Here are 100 books that I'm Not Scared fans have personally recommended if you like
I'm Not Scared.
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I have published seven books, all set in the West, including an anthology,West of 98: Living and Writing the New American West, that features writers from every state west of the Mississippi. For four years now, I have been doing a podcast called Breakfast in Montana, where my partner Aaron Parrett and I discuss Montana books. I also published a book in 2016 called56 Counties, where I traveled to every county in Montana and interviewed people about what it means to live in this state. So I have a good feel for the people of this region and for the books they love.
Winter Wheat, published in 1944, tells the story of Ellen Webb, a young woman coming of age on a farm in Montana. Walker moved from back east to Great Falls, Montana in 1933, and she is one of many writers who adopted Montana as their home state and wrote very eloquently about the unique challenges of growing up in such isolation, living a life so focused on hard work and basic survival. Walker published several excellent novels, but Winter Wheatwas her tour de force.
For this Bison Books edition, James Welch, the acclaimed author of Winter in the Blood (1986) and other novels, introduces Mildred Walker's vivid heroine, Ellen Webb, who lives in the dryland wheat country of central Montana during the early 1940s. He writes, "It is a story about growing up, becoming a woman, mentally, emotionally, spiritually, within the space of a year and a half. But what a year and a half it is!" Welch offers a brief biography of Walker, who wrote nine of her thirteen novels while living in Montana.
I’ve been a fan of amateur sleuths since my first foray into our local library. Reading opened a whole world to me, and I devoured each new story with relish, imagining myself in the role of the hero and how I might deal with the perils that befell them. I raced through each book series in a matter of weeks, from The Famous Five and The Hardy Boysto Alfred Hitchcock’s The Three Investigators. I remember the thrill of moving to the library's adult section and discovering even more books where humble heroes were dragged into murder mysteries, unexpected adventures, and thrilling chases across dangerous landscapes. Woo-Hoo!
What I love about this book is that it is beautifully told by two different women in alternating narratives, mixing a local legend with a more modern tale.
I really like the way the author presents two distinct voices and yet retains the richness of her language in each. The setting of the watermill, too, is superb, and the author’s ability to describe each scene perfectly adds to the tension as each aspect of the story snowballs its way to a thrilling conclusion.
A twisty and propulsive read, this dark psychological thriller of sibling rivalry, love, betrayal, and the dire consequences of family fallout brilliantly plays on our fears of loneliness and abandonment, harkening to the modern gothic bestsellers by Ruth Ware and Liz Nugent.
Is a story ever just a story?
Mac, a retired academic and writer, is working on a new collection of folktales, inspired by local legends, and at the insistence of her only child, Arthur, she hires a young assistant, Lucie, to live in a cottage on her property and help her transcribe them. What Arthur doesn’t know is…
I believe that good Jewish stories are important tools in building Jewish identity. But when I first taught preschoolers, the books were either too didactic or written for older children. One day, when the children in my class were enthusiastically discussing the Christmas display at the mall, the idea came to me that maybe an eight-legged Spider celebrating the eight days of Hanukkah could compete with Frosty the Snowman. When Sammy Spider asks to spin a dreidel, he is told, “Spider’s don’t spin dreidels. Spiders spin webs.” The response became a favorite with Jewish children and a form of the phrase is part of all the Sammy Spider holiday and values books.
This is one of my favorite stories and it allows the reader to observe the process of making matzah. Through the eyes of a little mouse, we watch the care that is taken from growing and harvesting the wheat, to transporting it to the matzah factory, and finally, baking it into matzah. I think this story more than any other inspired my writing. I wanted to create a relatable character that would engage young children – a character who exhibits childlike curiosity and who wants to discover and participate in the events occurring around him.
Food and architecture have been dual passions in my life for as long as I can remember. My grandparents had a hotel in Bournemouth, and I can still recall my fascination with the way everything changed as I passed through the green baize doors between the service areas and the public rooms. I became an architect, but food was always there in the background, and much later, I realised how I could bring the two together in order to describe the world in a completely new way. This led to my first book, Hungry City,and its follow-upSitopia,both of which have changed the way I see the world.
This was the first book I read when I started researching my first book, and it turned out to be a very lucky choice, since it opened my eyes more than any other book to the power of food to shape our cultures and customs and ways of seeing the world.
It describes in fascinating detail how European food cultures developed according to landscape and climate, and how various differences – such as the Mediterranean propensity to eat lots of vegetables and drink wine in moderation, compared with the northern tendency to eat lots of meat and get drunk on beer or spirits – not only endure today, but continue to shape the way we live, behave and see ourselves and others.
This book is about the history of food in Europe and the part it has played in the evolution of the European cultures over two millennia. It has been a driving force in national and imperial ambition, the manner of its production and consumption a means by which the identity and status of regions, classes and individuals have been and still are expressed. In this wide--ranging exploration of its history the author weaves deftly between the classes, regions and nations of Europe, between the habits of late antiquity and the problems of modernity. He examines the interlinked evolutions of consumption,…
My choice of books reflects a lifelong passion for literature and the natural world. I’ve always enjoyed travelling, to cities or more remote locations, learning as much as I can about the people that live there, and my first published article was about a hotel in Mali, photographed by my sister. Ten years later we published our first book, The Foraged Home. With Living Wild we wanted to look more deeply at how people lived, not just where, focussing not only on day-to-day life and their work, but their relationship with the surrounding landscape, asking big questions about our place in the world.
A gorgeous meditation on friendship, the English countryside, art, and beauty.
Two men spend the spring and summer of 1989 creating crop circles in Wiltshire, working during the ‘arcane mystery of the humming night’ to ‘fuel the myth and strive for beauty, yes, but never the reveal the truth’ of their identities. It’s lyrical and life-affirming, yes, but also a warning.
As Calvert, an ex-soldier, remarks: ‘it’s about the land...getting people to learn to love it so that they don’t take it for granted, and then feel compelled to protect it.'
Summer 1989, deep in the English countryside — during a time of mass unemployment, class war, and rebellion . . . .
Over the course of a burning hot summer, two very different men — Calvert, an ex-soldier traumatized by his experience in the Falklands War, and his affable freind Redbone — set out nightly in a decrepit camper van to undertake an extraordinary project.
Under cover of darkness, they traverse the fields of rural England in secret, forming crop circles in elaborate and mysterious patterns, painstakingly avoiding damaging the wheat to yield designs so intricate that their overnight appearances…
Dr. Wesley Britton is the author of four non-fiction books—Spy Television, Beyond Bond: Spies in Fiction and Film, Onscreen and Undercover: The Ultimate Book of Movie Espionage, and The Encyclopedia of TV Spies. He's also the author of eight Beta-Earth Chronicles sci-fi stories. For seven years, he was co-host of online radio’s Dave White Presents. He earned his doctorate in American Literature at the University of North Texas. In 2016 he retired from teaching English at Harrisburg Area Community College, after 33 years as an instructor. He lives with his wife, Grace, their dog Joey and their cat Molly in Harrisburg, Pennsylvania. Wesley also has a Radio show and podcast called Remember When.
One of the most prolific thriller writers of the early 20th century, Edgar Wallace wasn't alone in writing speculative fiction employing new technology that reflected concerns over the First World War. He wasn't alone in fearing biological weapons as in the Green Rust in which Germany planned to use to release germs that would wipe out much of earth's wheat, giving Germany domination after their surrender at the end of the Great War.
The biological weapon in the Green Rust wasn't Wallace's first use of a concept that would be employed countless times ever since; his 1913 The Fourth Plague had an Italian gang called the Red Hand blackmailing England with their own biological threat much in the spirit of what Blofeld and his Spectre would try out in the thrillers of Ian Fleming.
Later, Wallace’s Little Green Man and Other Stories also anticipated the technology of the future, including…
The chase is on to stop Dr. Van Heerden before he can release the threat of the Green Rust and take over the world in this exciting page-turner, originally published in 1919, from the undisputed "King of Thrillers, " Edgar Wallace.
I love writing and illustrating all sorts of children's stories. The only thing my stories have in common is that none of their heroes eat meat, drink milk, or take part in the egg and spoon race. I write the kind of stories I want to read. I don't want to read about sex or violence. And I don't want to read foul language. I want something meaningful, something with a concluding note of optimism. Consequently, well-written children's stories often appeal to me. In fact, I've come to the conclusion that these are not just children's stories, they're good stories that anyone can enjoy.
My favourite of all the Little House books - I can't tell you how many times I've read it. The Ingalls family have to move off their isolated homestead and into town to survive a freezing, seven-month winter. Their resourcefulness is hugely inspiring. Depleted of supplies, they make lamps out of buttons, string, and axle grease; they spend hours every day grinding wheat in a little coffee mill in order to have enough flour to make a small loaf of bread; and they get blisters twisting hay into sticks for the fire. The danger from sudden blizzards makes the short walk home from school potentially fatal. A perilous expedition for desperately needed supplies is too scary for most. And a hazardous, unnecessary journey undertaken by Laura, reveals just how much she misses her family.
Classic tales by Laura Ingalls Wilder about life on the frontier and America's best-loved pioneer family.
When a blizzard cuts the town of De Smet off from the railroad, the community is left for weeks without food or fuel deliveries and the Ingalls family are forced to eke out the last of their supplies.
As the terrible winter drags on, things begin to look desperate, until Almanzo Wilder and his friend brave the icy storms in search of help from another settlement.
The timeless stories that inspired a TV series can now be read by a new generation of children.…
I love books that take the reader to another country. Travel (even vicariously in a book) takes us out of our comfort zones and inspires us to open our minds to other cultures, ways of life and thought. These books constantly challenge us, not only to understand different surroundings, but also to understand unique people, to embrace adventures, glamour and romance and to share these new and meaningful thoughts and ideas with others.
Elizabeth Spencer was an American writer who loved Italy and once lived there. This collection in one volume contains Spencer's six Italian tales.
In “The Light in the Piazza” a wealthy American woman and her beautiful but mentally disabled daughter meet a young Italian man in Florence who will have a profound impact on their lives.
In “Knights and Dragons” an American woman in Rome and Venice struggles for release from her husband's disturbing control over her. In “The Cousins,” “The Pincian Gate,” “The White Azalea,” and “The Visit,” Spencer shows the unique craft that has earned her acclaim as one of America's top writers of short stories.
Elizabeth Spencer died in 2019 at the age of 98. Interesting fact: She was a cousin of United States senator John McCain.
Elizabeth Spencer is captivated by Italy. For her it has been a second home. A one-time resident who returns there, this native-born Mississippian has found Italy to be an enchanting land whose culture lends itself powerfully to her artistic vision.Some of her most acclaimed work is set there. Her American characters encounter but never quite wholly adjust to the mysteries of the Italian mores. Collected here in one volume are Spencer's six Italian tales. Their plots are so alluring and enigmatic that Boccaccio would have been charmed by their delightful ironies and their sinister contrasts of dark and light.Spencer is…
I’m a Scottish writer, based in the USA after living in eight countries. I spent thirty years following work, family, and love, and my experiences seep into everything I write—so there are often elements of travel in my books. Thirteen years ago, I was diagnosed with a brain tumor, and underwent life-saving surgery. That experience gave me a new perspective on the power of the human spirit, and our ability to forge new and unexpected paths, in the face of adversity. I love to read about and create characters that take on life’s challenges and find inner strength they didn’t know they had. That’s why feisty female protagonists appeal to me.
Feisty female protagonists don’t come any better than Catriona Da Vinci. The Renaissance was a dangerous time for women when they were marginalized and bound by societal constructs. Not this lady, though. She was a brilliant, single mother—an alchemist and risk-taker. She devised a scheme that allowed her to be part of her illegitimate son, Leonardo’s life, which was nothing short of genius. She did what she had to do to protect him, no matter the cost to herself. She reminds me of my two amazing sisters and the lengths they would go to be there for their children, and for that—Catriona is my hero.
An enchanting novel on the life and origins of Leonardo da Vinci’s mother, as imagined by the author of the “absolutely superb” (Diane Haeger, author of The Secret Bride) Mademoiselle Boleyn.
A young woman named Caterina was only fifteen years old in 1452 when she bore an illegitimate child in the tiny village of Vinci. His name was Leonardo, and he was destined to change the world forever.
Caterina suffered much cruelty as an unmarried mother and had no recourse when her boy was taken away from her. But no one knew the secrets of her own childhood, nor could…
I’m a historian who wrote a book on antifascism. In a way, I decided to write a book on the history of antifascism because I thought it was a good way to make sense of the history of fascism. Something along the lines of: Nobody knows you like your worst enemies. But I also thought that more books on the history of antifascism itself would be a good thing. There are many books on fascism and relatively few on anti-fascism. Ultimately, I decided to write Everything Is Possible because I thought that the first antifascists had useful lessons to share about how to turn the world toward something better than the one you’ve been given.
This is a dazzling mix of theory, sociology, and history. Falasca-Zamponi is attentive to the myths, rituals, festivals and ceremonies, symbols, and recurring images of Italian fascism—and she is attentive, too, to the political power that Mussolini relentlessly drew from such cultural forms.
With tremendous analytical imagination, Falasca-Zamponi unpacks the significance of the fascist salute, Mussolini’s balcony poses, all the axe-and-bundle imagery, those omnipresent black shirts, and the fascists’ distinctive “passo romano” marching style. For me, the heart of the book is its intense analysis of fascist violence as spectacle. Not just spectacle, though. Falasca-Zamponi also makes the case that for the early fascists violence—“great, beautiful, inexorable violence,” in Mussolini’s words—was sublime, regenerative, glorious, salvific.
The early fascists made violence, Falasca-Zamponi suggests, as if it were art.
A cultural history of Italian fascism, this work traces the narrative path that accompanied the making of a regime and the construction of Mussolini's power. The author reads fascist myths, rituals, images, and speeches as texts that tell the story of fascism. Linking Mussolini's elaboration of a new ruling style to the shaping of the regime's identity, she finds that in searching for symbolic means and forms that would represent its political novelty, fascism in fact brought itself into being, creating its own power and history. Falasca-Zamponi aregues that an aesthetically founded notion of politics guided fascist power's historical unfounding…
