100 books like If I'm Being Honest

Between the high-stakes worldbuilding, Earth on the brink of war with Luna while battling a global pandemic, and Marissa Meyer’s fresh sci-fi take on magic, the story drew me in and wouldn’t let me go.

I’m not ashamed to say I devoured this in one sitting. I was fascinated by the lunar people’s ability to use their “gifts” to manipulate bioelectricity, casting glamours and bewitching their victim’s minds. It added yet another layer of tension to the story.

The seamless fusion of dystopia, sci-fi, and elements from classic fairytales creates a powerhouse narrative that centers around Cinder, a cyborg mechanic whose fate is inexplicably twined with the prince’s in a race to find a cure and prevent the impending war.

Set in small-town Alabama, Sophie is working at the local florist while dreaming all the big city dreams but slowly falling for love interest, Andrew. I’m a sucker for slow-burn romances told in unconventional ways while enjoying a good Southern setting, and this book has it! Enemies-to-lovers over the course of a year’s events and with a heavy dose of family dynamics bubbling to the surface? Yes, please!

The moment I heard this was an adaptation of Sabrina, I was in! The main character Amelia has unreciprocated feelings for Ethan, but of course, it’s his brother Liam who’s her best match. The falling-for-the-brother trope is one of my favorites, and this one did not disappoint. The nerdy references in this book are also top-notch—as Liam is a slightly nerdy, cinnamon roll character you can’t help but root for. Short and sweet, this book was a super fun read.

Janette Rallison is one of my favorite authors, and this is one of my all-time favorite series! A bumbling “fair” godmother (she’s in training, but her grades are only “fair”) is assigned to help modern-day Savannah achieve her happily ever after. But of course, everything goes wrong, and Savannah ends up in several different fairytales when all she wanted was to find a good guy to take her to the prom. The flirty banter between Savannah and Tristan is laugh-out-loud funny and watching them come together is the icing on top. I’ve lost count of how many times I’ve reread this series.

Jo Carney’s book is a wonderful way of appreciating both Shakespeare and contemporary literature that responds to the themes he developed all those centuries ago. This study explores more recent adaptations published in the last decade whereby women—either authors or their characters—talk back to Shakespeare in a variety of new ways. Carney puts modern works such as Prospero’s Daughter, Desdemona, Hag-Seed, The Gap of Time, The Porpoise, Station Eleven, and Hamnet into dialogue with the plays Othello, The Tempest, The Winter’s Tale, Pericles, and King Lear. This beautifully written and very accessible book allows us to think about contemporary issues of sexual assault, gender expectations, and differences in new and very exciting ways as well as allowing readers to develop a new appreciation of Shakespeare.  

Also known as The Ornithology of Shakespeare, James Edmund Harting published this book in 1871 as a detailed analysis of all the references to birds in Shakespeare’s plays. He shows that to Shakespeare and his audience, birds and field sports were second nature. His book starts with Shakespeare’s general knowledge of natural history and then tackles different types of birds, such as those with song and the owl and its associations. Harting was an extremely knowledgeable ornithologist and hawker, and his book is essential reading for anyone wanting to understand Shakespeare.

De Humani Corporis Fabrica Libri Septem ["On the Fabric of the Human Body in Seven Books"] will likely catch you by surprise since, unlike most books featured on this website, this one was printed back in 1543. Fortunately, this means that anyone with a working Internet connection and web browser can access this mystifying medical atlas from the sixteenth century. Annotated editions of On the Fabric of the Human Body are available online from numerous medical colleges, so please take the time to find and appreciate this masterpiece of anatomy and artistic imagination.

Gorgeously illustrated and elegantly written, Lena Orlin’s new study of William Shakespeare shows her great skill at doing research to give us new ways to understand the playwright. She puts the evidence of his life within the context of other Elizabethan documents. Orlin proves that we can know more about Shakespeare by examining the lives of the people in his circles. As she tells us, this is neither a literary biography nor a full biography, but it is a book that follows the evidence to tell us much more about Shakespeare the man. Shakespeare cared deeply about his father and his marriage to Anne was much less contentious and a more pleasant partnership. Though there have been so many books about Shakespeare, Orlin helps us understand him beyond the myths. Her brilliant and thorough reading of documents presents a wonderful read.

Renaissance writers were trained in rhetoric: how to use language to work through a problem or convey a state of mind.

Today, theories of cognition explore how linguistic devices relate to processes in the brain; for example, metaphor replicates how the mind understands something by associating or comparing it with something else. Lyne’s radical innovation is to bring together these historical and contemporary frameworks for understanding thought and language.

He explores points of contact between Renaissance rhetorical theories and present-day cognitive theories, then applies his insights to analyse works by Shakespeare. This offers a wholly fresh approach to understanding how Shakespeare translates thoughts – his own and those of his characters – into words; and how those words in turn work on our minds as readers or listeners.

Written from an actor’s perspective, Shakespeare The Player researches acting companies in Stratford-on-Avon and England during Shakespeare’s youth and adolescence. Southwark explores the possibilities of Shakespeare spending those “Lost Years” from 1585-1592 as an apprentice with acting companies. Shakespeare The Player provides otherwise obscure information about the world of the theater during Shakespeare’s formative years as an actor and writer. 

How else did Shakespeare learn the crafts of writing, playing, and directing for which Robert Greene lambasted that “upstart crow…the only Shakes-scene in a country” in 1592?