pity. He saw nothing in their lives that could not be explained and pardoned, and he returns to his ill-fated, "useless people" again and again, not to preach any doctrine of pessimism, but simply because he thought that the world was the better for a certain fragile beauty of their natures and their touching faith in the ultimate salvation of humanity.

Both the writing and staging of "Ivanoff" gave Chekhov great difficulty. The characters all being of almost equal importance, he found it hard to get enough good actors to take the parts, but it finally appeared in Moscow in 1889, a decided failure! The author had touched sharply several sensitive spots of Russian life, and the play was also marred by faults of inexperience, which, however, he later corrected. The critics were divided in condemning a certain novelty in it and in praising its freshness and originality. The character of Ivanoff was not understood, and the weakness of the man blinded many to the lifelike portrait. Chekhov himself was far from pleased with what he called his "literary abortion," and rewrote it before it was produced again in St. Petersburg. Here it was received with the wildest applause, and the morning after its performance the papers burst into unanimous praise. The author was enthusiastically fêted, but the burden of his growing fame was beginning to be very irksome to him, and he wrote wearily at this time that he longed to be in the country, fishing in the lake, or lying in the hay.

His next play to appear was a farce entitled "The Boor," which he wrote in a single evening and which had a great success. This was followed by "The Demon," a failure, rewritten ten years later as "Uncle Vanya."

All Russia now combined in urging Chekhov to write some important work, and this, too, was the writer's dream; but his only long story is "The Steppe," which is, after all, but a series of sketches, exquisitely drawn, and strung together on the slenderest connecting thread. Chekhov's delicate and elusive descriptive power did not lend itself to painting on a large canvas, and his strange little tragi-comedies of Russian life, his "Tedious Tales," as he called them, were always to remain his masterpieces.

In 1890 Chekhov made a journey to the island of Saghalien, after which his health definitely failed, and the consumption, with which he had long been threatened, finally declared itself. His illness exiled him to the Crimea, and he spent his last ten years there, making frequent trips to Moscow to superintend the production of his four important plays, written during this period of his life.

"The Sea-Gull" appeared in 1896, and, after a failure in St. Petersburg, won instant success as soon as it was given on the stage of the Artists' Theatre in Moscow. In Trigorin the author gives us one of the rare glimpses of his own mind, for Chekhov seldom put his own personality into the pictures of the life in which he took such immense interest.

In "The Sea-Gull" we see clearly the increase of Chekhov's power of analysis, which is remarkable in his next play, "The Three Sisters," gloomiest of all his dramas.

"The Three Sisters," produced in 1901, depends, even more than most of Chekhov's plays, on its interpretation, and it is almost essential to its appreciation that it should be seen rather than read. The atmosphere of gloom with which it is pervaded is a thousand times more intense when it comes to us across the foot-lights. In it Chekhov probes the depths of human life with so sure a touch, and lights them with an insight so piercing, that the play made a deep impression when it appeared. This was also partly owing to the masterly way in which it was acted at the Artists' Theatre in Moscow. The theme is, as usual, the greyness of provincial life, and the night is lit for his little group of characters by a flash of passion so intense that the darkness which succeeds it seems wellnigh intolerable.

"Unvle Vanya" followed "The Three Sisters," and the poignant truth of the picture, together with the tender beauty of the last scene, touched his audience profoundly, both on the stage and when the play was afterward published.

"The Cherry Orchard" appeared in 1904 and was Chekhov's last play. At its production, just before his death, the author was fêted as one of Russia's greatest dramatists. Here it is not only country life that Chekhov shows us, but Russian life and character in general, in which the old order is giving place to the new, and we see the practical, modern spirit invading the vague, aimless existence so dear to the owners of the cherry orchard. A new epoch is beginning, and at its dawn the singer of old, dim Russia was silenced.

In the year that saw the production of "The Cherry Orchard," Chekhov, the favourite of the Russian people, whom Tolstoi declared to be comparable as a writer of stories only to Maupassant, died suddenly in a little village of the Black Forest, whither he had gone a few weeks before in the hope of recovering his lost health.

Chekhov, with an art peculiar to himself, in scattered scenes, in haphazard glimpses into the lives of his characters, in seemingly trivial conversations, has succeeded in so concentrating the atmosphere of the Russia of his day that we feel it in every line we read, oppressive as the mists that hang over a lake at dawn, and, like those mists, made visible to us by the light of an approaching day.
 
Deciding between quite a few names here. I'm going to take a man who is a bit of a tweener but is absolutely worthy of this pick. This will also continue the run on Frenchmen.

He has been dubbed "The Father of Modern Philosophy", so I'll likely slot him as my Philosopher here. But he was also a brilliant mathematician, and I hope his contributions to this field will also be taken into account. In any case I think they should because one can look at the field of mathematics as a philosophy of sorts, and this man contributed to the field in a big way - after all, we named our coordinate system after the man.

René Descartes - Philosopher/Mathematician



René Descartes (French pronunciation: [ʁəne dekaʁt]), (31 March 1596 – 11 February 1650), also known as Renatus Cartesius (latinized form),[2] was a French philosopher, mathematician, scientist, and writer who spent most of his adult life in the Dutch Republic. He has been dubbed the "Father of Modern Philosophy," and much of subsequent Western philosophy is a response to his writings, which continue to be studied closely to this day. In particular, his Meditations on First Philosophy continues to be a standard text at most university philosophy departments. Descartes' influence in mathematics is also apparent, the Cartesian coordinate system allowing geometric shapes to be expressed in algebraic equations being named for him. He is accredited as the father of analytical geometry. Descartes was also one of the key figures in the Scientific Revolution.

Descartes frequently sets his views apart from those of his predecessors. In the opening section of the Passions of the Soul, a treatise on the Early Modern version of what are now commonly called emotions, he goes so far as to assert that he will write on his topic "as if no one had written on these matters before". Many elements of his philosophy have precedents in late Aristotelianism, the revived Stoicism of the 16th century, or in earlier philosophers like ####. In his natural philosophy, he differs from the Schools on two major points: First, he rejects the analysis of corporeal substance into matter and form; second, he rejects any appeal to ends — divine or natural — in explaining natural phenomena. In his theology, he insists on the absolute freedom of God’s act of creation.

Descartes was a major figure in 17th century continental rationalism, later advocated by ####, #### and ####, and opposed by the empiricist school of thought consisting of Locke, ####, and ####. #### #### and Descartes were all well versed in mathematics as well as philosophy, and Descartes and #### contributed greatly to science as well. As the inventor of the Cartesian coordinate system, Descartes founded analytic geometry, the bridge between algebra and geometry, crucial to the discovery of calculus and analysis. His most famous statement is: Cogito ergo sum (French: Je pense, donc je suis; English: I think, therefore I am; OR I am thinking, therefore I exist), found in §7 of part I of Principles of Philosophy (Latin) and in part IV of Discourse on the Method (French).



Philosophical work

Descartes is often regarded as the first modern thinker to provide a philosophical framework for the natural sciences as these began to develop. In his Discourse on the Method he attempts to arrive at a fundamental set of principles that one can know as true without any doubt. To achieve this, he employs a method called hyperbolical/metaphysical doubt, sometimes also referred to as methodological skepticism: he rejects any ideas that can be doubted, and then reestablishes them in order to acquire a firm foundation for genuine knowledge.

Initially, Descartes arrives at only a single principle: thought exists. Thought cannot be separated from me, therefore, I exist (Discourse on the Method and Principles of Philosophy). Most famously, this is known as cogito ergo sum (English: "I think, therefore I am"). Therefore, Descartes concluded, if he doubted, then something or someone must be doing the doubting, therefore the very fact that he doubted proved his existence. "The simple meaning of the phrase is that if one is skeptical of existence, that is in and of itself proof that he does exist."

René Descartes at work.

Descartes concludes that he can be certain that he exists because he thinks. But in what form? He perceives his body through the use of the senses; however, these have previously been proven unreliable. So Descartes concludes that the only indubitable knowledge is that he is a thinking thing. Thinking is his essence as it is the only thing about him that cannot be doubted. Descartes defines "thought" (cogitatio) as "what happens in me such that I am immediately conscious of it, insofar as I am conscious of it". Thinking is thus every activity of a person of which he is immediately conscious.

To further demonstrate the limitations of the senses, Descartes proceeds with what is known as the Wax Argument. He considers a piece of wax; his senses inform him that it has certain characteristics, such as shape, texture, size, color, smell, and so forth. When he brings the wax towards a flame, these characteristics change completely. However, it seems that it is still the same thing: it is still a piece of wax, even though the data of the senses inform him that all of its characteristics are different. Therefore, in order to properly grasp the nature of the wax, he cannot use the senses. He must use his mind. Descartes concludes:

“ And so something which I thought I was seeing with my eyes is in fact grasped solely by the faculty of judgment which is in my mind. ”

In this manner, Descartes proceeds to construct a system of knowledge, discarding perception as unreliable and instead admitting only deduction as a method. In the third and fifth Meditation, he offers an ontological proof of a benevolent God (through both the ontological argument and trademark argument). Because God is benevolent, he can have some faith in the account of reality his senses provide him, for God has provided him with a working mind and sensory system and does not desire to deceive him. From this supposition, however, he finally establishes the possibility of acquiring knowledge about the world based on deduction and perception. In terms of epistemology therefore, he can be said to have contributed such ideas as a rigorous conception of foundationalism and the possibility that reason is the only reliable method of attaining knowledge.

In Descartes' system, knowledge takes the form of ideas, and philosophical investigation is the contemplation of these ideas. This concept would influence subsequent internalist movements as Descartes' epistemology requires that a connection made by conscious awareness will distinguish knowledge from falsity. As a result of his Cartesian doubt, he viewed rational knowledge as being "incapable of being destroyed" and sought to construct an unshakable ground upon which all other knowledge can be based. The first item of unshakable knowledge that Descartes argues for is the aforementioned cogito, or thinking thing.

Descartes also wrote a response to skepticism about the existence of the external world. He argues that sensory perceptions come to him involuntarily, and are not willed by him. They are external to his senses, and according to Descartes, this is evidence of the existence of something outside of his mind, and thus, an external world. Descartes goes on to show that the things in the external world are material by arguing that God would not deceive him as to the ideas that are being transmitted, and that God has given him the "propensity" to believe that such ideas are caused by material things.



Descartes was also known for his work in producing the Cartesian Theory of Fallacies. This can be most easily explored using the statement: "This statement is a lie." While it is most commonly referred to as a paradox, the Cartesian Theory of Fallacies states that at any given time a statement can be both true and false simultaneously because of its contradictory nature. The statement is true in its fallacy. Thus, Descartes developed the Cartesian Theory of Fallacies, which greatly influenced the thinking of the time. Many would-be philosophers were trying to develop inexplicable statements of seeming fact, however, this laid rumors of such a proposition impossible. Many philosophers believe that when Descartes formulated his Theory of Fallacies, he intended to be lying, which in and of itself embodies the theory.



Dualism



Descartes suggested that the body works like a machine, that it has the material properties of extension and motion, and that it follows the laws of physics. The mind (or soul), on the other hand, was described as a nonmaterial entity that lacks extension and motion, and does not follow the laws of physics. Descartes argued that only humans have minds, and that the mind interacts with the body at the pineal gland. This form of dualism or duality proposes that the mind controls the body, but that the body can also influence the otherwise rational mind, such as when people act out of passion. Most of the previous accounts of the relationship between mind and body had been uni-directional.

Descartes suggested that the pineal gland is "the seat of the soul" for several reasons. First, the soul is unitary, and unlike many areas of the brain the pineal gland appeared to be unitary (though subsequent microscopic inspection has revealed it is formed of two hemispheres). Second, Descartes observed that the pineal gland was located near the ventricles. He believed the animal spirits of the ventricles acted through the nerves to control the body, and that the pineal gland influenced this process. Finally, Descartes incorrectly believed that only humans have pineal glands, just as, in his view, only humans have minds. This led him to the belief that animals cannot feel pain, and Descartes' practice of vivisection (the dissection of live animals) became widely used throughout Europe until the Enlightenment. Cartesian dualism set the agenda for philosophical discussion of the mind-body problem for many years after Descartes' death. The question of how a nonmaterial mind could influence a material body, without invoking supernatural explanations, remains controversial to this day.

Mathematical legacy



Descartes' theory provided the basis for the calculus of Newton and ####, by applying infinitesimal calculus to the tangent line problem, thus permitting the evolution of that branch of modern mathematics. This appears even more astounding considering that the work was just intended as an example to his Discours de la méthode pour bien conduire sa raison, et chercher la verité dans les sciences (Discourse on the Method to Rightly Conduct the Reason and Search for the Truth in Sciences, better known under the shortened title Discours de la méthode; English, Discourse on Method).

Descartes' rule of signs is also a commonly used method to determine the number of positive and negative zeros of a polynomial.

Descartes created analytic geometry, and discovered an early form of the law of conservation of momentum (the term momentum refers to the momentum of a force). He outlined his views on the universe in his Principles of Philosophy.

Descartes also made contributions to the field of optics. He showed by using geometric construction and the law of refraction (also known as Descartes' law) that the angular radius of a rainbow is 42 degrees (i.e. the angle subtended at the eye by the edge of the rainbow and the ray passing from the sun through the rainbow's centre is 42°). He also independently discovered the law of reflection, and his essay on optics was the first published mention of this law.[12]



One of Descartes most enduring legacies was his development of Cartesian geometry which uses algebra to describe geometry. He also invented the notation which uses superscripts to show the powers or exponents, for example the 2 used in x2 to indicate squaring.



Writings

* 1618. Compendium Musicae. A treatise on music theory and the aesthetics of music written for Descartes' early collaborator Isaac Beeckman.

* 1626–1628. Regulae ad directionem ingenii (Rules for the Direction of the Mind). Incomplete. First published posthumously in 1684. The best critical edition, which includes an early Dutch translation, is edited by Giovanni Crapulli (The Hague: Martinus Nijhoff, 1966).

* 1630–1633. Le Monde (The World) and L'Homme (Man). Descartes' first systematic presentation of his natural philosophy. Man was first published in Latin translation in 1662; The World in 1664.

* 1637. Discours de la méthode (Discourse on the Method). An introduction to the Essais, which include the Dioptrique, the Météores and the Géométrie.

* 1637. La Géométrie (Geometry). Descartes' major work in mathematics. There is an English translation by Michael Mahoney (New York: Dover, 1979).

* 1641. Meditationes de prima philosophia (Meditations on First Philosophy), also known as Metaphysical Meditations. In Latin; a French translation, probably done without Descartes' supervision, was published in 1647. Includes six Objections and Replies. A second edition, published the following year, included an additional objection and reply, and a Letter to Dinet.

* 1644. Principia philosophiae (Principles of Philosophy), a Latin textbook at first intended by Descartes to replace the Aristotelian textbooks then used in universities. A French translation, Principes de philosophie by Claude Picot, under the supervision of Descartes, appeared in 1647 with a letter-preface to Queen Christina of Sweden.

* 1647. Notae in programma (Comments on a Certain Broadsheet). A reply to Descartes' one-time disciple Henricus Regius.

* 1647. The Description of the Human Body. Published posthumously.

* 1648. Responsiones Renati Des Cartes… (Conversation with Burman). Notes on a Q&A session between Descartes and Frans Burman on 16 April 1648. Rediscovered in 1895 and published for the first time in 1896. An annotated bilingual edition (Latin with French translation), edited by Jean-Marie Beyssade, was published in 1981 (Paris: PUF).

* 1649. Les passions de l'âme (Passions of the Soul). Dedicated to Princess Elizabeth of Bohemia.

* 1657. Correspondence. Published by Descartes' literary executor Claude Clerselier. The third edition, in 1667, was the most complete; Clerselier omitted, however, much of the material pertaining to mathematics.
MFin SOD
 
Wow, that's got to be the 27th SOD so far. Someone even tried to claim 1.01 as the SOD (which is of course technically impossible).

 
Andy, it's your worse pick thus far. It's like the Tolkein pick. People seem to be forgetting that we're not speaking of the 50 greatest novelists of all time, or the 100 greatest novelists of all time. It's 20 and that's it. It's a really small list. Any genre writer, no matter how exceptional, is going to get pushed right into the bottom.
The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. They deal with important topics in a new and thought provoking way while engaging the reader.
 
Updated writeup:

On behalf of BobbyLane for 8.03

8.03 (143rd pick) - William I aka William the Conqueror - Leader

1066 irreovocably changed the history of England and France, and the 800 year rivalry ensued.

Will post detailed writeup later.
When most of us were introduced to history ('social studies' in my rural education), we were told it was important to memorize dates. For many, that exercise turned them off, but for better or worse, the American education system ensures that all school children have certain dates etched into their collective memory.1776

1865

11 a.m. on November 11th

December 7th

For English and French children - truly, all of the E.U. - no date holds greater significance than 1066.

At the start of 1066, England was ruled by Edward the Confessor. By the end of the year, a Norman - William the Conqueror - was king after defeating Edward's successor, Harold, at the Battle of Hastings. With three kings in one year, a legendary battle in October and a Norman in charge of England, it is little wonder that people rarely forget the year 1066. Many historians view 1066 as the end of the Dark Ages, and the birth of the Middle Ages.

William the Conqueror (1027-1087) should strictly be known as William I. William is credited with kick-starting England into the phase known as Medieval England; William was the victor at the Battle of Hastings; he introduced modern castle building techniques into Medieval England and by his death he had financially tied down many people with the Domesday Book.

His father was Robert, Duke of Normandy and his mother was Herleve of Falaise. They never married and William was known as "William the *******" to his enemies - though this was never said to his face when he had grown up.

In 1035, Robert died and as his only surviving heir, William became Duke of Normandy at the age of 8. William's young age and the fact that he was born out of marriage, meant that many lords in Normandy did not approve of him ruling them. In 1040, they tried to kill William. The plan failed but William's guardian - Gilbert of Brionne - was killed.

In 1047, the lords in western Normandy rebelled against William again. They, again, failed but these two incidents taught William to trust no-one. He also became a victim of the violent time he lived in. He believed that if someone betrayed him, then he should show no mercy. If a village or town betrayed him, then he should show no mercy. In 1051, citizens in the town of Alençon, which William was besieging, taunted him about being illegitimate. Once the town had fallen to him, he ordered that those who had abused him should have their hands and feet cut off.

In 1051, William met Edward the Confessor. William claimed that at this meeting, Edward promised him the throne of England on Edward's death. However, there were no proper witnesses to this meeting - only those who wanted to keep on the good side of William.

In 1053, William married Matilda of Flanders. They had nine children, of whom seven survived.

During the next ten years, William had to constantly fight off invaders to his territory. He was always successful and built up a feared and professional army. His army's main power was based on his cavalry - horse borne soldiers. These men were highly trained. They wore chain mail into battle, used a lance, sword or mace to fight with and rode horses that were bred to carry such a weight at speed.

The Normans under William the Conqueror came to govern England following one of the most famous battles in English history: the Battle of Hastings in 1066. William presided over a period of great change and development for the country. The Domesday Book, a great record of English land-holding, was published; the forests were extended; the Exchequer was founded; and a start was made on the Tower of London. In religious affairs, the Gregorian reform movement gathered pace and forced concessions, while the machinery of government developed to support the country while Henry was fighting abroad. Meanwhile, the social landscape altered dramatically, as the Norman aristocracy came to prominence. Many of the nobles struggled to keep a hold on their interests in both Normandy and England, as divided rule meant the threat of conflict.

He increased the function of the traditional English shires (autonomous administrative regions), which he brought under central control; he decreased the power of the earls by restricting them to one shire apiece. All administrative functions of his government remained fixed at specific English towns, except the court itself; they would progressively strengthen, and the English institutions became amongst the most sophisticated in Europe. In 1085, in order to ascertain the extent of his new dominions and to improve taxation, William commissioned all his counselors for the compilation of the Domesday Book, which was published in 1086. The book was a survey of England's productive capacity similar to a modern census.

William also ordered many castles, keeps, and mottes, among them the Tower of London's foundation (the White Tower), to be built throughout England. These ensured effectively that the many rebellions by the English people or his own followers did not succeed.

His conquest also led to French (especially, but not only, the Norman French) replacing English as the language of the ruling classes for nearly 300 years. Furthermore, the original Anglo-Saxon culture of England became mingled with the Norman one; thus the Anglo-Norman culture came into being.

William is said to have eliminated the native aristocracy in as little as four years. Systematically, he despoiled those English aristocrats who either opposed the Normans or who died without issue. Thus, most English estates and titles of nobility were handed to the Norman noblemen. Many English aristocrats fled to Flanders and Scotland; others may have been sold into slavery overseas. Some escaped to join the Byzantine Empire's Varangian Guard, and went on to fight the Normans in Sicily. By 1070, the indigenous nobility had ceased to be an integral part of the English landscape, and by 1086, it maintained control of just 8% of its original land-holdings. However, to the new Norman noblemen, William handed the English parcels of land piecemeal, dispersing these wide. Thus nobody would try conspiring against him without jeopardizing their own estates within the so unstable England. Effectively, this strengthened William's political stand as a monarch.

The medieval chronicler William of Malmesbury says that the king also seized and depopulated many miles of land (36 parishes), turning it into the royal New Forest region to support his enthusiastic enjoyment of hunting. Modern historians, however, have come to the conclusion that the New Forest depopulation was greatly exaggerated. Most of the lands of the New Forest are poor agricultural lands, and archaeological and geographic studies have shown that the New Forest was likely sparsely settled when it was turned into a royal forest.

William's invasion was the last time that England was successfully conquered by a foreign power. Although there would be a number of other attempts over the centuries, the best that could be achieved would be excursions by foreign troops, such as the Raid on the Medway during the Second Anglo-Dutch War, but no actual conquests such as William's. There have however been occasions since that time when foreign rulers have succeeded to the English/British throne, notably the Dutch Stadtholder William III of Orange in 1688 after a successful invasion of England by Dutch troops (see Glorious Revolution) and George of Hanover b. 1660, who acceded by virtue of the exclusion of Roman Catholics from the succession.

As Duke of Normandy and King of England he divided his realm among his sons, but the lands were reunited under his son Henry, and his descendants acquired other territories through marriage or conquest and, at their height, these possessions would be known as the Angevin Empire.

They included many lands in France, such as Normandy and Aquitaine, but the question of jurisdiction over these territories would be the cause of much conflict and bitter rivalry between England and France, which took up much of the Middle Ages, including the Hundred Years War and, some might argue, continued as far as the Battle of Waterloo of 1815.

An example of William's legacy even in modern times can be seen on the Bayeux Memorial, a monument erected by Britain in the Normandy town of Bayeux to those killed in the Battle of Normandy during World War II. A Latin inscription on the memorial reads NOS A GULIELMO VICTI VICTORIS PATRIAM LIBERAVIMUS - freely translated, this reads "We, once conquered by William, have now set free the Conqueror's native land".

The Leader Judge for the World's Greatest Draft has stated:

I'm judging their time as leaders, what they did to get them there and lasting impact on the world.
No King of England had a more lasting impact on Western civ than William the Conqueror.
 
World's Greatest Draft

Team BobbyLayne through Round Ten

Composer 1.18 Wolfgang Amadeus Mozart

Philosopher 2.03 Aristotle

Intellectual 3.18 John Locke

Military 4.03 Hannibal

Novelist/short story 5.18 Marcel Proust

Painter 6.03 Paul Cezanne

Playwright/Poet 7.18 Anton Chekhov

Leader 8.03 William the Conqueror

Villain 9.18 Ivan the Terrible

Celebrity 10.03 Jacqueline Bouvier Kennedy Onassis

 
Montgomery vs. Rommel- one of the great battles of WW II, El Alemein. Tanks swirling in the desert sand, superbly maneuvered by two master chess players intent on victory...
Really? If you or I had as much equipment and supplies as Montgomery did....we might have put on a good show as well.
You're suggesting Monty is overrated? That he only won because he was better equipped?
I wouldn't say this, but Rommel would have won if he had been properly equipped and supported.
If wars were won by the General's accumen alone, we'd all be speaking German right now. (ok, overreaching statement, but you get the point)
Or at least with Southern accents! ;) Regarding Asimov:

Any genre writer, no matter how exceptional, is going to get pushed right into the bottom.
Sure he is best known for a specific genre, but the man wrote about nearly everything.
 
Here's the problem with the criticism against Monty- yes, it helps to be better equipped, but you've still got to win the battle. Look at the generals in charge of the Union Army during the first several years of the Civil War, especially MacClellan. Everyone one of them was better equipped and had more troops than the Southern armies they faced but they failed to win battles, mostly due to timidity, partly due to the superior generalship of the opponents. Montgomery faced a great general on the other side. Yes he had more equipment, but he was agressive, and he won.

 
Andy, it's your worse pick thus far. It's like the Tolkein pick. People seem to be forgetting that we're not speaking of the 50 greatest novelists of all time, or the 100 greatest novelists of all time. It's 20 and that's it. It's a really small list. Any genre writer, no matter how exceptional, is going to get pushed right into the bottom.
The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. They deal with important topics in a new and thought provoking way while engaging the reader.
For any "genre" fiction to measure up against the great explorations of the human condition, it has to transcend its own genre. Why? Because genre itself is a limiting style. The greatest authors invent their own styles, oftentimes borrowing from numerous genres in the process. Genre, even when done well, is a stencil. You can only explore so much inside its pattern. In order to be great, a genre writer needs to transcend her genre or step out of the limits of the stencil, in order to get at something deeper, more compelling, more substantial. Three of the best genre writers I've read don't match to the top 20 fiction writers of all time. It's not even close. I like genre writing when it's done WELL. I really do. It's easy for the genre defenders to (snobbishly) label me a "snob" and dismiss my opinions. But at least I base my judgments of Tolkien on reading LOTR twice. All too often I hear people trashing Joyce because they read 50 pages of one of his novels and stopped. I can't tell you how hilarious and sad I find that.
 
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Montgomery vs. Rommel- one of the great battles of WW II, El Alemein. Tanks swirling in the desert sand, superbly maneuvered by two master chess players intent on victory...
Really? If you or I had as much equipment and supplies as Montgomery did....we might have put on a good show as well.
You're suggesting Monty is overrated? That he only won because he was better equipped?
:football: I'm as happy as anyone that Rommel lost, but had he been better equipped... well, it's a scary thought.
One of the things about modern warfare is that equipment plays such an important part. Yes, it is true that it played a part in wars of the past, but the difference was not so overwhelming. Napoleon said that the difference between the moral to the material was as four to one. Well, that ratio is about reversed today. To be on the battlefield without tanks, for example, facing an enemy with tanks, is to be doomed to defeat. So the qualities of generalship are likely to be less decisive. BTW, at El Alamein, Montgomery had a a 9-5 advantage in men, a 2-1 advantage in tanks, an 8-5 advantage in anti tank guns, and a 3-5 disadvantage in artillery.
Napolean was full of it, he would have lost without great Cavalry and/or Cannons. Its generally accepted that for armies with similar technology, a numbers advantage of 2-1 is close to insurmountable. Now its more complicated than pure numbers when you have armor, artillery, cavalry, etc., but the basic theory is the same. Often times the battle is won well before the battleground is even selected by the engineers, armorsmiths or the number of conscripts. Its one of the reasons Cannae is so spectacular.
 
You need to stop spot lighting. Seriously.
I fixed it, but frankly, I'll laugh myself silly if someone took either of those writers.And I didn't come out and type their names. I used initials. If you'd read them, you'd know who I was talking about. If not, you wouldn't.
 
Andy, it's your worse pick thus far. It's like the Tolkein pick. People seem to be forgetting that we're not speaking of the 50 greatest novelists of all time, or the 100 greatest novelists of all time. It's 20 and that's it. It's a really small list. Any genre writer, no matter how exceptional, is going to get pushed right into the bottom.
The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. They deal with important topics in a new and thought provoking way while engaging the reader.
For any "genre" fiction to measure up against the great explorations of the human condition, it has to transcend its own genre. Why? Because genre itself is a limiting style. The greatest authors invent their own styles, oftentimes borrowing from numerous genres in the process. Genre, even when done well, is a stencil. You can only explore so much inside its pattern. In order to be great, a genre writer needs to transcend her genre or step out of the limits of the stencil, in order to get at something deeper, more compelling, more substantial. Three of the best genre writers I've read, Tolkien, P---- D---- and W---- G------, don't match to the top 20 fiction writers of all time. It's not even close. I like genre writing when it's done WELL. I really do. It's easy for the genre defenders to (snobbishly) label me a "snob" and dismiss my opinions. But at least I base my judgments of Tolkien on reading LOTR twice, or I judge by W---- G---- by reading Neur----. All too often I hear people trashing Joyce because they read 50 pages of one of his novels and stopped. I can't tell you how hilarious and sad I find that.
There have been patterns in fiction stories in general for as long as they've been told. The forms themselves are not limiting. Tolkien I dont consider wonderful writing (amazing creativity, but not a great writer for me), but how exactly was he constrained by form? I see someone like Dickens more constrained by form in Great Expectations. (Oh and dont look now, but he also wrote a fantasy novel in A Christmas Carol)
 
Andy, it's your worse pick thus far. It's like the Tolkein pick. People seem to be forgetting that we're not speaking of the 50 greatest novelists of all time, or the 100 greatest novelists of all time. It's 20 and that's it. It's a really small list. Any genre writer, no matter how exceptional, is going to get pushed right into the bottom.
The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. They deal with important topics in a new and thought provoking way while engaging the reader.
For any "genre" fiction to measure up against the great explorations of the human condition, it has to transcend its own genre. Why? Because genre itself is a limiting style. The greatest authors invent their own styles, oftentimes borrowing from numerous genres in the process. Genre, even when done well, is a stencil. You can only explore so much inside its pattern. In order to be great, a genre writer needs to transcend her genre or step out of the limits of the stencil, in order to get at something deeper, more compelling, more substantial. Three of the best genre writers I've read don't match to the top 20 fiction writers of all time. It's not even close. I like genre writing when it's done WELL. I really do. It's easy for the genre defenders to (snobbishly) label me a "snob" and dismiss my opinions. But at least I base my judgments of Tolkien on reading LOTR twice. All too often I hear people trashing Joyce because they read 50 pages of one of his novels and stopped. I can't tell you how hilarious and sad I find that.
I think you are underestimating both what can be done in the confines of science fiction, horror, or fantasy novels and what constitutes those genres as well...
 
You need to stop spot lighting. Seriously.
I fixed it, but frankly, I'll laugh myself silly if someone took either of those writers.And I didn't come out and type their names. I used initials. If you'd read them, you'd know who I was talking about. If not, you wouldn't.
True, they should be in consideration in something like this but I am becoming leery of any spot lighting because my picks are coming up and I do not want anyone to snipe them.I don't think it will get to my pick tonight... so I am going to bed now.
 
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Here's the problem with the criticism against Monty- yes, it helps to be better equipped, but you've still got to win the battle. Look at the generals in charge of the Union Army during the first several years of the Civil War, especially MacClellan. Everyone one of them was better equipped and had more troops than the Southern armies they faced but they failed to win battles, mostly due to timidity, partly due to the superior generalship of the opponents. Montgomery faced a great general on the other side. Yes he had more equipment, but he was agressive, and he won.
There is just an upper limit of the amount of troops, equipment and technology that even the best generalship can overcome. And since Monty wasnt entirely incompetent in that battle, there was really nothing Rommel could do.
 
10.7 - Fidel Castro - Rebel

Fidel Alejandro Castro Ruz (born August 13, 1926) is a Cuban revolutionary leader who was prime minister of Cuba from February 1959 to December 1976 and then president, premier until his resignation from the office in February 2008.

Castro began his political life with nationalist critiques of Fulgencio Batista, and of United States political and corporate influence in Cuba. He gained an ardent, but limited, following and also drew the attention of the authorities. He eventually led the failed 1953 attack on the Moncada Barracks, after which he was captured, tried, incarcerated and later released. He then traveled to Mexico to organize and train for the invasion of Cuba that took place in December 1956.

Castro came to power as a result of the Cuban revolution that overthrew Fulgencio Batista, and shortly thereafter became Prime Minister of Cuba. In 1965 he became First Secretary of the Communist Party of Cuba and led the transformation of Cuba into a one-party socialist republic. In 1976 he became President of the Council of State as well as of the Council of Ministers. He also held the supreme military rank of Comandante en Jefe ("Commander in Chief") of the Cuban armed forces.

Following intestinal surgery from an undisclosed digestive illness believed to have been diverticulitis, Castro transferred his responsibilities to the First Vice-President, his younger brother Raúl Castro, on July 31, 2006. On February 19, 2008, five days before his mandate was to expire, he announced he would neither seek nor accept a new term as either president or commander-in-chief. On February 24, 2008, the National Assembly elected Raúl Castro to succeed him as the President of Cuba. Fidel Castro remains First Secretary of the Communist Party.

http://en.wikipedia.org/wiki/Fidel_Castro

 
Here's the problem with the criticism against Monty- yes, it helps to be better equipped, but you've still got to win the battle. Look at the generals in charge of the Union Army during the first several years of the Civil War, especially MacClellan. Everyone one of them was better equipped and had more troops than the Southern armies they faced but they failed to win battles, mostly due to timidity, partly due to the superior generalship of the opponents. Montgomery faced a great general on the other side. Yes he had more equipment, but he was agressive, and he won.
Ok, give Montgomery the slight edge at Alamein. Please tell me about his next great victory.
 
Montgomery vs. Rommel- one of the great battles of WW II, El Alemein. Tanks swirling in the desert sand, superbly maneuvered by two master chess players intent on victory...
Really? If you or I had as much equipment and supplies as Montgomery did....we might have put on a good show as well.
You're suggesting Monty is overrated? That he only won because he was better equipped?
:thumbup: One of the things about modern warfare is that equipment plays such an important part. Yes, it is true that it played a part in wars of the past, but the difference was not so overwhelming. Napoleon said that the difference between the moral to the material was as four to one. Well, that ratio is about reversed today. To be on the battlefield without tanks, for example, facing an enemy with tanks, is to be doomed to defeat. So the qualities of generalship are likely to be less decisive. BTW, at El Alamein, Montgomery had a a 9-5 advantage in men, a 2-1 advantage in tanks, an 8-5 advantage in anti tank guns, and a 3-5 disadvantage in artillery.
Napolean was full of it, he would have lost without great Cavalry and/or Cannons. Its generally accepted that for armies with similar technology, a numbers advantage of 2-1 is close to insurmountable. Now its more complicated than pure numbers when you have armor, artillery, cavalry, etc., but the basic theory is the same. Often times the battle is won well before the battleground is even selected by the engineers, armorsmiths or the number of conscripts. Its one of the reasons Cannae is so spectacular.
Oh, I definitely think Napoleon was overstating it and I am sure he knew it, but he was making a point. But for other battles, and I agree with you about Cannae; there is also Issus, where Alexander the Great was outnumbered more than 2-1; Alesia, where Caesar was outnumbered about 4-1; Salamis, in which the Greeks were outnumbered about 2-1; Gravelines and the Armada, where the English were outnumbered by about 50%; Napoleon at the Battle of the Pyramids, outnumbered 3-1; Plataea, where the Greeks defeated the Persians (numbers are inconsistent, but maybe 2-1); Marengo, where Napoleon had a disadvantage of 3-2 in men and 4-1 in artillery; etc.
 
Bobby Layne almost blew this one for me :D :

10.12 - Joseph Haydn, Composer

(Franz) Joseph Haydn (March 31, 1732 – May 31, 1809) was an Austrian composer. He was one of the most prominent composers of the classical period, and is called by some the "Father of the Symphony" and "Father of the String Quartet" ...

A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.

Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called "monothematic exposition", in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.

Haydn's formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of the double variation form – variations on two alternating themes, which are often major- and minor-mode versions of each other.

Perhaps more than any other composer's, Haydn's music is known for its humor. The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony (hear below); Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.
Among Haydn's more notable works:The music to Das Deutschlandlied (current German national anthem)

String Quartet in B flat major, Op. 76 No. 4 (Sunrise)

:D
 
The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. They deal with important topics in a new and thought provoking way while engaging the reader.
For any "genre" fiction to measure up against the great explorations of the human condition, it has to transcend its own genre. Why? Because genre itself is a limiting style. The greatest authors invent their own styles, oftentimes borrowing from numerous genres in the process. Genre, even when done well, is a stencil. You can only explore so much inside its pattern. In order to be great, a genre writer needs to transcend her genre or step out of the limits of the stencil, in order to get at something deeper, more compelling, more substantial. Three of the best genre writers I've read, Tolkien doesn't match to the top 20 fiction writers of all time. It's not even close.

I like genre writing when it's done WELL. I really do. It's easy for the genre defenders to (snobbishly) label me a "snob" and dismiss my opinions. But at least I base my judgments of Tolkien on reading LOTR twice. All too often I hear people trashing Joyce because they read 50 pages of one of his novels and stopped. I can't tell you how hilarious and sad I find that.
There have been patterns in fiction stories in general for as long as they've been told. The forms themselves are not limiting. Tolkien I dont consider wonderful writing (amazing creativity, but not a great writer for me), but how exactly was he constrained by form? I see someone like Dickens more constrained by form in Great Expectations. (Oh and dont look now, but he also wrote a fantasy novel in A Christmas Carol)
Let's recap our positions:- I said for genre fiction to be good it needs to transcend its own genre.

- You said genre isn't limiting. In your own words, "The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. "

Part of the problem is I can't list specific examples to demonstrate what I'm talking about. However, my favorite author wrote most of his novels in the Gothic genre. Was he constrained to it? Hardly. He's one of the top 10 novelists ever, IMO, because his genre was merely a stylistic setting (like you said). The reason he's so good is because he explores the human soul with extraordinary depth. This is how he transcends his own genre. The setting is a mere backdrop to his own personal Hamlet production. This is not the case in your "genre works."

This is the crux of my argument. It's also where your argument falls apart. Genre fiction is called "genre fiction" because its setting doesn't recede from the story, instead it dominates it. Hence the term "genre fiction," or your own "genre works."

It's all about quality.

Asmiov is a genre writer. His futurism dominates his work. While arguments have been made that he transcends his genre at times, his overall body of work is indeed dominated by it. This is why I think that he fails to rank in the top 50 novelists of all time. Tolkien does hit the top 50, but only because LOTR transcends its genre in many interesting and creative ways (the pathos of Golem is one). However, he still doesn't rank in the top 20. There's just too many better writers out there.

Just because someone is more popular doesn't mean they're the better writer. Yet, this is what the snobbish anti-snob crowd always argue with their standard of resentment: they argue for poor standards of quality. They love arguing for "accessibility" because they want their fiction spoonfed to them. The idea of working through a piece of complex fiction is abhorrent. They read 20 pages of Joyce and quit and cry that he sucks.

This disturbs me deeply. Why? Because, as I've repeatedly said, the greatest fiction explores the human condition, our heart and soul. These things are enormously complex. So why would you ever demand that their exploration not be equally complex? Yet this is precisely what the "accessibility" crowd demands: the watering down of the human soul.

Great fiction refuses to do this. This is why so much of the best writing comes off as "difficult" or "inaccessible." IT REQUIRES THINKING AND WORK TO GET THROUGH BECAUSE THE EFFING HUMAN SOUL REQUIRES THINKING AND WORK TO UNDERSTAND. I wouldn't want it any other way.

This is the last time I'm addressing this argument in this thread. It's been done over and over and I really don't have anything else to add.

 
[13. DC Thunder - turn to pick

14. Thorn - on the deck

15. Yankee23fan - in the hole

16. Acer FC

17. FUBAR

18. Arsenal of Doom

19. Larry Boy 44

20. Mario Kart

 
The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. They deal with important topics in a new and thought provoking way while engaging the reader.
For any "genre" fiction to measure up against the great explorations of the human condition, it has to transcend its own genre. Why? Because genre itself is a limiting style. The greatest authors invent their own styles, oftentimes borrowing from numerous genres in the process. Genre, even when done well, is a stencil. You can only explore so much inside its pattern. In order to be great, a genre writer needs to transcend her genre or step out of the limits of the stencil, in order to get at something deeper, more compelling, more substantial. Three of the best genre writers I've read, Tolkien doesn't match to the top 20 fiction writers of all time. It's not even close.

I like genre writing when it's done WELL. I really do. It's easy for the genre defenders to (snobbishly) label me a "snob" and dismiss my opinions. But at least I base my judgments of Tolkien on reading LOTR twice. All too often I hear people trashing Joyce because they read 50 pages of one of his novels and stopped. I can't tell you how hilarious and sad I find that.
There have been patterns in fiction stories in general for as long as they've been told. The forms themselves are not limiting. Tolkien I dont consider wonderful writing (amazing creativity, but not a great writer for me), but how exactly was he constrained by form? I see someone like Dickens more constrained by form in Great Expectations. (Oh and dont look now, but he also wrote a fantasy novel in A Christmas Carol)
Let's recap our positions:- I said for genre fiction to be good it needs to transcend its own genre.

- You said genre isn't limiting. In your own words, "The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. "

Part of the problem is I can't list specific examples to demonstrate what I'm talking about. However, my favorite author wrote most of his novels in the Gothic genre. Was he constrained to it? Hardly. He's one of the top 10 novelists ever, IMO, because his genre was merely a stylistic setting (like you said). The reason he's so good is because he explores the human soul with extraordinary depth. This is how he transcends his own genre. The setting is a mere backdrop to his own personal Hamlet production. This is not the case in your "genre works."

This is the crux of my argument. It's also where your argument falls apart. Genre fiction is called "genre fiction" because its setting doesn't recede from the story, instead it dominates it. Hence the term "genre fiction," or your own "genre works."

It's all about quality.

Asmiov is a genre writer. His futurism dominates his work. While arguments have been made that he transcends his genre at times, his overall body of work is indeed dominated by it. This is why I think that he fails to rank in the top 50 novelists of all time. Tolkien does hit the top 50, but only because LOTR transcends its genre in many interesting and creative ways (the pathos of Golem is one). However, he still doesn't rank in the top 20. There's just too many better writers out there.

Just because someone is more popular doesn't mean they're the better writer. Yet, this is what the snobbish anti-snob crowd always argue with their standard of resentment: they argue for poor standards of quality. They love arguing for "accessibility" because they want their fiction spoonfed to them. The idea of working through a piece of complex fiction is abhorrent. They read 20 pages of Joyce and quit and cry that he sucks.

This disturbs me deeply. Why? Because, as I've repeatedly said, the greatest fiction explores the human condition, our heart and soul. These things are enormously complex. So why would you ever demand that their exploration not be equally complex? Yet this is precisely what the "accessibility" crowd demands: the watering down of the human soul.

Great fiction refuses to do this. This is why so much of the best writing comes off as "difficult" or "inaccessible." IT REQUIRES THINKING AND WORK TO GET THROUGH BECAUSE THE EFFING HUMAN SOUL REQUIRES THINKING AND WORK TO UNDERSTAND. I wouldn't want it any other way.

This is the last time I'm addressing this argument in this thread. It's been done over and over and I really don't have anything else to add.
Flysack, you're both right and wrong here, IMO. Everything you write about genre fiction is true enough, and it basically corresponds with my criticism of these choices being selected. And I agree in general with you about complex fiction.But you ignore the fact that what you call complex fiction can also be pretentious fiction, and that there's a thin line between the two, based upon the reader. Personally, I find Joseph Conrad, for instance, to be complex fiction: not easy to read, but worth it. I find Joyce and Proust (what I've read) to be pretentious fiction.

Now my jab at you and Krista being "literary snobs" is somewhat of a joke, of course, but there is in every joke a small element of truth, and there is here too. Yes, I do prefer accessibility, but not the watering down of the human soul (in itself a pretty pretentious statement, wouldn't you agree?) The best writers who ever existed, IMO, are able to be accessible AND complex. (Shakespeare and Dickens, for example.) That Joyce and Proust and a few others fail the accessibility test does not take them off the top 20 list, but it should place them below authors who have mastered both. I could offer you the ultimate example of this in a slim American novel of which you're well acquainted, but it's author has not been selected.

 
Gonna go ahead and snag my military guy now. An adviser pointed me in the direction of this man, and I was blown away by his accomplishments. He also adds some diversity to my already diverse squad. In his military career this man had over 100 victories and never suffered a single defeat, all this despite being greatly outnumbered by most of the enemy forces he faced. For a full listing of his incredible feats, see his Wiki page: http://en.wikipedia.org/wiki/Khalid_ibn_al-Walid. Also, go here for a list of quotes and speeches, by and about him: http://en.wikiquote.org/wiki/Khalid_ibn_al-Walid.

Khālid ibn al-Walīd - Military

Khālid ibn al-Walīd (592-642) (Arabic: خالد بن الوليد‎) also known as Sayfu l-Lāhi l-Maslūl (or Sayfullah, the "Drawn Sword of God", "God's Drawn Sword" or simply "Sword of God"), was one of the most successful military commanders of all time. He is noted for his military prowess, commanding the forces of Muhammad and those of his immediate successors of the Rashidun Caliphate; Abu Bakr and Umar ibn al-Khattab. He has the distinction of being undefeated in over a hundred battles, against the numerically superior forces of the Byzantine Roman Empire, Sassanid Persian Empire, and their allies, he is regarded as one of the greatest military commanders in history. His greatest strategic achievements were his swift conquest of the Persian Empire's Iraq and conquest of Roman Syria within three years from 633 to 636, while his greatest tactical achievements were his successful double envelopment maneuver at Walaja and his decisive victories at Yamamah, Ullais and Yarmouk.

Khaled ibn Walid was from the Meccan tribe of Quraish, who initially opposed Prophet Muhammad. He played a vital role in Quraishi victory at the Battle of Uhud. He converted to Islam, however, and joined Muhammad after the Treaty of Hudaybiyyah and participated in various expeditions for him, such as the Battle of Mu'tah. After Muhammad's death, he played a key role in commanding Medinan forces for Abu Bakr in the Ridda wars, the capture of the Sassanid Arab client Kingdom of Al-Hirah, and the defeat of the Sassanid Persian forces during his conquest of Iraq. He then crossed the desert to capture the Byzantine Arab client state of the Ghassanids during his conquest of Roman Syria. Even though #### later relieved him of high command, he remained the effective leader of the forces arrayed against the Byzantines during the early stages of the Byzantine-Arab Wars. Under his command, Damascus was captured in 634 and the key Arab victory against the Roman Byzantine forces was achieved at the Battle of Yarmuk (636), which led to the conquest of the Bilad al-Sham (Levant).



Legacy

Khalid, a military genius, fought around a hundred battles in his campaigns against the numerically superior forces of the Roman Empire, Persian Empire, and their allies, and remained undefeated throughout his career, a fact that that made him one of the finest generals in history. His greatest strategic achievement was his swift conquest of the Persian Empire and conquest of Roman Syria all within just three years from 633 to 636. He also remained military Governor of Iraq from 632–633 AD and Governor of Qinnasrin city in Northern Syria. Much of Khalid's strategical and tactical genius lies in his use of extreme methods. In order to account for the numerical inferiority of his own forces. He used his highly mobile army effectively against less mobile Persian and Byzantine armies, specially his elite light cavalry (see Mobile guard). One of Khalid's greatest tactical achievement was at the Battle of Walaja, where he was the only other military commander in history, along with Hannibal at Cannae, who successfully used the double envelopment maneuver against a numerically superior army. His most decisive victories were at the Battle of Walaja and Battle of Yarmouk.

According to a narration, he had scars of wounds from swords, lances and arrows (that he endured during his campaigns), all over his body. He had so many scars that people often wondered how he survived them. Khalid and #### the second Caliph, were cousins and had very close facial resemblance. Khalid and Caliph#### were both very tall, Khalid had a well-built body with broad shoulders. He had a beard which appeared full and thick on his face. He was also one of the Champion wrestlers of his time. Caliph ###, who dismissed Khalid from all military and services later regretted for what he did to Khalid. It is said that after the Hajj of 642, #### had decided to re-appoint Khalid to the military services. But fate had decided otherwise, when he reached Madinah news of Khalid's death reached him. The news of Khalid's death broke like a storm over Madinah. The women took to the streets, led by the women of the Banu Makhzum (Khalid's tribe), wailing and beating their chests. Though Caliph ####, from very first day had given orders that there would be no wailing for departed Muslims, but in this one case he made an exception. #### said:

“ "Let the women of the Banu Makhzum say what they will about Abu Sulaiman(Khalid), for they do not lie, over the likes of Abu Sulaiman weep those who weep." ”

It is also recorded that once Caliph #### was sitting with his companions, some one recalled Khalid, #### said, "By God, he was Muslim's Sheild against enemy, his heart was pure from every animosity," Ali said, "Then why did you dismissed him from military services?" #### said, "I was wrong."
I am late in getting back to you on this. It is an outstanding pick, of someone who is virtually unknown to most people. In fact, Tim says that Mohammed was greater than Jesus because Christianity developed because of two people. However, the spread of Islam, which came more by the sword than by the word, was made possible because of Khalid's military prowess. Conquered peoples were often given the option of submitting to Islam, or dying. Guess what they chose? Khalid was an outstanding military leader, innovative in tactics, and relying on surprise and swift movement.

 
10.13--Marshall of the Soviet Union Georgi Zhukov--Military

Another fine addition to Team Pinko, Gen. Zhukov was the military leader of the Red Army during The Great Patriotic War against the Nazi invaders of the Motherland, and then led the Red Army throughout the most dangerous days of the Cold War. His innovative battle tactics and adroit political skills resulted in the defense of Moscow (where his logistical feat ot moving millions of men into defensive positions was the major factor in turing back the Nazis at the gates of the city), the defeat and annihaltaion of the German Sixth Army at Stalingrad, victory in the largest tank battle ever fought at Kursk, the lifting of the Siege of Leningrad and the final push through Poland and into Germany, culminating in the capture of Berlin and the link-up with Allied forces and the beginning of the partition of Germany.

Zhukov was awarded many decorations for personal bravery and was a fighting general in every sense of the word. But he was also a loyal Party Member, eventually becoming a full member of the Central Committee and defense minister for a short time. Although closely linked to Comrade Stalin, he nonetheless has never been implicated in any of the excesses of Stalin's rule. He was outspoken to Stalin and it isn't going to far to say that without Zhukov's success in the East, the Normandy Invasion and the rest of WWII in the west would have gone very differently.

So y'all can have your Rommels and Montgomerys, your Hannibals and Caesars. Team Pinko will proudly take Georgy the Victory Bringer as it's military leader!

 
The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. They deal with important topics in a new and thought provoking way while engaging the reader.
For any "genre" fiction to measure up against the great explorations of the human condition, it has to transcend its own genre. Why? Because genre itself is a limiting style. The greatest authors invent their own styles, oftentimes borrowing from numerous genres in the process. Genre, even when done well, is a stencil. You can only explore so much inside its pattern. In order to be great, a genre writer needs to transcend her genre or step out of the limits of the stencil, in order to get at something deeper, more compelling, more substantial. Three of the best genre writers I've read, Tolkien doesn't match to the top 20 fiction writers of all time. It's not even close.

I like genre writing when it's done WELL. I really do. It's easy for the genre defenders to (snobbishly) label me a "snob" and dismiss my opinions. But at least I base my judgments of Tolkien on reading LOTR twice. All too often I hear people trashing Joyce because they read 50 pages of one of his novels and stopped. I can't tell you how hilarious and sad I find that.
There have been patterns in fiction stories in general for as long as they've been told. The forms themselves are not limiting. Tolkien I dont consider wonderful writing (amazing creativity, but not a great writer for me), but how exactly was he constrained by form? I see someone like Dickens more constrained by form in Great Expectations. (Oh and dont look now, but he also wrote a fantasy novel in A Christmas Carol)
Let's recap our positions:- I said for genre fiction to be good it needs to transcend its own genre.

- You said genre isn't limiting. In your own words, "The setting, or genre, is immaterial to the greatness of the work. I can think of more than a few genre works that stack up against any fiction ever written. "

Part of the problem is I can't list specific examples to demonstrate what I'm talking about. However, my favorite author wrote most of his novels in the Gothic genre. Was he constrained to it? Hardly. He's one of the top 10 novelists ever, IMO, because his genre was merely a stylistic setting (like you said). The reason he's so good is because he explores the human soul with extraordinary depth. This is how he transcends his own genre. The setting is a mere backdrop to his own personal Hamlet production. This is not the case in your "genre works."

This is the crux of my argument. It's also where your argument falls apart. Genre fiction is called "genre fiction" because its setting doesn't recede from the story, instead it dominates it. Hence the term "genre fiction," or your own "genre works."

It's all about quality.

Asmiov is a genre writer. His futurism dominates his work. While arguments have been made that he transcends his genre at times, his overall body of work is indeed dominated by it. This is why I think that he fails to rank in the top 50 novelists of all time. Tolkien does hit the top 50, but only because LOTR transcends its genre in many interesting and creative ways (the pathos of Golem is one). However, he still doesn't rank in the top 20. There's just too many better writers out there.

Just because someone is more popular doesn't mean they're the better writer. Yet, this is what the snobbish anti-snob crowd always argue with their standard of resentment: they argue for poor standards of quality. They love arguing for "accessibility" because they want their fiction spoonfed to them. The idea of working through a piece of complex fiction is abhorrent. They read 20 pages of Joyce and quit and cry that he sucks.

This disturbs me deeply. Why? Because, as I've repeatedly said, the greatest fiction explores the human condition, our heart and soul. These things are enormously complex. So why would you ever demand that their exploration not be equally complex? Yet this is precisely what the "accessibility" crowd demands: the watering down of the human soul.

Great fiction refuses to do this. This is why so much of the best writing comes off as "difficult" or "inaccessible." IT REQUIRES THINKING AND WORK TO GET THROUGH BECAUSE THE EFFING HUMAN SOUL REQUIRES THINKING AND WORK TO UNDERSTAND. I wouldn't want it any other way.

This is the last time I'm addressing this argument in this thread. It's been done over and over and I really don't have anything else to add.
Genre fiction is called genre fiction because its easier to find books in a library or bookstore when we seperate things into categories. Our society feels a compulsive need to categorize as much as possible. It makes things generally more convenient, but creates some platypuses - things that just dont neatly fit into categories. If Shakespeare didnt have his own section, the Tempest would qualify for a genre work, as would the aforementioned A Christmas Carol. In more modern examples, the setting may be of paramount importance to the story, and I see no reason why this is a bad thing. We are social creatures and an examination of our interactions with our environment, especially in this day and age, are an integral part of the human condition. And part of the point of great fiction is to take something complex and examine it in such a way wherein it is comprehensible. This doesnt mean it needs to be obvious or easy to understand, but it should certainly be more accessible than something like a philosophy treatise. I can write a contract with wherefores and hences and all sorts of legalese - but its possible to make better contracts without leaning on those crutches of pretentiousness, if you truly understand your subject.

 
10.7 - Fidel Castro - Rebel
If I follow the bearded criteria he will be a home run. Castro did lead an important revolution. The man is a survivor. Whatever he did, other dictators should look towards, because how many last as long as he did?

If only FDR had sent him $10, Cuba may have been different.

http://upload.wikimedia.org/wikipedia/comm...er_complete.jpg
The other story is that Castro was turned down in a tryout for the Washington Senators baseball team because his curve wasn't good enough. If he'd been signed to play beisibol, who know whoat would have happened.
 
10.7 - Fidel Castro - Rebel
If I follow the bearded criteria he will be a home run. Castro did lead an important revolution. The man is a survivor. Whatever he did, other dictators should look towards, because how many last as long as he did?

If only FDR had sent him $10, Cuba may have been different.

http://upload.wikimedia.org/wikipedia/comm...er_complete.jpg
The other story is that Castro was turned down in a tryout for the Washington Senators baseball team because his curve wasn't good enough. If he'd been signed to play beisibol, who know whoat would have happened.
Very recently I found out that has never been proven. I thought for sure it was real (and honestly I still kinda do)http://www.snopes.com/sports/baseball/castro.asp :lmao:

 
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10.13--Marshall of the Soviet Union Georgi Zhukov--Military

Another fine addition to Team Pinko, Gen. Zhukov was the military leader of the Red Army during The Great Patriotic War against the Nazi invaders of the Motherland, and then led the Red Army throughout the most dangerous days of the Cold War. His innovative battle tactics and adroit political skills resulted in the defense of Moscow (where his logistical feat ot moving millions of men into defensive positions was the major factor in turing back the Nazis at the gates of the city), the defeat and annihaltaion of the German Sixth Army at Stalingrad, victory in the largest tank battle ever fought at Kursk, the lifting of the Siege of Leningrad and the final push through Poland and into Germany, culminating in the capture of Berlin and the link-up with Allied forces and the beginning of the partition of Germany.

Zhukov was awarded many decorations for personal bravery and was a fighting general in every sense of the word. But he was also a loyal Party Member, eventually becoming a full member of the Central Committee and defense minister for a short time. Although closely linked to Comrade Stalin, he nonetheless has never been implicated in any of the excesses of Stalin's rule. He was outspoken to Stalin and it isn't going to far to say that without Zhukov's success in the East, the Normandy Invasion and the rest of WWII in the west would have gone very differently.

So y'all can have your Rommels and Montgomerys, your Hannibals and Caesars. Team Pinko will proudly take Georgy the Victory Bringer as it's military leader!
Obviously the best Soviet Commander to have come out of WW2. He was pivotal in the Battle of Stalingrad, and was responsible for the decision to make the Battle of Kursk an initial defense in depth, to be followed by an attack when the Germans had exhausted themselves. Kursk, even more than Stalingrad, doomed the Germans. However, his role in the actual battle is unclear; some have claimed he arrived late and was just an observer. However, he was responsible for the plan, and probably convinced Stalin. Took the Red Army all the way to Berlin.The Soviets were careless with human life. That's why Stalingrad was such a meat grinder, where it is said that a newly arrived enlisted man had a life expectancy of 24 hours, and an officer, of three days. Zhukov once told XXXXXXXX that his preferred method of clearing a minefield was to run a brigade of troops through it.

P.S. Don't tell me I'm spotlighting. He ain't gonna make my list.

 
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Throwing out names that you don't think are Top-20 material is still spotlighting. If drafters are going to make mistakes, they should be allowed to make them. Now the drafters that had the spotlit guy on the radar (and there are some, I guarantee) will "know" not to draft him.

Otherwise, each judge could have just submitted Top-20 lists and everyone could have used them as cheatsheets :football:

 
Throwing out names that you don't think are Top-20 material is still spotlighting. If drafters are going to make mistakes, they should be allowed to make them. Now the drafters that had the spotlit guy on the radar (and there are some, I guarantee) will "know" not to draft him.Otherwise, each judge could have just submitted Top-20 lists and everyone could have used them as cheatsheets :football:
In retrospect, I think you and Mario have a fair point. So I will apologize. However, while I have nothing but admiration for XXXXXX people skills as an overall commander, and his handling of the prima donnas on his team, as battlefield commander I find him less than compelling. But someone else might have felt differently.
 
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Ozymandias said:
Doug B said:
Throwing out names that you don't think are Top-20 material is still spotlighting. If drafters are going to make mistakes, they should be allowed to make them. Now the drafters that had the spotlit guy on the radar (and there are some, I guarantee) will "know" not to draft him.Otherwise, each judge could have just submitted Top-20 lists and everyone could have used them as cheatsheets :shrug:
In retrospect, I think you and Mario have a fair point. So I will apologize. However, while I have nothing but admiration for (A great pick in this draft) people skills as an overall commander, and his handling of the prima donnas on his team, as battlefield commander I find him less than compelling. But someone else might have felt differently.
:confused:
 
Lately my draft strategy has been to pick from a category where I am down to the end of my list. Partly this is like VBD, but partly it's not wanting to do research to come up with 5 more names. Therefore...

10.14 Johann Strauss, II, Composer

Johann Strauss II (October 25, 1825 – June 3, 1899; German: Johann Baptist Strauß; also known as Johann Baptist Strauss, Johann Strauss, Jr., or Johann Strauss the Younger) was an Austrian composer famous for having written over 500 waltzes, polkas, marches, and galops. He was the son of the composer XXXXXX, and brother of composers XXXX and XXXX. He is also the most famous member of the Strauss family. He was known in his lifetime as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century. He revolutionized the waltz, elevating it from a lowly peasant dance to entertainment fit for the imperial Habsburg court. His works enjoyed greater fame than his predecessors, such as Johann Strauss I and Josef Lanner. Some of Strauss' most famous works include "The Blue Danube", "Wein, Weib und Gesang", "Tales from the Vienna Woods", "Tritsch-Tratsch-Polka", the "Kaiser-Walzer", and the operetta Die Fledermaus.
At least I've got Berlin beat.PS thanks to Mario for the PM.

 
Ozymandias said:
Doug B said:
Throwing out names that you don't think are Top-20 material is still spotlighting. If drafters are going to make mistakes, they should be allowed to make them. Now the drafters that had the spotlit guy on the radar (and there are some, I guarantee) will "know" not to draft him.Otherwise, each judge could have just submitted Top-20 lists and everyone could have used them as cheatsheets :wall:
In retrospect, I think you and Mario have a fair point. So I will apologize. However, while I have nothing but admiration for (A great pick in this draft) people skills as an overall commander, and his handling of the prima donnas on his team, as battlefield commander I find him less than compelling. But someone else might have felt differently.
:yes:
I'd already mentioned him once, he's off the charts, ok?Don't beat a dead horse.
 
Doug B said:
Throwing out names that you don't think are Top-20 material is still spotlighting. If drafters are going to make mistakes, they should be allowed to make them. Now the drafters that had the spotlit guy on the radar (and there are some, I guarantee) will "know" not to draft him.Otherwise, each judge could have just submitted Top-20 lists and everyone could have used them as cheatsheets :wall:
:yes: There is such a thing as anti-spotlighting. It's like saying, "whatever you do, don't pick X!" Just sayin.
 
15. Yankee23fan - turn to pick

16. Acer FC - on the deck

17. FUBAR - in the hole

18. Arsenal of Doom

19. Larry Boy 44

20. Mario Kart

 

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