Here are 100 books that All the Horses of Iceland fans have personally recommended if you like
All the Horses of Iceland.
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I love mythological creatures! I grew up gravitating toward fantasy books but because I have a narcissistic parent, I got teased for reading them. To avoid the teasing, I ended up reading a lot of mythology because that was a “safe” fantasy option; reading mythology was “educational” rather than “silly.” When I got older, I discovered that there’s a whole category of fantasy books that retell myths from alternative points of view. This subgenre opened new doors of understanding and empathy for me. Reading old stories from new perspectives opens my eyes to a myriad of different types of people and broadens my view of the world. And I’ve been reading them ever since.
Grendel is the original monster from English literature who killed many warriors and did battle with Beowulf.
This poignant book tells the story from his point of view. It’s never completely clear what Grendel is, only that he seems to exist somewhere between humans and beasts. He is frustrated by how emotionally drawn he is to the singing he hears in the humans’ mead hall but is equally frustrated by the stupidity of the animals he encounters.
He knows from first-hand experience how cruel men can be but because he is so alone in the world, he can’t stop himself from seeking them out. Reading this book is a hard look at loneliness, a long walk at the side of a creature whose very existence is painful.
This classic and much lauded retelling of Beowulf follows the monster Grendel as he learns about humans and fights the war at the center of the Anglo Saxon classic epic.
"An extraordinary achievement."—New York Times
The first and most terrifying monster in English literature, from the great early epic Beowulf, tells his own side of the story in this frequently banned book. This is the novel William Gass called "one of the finest of our contemporary fictions."
I recall my younger self looking at the reading lists on Oxford University history courses, and asking, “Where are all the women?” I have always wanted to know what it was like to be there, in any century up to the present. How did families form and pass on their values, what did people wear and eat, when (and if) children learned to read, and what were people’s daily routines? Political, military, and economic history is important, but I have flourished in the social history trenches. I discovered women writers and historians have more acute antennae for the details I wanted, even when writing about wars and dynasties.
Yes, I know this is a novel, but Mantel’s historical research is impeccable and no one has done more to bring to light the shadowy, intrigue-filled court of Henry VIII. Mantel explores the intersection of political power and personal ambition as she traces the career of Thomas Cromwell, a rags-to-riches courtier.
I could almost taste the food, smell the decay, and touch the damp walls of the buildings. She took me deep into the consciousness of the unlikeable yet sympathetic and lonely main character, as he serves his monarch and defeats his enemies.
Winner of the Man Booker Prize
Shortlisted for the the Orange Prize
Shortlisted for the Costa Novel Award
`Dizzyingly, dazzlingly good'
Daily Mail
'Our most brilliant English writer'
Guardian
England, the 1520s. Henry VIII is on the throne, but has no heir. Cardinal Wolsey is his chief advisor, charged with securing the divorce the pope refuses to grant. Into this atmosphere of distrust and need comes Thomas Cromwell, first as Wolsey's clerk, and later his successor.
Cromwell is a wholly original man: the son of a brutal blacksmith, a political genius, a briber, a charmer, a bully, a man with…
I've always been fascinated by the way history feels inherently uncanny, as we inhabit the same places as people long dead. I suppose that’s why the novels I write tend to be in historical settings, and they tend to have a speculative twist. For much of my working life, I was a journalist, so I love the research part of writing historical fiction. I tend to be drawn to old stories, and I especially love looking at those stories from angles I haven't seen before. Two of my novels bookend the European Middle Ages: The Valkyrie, set in the 5th century CE, and The Chatelaine, set in the 14th century CE.
Some novels lean into the alienness of their historical settings, making them feel almost like secondary worlds.
The Buried Giant is one of those. It takes place partly in legend, after the death of King Arthur, and follows an elderly married couple in a society that has quite literally lost its memory. I struggled with this book at first because the prose is so unassuming, but it got under my skin.
Ishiguro's simple prose creates a feeling of unsettling ordinariness, like the way your dreaming brain accepts a logic your waking brain never could.
*Kazuo Ishiguro's new novel Klara and the Sun is now available*
The Romans have long since departed, and Britain is steadily declining into ruin.
The Buried Giant begins as a couple, Axl and Beatrice, set off across a troubled land of mist and rain in the hope of finding a son they have not seen for years. They expect to face many hazards - some strange and other-worldly - but they cannot yet foresee how their journey will reveal to them dark and forgotten corners of their love for one another.
I have 7 sisters and 1 brother. I was the 9th child in my family. To get a son who would carry on the family heritage, my parents tried 7 times without any success. After 7 unwanted daughters, my brother finally arrived. Then they had me as the second boy in the family. The plot twist was: I am gay. I turned out to be the 8th unwanted daughter because of my sexuality. Coming from this small-town big family full of superstitions and secrets, I am naturally drawn to dramatic family stories with many dark and psychological twists.
At first, I was scared by the thickness of the book. More than 600 pages? I didn’t think I would have the patience and time to finish it. My book club chose the book as a reading challenge for everyone. A challenge indeed. But a colorful one.
I remember carrying the book with me everywhere I went. As I finally reached the last page of this riveting family saga set in Africa, I felt older and wiser. Wow, I actually finished the thick novel. It was a great achievement.
I was never bored or tired. I did not want the story to end. It could have been 6000 pages and I still would have thrown myself into this epic story.
**NOW INCLUDING THE FIRST CHAPTER OF DEMON COPPERHEAD: THE NEW BARBARA KINGSOLVER NOVEL**
**DEMON COPPERHEAD IS AVAILABLE NOW FOR PRE-ORDER**
An international bestseller and a modern classic, this suspenseful epic of one family's tragic undoing and their remarkable reconstruction has been read, adored and shared by millions around the world.
'Breathtaking.' Sunday Times 'Exquisite.' The Times 'Beautiful.' Independent 'Powerful.' New York Times
This story is told by the wife and four daughters of Nathan Price, a fierce, evangelical Baptist who takes his family and mission to the Belgian Congo in 1959.
They carry with them everything they believe they will…
I've always been fascinated by the way history feels inherently uncanny, as we inhabit the same places as people long dead. I suppose that’s why the novels I write tend to be in historical settings, and they tend to have a speculative twist. For much of my working life, I was a journalist, so I love the research part of writing historical fiction. I tend to be drawn to old stories, and I especially love looking at those stories from angles I haven't seen before. Two of my novels bookend the European Middle Ages: The Valkyrie, set in the 5th century CE, and The Chatelaine, set in the 14th century CE.
I’m a sucker for any story about a real woman in history.
Hildis the story of Hilda of Whitby, whom we meet as a child in 7th-century Britain. It's a novel that revels in language and sensory detail, when it comes to both the natural world and the human one. It is particularly interested in relationships between women.
This novel puts us into the mindset of a girl growing up in an age of political ferment, in the context of a whole set of traditions and stories, and helps us understand why she makes the choices she does.
Hild is born into a world in transition. In seventh-century Britain, small kingdoms are merging, usually violently. A new religion is coming ashore; the old gods' priests are worrying. Edwin of Northumbria plots to become overking of the Angles, ruthlessly using every tool at his disposal: blood, bribery, belief. Hild is the king's youngest niece. She has the powerful curiosity of a bright child, a will of adamant, and a way of seeing the world - of studying nature, of matching cause with effect, of observing human nature and predicting what will happen next - that can seem uncanny, even…
I’m a bestselling author of historical fiction—some readers might recognize my pen name, Olivia Hawker, under which I wrote One for the Blackbird, One for the Crow, along with several other novels. My greatest passion is literary fiction, especially when it intersects with historical fiction. Along with my books, I continue to explore new modes of storytelling and new uses for story in my podcast,Future Saint of a New Era.
I was first intrigued by Jodorowsky’s bizarre, unforgettable films. I only discovered his fiction later, but I’m glad I did. Where the Bird Sings Best is a semi-fictional account of the author’s family history, incorporating the magical-realism tradition of Latin American literature with factual details of one family’s immigration and resettlement half a world away from their original homeland.As in Jodorowsky’s filmmaking, the images within his novel are haunting, weird, and leave the reader with the impression that she has only grasped one-tenth of the real meaning.
The magnum opus from Alejandro Jodorowsky—director of The Holy Mountain, star of Jodorowsky’s Dune, spiritual guru behind Psychomagic and The Way of Tarot, innovator behind classic comics The Incal and Metabarons, and legend of Latin American literature.
There has never been an artist like the polymathic Chilean director, author, and mystic Alejandro Jodorowsky. For eight decades, he has blazed new trails across a dazzling variety of creative fields. While his psychedelic, visionary films have been celebrated by the likes of John Lennon, Marina Abramovic, and Kanye West, his novels—praised throughout Latin America in the same breath as those of Gabriel…
I’m a bestselling author of historical fiction—some readers might recognize my pen name, Olivia Hawker, under which I wrote One for the Blackbird, One for the Crow, along with several other novels. My greatest passion is literary fiction, especially when it intersects with historical fiction. Along with my books, I continue to explore new modes of storytelling and new uses for story in my podcast,Future Saint of a New Era.
This book was just published in late 2022, but I had the privilege of reading it early, in January. It remained my favorite read of ’22 all throughout the year, which is really saying something, considering the astounding number of excellent novels that were published in ’22 (the pandemic really threw publishing off)! Waldherr is a criminally underappreciated writer. Unnatural Creatures is simply exquisite, from its concept (a retelling of Frankensteinfrom the women’s perspective) to its brooding atmosphere to its intoxicating prose.
"Worthy of comparison to Jean Rhys's Wide Sargasso Sea . . . Unnatural Creatures is a splendid achievement from a writer at the height of her powers."-Historical Novels Review (Editors' Choice)
"This book has it all. Unnatural Creatures is an atmospheric, reimagined classic about the lines we cross for loyalty and love." - Foreword Reviews
Some tales aren't what you think. For the first time, the untold story of the three women closest to Victor Frankenstein is revealed in a dark and sweeping reimagining of Frankenstein by the author of The Lost History of Dreams and Doomed Queens.
I've always been fascinated by the way history feels inherently uncanny, as we inhabit the same places as people long dead. I suppose that’s why the novels I write tend to be in historical settings, and they tend to have a speculative twist. For much of my working life, I was a journalist, so I love the research part of writing historical fiction. I tend to be drawn to old stories, and I especially love looking at those stories from angles I haven't seen before. Two of my novels bookend the European Middle Ages: The Valkyrie, set in the 5th century CE, and The Chatelaine, set in the 14th century CE.
Gentlemen of the Road features two Jewish traders in the 10th century CE, in and around Khazaria (roughly the area around the Caspian and Black seas).
This one is told by an omniscient narrator who glories in long sentences full of the sights, sounds, and smells around the fire. The first book I read by Chabon was the masterful The Yiddish Policemen’s Union, and I read this one soon after.
A spellbinding yarn set a thousand years ago along the ancient Silk Road, by the Pulitzer Prize-winning author of The Amazing Adventures of Kavalier & Clay
'It's been a while since I had such fun reading a book' Daily Telegraph
'Readers might feel they have reached the book equivalent of the Promised Land' The Times
GENTLEMEN OF THE ROAD is set in the Kingdom of Arran, in the Caucasus Mountains, between the Black Sea and the Caspian Sea, A.D. 950. It tells the tale of two wandering adventurers and unlikely soulmates, variously plying their trades as swords for hire, horse…
I was a horse-crazy young girl whose passion for equines went dormant for 30 years. It reawakened when I turned 40, and I was again a lovelorn teenager, daydreaming about horses, plotting treks, swooning over the mere sight of an equine, even if it was online. One day in the late 90s at the dawn of the Google search engine, I happened upon a picture of a beauty, a dark horse with a thick mane blowing in the wind. It was an Icelandic horse, the photo taken on a misty green tussock in Iceland. That was it for me. I focused my equine passion (fair to call it an obsession) to that horse and that country.
Nancy Marie Brown’s book came into my life at a most prescient time in my own horse history. I discovered her book at just the moment I was discovering this then rare breed, the Icelandic horse. In the late 1990s, Brown goes to Iceland searching for the perfect horse (gaedingur in Icelandic). The country was very different from the tourist magnet it is today. It was wilder, more isolated, less traveled. Brown is there in pursuit of a horse or two to bring home. She first arrives with her husband and eight-year-old son after a family trauma. They stay in a broken-down house, “a concrete box” without modern amenities. She tries her best to learn and converse in the native tongue with the local farmers. As she tests drive all the horses, the reader learns all about Icelandic horses and horse-buying. What adds such depth to this book is…
After several visits to study the medieval Icelandic sagas, Nancy Marie Brown returns to Iceland to search for the perfect horse, one she can bring back to her Pennsylvania farm and make her own. She arrives shaken by tragedy, uncertain of the language, lacking confidence in her riding skills, but determined to make her search a success. She finds inspiration in the country’s austere and majestic landscape, which is alive with the ghosts of an adventure-filled past. In the glacier-carved hinterland, she rides a variety of Icelandic horses—some spirited, willful, even heroic; others docile, trusting, or tame. She also meets…
Nancy Marie Brown is the author of seven books about Iceland and the Viking Age, including The Real Valkyrie: The Hidden History of Viking Warrior Women, The Far Traveler: Voyages of a Viking Woman, and the award-winning Song of the Vikings: Snorri and the Making of Norse Myths. Her books combine extremes: medieval literature and modern archaeology, myths and facts. They ask, What have we overlooked? What have we forgotten? Whose story must not be lost? A former science writer and editor at a university magazine, she lives on a farm in northern Vermont and spends part of each summer in Iceland.
Almost everything we know about the Vikings—their gods and heroes, their history and myths, their values and fears—comes from texts written down on parchment in medieval Iceland. Yet the Icelandic sagas and Eddas are biased. They explain very little about the Vikings in the east (and get wrong much of what they do describe). Their world is not the Viking World, which stretched from Constantinople to North America, but Viking Iceland.
Jesse Byock brings all this material together in Viking Age Iceland. First published in 2001, this immensely readable book is a classic that has not yet been bettered. It should be on every Viking enthusiast’s shelf.
Medieval Iceland was unique amongst Western Europe, with no foreign policy, no defence forces, no king, no lords, no peasants and few battles. It should have been a utopia yet its literature is dominated by brutality and killing. The reasons for this, argues Jesse Byock, lie in the underlying structures and cultural codes of the islands' social order. 'Viking Age Iceland' is an engaging, multi-disciplinary work bringing together findings in anthropology and ethnography interwoven with historical fact and masterful insights into the popular Icelandic sagas, this is a brilliant reconstruction of the inner workings of a unique and intriguing society.
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