I was initially excited when the book was announced, but after all the reviews I took a pass on it. I am looking for a book on my lunch breaks. So if you’re really recommending it, I’ll pick it up.
You are probably ther only one that I’ve seen say a good thing about it.
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Oh, man, that’s a lot of pressure. I’m teaching it in conjunction with Lolita, if that’s indication of what the book is like. It’s INCREDIBLY oversexed, but that’s kind of the point. So, don’t blame me if you’re a bit shocked by the content. 
But, on the other hand, reading is always good. 
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Books aren’t hard. It should be fine 
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Hey, guys, bringing this back to see if anyone is interested in keeping up with my lesson plans for my students on this book. They’re college students, not high school students; don’t worry.
Anyway, if you want to read along with us or even get my discussion notes, let me know on here!
I’m having them read chapters 1-3 on Monday night for Wednesday’s class.
Are you going to post discussion notes/questions on here? Since reading this thread, I’ve been tempted to read it again. I didn’t enjoy it the first time but some academic critique might make me appreciate it more.
As long as someone is interested I will, otherwise that would be a lot of effort and no one appreciating it. lol. But, yeah, if you want to follow along, I can post my notes as I prepare them for each class. We’ll be starting with chapters 1-3 on Wednesday, so I’ll post some stuff either Monday night or Wednesday AM.
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I’m definitely still interested. I’m going to be very busy this week so I might not have time to join the discussion, but I’ll catch up next week for sure.
Hey! So I will post all notes/discussion stuff tomorrow. The class will be discussing chapters 1-3.
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How did your students react to it? I haven’t started it again yet 
but will do tonight.
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Up to chapter 5 now, enjoying it more than I did last time . I do find it hard to separate Score’s character from Davey though 
, guess that’s the issue with reading a book by a well-known person!
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Hey! Sorry for the late posting… whoever is reading this. LOL @Sugar_and_Ice @PaperBirds . Work caught up with me.
My students, who have been traumatized by everything I have introduced them to this semester (The Craft, Donnie Darko, “The Destructors” by Graham Greene, The Heathers, Riverdale, etc), are reacting as I suspected to this one: the boys in a weird juvenile snickering and the girls with their feminist rants. I thought 18-22 would be able to handle mature talks about the perception and disenfranchisement of youth by the media, but, alas, they are still children.
They’re going to hate me for Lolita.emphasized text
ANYWAY, once I get into the discussion, they get it. It’s a work in progress.
Below are ALL my notes and such from the past two classes discussing the book. They have read 11-21 over the weekend, so I’ll get to my discussion notes for you guys by the latest Wednesday.
So, here are the notes and feel free to start discussing/asking questions/ posing ideas.
Points to hit on for Pop Kids
Prologue through Chapter 3
Prologue:
→ the tone→ darker, a bit more reflective. There’s a feeling of infallibility bordering on hysteria→ a person looking back on greatness “…here in this slent, warming glow I have time and cause to reflect.”
→ inability to recall the genuine self. “’It’s all screennames now.’ I have a very difficult time remembering what we used to call each other before all of this began, before I became a Filmgreat…”
→ misogyny→ the fact that Sarah is called Stella, who is a historically oppressed character (“ A Streetcar Named Desire”)→ “During junior year, as she was being dropped off after lunch by college-aged guys in luxury cards, I would watch her with hopeless longing. Now I have given her so much more than they ever could. And she deserves it. She deserves me. She’s hot, ambitious, knows a good thing when she sees it, and will stop at nothing to get it.” → Mike is doing a favor for Sarah. Sarah needs him, not the other way around. He basically owns her, and the fact that her nickname is Stella (which I will go into more in later chapters) hints that she becomes subservient to him.
→ IMPORTANCE OF NAMES→ Names send signals, particularly chosen names. Think about screen names and Instagram names. By choosing a new name for yourself, you are redefining who you are and what you represent. Even something as simple as an email address when you’re a kid is a big deal. What do you want people to know about you? How do you want them to think of you?
→ the names represent a change in personality. Leo, Star, and Donny kept their old names. Pay attention to them in the story.
→ screen names→ the art of creating a name. It’s branding yourself as a person. Again, think back to when you were a kid and were picking your first email address. That was such an important decision because you are sending a signal out into the world “this is who I am; this is what’s important to me.” This has carried into social media and social media culture. For example, think about the branding we were doing with things like Myspace¬¬. We chose different colors, decided on a name, on a URL, on what questions to answer. There was even the “Myspace profile photo” pose. All of these things developed organically as social media grew, especially as people started becoming famous thanks to social media. There were Myspace models- Andy Sixx, now known as Andy Biersack was king of that. Instagram is the modern interpretation of that, with popular Instagram accounts earning deals with companies. Bands are being found on Youtube. It’s made fame easier and faster to acquire.
→ rebirth through renaming→ “’My name is Score,” I confidently proclaim. ‘And today is my birthday.’” Why the birthday? Why fire and renaming on a birthday? Not only does this evoke phoenix lore, but it also tells us that Score is a new person.
There’s a certain level anonymity with renaming yourself. Think about Youtube comments. People say anything they want and are terrible to other people not only because of the remove of the Internet but also because having a new name means they are someone else. That person is no longer “Joe Keller” a computer scientist who is into Star Wars. He is now “JediKellerx9189X,” a man who can do anything.
The anonymity and freedom that new names give is really important to this book. These kids take on new names and do things they would probably never dream of doing under their old names.
→ “Everything’s fine.”→ Score says this a lot in the book. PAY ATTENTION TO IT.
Chapter 1:
→ Starts out with heat→ church fires, sticky weather, lack of air conditioning. This in itself helps evoke the claustrophobic, kinetic nature that is weighing on Mike’s shoulders. He’s trying to escape the oppressive environment and is looking for any way to break out of it. The weather is only a reminder of the limitations he is under.
→ Language is very specific to Mike. Havok is getting creative language, keeping it specific to Mike’s personality so that we get a deep sense of his interiority and voice. “shredded o-zone layer.” This is something that Havok really plays around with in the book and is developed well throughout. His language gets more and more specific as the book goes on.
→ Music is a HUGE part of this book. Partially because Havok is a musician and is, presumably, constantly surrounded by music. It also reminds readers that these are modern teens, constantly plugged in, surrounded by noise.
Music is also important because it helps define the tone of the scene, much like a movie. It also helps establish the kind of characters we’re dealing with→ high school, artsy, wannabe hipster-esque kids.
→ they are OBSESSED with the UK and the music that comes from it. This becomes important later on in the book, but they LOVE British bands, particularly old ones.
→ Then there’s the concept of Moz as God. Not only is this a big example of Mike’s obsession with British culture, but it is also a way for Havok to make commentary on celebrity obsessed culture.
Back in the ‘60s, John Lennon famously said that the Beatles were more popular than Jesus Christ. Now, he was probably right- Beatles Mania had the same effect on teens that the Great Religious Awakening and Revivals in 18th century Massachusetts had on the children back then- but no one was goind to admit it, then; in fact, kids burned and smashed their records. It wasn’t a good time. But now, people would definitely admit that they focus more on celebrities and celebrity culture (or what you count as a celebrity) than any sense of spiritualism. Havok is commenting on the replacement of religion with celebrity.
Teens and young adults in particular idolize the plastic idols of California. They want to be them. And modern culture has made it easier to keep track of celebrities almost 24/7. There are blogs, Instagram accounts, Twitter, Facebook, Youtube. All these social media platforms provide new outlets for fans to stay connected to their idols. While sometimes it takes away the mystique, what it also does is create a new level of fanaticism.
Now, with Mike, there’s still a level of remove, a level of mystery with his obsessions, allowing them to remain gods. So, Moz becomes God as a way to show how celebrity culture has usurped spirituality.
→ COLORS
→ colors are INCREDIBLY important in this book. Mike is associated with black and Sarah with pink. Colors would be a great theme to trace throughout the book.
→ Watch the development of the characters as the names change.
→ MIKE HAS AN OBSESSION WITH NAMES. This is something else you might want to track.
→ Sarah: everything is very artificial. Usually girls are associated with flowers or sugar, which, in reality, is not always the truth. Havok turns this trope on its head and associates Sarah with all this artificial and chemical. “The tangy scent of pink lacquer comforts me- as does her ability to match her toenails to her underwear.”
→ the importance of looks→ the celebrity being dragged out of the car. “’NO, she doesn’t…and she looked totally hot even when they pulled her from the wreck all soaking wet. See!’ The shot of the post-crash blonde being escorted from the car flashes back onto the screen. She does look good- sort of like a Calvin Klein billboard. ‘You’re right.’ I concede. ‘Her father must be beaming.’”→ there’s a level of pretense, of posturing, within this book that the kids definitely inherited from their parent but which is also encouraged by the obsession with the media and, again, with social media socialites.
→ label name dropping→ statement against capitalism
→ hyper- sexualization of youth→ Sarah and Mike. She is using him with sex. Girls are so sexualized- think Brandy Melville ads, Missguided, ASOS- and at younger and younger ages. The same thing with boys. Sarah is using sex to gain ownership and power. By telling girls they are good for one thing, they only have one weapon against the world: sex.
Mike is going to use this concept to his benefit later in the book.
Chapter 2:
→ again with appearance, Mike wants to be pale. He’s idolizing emo gods- Morrissey, British music, and therefore, his value system will come from there, feeding right into veganism as a fad. “’I’m trying to eat vegan.’’ Just this morning you were asking me where you could order cannoli online!’”
→ Another thing you might want to track: Mike and cats. Why cats?
Chapter 3:
→ more with Mike’s unique language. You could probably write a whole dissertation on his language alone. It actually complies with Orwell’s rules for fresh writing in his “Politics and the English Language.” If you haven’t read it, you should check it out. It’s a great piece.
→ There’s a huge amount of classism and wanting to be in a different class than the one you’re in. Mike is in an upper-middle class family. His friend Zach is one of the few “wealthy” families in town, meaning part of that 1%. He uses Zach for purchases, and he subconsciously is always seeking his approval- at least at these beginning stages. The label whore concept is really a product of the pressure society puts on youth, in particular, to constantly buy. In order to buy, you need money.
With the height of reality TV culture, more and more people are seeing into the lives of the “elite.” This leads to envy, to need, to be like the people on the screen who we are a populous- whether consciously or unconsciously- we strive to be.
Examples with Mike: the “McQueen” tie he made
The obsession with British name brand clothing- TopShop (which is really more of a fast fashion brand, but it’s still relatively expensive, though when it has sales, it has SALES.)
Equating looks with fame
WHY DID THE BROTHER RUN AWAY TO THE CIRCUS?
Remember, this is a more satirical commentary on society, so dark moments are going to simmer beneath the surface. What is Davey getting at by putting a brother who, for all intents and purposes, had everything but threw it all away TO RUN TO THE CIRCUS?
Chapters 4-10
Chapter 4
THE PALACE AS A CHARACTER:
“The Palace was abandoned in the forties and has been awaiting our inhabitance ever since.”
Hone in on that “our.” It’s been awaiting them ever since it was abandoned. Such a solipsistic concept. It is a perfect example of the narcissism of youth, this idea that the world is there for them to exploit, to use as they will. It’s a rather horrifying concept, but that doesn’t take away from its veracity. Youth only see the small thing, the success they want; they don’t pay attention to the ramifications. Here Havok is commenting on the selfishness of youth, which is inherent in almost generation but has been heightened by social media and celebrity culture, which is solipsistic by nature.
→ Now The Palace itself is a character. It was once a place for the wealthy and talented, a palatial hotel that has seen finer days. Now it’s old and decrepit, falling apart. Mike and his friends are going to go into it to spark their own fame.
View The Palace as fame, and it’s grand days of the past as the old ideals, the old concept of Hollywood fame→ hard work, paying your dues, all things Davey Havok and his band- AFI- had done in order to gain any notoriety they have. Yet Mike and his friends represent this new idea of fame and talent, the get famous fast schemes that are working for so many. They are going into the palace to acquire fame but only pervert its purpose, changing it from the inside out. They are changing fame and what it means to be famous, tainting it.
→ Then there’s a RIDICULOUSLY DARK but short moment. “I can relate. I lost my virginity to an older woman. When I was twelve, Lizzy, my twenty-yer-old babysitter moved from Essex to attend NYU and prove to me that boys aren’t always stronger than girls. In our wrestling match she pinned me down, kissed me, unbuttoned her blouse, and did it to me on my parent’s Eames corner couch to the sounds of the Smiths. It was a beautifully surreal experience that has forever changed me. Since that night, I’ve only listened to U.K. bands.”
Okay, so other than providing background for Mike’s fascination with U.K. bands, this moment is an exploration of gender culture, acknowledging rape (particularly in suburban culture), and rape in regards to males.
So, it’s first tackling the notion that men can’t be raped.
Mike was a twelve year old. He was wrestling with an older woman who wanted to “prove that boys aren’t always stronger than girls.” So she was physically overpowering him. “…she pinned me down…” She held Mike down and then proceeded to “[do] it to me” on his parents’ couch, meaning she was the aggressor: she acted upon him. This was an older woman preying upon a child. Now, if this was a man acting upon a girl, we would be horrified, but this was a woman acting upon a boy; instead, patriarchal culture has made us think that boys CAN NOT BE RAPED and that this boy has had something very lucky happen to him.
Havok is holding a mirror up to society and saying, “Do you see this? Instead of letting this kid acknowledge that what happened to him was bad, you’re forcing him to think that this was a wonderful thing that forever changed his perception of music, of all things.”
This changes Mike’s value system now. He’s been raped. He’s now been indoctrinated into the adult, sexual world at a young age and has been chasing after that sexuality ever since. You are going to see the lasting effects of this trauma throughout the book, but particularly in Mike’s treatment of women.
HE HATES THEM. He sees them as sexual beings, partially because of some subconscious cue that he has been bested and now has to be the conqueror.
Then there’s the fact that he plays down this moment. In suburban society, particularly wealthy suburban society, scandals are rarely handled well. Usually they are brushed under the rugs, and you just have to deal, usually by downplaying everything and accepting it.
He is also showing us that men can be raped. Women of course are raped, but so are men, and Havok is drawing attention to it and challenging our responses to male rape.
It’s a small moment, but it’s loaded with meaning.
Chapter 5
New character: BECCA
Becca is a bit less artificial than Sarah, but there’s still a brand-infused edge to her→ Cheap Monday and bleach blonde hair.
She’s a “real vegan” and likes British bands. She has a manic pixie dream-girl vibe to her→ a trope in fiction→ a girl who breaks the norm, seems cooler than the other girls, constantly friend zones guys, “doesn’t get along with other guys.”
Becca v. Sarah→ this is going to become BIG in the book.
Chapter 6
Mike is starting to have hallucinations or daydreams where he sees himself as greater than he is, imagining a moment in a different way than how it is happening (the sex scene between Sarah and Mike)
Sarah taking ownership of Mike→ he thinks it would be rude to complain about her taking the vintage Unknown Pleasures shirt after she has just given him a great “OJ.” “I may like her even more than I thought.” The fact that she comes in, has sex with him, and then takes a part of him with her highlights how she uses sex within the novel- as a way to own and control. This is a commentary on how some women choose to combat the patriarchy, by using their bodies as a way to gain power. She continuously does this. Pay attention to her use of her body compared to Becca’s.
Chapter 7
Mike is desperate to hear back from Sarah. He’s not acknowledging that he’s being used. There’s a huge power play going on. Becca is also being introduced into the equation.
He says he has to clean.
Chapter 8
More church fires.
This chapter gives us some insight into Mike’s place in the social circle they’re all a part of. He is constantly striving to hold his spot, to remain seen, which tells us that it’s a precarious place. This would also explain his need to be in control of everything.
Chapter 9
We meet Hector and David. Again, this brings in classism and now racism and homophobia.
Mike and Zach set up The Palace and give each other their names→ Score and Lynch.
They are naming themselves after GREAT directors, thinking that what they’re coming up with is comparable. Again, this is the famous fast concept.
Chapter 10
Exclusivity
Mike chooses to show The Breakfast Club. The Breakfast Club is of course a movie famous for its commentary on clique culture and eighties classism issues. Havok is taking those concepts and reframing them for a modern audience.
First time using the names Score and Lynch in public.
Again, this is a secret party; the names add a level anonymity.
Sarah texts back right away. Mike now has something SHE NEEDS.
Becca is not invited because she is not trusted just yet. She is not part of the inner circle yet. Watch the growth of the circle.
Things to keep in mind going forward:
Development of characters as they change their names
Mike/Score’s nervous ticks—> the clicking
The Guestlist
Squad Culture
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Thanks so much @_tonibell. On Chapter 19 now and I was getting a bit disheartened. Think I was reading it too literally and had feelings probably not too dissimimilar to your feminist female students!
Been thinking about this. Traditionally circuses have been comprised of ‘freaks’ and people who would otherwise have been on the outermost fringes of society. People woud view running away to join the circus as a crazy thing to do - to purposefully make yourself an outcast, yet they fail to realise the absurdity of the society in which they’re already living (in this day and age, more than ever). The circus is probably more ‘real’ and grounded than modern-day, internet-dependent life.
I think I was so horrified by the female character in this scenario that I didn’t read any further into it but this makes a lot of sense.
[quote=“_tonibell, post:31, topic:180”]
Another thing you might want to track: Mike and cats. Why cats?
[/quote] I’m not sure if this is what you’re getting at but cats have a stereotype of embodying a lot of the qualities that Mike/Score seems to have - selfish, disloyal, do what they want. Do you think it’s deliberate the cat has a male name even though it’s a female? (Especially given the above point). Eddie and his mother (to a degree) are the only females Mike seems to respect.
I wish the book had had reading group questions at the back like a lot of other books I read. You get so much more out of the book. So thanks again for these notes Tonianne.
Hey: Oh, definitely. Circuses are bastions for for those on the fringes, but what made Joey go to the fringes? Looking at Mike’s family, there’s a pattern of running away and not dealing with things. They left Brooklyn “to get away from it all.” Mike renames himself to become someone else. So, what is going on with this family? Is this just a comment on the inherently problematic nature of the post-World War II modern family? Or is there something deeper here?
Yes, the female character there is horrifying. We all know Davey doesn’t just toss things out there- he’s trained as a songwriter, so every little thing does count (though I will acknowledge there are some redundant parts in this novel). This character has created a deep-rooted distrust and hate for female characters. She’s incredibly important to the evolution of Mike (and later Score’s) character and his treatment of women.
I think so. Cats are those things- and they’re also incredibly sneaky (I’m a dog person; can you tell? LOL). I do think it’s deliberate that he’s changing the gender of the cat. It’s a way for him to align himself with the cat and a way to justify his affection for the cat.
Also, weirdly, cats are always aligned with women in literature and fiction. I’m definitely going to explore this more going forward.
BUT DON’T GIVE UP ON THE BOOK!
Mike/Score is the anti-hero. Though the book is through his POV, and we are aligned with him somewhat, he is still not a character who is supposed to be incredibly heroic to us. This is kind of like Lucifer in Milton’s Paradise Lost. So, though he is an appalling character, he is a vehicle through which Davey is conducting his scathing commentary on youth culture.
Let me know what you think about the fires!
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Soooo…thoughts on chapters 11-21:
Fires: Mike seems to set the fires to ‘cleanse’/purge himself of negative feelings, e.g. rejection, anxiety, jealousy, disgust. It seems he is incapable of tolerating these emotions, which perhaps seem out of his control and so to gain control, he sets the fires.
Also perhaps each fire ‘clears the way’ for him to fully become the person he sees himself as (Score)?
On a related note: “It’s fine” and the clicking of the lighter are methods Mike uses to comfort himself when confronted with negative emotions.
Hypocrisy: Numerous examples, e.g. despising alcohol but eating an alcohol marinated burger, suggesting that women would be acceptable after pregnancy if they retained a Moss type figure yet immediately gaining gratification from a video of a ‘buxom’ girl, claiming to want to cleanse the world yet doing what he does over the recycling bin in the cinema LOL 
…Seeing flaws in others but turning a blind eye to ‘flaws’ that Becca has, feeling betrayed by Stella going with Donny when he himself is ‘with’ Stella yet desparately longs to be with Becca etc. etc. etc.
Delusions of grandeur: e.g. ‘knowing’ that he will one day be featured on Perez, saying that it’s inevitable he will be friends with Brand and Perry, seeing himself as a superhero when he ‘cleans’.
Final point of interest: “It’s hard to say whether it’s pure excitement or a survival instinct…” (Ch 21) - there is something about Stella that makes Mike feel threatened. He wants to be in control of her but can’t seem to see that her actions are controlling him.
Can’t say I’ve particularly seen much change in the other characters yet (now up to Ch 34) however I have to admit I find it hard to keep up with the characters apart from Mike, Stella, Becca, Donovan.
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Hey! Great ideas! Sorry I’ve been so remiss; I was asked to lead a project last minute, so I’ve been running around a lot. I’ll update this up to chapter 44 ASAP. But I really love these ideas and will be back to comment more later!
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turns pages very slowly
Actually it’s been good to have a bit of a break from the non-stop shenanigans in the book
Hey! I was debating on just emailing you the notes, but @Alina asked for them to be posted as well. I just don’t think anyone has any interest in this, and it takes A LOT of time for me to transcribe my notes from my book/class scribbles.
Anyway, here’s 11-21. I’m glad you’re still reading! I’ll work on 22-33 tomorrow during my break.
Chapters 11-21
Sarah→ She’s still playing hard to get for Mike. He’s obsessed with having her, further making her a commodity within the novel. Her behavior throughout the next ten chapters only solidifies her as something to be bartered- or, at least her sexuality is, and she is so tied to her sexuality that it makes it hard to separate her from her sexuality.
Mike compares Sarah and Becca again. “I wish I could invite Becca. She’s not the type of girl who’d use an emoticon in her first rudely delayed post-coital text. She would have hand written me amorous poetry exalting my potency. Or even called.” Mike is idealizing Becca. He’s not actually slept with her; he’s not had much of a conversation yet; he knows nothing about her. This is why he can’t invite her. She’s mysterious to him, mysterious in a way old school celebrities were, allowing people to project their own values on those people. It’s why he reveres Moz. He’s a mysterious figure that he can take values from and project his own ideals onto.
Becca is that mysterious celebrity, the one we know nothing about, who rarely posts on social media (coughJadePugetcough) and whose life is NOT an open book.
THE RENAMING
Everyone gets a new name. Pay attention to those names and what they mean. Think about who they represent.
The first party→ everyone using the new names→ they become more permanent from this time on. There’s not a lot of switching back and forth between names (though Mike/Score takes them more seriously. He’s the one who really views everyone as a stereotype).
There’s a feeling of abandon that they have when they are outside the realm of the adult world. This is kind of a perverse version of Neverland. They have a place that is outside the limits of rules, stereotypes, and pressures. It’s interesting to see how they utilize that place. For example, if someone gave me access to a big, empty old hotel, I would probably do something artistic in there, make it an installation piece or something along those lines. They turn it into a den of sex and drugs.
Already Score is losing control, though. Lynch sleeps in The Palace. P. 76.
Lynch doesn’t call him Score.
He starts playing with his zippo.
Fire is a form of control. This goes back to themes that I have been discussing in conjunction to other works→ destruction as creation
Sarah’s new interest→ Donny→ a DJ→ this introduces a new subculture into the mix→ rave culture and its inherent nihilism→ it’s entirely contrived and fabricated→ there’s nothing organic about it at all. Even beats are borrowed. The drugs create a synthetic euphoria. → but the thing about Donny is that if you recall, he was mentioned back in the Prologue. He’s one of the few who actually keeps his name. Remember that names are a symbolic order→ they define parts of our personality. Donny keeping his name gives him a great deal of credibility.
The concept of needing to study celebrities daily→
The need to know how to be famous→ again with celebrity obsessed culture. Page. 88→ studying the gossip sites
Becca→ she brings out a side of Score that we don’t get to see→ she’s not hyper-sexualized in the same way Sarah/Stella is. Everything is more organic with her. She doesn’t wear makeup, her primary colors are black and white, and she smells like “cucumber rain,” which is more natural than the tangy sweet smell that we associate with Stella/Sarah.
Lynch is surprised that Mike/Score doesn’t have sex with her, but Mike is okay with it: “It was still really cool, though…She’s really cool,” (104). Here we see Mike’s value system shift with Becca. This is going to be a thing with Mike and Becca in the book; he holds her up to different standards than everyone else, and he views her as better, above all of them.
The end of chapter 21 confirms for us that Mike is the one setting fires to the churches. He burns things to clean the world, his conscious, his worries. It’s a way of purging. Again, we are brought to this inherent, apocalyptic nature that youth has. (109). Score is trying to burn away all the impurities he sees, and I really think it inherently comes down to the sexual trauma he faced at twelve. And, again, Havok is really portraying youth as this destructive trial ground. The only way to come out as an adult is to burn everything around you. In this case, it’s literal for Score.
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Thank you Tonianne. I apologise. I didn’t realise you had to transcribe it. I know what a pain that can be. I thought it was more of a ‘cut and paste’ job from your lecture notes.
I love to read your notes and thoughts on the book but I understand now that it’s a lot for you for only a couple of people to follow, so from my perspective, if you don’t want to continue, that’s fine. I’ll just have to use my brain a bit more when reading 
.
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No, i’ll Definitely keep posting for you. My lecture notes are always a bunch of sticky notes in the actual book and loose guidelines in my journal. LOL. But i’ll Definitely keep posting for you.
Thank you. That’s kind of you. 