Here are 100 books that Little Man, What Now? fans have personally recommended if you like
Little Man, What Now?.
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I see no distinction between the personal and the political. All art is, therefore, a political act, and literature especially, since the author gets inside the reader's head. In 1984, the use of a pen is punishable, never mind having an unorthodox opinion; novels are written by machines—commodities like jam or bootlaces, to pacify the proles. (A.I. novels outcompeting human ones?) Yes, novels entertain, and that's OK, but the best way to change your outlook is to let you understand the human condition a little better. That is why I want more from a political thriller than just the same old lies, corruption, sex, and power at the heart of government.
I keep returning to this and reading different things into it every time. As with Little Man, this is not the West Wing/Thick of It classic political thriller, but it is told from the perspective of an ordinary Joe. Unlike Little Man, where the political message is woven in seamlessly, 1984 is a full-on polemic written by a man with little time left in an attempt to shape opinion. It is, though, well-plotted and hangs together really well as a novel (barring the sections where Smith reads from the book).
Often read as an anti-communist allegory, I see it as so much more: sending us a warning against all who think only they are right, seeking to impose their will on others, be they autocrats like Putin, Trump, Xi Jinping, or Farage.
1984 is the year in which it happens. The world is divided into three superstates. In Oceania, the Party's power is absolute. Every action, word, gesture and thought is monitored under the watchful eye of Big Brother and the Thought Police. In the Ministry of Truth, the Party's department for propaganda, Winston Smith's job is to edit the past. Over time, the impulse to escape the machine and live independently takes hold of him and he embarks on a secret and forbidden love affair. As he writes the words 'DOWN WITH BIG…
I see no distinction between the personal and the political. All art is, therefore, a political act, and literature especially, since the author gets inside the reader's head. In 1984, the use of a pen is punishable, never mind having an unorthodox opinion; novels are written by machines—commodities like jam or bootlaces, to pacify the proles. (A.I. novels outcompeting human ones?) Yes, novels entertain, and that's OK, but the best way to change your outlook is to let you understand the human condition a little better. That is why I want more from a political thriller than just the same old lies, corruption, sex, and power at the heart of government.
This book made me think, reflect, and laugh (if a little unnervingly!). It is a quirky tale that warns us of threats to civil liberties from AI and corporate tech giants in a Hitch-hikers' Guide to the Galaxy meets 1984 way.
Some of the writing is lyrical and literary, sometimes perplexing and banal. I was not entirely convinced by the science behind the science-fiction elements, but that is perhaps allowed because of the Theatre of the Absurd approach the author takes.
'Fun and erudite' Sunday Times 'Snort-inducingly funny' Daily Mail 'One of the cleverest books you'll read this year' Telegraph
Every system, however immaculate, has a few little glitches.
The latest in domestic tech should have predicted that businessman George Mann was about to murder his family. But instead it crashes and leads to the wrong man being caught and punished.
Are there gremlins in digital giant Beetle's ubiquitous wearable tech, talking fridges and Dickensian droids? Have they been hacked, or is something even more sinister going on?
With the clock ticking philandering Beetle CEO Guy Matthias, conflicted national security agent…
I see no distinction between the personal and the political. All art is, therefore, a political act, and literature especially, since the author gets inside the reader's head. In 1984, the use of a pen is punishable, never mind having an unorthodox opinion; novels are written by machines—commodities like jam or bootlaces, to pacify the proles. (A.I. novels outcompeting human ones?) Yes, novels entertain, and that's OK, but the best way to change your outlook is to let you understand the human condition a little better. That is why I want more from a political thriller than just the same old lies, corruption, sex, and power at the heart of government.
This is more your standard genre political thriller: written from the perspective of a British Prime Minister and those pulling the political strings.
I really appreciated the insights the author brings, having been an observer of government machinations and an insider of the British Labour Party. I believe it has reflections for anyone interested in understanding the fragility of democracy.
I deliberately didn't read this until after I had written my book to avoid being influenced since there are parallel warnings about how the British Establishment has a stranglehold over real power and only plays lip service to the concept of democracy.
Against the odds, former steel worker Harry Perkins has led the Labour party to a stunning victory. Now he's going to dismantle Britain's nuclear warheads, bring finance under public control and dismantle the media empires.
But the establishment isn't going down without a fight. As MI5 conspires with the city and press barons to bring Perkins down, he finds himself caught up in a no-holds-barred battle for survival.
Described as 'the political novel of the decade' when it was first published, A Very British Coup is as fresh and relevant now as it ever has been.
I see no distinction between the personal and the political. All art is, therefore, a political act, and literature especially, since the author gets inside the reader's head. In 1984, the use of a pen is punishable, never mind having an unorthodox opinion; novels are written by machines—commodities like jam or bootlaces, to pacify the proles. (A.I. novels outcompeting human ones?) Yes, novels entertain, and that's OK, but the best way to change your outlook is to let you understand the human condition a little better. That is why I want more from a political thriller than just the same old lies, corruption, sex, and power at the heart of government.
This play profoundly affected me (even though it only played out in my head and not on a real stage). It is both disturbing and moving. It is absurdist, but that nightmarish detachment from reality somehow sends an even stronger shock to the system in its warnings about how fascism takes hold: that strong human tendency towards social thinking (emerging neuroscience research suggests a substantial overlap between physical pain and social pain).
This is much more than just an allegory on authoritarianism, however. Recently, people have used it to explain how easily society gave up on a public health approach to the ongoing Covid pandemic. Maybe getting COVID-19 repeatedly and, at some point, eventually getting long-term COVID-19/turning into a Rhinoceros is not so bad?
The American-born son of Jewish refugees, I would have every reason to revile the erstwhile capital of The Third Reich. But ever since my first visit, as a Fulbright Fellow in 1973, Berlin, a city painfully honest about its past, captured my imagination. A bilingual, English-German author of fiction, nonfiction, plays, poetry, travel memoir, and translations from the German, Ghost Dance in Berlin charts my take as a Holtzbrinck Fellow at the American Academy in Berlin in a villa on Wannsee, Berlin’s biggest lake, an experience marked by memorable encounters with derelicts, lawyers, a taxi driver, a hooker, et al, and with cameo appearances by Henry Kissinger and the ghost of Marlene Dietrich.
In Berlin Stories, the book that inspired the movie Cabaret, comprising two linked novellas by Christopher Isherwood loosely based on his first-hand experience as an expat in Berlin in the Twenties, the British novelist evokes the anything-goes atmosphere that reigned in the capital of the Weimar Republic immediately prior to the Nazi take-over. That free-wheeling, raucous spirit survived the Third Reich and still thrives in Berlin today.
First published in the 1930s, The Berlin Stories contains two astonishing related novels, The Last of Mr. Norris and Goodbye to Berlin, which are recognized today as classics of modern fiction. Isherwood magnificently captures 1931 Berlin: charming, with its avenues and cafes; marvelously grotesque, with its nightlife and dreamers; dangerous, with its vice and intrigue; powerful and seedy, with its mobs and millionaires-this is the period when Hitler was beginning his move to power. The Berlin Stories is inhabited by a wealth of characters: the unforgettable Sally Bowles, whose misadventures in the demimonde were popularized on the American stage and…
The American-born son of Jewish refugees, I would have every reason to revile the erstwhile capital of The Third Reich. But ever since my first visit, as a Fulbright Fellow in 1973, Berlin, a city painfully honest about its past, captured my imagination. A bilingual, English-German author of fiction, nonfiction, plays, poetry, travel memoir, and translations from the German, Ghost Dance in Berlin charts my take as a Holtzbrinck Fellow at the American Academy in Berlin in a villa on Wannsee, Berlin’s biggest lake, an experience marked by memorable encounters with derelicts, lawyers, a taxi driver, a hooker, et al, and with cameo appearances by Henry Kissinger and the ghost of Marlene Dietrich.
Kurt Tucholsky’s books were among the first to be banned and burned by the Nazis. And with good reason. A Jewish journalist of a left-leaning bent with a tart tongue and an acid wit, Tucholsky, who "wanted to stop a catastrophe with his typewriter," as per his contemporary, Erich Kästner, represented everything the Nazis sought to eradicate. Tucholsky tapped the anarchic spirit of 1920s Berlin just as painter Georg Grosz captured its bloated, pock-marked face. Berlin! Berlin! Dispatches from the Weimar Republic contain a representative sampling of Tucholsky’s pithiest texts. A forerunner of flash fiction, his concise writing style, and tongue-in-cheek tone are harbingers of new journalism and among the many influences on my own writing.
Berlin! Berlin! is a satirical selection from the man with the acid pen and the perfect pitch for hypocrisy, who was as much the voice of 1920s Berlin as Georg Grosz was its face. It shines a light on the Weimar Republic and the post-World WarI struggle, which fore¬shadowed the Third Reich. Kurt Tucholsky was a brilliant satirist, poet, storyteller, lyricist, pacifist, and Democrat; a fighter, lady's man, reporter, and early warner against the Nazis who hated and loathed him and drove him out of his country. He was a "small, fat Berliner," who "wanted to stop a catastrophe with…
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
This is one of the most influential studies of cultural politics in Nazi Germany which takes as its focus the bureaucracy Joseph Goebbels charged with integrating pre-National Socialist artists and their organizations into the new cultural and political order. Noteworthy, of course, throughout Steinweis’s masterpiece of institutional reconstruction, is the revelation that National Socialist aesthetic preferences were not novel but represented the appropriation of the prevailing conservative taste dominant in the late Weimar Republic.
From 1933 to 1945, the Reich Chamber of Culture exercised a profound influence over hundreds of thousands of German artists and entertainers. Alan Steinweis focuses on the fields of music, theatre and the visual arts in this study of Nazi cultural administration, examining a complex pattern of interaction among leading Nazi figures, German cultural functionaries, ordinary artists, and consumers of culture. Steinweis gives special attention to Nazi efforts to purge the arts of Jews and other so-called undesirables.
I was a law school graduate heading for my first job when, unable to think of anything better to do with my last afternoon in London, I wandered through the First World War galleries of the Imperial War Museum. I was hypnotized by a slide show of Great War propaganda posters, stunned by their clever viciousness in getting men to volunteer and wives and girlfriends to pressure them. Increasingly fascinated, I started reading about the war and its aftermath. After several years of this, I quit my job at a law firm and went back to school to become a professor. And here I am.
Fritzsche shows here how, from 1914 to 1933, middle class Germans were welded into the political block that supported Hitler. Another spellbindingly original book – among other things, Fritzsche shows very persuasively that the Great Depression had little to do with the rise of Hitler – the Nazis’ recipe of egalitarian but nationalist politics was already doing its work before 1929.
Why did ordinary Germans vote for Hitler? In this dramatically plotted book, organized around crucial turning points in 1914, 1918, and 1933, Peter Fritzsche explains why the Nazis were so popular and what was behind the political choice made by the German people.
Rejecting the view that Germans voted for the Nazis simply because they hated the Jews, or had been humiliated in World War I, or had been ruined by the Great Depression, Fritzsche makes the controversial argument that Nazism was part of a larger process of democratization and political invigoration that began with the outbreak of World War…
I have been studying this period of German history for more than 40 years and teaching it at Manchester since 1991. I have no family connections to Germany, but I went on a school exchange to Hannover when I was 14 and became fascinated by the country and its history. I chose to do my PhD on this period because it seemed less researched than the Weimar and Nazi eras which followed. Contesting the German Empirewas an attempt to show how historians’ views of Imperial Germany have changed over time, and to give a flavor of their arguments. Reading it will save you from having to digest 500 books yourself!
Essay collections are usually rather variable in quality, but this volume on the multiple ways in which modernity was staged, debated, and contested in Germany between the 1890s and the 1930s, is consistently good. The individual essays are all rich in interesting detail, yet it is the collectively written introduction that is likely to find the widest readership, offering not only a succinct summary of ways in which global discussions about the concept of modernity can help us to understand the course of German history, but also some pointers on how the German case can contribute to global historical discussion.
What was German modernity? What did the years between 1880 and 1930 mean for Germany's navigation through a period of global capitalism, imperial expansion, and technological transformation?
German Modernities From Wilhelm to Weimar brings together leading historians of the Imperial and Weimar periods from across North America to readdress the question of German modernities. Acutely attentive to Germany's eventual turn towards National Socialism and the related historiographical arguments about 'modernity', this volume explores the variety of social, intellectual, political, and imperial projects pursued by those living in Germany in the Wilhelmine and Weimar years who were yet uncertain about what…
While growing up in a Vermont town in the lower Champlain Valley, I became fascinated with the wealth of nearby historic sites dating from the French and Indian War and the American Revolution. Within easy reach of our family station wagon were Fort Ticonderoga and more. I became especially intrigued by German mercenaries hired by the British to fight the American colonists. My interest led me to become a history major at the University of Vermont, and eventually to Germany as a correspondent for The Associated Press. I worked and lived in Germany from 1987-1997, covering the toppling of Communism, the birth of a new Germany, the rise of neo-Nazi violence, and other themes.
For an understanding of how Munich became the birthplace of the Nazi movement, I highly recommend David Clay Large’s narrative nonfiction work Where Ghosts Walked: Munich’s Road To The Third Reich. At center stage in Large’s book is Munich itself, a beautiful city that before World War I was known as “Athens On The Isar” because of all of the writers, musicians, and artists it attracted. Large tells of the 1918 revolution that toppled Bavaria’s monarchy, of the Munich Soviet Republic that briefly took its place, of Bavarians’ embrace of right-wing extremism that followed the communists’ bloody ouster, and the giddy enthusiasm showered upon a mustered-out World War I corporal named Adolf Hitler as he spewed anti-Semitic and anti-democratic venom at rallies.
Munich was the birthplace of Nazism and became the chief cultural shrine of the Third Reich. In exploring the question of why Nazism flourished in the 'Athens of the Isar', David Clay Large has written a compelling account of the cultural roots of the Nazi movement, allowing us to see that the conventional explanations for the movement's rise are not enough. Large's account begins in Munich's 'golden age', four decades before World War I, when the city's artists and writers produced some of the outstanding work of the modernist spirit. He sees a dark side to the city, a protofascist…
