100 books like Ghost World

As the best introduction to the American Gothic chosen by one of the most prolific modern masters of the genre, this anthology spans two centuries. It offers insightful context and an engaging historical road map to the current site of the genre, the weird and wounded world of the suburbs.

Joyce Carol Oates, who has written some of the most chilling contemporary examples of American Gothic fiction, dissects the shadowy heritage of our national preoccupation with the macabre themes that haunt the American Dream. From Poe, Hawthorne, and Melville through James and Wharton to Anne Rice, Raymond Carver, Stephen King, and several lesser-known writers, Oates provides readers with a provocative selection that probes beneath superficial normality to reach the dangerous psychological abnormalities of our national identity.

There’s a driving intensity to this book's narrative and atmosphere, which remains as compelling and fresh today as when I first read it years ago. Part of its power derives from Eugenides’ use of first-person plural narration through the collective voice of a group of neighborhood boys still haunted, years later in adulthood, by the untimely deaths of five adolescent sisters in 1970s suburban Michigan.

Part-detectives, part-elegists, they piece together their memories of not only the girls but of a particular place and time now vanished. I’m always struck by the book’s deft melding of pathos and humor and by the way that what is essentially a personal suburban tragedy gradually begins to speak to a wider malaise that calls into question the American dream itself.

The possibility of evil. Not only is this the title of the first selection in this collection of classic and newly printed stories by the queen of suburban gothic – it is the essence of her uncanny literary witchcraft, where subtle twists and sudden turns force readers to confront a creeping unease in post-WWII America. No hideous monsters or grotesque horrors here. Instead, sinister insinuation and irrational fears invade the “safe” suburban spaces. A man believes someone is stalking him on his way home from work.  Anonymous poison pen letters threaten a community. A runaway teenager reappears several years later … and seems to be someone else.

The deconstruction of so-called normality is what makes these stories so unsettling. Who knows what evil lurks behind the white picket fences? Shirley Jackson does.

Flannery O’Connor’s saturnine stories of the American South are jewels of American literature.

They are laced with humor and violence but are at the same time deeply spiritual. In fact, the Catholic Church banned her work until it was discovered that her stories were written to show Grace in the lives of her parochial characters.

In Everything That Rises Must Converge, a story from A Good Man is Hard to Find and Other Stories published in 1955, O'Connor writes about Julian, a young college-educated writer who lives with his mother in a decadent neighborhood that lost its prominence as the Old South faded.

His mother who believes she must uphold the dignity of her family's antebellum name insists on "keeping up appearances." For instance, she likes to tell folks that Jason's first job as a writer "selling typewriters" was a good sign because "Rome wasn't built in a day."

She… show more.

I love learning about life in another time period through a story. This one transported me to a logging camp in 1885. I learned about the life of the camp, the hard and dangerous work, and the treatment of the Chinese workers. 

Mei is the daughter of a Chinese cook. She dreams of studying at the university, but doubts she will ever be able to, because of her Chinese origins. 

I loved the deep but complex friendships between Mei and the foreman’s daughter and between Mei’s father and the foreman himself. I loved the affection between Mei and her father, their observance of Chinese traditions, and I loved Mei’s story-telling, re-casting Paul Bunyan as a benevolent Auntie Po.

Olivia Stephens is one of the most skilled cartoonists of our generation. I was lucky enough to blurb Artie: Artie and the Wolf Moon, like all of Stephens’ work, is heartbreaking and heart-mending, gorgeously and lovingly rendered with a voice and eye for the gentle and powerful ways characters interact with one another…“ Like the best graphic novels set in the Pacific Northwest, Artie’s story could not be told without dense forests that hold both danger and sanctuary.

I first heard of Kouno’s work through the animated adaptation of In This Corner of the World. Town of Evening Calm and Country of Cherry Blossoms are a short story and short series (respectively) about Hiroshima. Like many other shojo/josei artists, Kouno uses the natural world to impart tone and mood, but is particularly good at it.

Mushishi is possibly my favorite comic of all time. It doesn’t just use the environment as storyteller, but tells stories about environments in a way you wouldn’t expect. Though it’s a series of stories about people and their relationships, neither are divorced from the world itself. I cannot recommend this series enough and it is a huge influence on my own work.

We, female film critics, are still underrepresented in the critical world but Pauline Kael found success and respect at a time when our numbers were even fewer.

This collection showcases her talent for writing and her keen eye for what makes a movie or a performance great or terrible.

From Bonnie and Clyde to Last Tango in Paris, Kael’s compelling cinematic observations make you want to rewatch these films while also highlighting how even the best of critics can fall foul to unconscious biases (just check out her Othello review!).

We can learn much further we’ve come when it comes to checking those blinkered perspectives. 

When I decided to study Taiwan cinema more systematically, I tried to read as much on the subject as possible. I enjoyed this book because it offered me a broad overview of many kinds of questions that can be asked about and through Taiwan cinema.

For example, I realized that it is possible to try and understand Taiwanese domestic & international politics, cross-strait relations, colonial history, and the impact of globalization in a more relatable manner by reading films and documentaries as texts. It is also possible to analyze different festivals, genres, filmmakers, and individual films from the perspectives of the film industry and film artistry.

I was totally energized by the enormous potential the subject of Taiwan cinema can offer because of this book.