100 books like Joe Gould's Teeth

I’ve loved cinema since I was 9 years old growing up in New York City and my grandmother took me to see The Ten Commandments at the Paradise Theater, Loew’s magnificent flagship theater in the Bronx. The theater’s famous canopy of twinkling stars on the ceiling was the perfect magical venue, and I was thunderstruck not only by the epic sweep of the movie but also by the opulence of the theater, which mirrored the monumental pyramids that Ramses constructs in the film. Ever since, my passion for movies has been as all-consuming as DeMille’s jello sea was for the infidel Egyptians who doubted the power of special effects and cinematic illusion.

I’m a historian of early modern Europe. I have a particular interest in the history of violence and social relations and how and why ordinary people came into conflict with each other and how they made peace, that’s the subject of my most recent book Enmity and Violence in Early Modern Europe, which compares the entanglement of everyday animosities and how these were resolved in Italy, Germany, France and England. I’m also passionate about understanding Europe’s contribution to world history. As editor of The Cambridge World History of Violence, I explored the dark side of this. But my next book, The Invention of Civil Society, will demonstrate Europe’s more positive achievements.

The custom of Masquerade, of dressing as Other, has long fascinated me. In writing Star-Crossed, I set out to investigate how and why one girl might pass as a boy in an era when gender roles were sharply differentiated. I once crossed an ocean working aboard a wooden, three-masted ship – a 20th-century replica of the Bark Endeavour, circumnavigating in 1999. Sleeping in hammocks and working aloft in the rigging, I discovered this life required teamwork, stamina – and a sturdy, practical costume. Trousers, not petticoats! I have worked as a registered nurse and I earned a degree in History; these experiences combine in Star-Crossed. 

I am a professor at Gettysburg College in Gettysburg, Pennsylvania, where I teach Early American, Native American, and British history. My books include Indians and Colonists at the Crossroads of Empire: The Albany Congress of 1754 and Iroquois Diplomacy on the Early American Frontier. As a historian, I've long been fascinated by stories of imposters, charlatans, and con artists. I like fictional and factual picaresque tales about people set adrift in strange lands and I have a soft spot for unreliable narrators. Historians are a skeptical breed, so slippery characters like those featured in the books listed here represent a welcome challenge: can you trust them as far as you can throw them? 

During a lonely stretch of primary school, I recall discussing my predicament with my mother. “You only need one friend,” she said by way of encouragement. Some part of me agreed. I’ve been fortunate to have had (and to have) several friends in my life, never more than a few at a time, more men than women, and each has prompted me to be and become more vital and spacious than I was prior to knowing them. The books I’m recommending—and the one I wrote—feature these types of catalyzing, life-changing relationships. Each involves some kind of adventure. Each evokes male friendship that is gravitational, not merely influential, but life-defining.

We grew up in predominantly white communities and came of age during the Civil Rights and Black Power movements. As academics, we focused on issues of race in our research and teaching. Yet, despite our reading and writing about race, we still hadn’t made a connection to our own lives and how our white privilege shielded us and made us complicit in perpetuating racial inequities. We didn’t fully see our role in white supremacy until we adopted our sons. Becoming an interracial family and parenting Black sons taught us about white privilege and the myriad ways that Blacks confront racism in education, criminal justice, health care, and simply living day-to-day. 

By the late nineties, I had lost faith in the industry where I had made a living for twenty years. Deregulation on Wall St and in the City had left investment banking with a business model riddled with conflict of interest. The rewards spiralled out of control and the businesses became too complicated for the regulators to supervise. I have a doctorate in history and had been a top-ranked investment analyst in several sectors. I took an idea to Penguin and my first book, The Death of Gentlemanly Capitalism, was published in 2001. I've since written six more, and contributed regularly to the Financial Times and BBC.      

I grew up blocks from Hollywood Boulevard in the late ‘60s and early ‘70s and had something like a front-row seat to the greatest pop culture five-car pile-up in American history. At the Canteen on Hollywood and Vine, where my aunt would take me on summer weekdays for the “Extras for Extras Smorgasbord,” you’d rub shoulders with aging starlets, cowpokes, starry-eyed young hopefuls, and “leading men” in five-and-dime ascots who never had a leading role. Even Billy Barty, always of good cheer, would make the scene—he was so nice to me, and I had no idea he played my hero, Sigmund the Sea Monster!

Teaching middle school made me painfully aware of the disparity in our students’ lives. Some kids have every advantage, while others struggle to survive without enough food, clean water, or a safe, dry place to sleep for the night. All these kids, with their diverse backgrounds, sit side-by-side in class and are expected to perform at the same academic and social levels. In my novels, I feature ordinary teens that are strong, smart, and resilient, like so many of the students who taught me as much as I taught them.

When I say I enjoy stories of ordinary people in extraordinary situations, I’m talking about characters who don’t have law enforcement or Special Forces training, who aren’t martial arts experts, KGB agents, or CIA officers. I like those characters too, but they typically engage my head, not my heart. Thrown into dangerous situations, “ordinary” individuals can show tremendous courage and quick-wittedness. I can easily put myself in their shoes and empathize with their plight, which gives me a real stake in the story’s outcome. If a story is well-written, the creative ways characters respond and the strengths they discover within themselves make them true heroes to me.