100 books like Brothers

This book was written in the mid-70s and “set in a dystopian America in the near future.” Fortunately, our present isn’t quite like this. Five 16-year-old orphans awaken to find themselves in a building with no ceiling, walls, or floor—only endless flights of stairs in every direction. It’s a story about human nature and the human condition, as well as a cautionary tale about government control. Supposedly written for young readers (what we’d consider “middle grade” today), I believe it’s better suited for teens and adults.

Suburbanite Ragle Gumm is overcome with a sense of urgency to play a bizarre newspaper game every day. He’s so good at it, he makes a living from its cash prizes. But lately, his world seems to be fraying around him. Things he sees and knows are suddenly...not. And if you can’t trust the very ground you’re standing on, what’s left? This takes the whole “maybe my world isn’t what I think it is” idea about as far as it can go, and it was just about the first story to ever do that. The best, most satisfying book I ever read about a banal, mundane world that turns out to be anything but.

It’s about the simplest idea you can hang a story on: three people discover a house in the wilderness and explore it. But this short, black and white, silent graphic novel just sucked me deeper and deeper into the terror of a place that seems to grow impossibly larger, even as your pathway through it becomes narrower and narrower until...well, it’s pretty dark stuff. Simmons’s art is also inky black, but visualizes the concepts at play with beautiful power. There is a terrible force behind the scenes here, but you can never know what it is and you can never defeat it.  

It’s the post-modern apotheosis of all conspiracy theories: convince enough people something is true, it becomes true. Doesn’t matter how far-fetched – the Earth is flat, the world is overcome with Bigfoots, shape-changing lizardmen are secretly controlling everything – convince enough people, and it happens.  Except, who’s trying to convince people? And who’s trying to stop them? And are either of them on our side? It’s really a bottomless hole in the most enjoyable way (if paranoid fables are your thing): no matter how bad you realize it is, it’s actually worse. But wait, it’s even worse than that. And even worse than that. This is an ongoing comic series (even the art makes reality seem haunted and insubstantial), so while there are already several collected editions, there’s no end in sight.

Ignatius’s most recent novel is in many respects a mashup of books no. 1 and 2 on this list: terrific storytelling and the latest spy recent tech: You’ll conclude that it’s just a matter of time until “bad actors” (spy speak for “bad guys”) can hack your brain. At the same time, you’ll enjoy the story.

Exploding wine bottles, guns constructed out of pipes, bullets made of teeth, aspirin explosives: If these sound like props from a B spy movie, it's because, again, truth > fiction. In the early-1970s, the Central Intelligence Agency spent a great deal of effort developing myriad weapons for sabotage. The results were this seventy-two-page illustrated manual, published in 1977 and distributed to American operatives likely to find themselves in situations requiring such improvisation. The manual is also invaluable for writers.

Hofstadter’s Paranoid Style is more a work of historiography than history and attempted to explain the rise of a right-wing “paranoia” to a liberal intellectual audience in the early 1960s. By contrast, Jesse Walker’s book offers a more detailed, engaging, and sympathetic history of U.S. conspiracy theories and the individuals and groups who have made and circulated them. It’s funny and deadpan, with a keen eye for subcultural details and the singular American oddballs that have traveled from the margins to the mainstream. As Walker demonstrates, Qanon is not the first example of a bizarre, syncretic set of beliefs that has attracted a surprisingly large number of adherents.

A fellow New Englander, Tremblay took me by complete surprise with this novel. In the past, I saw horror defined by slashers, gore, and jump scares. This novel helped me understand that modern horror is a bit savvier and more nuanced, with a stronger focus on emotional suffering.

I really connected with the struggling working-class family and sympathized with their decision to let a documentary film crew create a series about their clearly struggling daughter. The film crew intended to market the girl as possessed by a demon, which the family signs off on in order to collect a desperately needed financial boost.

It expertly explores the hardships of the middle class, sibling love, and the societal hush-hush of mental illness. Plus, it’s got some twists and turns to that made my blood run absolutely cold.

John Steinbeck wrote the Working Days... journals while writing The Grapes of Wrath.

The intent of the journal was to establish a schedule, including a completion date for the novel. What he reveals about his self-doubt is tonic for any writer who is haunted by the same malaise.

Here is the entry for June 18, "…I am assailed with my own ignorance and inability. Honesty. If I can keep an honesty to it… If I can do that it will be all my lack of genius can produce. For no one else knows my lack of ability the way I do. I am pushing against it all the time."

Sometimes, I seem to do a good little piece of work, but when it is done it slides into mediocrity…John Steinbeck’s honesty and humility remind me that self-doubt is a part of the creative process.

I sometimes read entries from… show more.

This novel starts out in an almost Mrs. Dallowayish way—Lovely has gone out for the day to buy something. Then you realise that Lovely at the age of forty has never gone out by herself for a day. Then, as the day unfolds, the novel brings you backward into the past as you find out about Lovely and Beauty’s paranoid and controlling mother, the oppressiveness of their home life, the dark secret at the heart of their parents’ marriage…