100 books like Amberlough

I’m a sucker for fantasy blended with industrial strife. In Michael Swanwick’s Jane, we see a character trapped in an industrialized fairy-world, forced to work in a factory building bio-mechanical dragons. The Iron Dragon’s Daughter blends biting social commentary with a thoughtful coming-of-age narrative, resulting in a powerful story that’s accumulated a stack of award wins and nominations. 

I chose this book because I have a love of Asia, especially Japan and this story has a rich Asian setting with martial arts, yakuza-like elements, and a magic system based around the precious stone, jade that provides the wearer with special abilities. I also like how the story is centered around a family and the complex relationships between the different members which you don’t see very often in fantasy novels. This complicated family saga had me engrossed as it racked up the tension with great pacing, awesome characters, and dialogue.

I’m drawn to fantasy stories set in modern-day analogues because I’m fascinated to see the ways that having magic and monsters as a fact of life would shape a world from the ground up. I’m particularly interested in the impact on more mundane matters like legal contracts and labor disputes. Perhaps no one dives into this topic with as much gusto as Max Gladstone. In Three Parts Dead, we meet necromantic lawyers and witness the legal and practical repercussions of a god’s death. In lesser hands, this could easily slump into tedious details, or the intricacies might be forgotten in an attempt to ramp up the action. But Gladstone finds the perfect balance, keeping abstract concepts engaging while presenting action scenes that carry true consequences. The city of Alt Coulumb is one of my favorite fantasy settings, and the entire Craft Sequence is well-worth reading.

This lesser-known gem was my favorite book of 2019. You take a World War II-style submarine war but throw in horrifying new supernatural powers, and then pitch it against Cthulu-style interdimensional monsters and you start to have an idea of the gloriously-insane trajectory of this book. That may sound over-the-top at a glance, but I promise this is a grounded read that’s flush with complex interweaving relationships, and an unrelenting pace that constantly throws new, bigger dangers at the characters before they’ve had a chance to catch their breath. This book is far better than it has any right to be.

Dystopian when it was written, Lewis set the book distinctly in its own period, the depth of the Great Depression. He could not have written a better account of the Trump presidency had he tried.

Buzz Windrip, the whirlwind populist demagogue president, is the very essence of Trumpism. The story that follows, of the fascist oppression of his enemies and his inevitable self-destruction, often funny, often not funny at all, packs all the punch of Philip Roth’s The Plot Against America, written almost a century later, which looks in hindsight at the same phenomenon as Charles Lindbergh unseats FDR running for an unprecedented third term.

Sinclair Lewis takes the palm for seeing it first and exposing how it can happen here.   

The identity of “Murray Constantine” wasn’t uncovered until the 1980s, long after Burdekin’s death, but only a woman could have created such a persuasive patriarchal dystopia, half a century before The Handmaid’s Tale. Burdekin’s futuristic Nazi empire, a brutally misogynist quasi-religion, is dying slowly from within and an English airman named Alfred has been given explosive proof that Hitler was not in fact a Thor-like deity. Though the plot fizzles out, the ideas are extraordinarily ahead of their time.

This is a short, urgently written handbook for the heart-stopping moments when you hear the sounds of fascism downstairs and realize you forgot to lock the window. “To abandon facts is to abandon freedom. If nothing is true, then no one can criticize power, because there is no basis upon which to do so. If nothing is true, then all is spectacle. The biggest wallet pays for the most blazing light.” Fake news, Fox News, alternative facts, the Big Lie, QAnon, the replacement theory, the MAGA movement, evangelical theocracy, and fascism have made their way into our house and are creeping up the stairs and we wait, foolishly believing it will listen to reason.

Fascism and Communism purported to explain all social and political phenomena and, on that basis, justified their authoritarian or totalitarian rule. The term ‘fascist’ tends to be loosely applied to intolerant and autocratic political behaviour, but the outstandingly lucid, and highly readable, book by Robert Paxton not only surveys fascism in practice – in Mussolini’s Italy, Hitler’s Germany and in fascist movements and parties in many different countries – it also shows what its distinctive components are. What he calls the ‘mobilizing passions’ of fascism include the glorification of war and violence, expansionism, racism, a fixation on national solidarity, rejection of the legitimacy of diverse interests and values within a society, and, not least, a cult of the heroic leader, with the leader’s instincts counting for more than reasoned, evidence-based argument.

The title alone sets the stage. This is meta at its most meta-ness. Who is narrating? Who is listening? Is the author complicit in the sometimes catastrophic, always deeply strange, events that unfold in these tiny tales? More importantly, do we the readers play a role? Less is more. Lesser still is even more more. The reach of suggestion. A knockout punch of inference. 

I read this book relatively recently, not at school or when I was in my twenties, but when I was in my late thirties. I had heard of the novel, and the concept of burning books was all-too familiar as I studied a module on Holocaust literature at university. However, the premise of Ray Bradbury’s novel, written in 1953, was so simple yet so powerful.

It echoes with our own reality today, as although books are not being burned, we are seeing the art of writing itself being "burned" or minimized by tools such as AI or social media. The virtual burning of honest reportage or poetry for opinionated views and algorithms is one symptom of today’s fast-paced society. 

There were some great quotes in Fahrenheit 451, too; the one that really stuck out was, “Everyone must leave something behind when he dies… A child or a book or a… show more.