100 books like Flicker

Biskind takes us right inside the boardrooms, movie shoots, and parties, oh, so many parties, that produced one of the biggest change movements in American cinematic history, the auteur wave of the 1970s. 

From the shocking success of Easy Rider through the tsunami of modern classics such as The Godfather, Chinatown, and Taxi Driver, as well as crowd-pleasers like Jaws, Biskind tells the story of how the likes of Scorcese and Coppola, DeNiro and Pacino, and other giants of modern film came to be.

Biskind was among the first to prove that Hollywood history could be as engaging and as serious a subject as presidential politics or world wars while remaining outrageously entertaining.

As a young man, Ken Kesey worked as an orderly in a psychiatric ward and participated in CIA-funded hallucinogen studies conducted in the hospital. Looking out at the patients and nurses, he wondered what separated them.

What emerged from those experiences is the mesmeric narrator of his first book: the giant, Chief, sees the world through a terrifying poetic lens. Observant and cunning, he perceives all the forces of authority and conformity as a single machine he calls “The Combine.”

Kesey’s novel is a fable about the power of the individual to oppose any coercive larger force, even if victory isn’t certain. It’s dark, unflinching, and profoundly on the side of the freaks.    

This real-life detective story intrigued and perplexed me in equal measure and still does every time I read it.

Was Richard III really the evil monster of Shakespeare’s play who killed the little Princes in the tower or the monarch who, in the three short years of his reign, introduced the bail system, attacked corruption, and set up hospitals?

This clever novel, featuring Tey’s detective hero investigating Richard’s history and character, led me to investigate another mystery, that of the Shakespeare Authorship Question. 

I can hardly recommend the first book without recommending the entire series.

The historical accuracy of these books will blow you away, as will the depths and complexities of every character involved, from Dr. Maturin with his fascination with languages, music, and the natural world, to the stalwart, steady Captain Aubrey, who lets his drive to serve king and country push him to the very heights of his profession.

Their wild, dangerous adventures will hook you and each time you finish a novel you’ll hardly be able to wait for the next adventure, until at last the final book ends the tales. The heights and depths of this story of true, lifelong friendship will ring true to any soul reading these tales of high adventure in a world at war upon the seas. 

Based on the boyhood memories of author Sherwood Anderson, Winesburg, Ohio is one of the best portraits of small-town American life in the 19th century.

Centered around the coming-of-age of George Willard, the 22 stories in the book provide numerous character sketches of people in the fictional town of Winesburg. Anderson writes in a plain style that suits the world he describes.

The book pioneers an approach to fictional portraiture also taken up by Wiseman in his later Our-Town cycle of films that focus on individual rural communities—Aspen, Belfast, Maine, In Jackson Heights, and Monrovia, Indiana—and adopt a seemingly similar straightforward style. Like those films, the book features a series of glimpses that together add up more than just the sum of its parts.

Part of Ellroy’s L.A. Quartet series, presenting postwar Los Angeles in all its seedy sunlit glory. This is Ellroy’s best series, and LA Confidential is the best of those four books.

Indelible and involving characters are interwoven with a carefully constructed plot. The fiction is tied in so well with the history, it all sounds true. Ellroy has a unique hard-driving style which suggests Chandler and Cain but does them one better.

Another book with an episodic structure, The Confidence-Man concerns an assorted group of Mississippi steamboat passengers whose individual hypocrisies are confronted by the mysterious character of the title.

Melville’s ship of fools features a variety of types, some of whom are caricatures of American literary figures including Emerson, Hawthorne, and Poe. The book was published in 1857 on April Fool’s Day, an irony equal to the publication of Bram Stoker’s Dracula on Valentine’s Day, and a gesture that Wiseman, himself a great ironist, surely would appreciate.

Certainly, it is no surprise that Wiseman has referred to The Confidence-Man as his favorite novel. One might even find Melville’s elaborate prose style analogous to Wiseman’s careful editing and his ability to confront spectators with their own biases and preconceptions, as the eponymous confidence-man does in the book.

This book has inspired an entire genre of content where a group of people find themselves in a situation similar to her secluded island...and they cannot leave. I just ticked off a handful of books and TV shows that use this model, and I enjoy them all.

In the novel, multiple points of view drive the narrative, and the perpetrators choose the victims based on their own dubious, possibly criminal, histories. I found the reduction of the soldiers on the dining room table as each person dies to be diabolically brilliant, ratcheting up an already unbearable tension.

I strive to achieve her novel’s seemingly effortless pacing…as the clue drops sprinkled meticulously throughout the book. This is one I re-read simply because I always learn something new.

John Barth’s first novel, originally published in 1956 and later significantly revised, is a darkly comic philosophical novel whose main character, Todd Andrews, is contemplating suicide.

The novel, along with Barth’s second, The End of the Road, is written in a relatively realistic style, different from the metafictional turn that the author would later take in his subsequent fiction. Nevertheless, these two early books are in some ways consistent with later works like Giles Boat Boy and Lost in the Funhouse, particularly in the passages about metaphor in life and art.

Barth’s musings about metaphors in the real world are relevant to Wiseman’s ability to wrest metaphoric implications from real-world events and objects. Indeed, Wiseman’s films are a veritable floating opera of signifiers.

No matter how much you may love a certain genre, you can inevitably fall into a reading slump. Too much of a good thing, right?

I will begrudgingly admit, the “missing” or “murdered girl” trope can sometimes get a bit dull without a new touch. Which is why when I came across Megan Miranda’s adult debut told entirely in reverse (from Day 15 to Day 1) was I ever floored with delight!

How absolute genius is it to take a twisty, shocking story about the disappearance of two girls, decades apart but give it to reader backwards? I found myself deeply engrossed not only in the propulsive story but intrigued by the unique way I had to process the timeline.