Fans pick 100 books like Because Internet

I love animals, so I was fascinated to learn from this book that some of my favorites are considered pests by others. In this book, Bethany Brookshire talks to experts who study rats, mice, bears, pigeons, and many other animals.

It's especially interesting to see the same animals from different points of view: elephants are amazing to people who live far away from them but quite annoying to farmers who need to protect their crops from these large, destructive creatures.

In other chapters, we meet biologists who study bears, deer, or cane toads to help manage the way people and animals continue to coexist. The book made me look at animals in a new way, but I still love them.

I enjoyed reading about Gary Marcus's journey of learning guitar because I know what it's like to try to master an instrument. I didn't know, at least not back when I was taking violin lessons, that neuroscientists have been studying what happens in our brains when we learn to play music.

Marcus is a neuroscientist, so he followed his musical progress through a scientific lens and created this entertaining and educational book about the science of music. 

All scientists are different, and this book brings that home in a very fun way. It's on the shelf with art coffee table books in my house because that's essentially what it is. The book collects photos of science tattoos and descriptions of the science behind the tattoos.

Some are small, simple line drawings of molecules; others are colorful sleeves or back tattoos with intricate scenes of plants, animals, or famous textbook images. As a science writer, I meet a lot of scientists and people who love (and live) science, and this book has had me keeping an eye out for DNA molecules and other science tattoos. 

This next book takes a historical approach and explores what Shakespeare would likely have known about science in his lifetime and how that shows up in his works. If the premise sounds contrived, don't worry: the book emphasizes many ongoing debates about connections between Shakespeare and scientists of his era.

I particularly enjoyed learning about the Shakespeare Scholars' Conference and how different it was from the science conferences I knew! Overall, the book taught me much about 16th-century astronomy and Shakespeare. As a student, I would have loved this and always felt I had to choose between science and literature.

I first read this as a teenager, and its wise counsel has stayed with me ever since. Gowers’ book was originally written as a guide for British government workers, to help them avoid the perils of jargon and ‘officialese’ and write in a way that colleagues and (more importantly) the person in the street could actually understand. 

The fact that I could immediately apply the ideas to my school essays shows you why this book has been continuously in print since the 1950s, and why generations of writers have found it so useful in shaping their own style. 

Practicing exactly what he preaches, Gowers lays down the principles of plain English, in plain English. Read and see why this deserves to be called a classic.

My family is trying to slowly work our way through visiting all 63 US National Parks. So far, my 2.5-year-old has been to 6!

Because we love the National Parks so much, my husband and I love reading this book to our son. It covers 26 different National Parks, as well as many of their features and native animals, in a fun A to Z format. 

If I had to name one book that is almost the exact opposite of Toury’s, it is this one. Venuti’s book is the rare kind of scholarly book one reads over one or two sittings. It is angry, provocative, polemical, and just pure fun.

For Venuti, there is no separating fact from value, and whether it plans to or not, translation (and scholarship on translation) affects change in both text and world—often for the worst. If Toury’s book emulated scientific discourse, Venuti’s reads like a crossover between a political manifesto and a crime novel. Translation is a violent business, shrouded in suspicion and hidden agendas, that need to be exposed through symptomatic readings and critical analyses.

The book ends with a passionate call to action enlisting translators—despite the risks entailed therein—to develop new methodologies that will, as Venuti writes: “make a difference, not only at home [. . .] but… show more.

This book takes the reader back to another speech world, that of 16th and 17th century English, albeit one on which we have some purchase through the plays of William Shakespeare. Where someone today may hedge their words with I suppose or probably, people in this time peppered their speech with expressions conveying certainty like verily and forsooth. This contrast represents the ethos of truth and faith that reigned at this time before it was replaced by a modern spirit of epistemic detachment ushered in by the British enlightenment. Yet a by my troth was not interchangeable with a by my faith, and each chapter of the book opens the door on the specifics of an epistemic expression in 16th and 17th century English through colourful examples, cultural evidence and a statement of its meaning. I love this book.

Just as King is a master of fiction, the late, great John McPhee is a nonfiction master. He gained fame as staff writer for The New Yorker, then authored dozens of books on such diverse subjects as fishing, geology, and transportation. (Trust me: His fascinating novel-like prose is more engaging, enlightening, and enrapturing than those topics imply.) In 1999, he finally won a well-deserved General Nonfiction Pulitzer on his fourth try. In this treatise on writing well, McPhee offers insight into his craft, including diagrams of story structure he shared with journalism students at Princeton. The book appeals to my logical side; in my book I say I see writing as like building with Legos, putting together one colorful block at a time to eventually form a 7,541-piece Millennium Falcon. 

I stumbled upon this one in a library. Yes, they still have things called Libraries. And this book is a little ripper if you are writing fiction. 

If you have ever attempted to write a novel, you would have no doubt found yourself saying things like his heart was racing; he held his breath, a shiver ran up his spine, blah, blah, blah. It’s not until you go back through your manuscript that you realize how many times you have used the same descriptions. Over and over and over again. 

This little gem of a book is jam-packed with alternatives. It offers brilliant tips on expressing the same emotions and feelings with originality and without repetition.