100 books like Alfred Hitchcock Presents

This book taught me the meaning of the word “totalitarianism.” It’s like a horror movie you can’t escape from, but instead of a zombie fungus eating your mind, it’s the state controlling every little aspect of your life, down to—and worst of all—the words that you think with, and therefore what you can even conceive of.

Few books have stayed in my mind like this one. Even today—or more than ever—its images come to my mind over and over again when I see what is happening in America and the world.

I’m going even further back with this one. Unusual pick certainly, a YA novel from 1989 that I stole off my sister’s shelf circa 1994.

I was ten and ready for something darker than The Baby-Sitters Club. This was one of those early reads that made me want to write in the first place. The first real suspense book that had me staying up late, wondering how does one create a story like this? I still have that book, tattered and sitting on my shelf as a reminder of that first spark.

Christopher Pike is able to write stories to young readers in a timeless way. The nostalgia and sheer thrill from this story about a young woman who finds herself dead after falling four stories will bring you back to nights with covers over your head. Did she jump or was something more sinister behind her death? Only her… show more.

I hate this book for all the reasons I love it: because it’s perfect.

It’s a perfect crime novel and a perfect mystery, with perfectly awful characters, set in a perfectly fabulous situation, and as a mystery writer I know I will never ever top Christie’s brilliance – but oh my, any chance I have, I fall into this story.

Romance. Deception. Murder. Shiny things.

Genius.

Forget the movie, pick up the real thing. Poirot at his best.

There’s nothing scarier than answering personal ads to a complete stranger in my opinion. Women in Loves Music, Loves to Dance who answers a personal ad find themselves the next victim of a serial killer. What makes this particularly frightening is that the situation actually happens in real life. This book might make you rethink answering that personal ad in the newspaper or online. That’s what makes this book a nail-biter and keeps you up until all hours of the night. It is a fun read, and I highly recommend it. 

No one can deny that Patricia Highsmith knew how to create suspense. Alfred Hitchcock saw that Strangers on a Train was the ideal spine-tingler for a great movie. Other directors have found the Ripley series perfect nail-biting stories to work with. Highsmith takes us through the process of building suspense from the germ of an idea through the plotting, the drafts, and the revisions, using examples from her own work, short stories, and novels. I’m not surprised this book has stayed in print for over fifty years. I still dip into it and get inspired.

This book, for me, stands alongside The Strange Case of Dr. Jekyll and Mr. Hyde as a necessary stepping stone toward all modern 'dark double' fiction. I actually first encountered the book via one of its looser adaptations, The Man Who Haunted Himself, starring Roger Moore. I must have seen that some time in the 70s, and it stuck with me across five decades without losing its core power. The Armstrong original, written in 1940 then expanded later, is still a legitimately creepy tale, particularly in terms of the questions it refuses to answer. Watching Pelham's slow-motion collapse into paranoia and chaos is a genuinely uneasy experience, like seeing The Picture of Dorian Gray through the eyes of the portrait itself.

This is a Gothic suspense classic, but the suspense is gradual in the most delicious way. The book begins with a 1930s meet-cute in which a young paid companion to a rich and unpleasant woman meets a wealthy, unhappy widower at a resort. The young woman befriends the man while her employer is bedridden with a cold, and the two share some funny and touching moments.

The Gothic part comes when he unexpectedly proposes marriage, and they return to his gargantuan family estate, Manderley, which was formerly run by his late wife, Rebecca. Now, the spookiness permeates the story, from the shadowy corners of the mansion to the constant watchfulness of the very creepy housekeeper, Mrs. Danvers. Rebecca has been in print for almost a hundred years, and that alone is evidence of its awesomeness.

In this modern feminist era, Maxim DeWinter might seem horribly patriarchal, but it’s utterly believable… show more.

Ever since I heard the words how a long knife had ‘skewered’ Scudder to the floor, I was hooked on Buchan’s classic story and became a devote of Richard Hannay. When I say I heard it, it is because a teacher read it to us at school when they used to do things like that. The chase around the Highlands of Scotland remains one of the greatest pieces of spy writing. You can feel the ingenuity and sheer effort Hannay has to put into his quest to avoid capture and find the 39 Steps.

I have read the book many times since, and it has stood the test of time with flying colors. In many respects, it should be the starting point for the aspiring espionage writer.

If one wants to learn about Hitchcock’s complex relation with women, one can turn to Donald Spoto’s The Dark Side of Genius or Laurence Leamer’s recent Hitchcock’s Blondes, but if one wants to contemplate the aesthetic question, how are women portrayed in Hitchcock, Modleski is far more rewarding.

I learned much from her weighing of Hitchcock’s ambivalence toward women. The book offers a strong feminist account of seven films, and I have consistently recommended it to my students as one of the best books on Hitchcock. 

Who can resist a story of reinvention? We certainly can’t. Alfred Hitchcock’s reputation as the Master of Suspense was secure when Rebello began telling his story. But Hitch, the artist, wanted to continue challenging himself creatively, while Hitch, the businessman, understood that audience tastes were changing as the 1960s dawned.

With Psycho (1960), he risked everything to tell an unexpected, transgressive story. Rebello reveals that, by changing how he made movies, Hitchcock changed the movies entirely. As Robert Bloch’s novel Psycho spawned the film, Rebello’s meticulous history became the movie Hitchcock (2012).