100 books like Crash

War sucks, man. And strangely, there aren’t many books about war! I can’t think of a single one. Really a missed opportunity on the part of the writer community at large. I mean, just think of the movies that could be made on the topic! Hollywood, take notes.

/s, as the kids say. More seriously: this book is claustrophobic on a cellular level. Reading it feels like suffocating in the dark. Extrapolate the ending of I Have No Mouth and I Must Scream into an entire book about the horrors of war, and that’s Johnny Got His Gun.

Novelist Peter Viertel, an uncredited screenplay contributor to three John Huston-directed movies, wrote one of the great Hollywood-adjacent novels in this 1953 classic backgrounded by the preproduction of a fictionalized film. Hint: it’s transparently Huston’s The African Queen and the "John Wilson" character is clearly John Huston himself. The book dramatizes the hell screenwriter Peter Verill (Viertel, of course) endures when the bigger-than-life director becomes more obsessed with hunting and killing a majestic elephant than in shooting the film he’s been sent to make. 

Funny, marvelously readable, it's also rich with wry and knowing portraits of characters based upon Katharine Hepburn, Humphrey Bogart, and producer Sam Spiegel, the latter of whom says of Wilson/Huston: “In a well-ordered society, he’d be in a straitjacket now.” Clint Eastwood directed and starred in a 1990 movie version. Skip that, watch The African Queen, then read this instead.

In the mid-‘60s, acclaimed Irish-Canadian novelist Brian Moore unhappily spent time grappling with the script problems plaguing director Alfred Hitchcock’s 1966 spy thriller Torn Curtain. In this frankly autobiographical 1971 novel, a Hitchcock-esque producer comes in for knocks when a Moore-like novelist-screenwriter gets lured to Hollywood to work on the screenplay for a famous moviemaker’s next film. (Moore described his brush with Hitchcock as “awful, like washing floors.”) Waiting to learn whether he’s going to be forced to do another script rewrite, the novelist agonizes over his ongoing divorce and his relationship with his new girlfriend. Mostly, though, he’s confronted by the ghosts of friends and family members past, notably his father’s. So sharply funny, painfully honest a book that one almost wishes Hitchcock had filmed it instead of Torn Curtain.

Much as I enjoyed the film based on this novella by Stephen King (which I now understand is a standalone book—I read it as part of a story collection long ago), I enjoyed the novella more.

Why? Because of its extraordinarily likeable narrative voice, which has caused people worldwide to find themselves rooting for its narrator. How can you not want to know what’ll happen next to someone so candid and down-to-earth—who has experienced homicide and love so intensely? Especially when he wants intimacy yet also feels threatened by it.

In fact, just after I finished reading the Shawshank novella, I vowed to write a novel about someone in NYC who exuded those same attributes: candor, humility, and understated yet solid wisdom about murder and affairs of the heart. And after several years of writing with this goal, I finally tapped into the voice of Matt Connell, the narrator of… show more.

A friend of mine recommended this book before it became well-known—and the moment I saw the cover, I knew I had to own it!

Turquoise-blue water, a jagged Italian coastline, pastel-colored buildings set against a cliff, and oh—that typeface that screams late 1950s/early 1960s! Such enticing visuals! Of course, with such a setup, I might have been expecting too much—but the story didn’t disappoint me.

Its initial chapters are set in a small, down-on-its-luck hotel in a remote Italian village where a young starlet with a compelling secret comes to stay. Spanning time periods and continents, the novel has an epic feel.

But it’s that romantic setting that has stayed with me forever and fueled my ongoing love of the Italian coast! 

Like everyone else with a pulse, I love Stephen King. So here’s a slightly underrated pull so I don’t lose my horror fan street cred. Apt Pupil is the first King book I’ve read that made me feel legitimately dirty. The creeping menace, the way he subverts your expectations, this excruciating dance of mutually assured destruction between Todd and Denker... just fabulous. Nothing supernatural, no murderous trucks or universe-vomiting turtles, just humans being mundane and evil. And you won’t have to spend the whole book wondering if King is gonna biff the ending, as he is often wont to do—he sticks the landing and it’s absolutely killer. Love it. Read it.

A very dark turn in my list, indeed. A hole opens up in their apartment, who knows who or why? It doesn’t matter. They dub it the funhole, and would do what any of us would do, and start sticking things inside of it. Things get dark, fast.

If you want to be up all night, unable to sleep, give this book a whirl.

There isn’t another horror novel written in the past ten years that scratched at my brain as much as this one. Baztericca’s brilliance lies in her writing a story that no one else has thought of before. The subject matter–humans have run out of animals to eat–seems like an obvious one.

What is striking about the book is that it is told in an almost clinical fashion, observing horror with a detachment that is precise and unemotional. The plot follows one man through the routines of his life, but it’s the world in which he exists that haunts you. By the time I finished, it was easy to imagine the world of “Tender Is The Flesh” becoming all too real.

This castaway story, about a man trapped on a concrete island under and between converging freeways on the outskirts of London, still stands the test of time.

I found it especially resonant during the imposed isolation of the global pandemic; all of us each marooned in our living rooms. The protagonist, architect Robert Maitland, has to learn to survive and thrive in reduced and restricted circumstances, and he can’t buy or build his way out of it.

When he finally discovers a way off the island he no longer really wants to leave, reminding us that we are sometimes most effectively imprisoned by our own minds and desires.  

This memoir follows the healing (both physical and ultimately spiritual) journey of a 13-year-old Iowan boy who is seriously injured in a car accident in which his father and sister are killed. Paralyzed from the chest down, Sanford recounts the excruciating challenge of restoring his mind/body connection. Though confined to a wheelchair for the rest of his life he digs deep to locate hope and inner strength and even eventually becomes a yoga teacher. (I attended his inspiring class when he visited near my home so I can attest to the fact that this is a true story!) This is an unforgettable memoir of fortitude, love, and resilience.