Here are 100 books that Hateship, Friendship, Courtship, Loveship, Marriage fans have personally recommended if you like
Hateship, Friendship, Courtship, Loveship, Marriage.
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After reading The Enormous Egg as a child, I’ve been devoted to stories where the strange, the uncanny, and the magical are all elements of the worlds characters must negotiate. I’m most drawn to fiction containing seemingly unreal elements because, in my experience, that is reality. Those moments when the past suddenly feels present, or when you glimpse something at the edge of your vision that feels significant, but you can’t quite catch it. Moments when anything is possible. No surprise that I write fiction that explores those moments of uncertainty and leaves the reader unmoored, thinking about the people and their experiences long after they’ve left the book.
I’m always impressed by how Karen Russell pulls the reader into her stories with no warning about what we’re getting into. No easing into strange situations. She places her characters in what we publicly claim can’t be real but privately know to be true.
To make a fabulist story work, images must cling to the reader’s mind like golden treacle. Each one either grounding us in the familiar or firmly establishing the unfamiliar as quotidian. Russel is a master at this. Her stories flow so easily, and her characters’ unforgettable voices hit the reader in the first paragraph.
Charting loss, love, and the difficult art of growing up, these stories unfurl with wicked humour and insight. Two young boys make midnight trips to a boat graveyard in search of their dead sister, who set sail in the exoskeleton of a giant crab; a boy whose dreams foretell implacable tragedies is sent to 'Sleepaway Camp for Disordered Dreamers' (Cabin 1, Narcoleptics; Cabin 2, Insomniacs; Cabin 3, Somnambulists. . . ); a Minotaur leads his family on the trail out West, and finally, in the collection's poignant and hilarious title story, fifteen girls raised by wolves are painstakingly re-civilised by…
I live in the past, even as the wellness industry tells me to be present. I try to be present! Of course, I also worry about the future. Time for me, inexorably, moves both backward and forward. I’m always writing things down, scared of forgetting. How do other people do it? That’s why I read fiction (or one of the reasons). As Philip Roth said of his father in Patrimony, “To be alive, to him, is to be made of memory—to him if a man’s not made of memory, he’s made of nothing.”
When Jennifer Egan published “Found
Objects” “Safari,” and “Ask Me If I Care” in The New Yorker I knew she
was onto something, but I wasn’t prepared for the cumulative effect of A
Visit from the Good Squad, which bounces between past and present (and,
occasionally, into the future).
One character asks, “Time’s a goon, right?”
Time is, though I hadn’t considered how until surrendering to Egan’s vision,
which spans from NYC to Africa to PowerPoint. Whether this is a collection of linked
stories or novel or some other hybrid form is irrelevant; the book is pure sorcery.
It was one of the thrills of my career to bring Egan to Omaha in 2019 to lecture
to the University of Nebraska MFA in Writing.
WINNER OF THE PULITZER PRIZE FOR FICTION NEW YORK TIMES TOP 10 BOOKS OF 2010
Jennifer Egan's spellbinding novel circles the lives of Bennie Salazar, an aging former punk rocker and record executive, and Sasha, the passionate, troubled young woman he employs. Although Bennie and Sasha never discover each other's pasts, the reader does, in intimate detail, along with the secret lives of a host of other characters whose paths intersect with theirs, over many years, in locales as varied as New York, San Francisco, Naples, and Africa.
We first meet Sasha in her mid-thirties, on her therapist's couch in…
Whenever I take on a new short story project, I read other writers to admire them, study them, and be inspired by them; it’s like talking with old friends. These five books took me through the heart and soul of what it is to be or to have a mother, to be or to have children, to love or to lose love, to maintain the rituals and magic of family or let them go. Although I believe men can write female characters and women can write males, I really appreciate the fine-tuned ear for the nuances of motherhood, womanhood, and relationships I find in collections written by women about women.
Humidity, rain, heat, and danger saturate this book: you can feel it. In “Midnight Zone,” a young mother has to summon all her power to protect her children from the panther that lurks outside in the dark. What could be a story about one woman dealing with her own limitations becomes one about the power and danger of mother-love. Groff’s book is filled with characters like this: steely, honest, and flawed, all at once. Above all, her women and children are much stronger and more resilient than you think.
From the universally acclaimed, New York Times bestselling author of Fates and Furies and Matrix
Florida is a "superlative" book (Boston Globe), "frequently funny" (San Francisco Chronicle), "brooding, inventive and often moving" (NPR Fresh Air) --as Groff is recognized as "Florida's unofficial poet laureate, as Joan Didion was for California." (Washington Post)
In her thrilling new book, Lauren Groff brings the reader into a physical world that is at once domestic and wild—a place where the hazards of the natural world…
Too often, I find that novelists force the endings of their books in ways that aren’t true to their characters, the stories, or their settings. Often, they do so to provide the Hollywood ending that many readers crave. That always leaves me cold. I love novels whose characters are complex, human, and believable and interact with their setting and the story in ways that do not stretch credulity. This is how I try to approach my own writing and was foremost in my mind as I set out to write my own book.
The Oracle of Spring Garden Road explores the life and singular worldview of “Crazy Eddie,” a brilliant, highly-educated homeless man who panhandles in front of a downtown bank in a coastal town.
Eddie is a local enigma. Who is he? Where did he come from? What brought him to a life on the streets? A dizzying ride between past and present, the novel unravels these mysteries, just as Eddie has decided to return to society after two decades on the streets, with the help of Jane, a woman whose intelligence and integrity rival his own. Will he succeed, or is…
“Crazy Eddie” is a homeless man who inhabits two squares of pavement in front of a bank in downtown Halifax, Nova Scotia. In this makeshift office, he panhandles and dispenses his peerless wisdom. Well-educated, fiercely intelligent with a passionate interest in philosophy and a profound love of nature, Eddie is an enigma for the locals. Who is he? Where did he come from? What brought him to a life on the streets? Though rumors abound, none capture the unique worldview and singular character that led him to withdraw from the perfidy and corruption of human beings. Just as Eddie has…
Whenever I take on a new short story project, I read other writers to admire them, study them, and be inspired by them; it’s like talking with old friends. These five books took me through the heart and soul of what it is to be or to have a mother, to be or to have children, to love or to lose love, to maintain the rituals and magic of family or let them go. Although I believe men can write female characters and women can write males, I really appreciate the fine-tuned ear for the nuances of motherhood, womanhood, and relationships I find in collections written by women about women.
McCracken was a librarian at my local library before she was a New York Times bestseller, so I’ve always eagerly read her books, beginning with The Giant’s House. I love Thunderstruckbecause it’s typical McCracken – unique, funny, tragic, and smart. In spite of the fact that accidents and death are ubiquitous, that wounds don’t magically heal, and that grief haunts many of the stories, this is not a maudlin book. McCracken can make you laugh out loud. Irony, wry humor, and joy live right next to cruel tragedy throughout the book. Best of all, compassion and tenderness abound.
WINNER OF THE STORY PRIZE • LONGLISTED FOR THE NATIONAL BOOK AWARD • NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY NEWSDAY
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • San Francisco Chronicle • O: The Oprah Magazine • The Miami Herald • Publishers Weekly • Kirkus Reviews
Look for special features inside. Join the Random House Reader’s Circle for author chats and more.
From the author of the beloved novel The Giant’s House—finalist for the National Book Award—comes a beautiful new story collection, her first in twenty years. Laced through…
Whenever I take on a new short story project, I read other writers to admire them, study them, and be inspired by them; it’s like talking with old friends. These five books took me through the heart and soul of what it is to be or to have a mother, to be or to have children, to love or to lose love, to maintain the rituals and magic of family or let them go. Although I believe men can write female characters and women can write males, I really appreciate the fine-tuned ear for the nuances of motherhood, womanhood, and relationships I find in collections written by women about women.
In my very favorite story in this book full of favorites, “Pilgrims,” young children cope with adult reality in a Lord of the Flies-like atmosphere where a tragic accident is offset by the innocent gift of a lost tooth, a talisman meant to create magic in a world that can seem devoid of it. How to Breatheforefronts girls and teens struggling with guilt, peer pressure, identity, envy, sickness, death. Sounds grim, but the writing, the world Orringer creates, is as beautiful and moving as it is dark. Her characters are the kind you can live inside, remember being, feel for. I think about them a lot, still, and I read the book more than a decade ago.
A New York Times notable book and winner of The Northern California Book Award for Best Short Fiction, these nine brave, wise, and spellbinding stories make up this debut. In "When She is Old and I Am Famous" a young woman confronts the inscrutable power of her cousin's beauty. In "Note to Sixth-Grade Self" a band of popular girls exert their social power over an awkward outcast. In "Isabel Fish" fourteen-year-old Maddy learns to scuba dive in order to mend her family after a terrible accident. Alive with the victories, humiliations, and tragedies of youth, How to Breathe Underwaterilluminates this…
I live in the past, even as the wellness industry tells me to be present. I try to be present! Of course, I also worry about the future. Time for me, inexorably, moves both backward and forward. I’m always writing things down, scared of forgetting. How do other people do it? That’s why I read fiction (or one of the reasons). As Philip Roth said of his father in Patrimony, “To be alive, to him, is to be made of memory—to him if a man’s not made of memory, he’s made of nothing.”
The popularity of The Prime of Miss Jean Brodie may have obscured its structural genius.
Never have I read a book so comfortable drifting between present and future within a single paragraph, even a single sentence. The short novel simultaneously exists inside a classroom in the 1930s and throughout the lives the students will later have as women.
If the Scottish author Muriel Spark had a literary model for this design, I’ve yet to discover it. Sometimes an artist creates something entirely new.
The brevity of Muriel Spark's novels is equaled only by their brilliance. These four novels, each a miniature masterpiece, illustrate her development over four decades. Despite the seriousness of their themes, all four are fantastic comedies of manners, bristling with wit. Spark's most celebrated novel, THE PRIME OF MISS JEAN BRODIE, tells the story of a charismatic schoolteacher's catastrophic effect on her pupils. THE GIRLS OF SLENDER MEANS is a beautifully drawn portrait of young women living in a hostel in London in the giddy postwar days of 1945. THE DRIVER'S SEAT follows the final haunted hours of a woman…
I live in the past, even as the wellness industry tells me to be present. I try to be present! Of course, I also worry about the future. Time for me, inexorably, moves both backward and forward. I’m always writing things down, scared of forgetting. How do other people do it? That’s why I read fiction (or one of the reasons). As Philip Roth said of his father in Patrimony, “To be alive, to him, is to be made of memory—to him if a man’s not made of memory, he’s made of nothing.”
When I studied with James Alan McPherson at the Iowa Writers’ Workshop over twenty years ago, he played stand-up records from the 1970s and asked students to read ancient drama translated from Latin.
He was teaching us how comedy works, and he had a long gaze. His collection Elbow Room is similarly expansive. The past bubbles into the present abruptly, as in the story “A Loaf of Bread,” where “older people began grabbing, as if the secret lusts of a lifetime had suddenly seized command of their arms and eyes.”
A beautiful collection of short stories that explores blacks and whites today, Elbow Room is alive with warmth and humor. Bold and very real, these twelve stories examine a world we all know but find difficult to define.
Whether a story dashes the bravado of young street toughs or pierces through the self-deception of a failed preacher, challenges the audacity of a killer or explodes the jealousy of two lovers, James Alan McPherson has created an array of haunting images and memorable characters in an unsurpassed collection of honest, masterful fiction.
I live in the past, even as the wellness industry tells me to be present. I try to be present! Of course, I also worry about the future. Time for me, inexorably, moves both backward and forward. I’m always writing things down, scared of forgetting. How do other people do it? That’s why I read fiction (or one of the reasons). As Philip Roth said of his father in Patrimony, “To be alive, to him, is to be made of memory—to him if a man’s not made of memory, he’s made of nothing.”
It’s nearly impossible to talk about time in literary fiction without evoking Marcel Proust, whose seven-volume exploration of involuntary memory is the most comprehensive attempt to bring readers into one narrator’s head I’ve encountered.
Memory, rather than traditional plot, drives In Search of Lost Time. While the prose—translated scrupulously over decades from French—is stylized and often indulgent, Proust’s commitment to the narrator’s inner life brings a singular authenticity to the novel. It’s a book that didn’t just change the way I think about fiction; it changed the way I think about my own mind.
For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of À la recherche du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).
As a young person I loved to read history novels, but each book had to be about either British monarchs or American generals. Then I watched the movie Bye Bye Blues, a Canadian prairie story by Anne Wheeler, and realized for the first time that the story was about me, about us. It was such a heady feeling that I decided to study Western Canadian history at university. Three weeks after I got my M.A. from the University of Victoria I was offered the chance to write about Vancouver Island coal miners and the rest, as they say, is quite literally history.
Who would have thought that a novel about a ninety-year-old woman determined to avoid being put into a nursing home would become required reading for high school and university students? And yet this novel has been listed by several sources as one of the greatest Canadian novels ever written. Laurence’s writing style inspired me and gave me the assurance to write about Western Canadian history. It demonstrates one of the reasons why Laurence was named posthumously as “A Person of National Historic Significance” by the Canadian government in 2018.
Above the town, on the hill brow, the stone angel used to stand. I wonder if she stands there yet...
Hagar Shipley - an irascible, independent nonagenarian - has lived a quiet life full of rage. As she approaches her death, she retreats from the squabbling of her son and his wife to reflect on her past - her ill-advised marriage, her two sons, the harshness of farm life on the prairie, her own failures and the betrayals and failures of others.
I'm a lapsed lawyer who decided as an empty-nest project to take a few history of medicine courses just for fun. One thing led to another and I found myself with a PhD and a book about eugenics and law to my name. I love the history of medicine. It connects us right back to the cavemen who worried about the same things we worry about today – illness, injury, our bodies, reproduction, death, dying. The history of eugenics is really a part of that history and it is filled with laws – coerced reproductive sterilization, marriage restrictions based on so-called “fitness,” etc. So it's a perfect union of my background and my newfound love.
This book should be made into a movie! Yes, it is written by two legal historians and yes, it is about a court case, but it reads like a thriller. Great characters, twists and turns in the plot, prime ministers, feisty ladies, the whole nine yards. It is the story of how a British court decided that women were “persons” and thus could be appointed to the Canadian Senate. At the time, only certain “persons” were eligible and only men were considered “persons.” It is not about eugenics, but the events take place around 1929 and the authors do a great job of explaining what Canadian society was like then. This helps us appreciate why the ground was so fertile for eugenic ideas and why women like the “persons” involved in the story were also eugenicists.
On 18 October 1929, John Sankey, England's reform-minded Lord Chancellor, ruled in the Persons case that women were eligible for appointment to Canada's Senate. Initiated by Edmonton judge Emily Murphy and four other activist women, the Persons case challenged the exclusion of women from Canada's upper house and the idea that the meaning of the constitution could not change with time. The Persons Case considers the case in its political and social context and examines the lives of the key players: Emily Murphy, Nellie McClung, and the other members of the "famous five," the politicians who opposed the appointment of…
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