100 books like A Crack in the Sea

Amari Peters is a Black girl from a low-income housing project with a lot of heart.

Yet when she’s sent to the Bureau of Supernatural Affairs and discovers the world of the supernatural, she must compete with other students who have enjoyed a lot of privilege. It isn’t just that the world around Amari is spectacular and well-built, but we’re getting a glimpse into her challenges both at home and at this new school.

I loved being in the perspective of someone who never thought they could be a hero before. Someone who looks at things from a different lens can help us build a whole lot of empathy.

Eleven-year-old Mimi is the youngest child in a family full of high-achievers. Determined to prove herself, she enters a baking contest at a newly opened bakery in town, but when strange things begin happening to those around her (such as her food critic dad losing his sense of taste), Mimi must pair her culinary skills with her detective skills to get to the bottom of the magical mystery. 

If I had to pick one word to describe this book, it’d be: sweet. Plus, this adorable book is also a retelling of Shakespeare’s A Midsummer Night’s Dream. And if you know me, you know I adore retellings! 

This is such a fun book, filled with fascinating characters, unusual creatures, and a camera that can freeze time. I loved hanging out with the main characters, Otto and Sheed. They are smart, fun, and relatable. Their adventure is both exciting and humorous, and their relationship is realistic and heartwarming. I love a good adventure, especially one where the characters are forced to set aside their differences to work together toward a single goal. 

Not only does this book have a strong female lead, a scary, spooky adventure, and an unusual friendship where cousins who start off not liking one another have to work together, or else, but the idea that a funeral home guards another realm. I love it. And Chuck Wendig really nailed the voice of this story! It’s totally Chuck-like, but not the creepy Chuck we get in his adult horror books. This is 100% snarky, goofy, yeehaw, let’s-have-a-rollicking-good-time kid-at-heart Chuck. Also, this one made me laugh out loud in places, and I can always use a good laugh.

The question of how to portray a historical atrocity like slavery in a work of fiction is obviously monumental. Toni Morrison, Gayl Jones, Colson Whitehead, and John Keene have approached this with consummate brilliance by writing the experience and subjectivity of enslaved and formerly-enslaved people. Johnson, however, focuses on the perpetrators: the men who engage in and profit from the capture and trafficking of other human beings. As in Mantel’s novel, the choice of the protagonist is key. Rutherford Calhoun is a ne’er-do-well free Black man from New Orleans who runs away on a ship to escape debts and engagement to a woman whose love he hasn’t done much to deserve. It turns out this ship is bound for Africa to collect a cargo of people, members of the Allmuseri tribe, an ethnicity Johnson invented for his fiction. But along with the people, they are also collecting something much more… show more.

Despite the vast literature on the transatlantic slave trade, the role of sailors aboard slave ships has remained unexplored. This book fills that gap by examining every aspect of their working lives, from their reasons for signing on a slaving vessel to their experiences in the Caribbean and the American South after their human cargoes had been sold. It explores how they interacted with men and women of African origin at their ports of call, from the Africans they traded with, to the slaves and ex-slaves they mingled within the port cities of the Americas. Most importantly, it questions their interactions with the captive Africans they were transporting during the dread middle passage, arguing that their work encompassed the commoditisation of these people ready for sale.

This book is a raw peek into America’s troubled past. It’s a series of interviews that Hurston conducts with a man who was on the last slave ship to make the transatlantic passage. It is a difficult read on two levels: subject matter and English. Hurston presents the words of a man named Cudjo Lewis as authentically as possible. What may seem to some today as parody, is translated to the page with accuracy. For me it communicated first-hand some of the past my main character has lived through. Books like this help to inform my protagonist’s current attitude toward the world (Alexander Smith in Blood For The Sun and All The Dead Men).

In 2007, I was writing a biography of Liverpool merchant William Davenport, who had made his fortune via the slave trade.

As I researched Davenport’s dry ledgers and letterbooks, I was fortunate to have Marcus Rediker’s exceptional The Slave Ship to hand. Pushing back against the “violence of abstraction” inherent to the accounts of slavers like Davenport, Rediker’s book exposed the horrors of the Middle Passage in unflinching detail.

His book is also filled with powerful individual stories of captives, captains, and crewmen that demonstrated to me the importance of writing “human histories” of the slave trade.

I love this book for many reasons. The Sealwoman is a passenger on the slave ship that takes our protagonist form her beloved homeland, and the ‘gift’ of the title is the story she tells of her shapeshifting roots. The voyage is hellish, and contains a terrifying birth scene among other unspeakable, unimaginable, only just survivable events. It’s based on a true story, which makes it all the more powerful, and it makes me wonder about the hidden truths in the folklore contained within it, especially the sealwoman’s story. 

In 1761, the slave ship Phillis departed from Africa and headed toward America. Among the human cargo was a young girl. Judging by her missing incisors, she was seven or eight years old. Soon after the ship’s arrival in Boston, John and Susann Wheatley purchased the girl and named her after the ship that had delivered her to them. Mrs. Wheatley taught their servant to read and write and introduced her to classical and English literature, including revered poets. Around 1765, Phillis began writing poetry, and her first poem, “On Messrs. Hussey and Coffin,” published in 1767, when she was only about fourteen years old, rendered her the first black person in America to publish a poem. Carretta’s collection of Wheatley’s work includes a fascinating, thoroughly researched introduction.