Here are 83 books that Junkyard Cats fans have personally recommended if you like
Junkyard Cats.
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I’m pretty well qualified to provide you with a list of five great books about men at war because, frankly, I’ve spent half my life reading them and the other half trying to write them (you be the judge!). My degree in Military Studies was focused on the question of what makes men endure the lunacy of war (whether they be ‘goodies’ or ‘baddies’), and it was in fiction that I found some of the clearest answers–clue: it’s often less about country and duty and more about the love of the men alongside the soldier. In learning how to write, I also learned how to recognize great–enjoy!
If the other four books I’ve recommended are founded in grim reality, this one’s that guilty pleasure that an ancient world author might not want to be caught reading. But, if war is a timeless and undeniable fact of human existence—and it seems to be right now—then Marko Kloos’s story of men and women at war in the 22nd century, with an enigmatic alien species as the enemy, is pretty much timeless, too.
Yes, there’s a high-tech kit, but it’s never the McGuffin, and the same themes as ever—duty, honor, and the planet—come to the fore. Easy to read but never lazy, I found this series as gripping as the others. If you (like me) read a lot of historical fiction but have a soft spot for sci-fi, then this is about as highly recommended as they come.
"There is nobody who does [military SF] better than Marko Kloos. His Frontlines series is a worthy successor to such classics as Starship Troopers, The Forever War, and We All Died at Breakaway Station." -George R. R. Martin
The year is 2108, and the North American Commonwealth is bursting at the seams. For welfare rats like Andrew Grayson, there are only two ways out of the crime-ridden and filthy welfare tenements: You can hope to win the lottery and draw a ticket on a colony ship settling off-world . . . or you can join the service.
I grew up a fan of all things sci-fi, Star Wars, Star Trek, Battlestar Galactica, and so on. But the older I got, the pickier I got, wanting more depth in character, creative stories and fun, but believable action. I read classic sci-fi like iRobot, Starship Troopers, and Enders Game, to name a few. I did find some contemporary authors I liked like Marco Kloos, Detmare Wehr, and Rebecca Branch, but they were needles in a haystack. So, instead of complaining that there were not enough good books out there, I started writing my own. A decade later I have 8 published titles and more on the way.
This book is a little more Space Opera than Sci-fi as it focuses more on the adventure than the impossibility of the technology. It takes place thousands of years in the future when man kinds had spread out across the galaxy and forgotten about Earth, for the most part. The characters are not deep, and the story relies more on action than complexity, but it’s fun. It moves from one event to another, the main character is a bit of a rogue that you can’t help but like and his female counterpart is smarter, faster, and deadlier than he will every be, so it's good she is on his side. One of the reasons I like these books (10 book series with some spin-offs) is because it is very different from my style. If my books were Angus Steaks, these would be an Ice-cream Sunday.
They say the Earth is just a myth. Something to tell your children when you put them to sleep, the lost homeworld of humanity. Everyone knows it isn't real, though. It can't be.
But when Captain Jace Hughes encounters a nun with a mysterious piece of cargo and a bold secret, he soon discovers that everything he thought he knew about Earth is wrong. So very, very wrong.
Climb aboard The Renegade Star and assemble a crew, follow the clues, uncover the truth, and most importantly, try to stay alive.
Experience the beginning of a sprawling galactic tale in this…
I grew up a fan of all things sci-fi, Star Wars, Star Trek, Battlestar Galactica, and so on. But the older I got, the pickier I got, wanting more depth in character, creative stories and fun, but believable action. I read classic sci-fi like iRobot, Starship Troopers, and Enders Game, to name a few. I did find some contemporary authors I liked like Marco Kloos, Detmare Wehr, and Rebecca Branch, but they were needles in a haystack. So, instead of complaining that there were not enough good books out there, I started writing my own. A decade later I have 8 published titles and more on the way.
I was once told; the best authors are the ones who read more than they write. To that end I don’t always stick with my favorite genres. This book was recommended to me by a friend as a sci-fi that I typically would not read because it’s also a romance book. Hey Alexa, is slightly in the future, when Amazon develops an evolved version of Alexa that exists in a beautiful female android. I don’t want to give any more away. What makes this book wonderful is the journey the two main characters take in discovering that love is as unique as each individual person and it can be found when we are open to it.
He's brilliant, accomplished, and alone. He's been handed a death sentence by his doctor, and his only friend is his clock/radio. Can the Echo Dot with Alexa's voice save him?Travel to New York, London, Paris, Rome, Florence, Berlin, and a villa in Tuscany, as the man who'd given up on life finds a hopeful future and a partner to love.
A fast-paced literary thriller with a strong sci-fi element and loaded with existential questions. Beyond the entertainment value, this book takes a hard look at the perilous world of publishing, which is on a crash course to meet the nascent, no-holds-barred world of AI. Could these worlds co-exist, or will…
I grew up a fan of all things sci-fi, Star Wars, Star Trek, Battlestar Galactica, and so on. But the older I got, the pickier I got, wanting more depth in character, creative stories and fun, but believable action. I read classic sci-fi like iRobot, Starship Troopers, and Enders Game, to name a few. I did find some contemporary authors I liked like Marco Kloos, Detmare Wehr, and Rebecca Branch, but they were needles in a haystack. So, instead of complaining that there were not enough good books out there, I started writing my own. A decade later I have 8 published titles and more on the way.
This book is a little heavy on the tech and military strategy. A lot of authors lose their audience when they over-describe the nuts and bolts of their sci-fi universe or develop a tactical situation that is too complex for the reader to follow without a map and star chart. But Mr. Wehr keeps a nice balance between the details of the ships and AIs with the characters and their personal interactions. There is just enough of a personal perspective to keep the sci-fi from becoming dry. The story was inventive and became more interesting as it progressed.
This four part series is now available on Amazon both individually and as an omnibus edition, which is available in Kindle Unlimited. Be aware that Part 1 has a cliffhanger ending. After almost a century of peaceful exploration and colonization of space, the United Earth Space Force stumbles across a shockingly xenophobic alien race that has more and better armed ships and refuses all attempts at contact. As the outgunned Space Force is driven back in battle after battle in what appears to be a war of extermination, one officer experiences precognitive visions that help him blunt the enemy onslaught…
I am a chameleon scholar. Though my first love is poetry, I have written about all the arts, about 18th-century authors (especially Samuel Johnson), about theories of literature and literary vocations, about Sappho and other abandoned women, about ancients and moderns and chess and marginal glosses and the meaning of life and, most recently, the Scientific Revolution. But I am a teacher too, and The Ordering of the Arts grew out of my fascination with those writers who first taught readers what to look for in painting, music and poetry—what works were best, what works could change their lives. That project has inspired my own life and all my writing.
This classic study introduced me and the whole world of critics and scholars to theoretical perspectives that still resonate among historians of literature and culture.
It defines a momentous change: the shift from views of art as a mirror—a reflection of things as they are—to a lamp—a radiant projection from the hearts and minds of its creators. This revolution in aesthetic principles, formulated by German and British theorists, also resulted in new ways of looking at nature and in new kinds of poetry.
Abrams charts the depths of Romantic theory; and his work helped spur a revival of interest in the Romantics—now often cherished as the first modern poets.
I fell in love with the British Romantic poets when I took a course about them, and I fixated like a chick on the first one we studied, William Blake. He seemed very different from me, and in touch with something tremendous: I wanted to know about it. Ten years later I wrote my doctoral dissertation on Blake, and then published quite a bit about him. Meanwhile there were other poets, poets in other countries, and painters and musicians: besides being accomplished at their art, I find their ideas about nature, the self, art, and society still resonate with me.
Though he declines to define it, Berlin says “The importance of romanticism is that it is the largest recent movement to transform the lives and the thought of the Western world.” In this brief set of lectures he dwells mainly on German writers, since Germany was arguably the homeland of romanticism. Berlin seems to know everything, but his erudition does not interfere with his lively style. What the book lacks in thoroughness it more than makes up with sharp and provocative ideas.
In The Roots of Romanticism, one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven.…
The Festival of Sin is a three-story light sci-fi arc about a young boy rescued in 6000 BCE and taken to the home planet of the Hudra. Parts two and three are exploratory excursions. It's a fish-out-of-water series. More than fish-out-of-water. Fish-on-another-planet.
My life is one of two halves; I spent the first half living in the industrial West Midlands, at school and then training to become a doctor, and the second half living in rural bliss in the southwest of England. For the day job, I’m an anesthesiologist, but my true passion, thanks to my mother being an English teacher, is reading romance and writing my own. I am well-travelled and spend a quarter of each year in France, so my books often have characters from all over Europe as well as characters working in the medical profession or overcoming/ living with a variety of health conditions.
As a Brit, I love books set in the US; I love exploring our cultural differences. This one is an angsty emotional journey with a very strong female character, which isn’t always successfully pulled off in romance novels. Love isn’t always rainbows and sunshine, and I think this is one of those stories reminding us that it needs to be worked at.
Twenty-one year old Laura Sedgwick is a rebel without a cause. Her only plans for life are to make no plans She revels in her fascination of the unexpected as she navigates her way through mid-nineties' Dallas nightlife. One very bad night brings her face to face with the one man likely to change her mind about…well...everything.
Twenty-three year old Seth Whitaker has every intention of seeing through with his well mapped out life. He is a hard working over-achiever that has no intentions of slowing his pace for anyone. With a fierce…
I am a chameleon scholar. Though my first love is poetry, I have written about all the arts, about 18th-century authors (especially Samuel Johnson), about theories of literature and literary vocations, about Sappho and other abandoned women, about ancients and moderns and chess and marginal glosses and the meaning of life and, most recently, the Scientific Revolution. But I am a teacher too, and The Ordering of the Arts grew out of my fascination with those writers who first taught readers what to look for in painting, music and poetry—what works were best, what works could change their lives. That project has inspired my own life and all my writing.
This book about rebels itself rebels against historians such as Abrams, who view Romanticism as a single movement unified by an expressive theory of art.
Instead, Butler argues, there are many different sorts of Romantics, and they are best understood not through theories of art but through "the fierce personal and artistic politics of an age in the midst of profound change." That Age of Revolution had begun in the 1760s, and the ordering of the arts reflects debates about the social standing of the arts, not any consensus. Butler relishes these conflicts.
She pays attention to the groundswell of "art for the people" as well as "the war of the intellectuals," and she is not afraid to embrace the chaos and complications that thwart any effort to paint all arts and artists with one brush.
The Age of Revolutions and its aftermath is unparalleled in English literature. Its poets include Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats; its novelists, Jane Austen and Scott. But how is it that some of these writers were apparently swept up in Romanticism, and others not? Studies of Romanticism have tended to adopt the Romantic viewpoint. They value creativity, imagination and originality - ideas which nineteenth-century writers themselves used to promote a new image of their calling. Romantics, Rebels and Reactionaries puts the movement in to its historical setting and provides a new insight in Romanticism itself, showing that one…
I fell in love with the British Romantic poets when I took a course about them, and I fixated like a chick on the first one we studied, William Blake. He seemed very different from me, and in touch with something tremendous: I wanted to know about it. Ten years later I wrote my doctoral dissertation on Blake, and then published quite a bit about him. Meanwhile there were other poets, poets in other countries, and painters and musicians: besides being accomplished at their art, I find their ideas about nature, the self, art, and society still resonate with me.
Art history also knows a Romantic movement, as does music history. Brown’s book has 250 color plates, mostly of painting from Constable, Turner, Blake, Friedrich, Delacroix, Goya, and many others, but also of some architectural wonders. Brown makes continual connections to the poetry and philosophy of the time, and to political events, as he organizes his chapters by theme: the cult of the artist, the religion of nature, the sense of the past, orientalism, and the exotic, and so on. There are several fine books on Romantic painting, but this is probably the best place to begin.
Romanticism was a way of feeling rather than a style in art. In the period c.1775-1830 - against the background of the French Revolution and the Napoleonic Wars - European artists, poets and composers initiated their own rebellion against the dominant political, religious and social ethos of the day. Their quest was for personal expression and individual liberation and, in the process, the Romantics transformed the idea of art, seeing it as an instrument of social and psychological change.
In this comprehensive volume, David Blayney Brown takes a thematic approach to Romanticism, relating it to the concurrent, more stylistic movements…
Constance is a wild, stubborn young girl growing up poor in a small industrial town in the late 1800's. Beneath her thread-worn exterior beats the heart of a dreamer and a wordsmith. But at age twelve, she’s orphaned. Running away to join the circus—like kids do in adventure books—seems like…
If you ask people to name a book set in the Regency period, your money is safe if you bet on them picking a Jane Austen. But the Regency was about much more than manners and matrimony. In my own areas of interest – justice, money, and financial crime – everything was changing, with the widespread introduction of paper money and cheques, the recognition that those on trial should have a defence as well as a prosecution, and the creation of modern police in the form of the Metropolitan Police. Dickens made the Victorian era famous, but the decades before good Queen V ascended the throne are equally fascinating.
And this choice is a sneaky one: it was published in 1826, but it’s actually set in the late 21st century. I couldn’t resist including it for three reasons: it’s a product of the 1820s (and deals with several social concerns of the time, such as republicanism), it’s written by a woman (and my other four choices aren’t), and its rather apposite storyline concerns a mysterious pandemic that rapidly sweeps across the entire globe, ultimately resulting in the near-extinction of humanity (leaving just the last man)… It wasn’t popular at the time – widely considered to be Shelley’s weakest work – but to be fair to her, she was simply ahead of the game and had invented the genre of dystopian fiction. Read in that light, it’s a brave and fascinating work.
With an Introduction and Notes by Dr Pamela Bickley, The Godolphin and Latymer School, formerly of Royal Holloway, University of London.
The Last Man is Mary Shelley's apocalyptic fantasy of the end of human civilisation. Set in the late twenty-first century, the novel unfolds a sombre and pessimistic vision of mankind confronting inevitable destruction. Interwoven with her futuristic theme, Mary Shelley incorporates idealised portraits of Shelley and Byron, yet rejects Romanticism and its faith in art and nature.
Mary Wollstonecraft Shelley (1797-1851) was the only daughter of Mary Wollstonecraft, author of Vindication of the Rights of Woman, and the radical…
