Here are 100 books that London Journal 1762-1763 fans have personally recommended if you like
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Hello, I write poems, lots of them, and also lots of books about Christianity. I grew up in London and lived for my first thirteen years deep within myself, in a kind of fog that prevented anyone from knowing me, including myself. Then, one day, when I was thirteen, in the middle of a math class, everything changed for me. I entered a wholly new world. I went from being at the bottom of the class to the top of the class; I started publishing poems. I started a quest to find myself anew, cutting through the fog, and that quest ended with me teaching Divinity at Duke University.
When I was ten years old, I listened to a shortened version of this astonishing narrative while at school. I would wish the whole week away to hear the next installment! It’s the allegory of the main character, Christian, who leaves the City of Destruction for the Celestial City. His parents remain in Dark-Land.
When I wrote my memoir, I called it Dark-Land in homage to Bunyan, as a way of thinking about London in the years of post-war austerity when I was growing up, and as a way of making sense of how my parents kept me in the dark about all sorts of things in the family. Only when I started to write my memoir did I finally find out the family secrets.
John Bunyan was variously a tinker, soldier, Baptist minister, prisoner and writer of outstanding narrative genius which reached its apotheosis in this, his greatest work. It is an allegory of the Christian life of true brilliance and is presented as a dream which describes the pilgrimage of the hero - Christian - from the City of Destruction via the Slough of Despond, the Hill of Difficulty, the Valley of the Shadow of Death and Vanity Fair over the River of the Water of Life and into the Celestial City.
Hello, I write poems, lots of them, and also lots of books about Christianity. I grew up in London and lived for my first thirteen years deep within myself, in a kind of fog that prevented anyone from knowing me, including myself. Then, one day, when I was thirteen, in the middle of a math class, everything changed for me. I entered a wholly new world. I went from being at the bottom of the class to the top of the class; I started publishing poems. I started a quest to find myself anew, cutting through the fog, and that quest ended with me teaching Divinity at Duke University.
The “I” is elusive: no one knows this better than Basho. He shows us that if we are finely attentive to anything at all, we can learn an enormous amount about ourselves. Basho thought he was dying when he started his great haiku narrative, but he also sought to find the road that leads deeply into himself.
His lyrical journey was his true way home. When we think about interiority, we must always think of Augustine’s Confessions (for the West) and Basho’s book, listed here (for the East). We learn most about ourselves by reading them.
A masterful translation of one of the most-loved classics of Japanese literature—part travelogue, part haiku collection, part account of spiritual awakening
Bashō (1644–1694)—a great luminary of Asian literature who elevated the haiku to an art form of utter simplicity and intense spiritual beauty—is renowned in the West as the author of Narrow Road to the Interior,a travel diary of linked prose and haiku recounting his journey through the far northern provinces of Japan.
This edition, part of the Shambhala Pocket Library series, features a masterful translation of this celebrated work. It also includes an insightful introduction by translator Sam Hamill…
Hello, I write poems, lots of them, and also lots of books about Christianity. I grew up in London and lived for my first thirteen years deep within myself, in a kind of fog that prevented anyone from knowing me, including myself. Then, one day, when I was thirteen, in the middle of a math class, everything changed for me. I entered a wholly new world. I went from being at the bottom of the class to the top of the class; I started publishing poems. I started a quest to find myself anew, cutting through the fog, and that quest ended with me teaching Divinity at Duke University.
When I first visited Paris in 1977, I found a second-hand copy of Yves Bonnefoy’s dreamlike meditation on his life, his passion for the visual arts, his lyrical evocations of landscape, and his temptations to eschew the sensual world.
I was transported when I read it in French and thrilled to see it appear in English. Years after I read it, I received a warm letter from Bonnefoy, who had been reading my poems.
We met; we became friends, and I am thankful to this book for introducing him to me, and for the many happy hours we spent talking together about poetry.
Since the publication of his first book in 1953, Yves Bonnefoy has become one of the most important French poets of the postwar years. At last, we have the long-awaited English translation of his celebrated work "L'Arriere-Pays", which takes us to the heart of his creative process and to the very core of his poetic spirit. In his poem "The Convex Mirror," Bonnefoy writes: "Look at them down there, at that crossroads, / They seem to hesitate, then go on." The idea of the crossroads haunts Bonnefoy's work, as he is troubled by the idea that the path not taken…
Hello, I write poems, lots of them, and also lots of books about Christianity. I grew up in London and lived for my first thirteen years deep within myself, in a kind of fog that prevented anyone from knowing me, including myself. Then, one day, when I was thirteen, in the middle of a math class, everything changed for me. I entered a wholly new world. I went from being at the bottom of the class to the top of the class; I started publishing poems. I started a quest to find myself anew, cutting through the fog, and that quest ended with me teaching Divinity at Duke University.
"Dockery and Son" is one of the most moving poems of the last century. Returning to Oxford reminds Larkin of his undergraduate years, and he meditates on how his life differs from that of someone he vaguely knew there.
It turns out that Dockery had a child as an undergraduate while Larkin himself never married. This prompts a poignant meditation on the divergent paths people take in life and how each of us enriches or dilutes his or her “I.”
Philip Larkin (1922-1985) remains England's best-loved poet - a writer matchlessly capable of evoking his native land and of touching all readers from the most sophisticated intellectual to the proverbial common reader. The late John Betjeman observed that 'this tenderly observant poet writes clearly, rhythmically, and thoughtfully about what all of us can understand'. Behind this modest description lies a poet who made greatness look, in Milton's prescription, 'simple, sensuous and passionate'.
As a gay man born into an evangelical Christian family, my coming out story was wrought with pain, trauma, and separation from family and loved ones. In the same year I lost my best friend in an accident. My world tumbled and I had to crawl back to a place of reckoning. Walking became my path to healing. So when my brother Reuben, who has Down's syndrome sent me a message from the isolation of a care home in the pandemic, I knew he was in trouble. Those five words - ´brother. do. you. love. me.´changed our lives. I thought I might know a way to save him.
Suicide is a grisly subject; even taboo in many cultures.
Rather than skirting around the issue, Niven tackles it in a head on collision of brotherly love. His account of drug abuse and his ‘wee’ brother’s life that slipped through everyone’s fingers is as mesmerizing as it is difficult to read. Niven’s raw honesty disarms the reader as Niven´s prose brings the deepest of human torment into stark focus.
I recommend reading this book that unearths deep truths about family, commitment, suffering, and love.
AN INSTANT SUNDAY TIMES BESTSELLER LONGLISTED FOR THE GORDON BURNS PRIZE A WATERSTONES BEST BOOK OF 2023 AN iNEWS BEST BOOK TO GIFT
John Niven's little brother Gary was fearless, popular, stubborn, handsome, hilarious and sometimes terrifying. In 2010, after years of chaotic struggle against the world, he took his own life at the age of 42.
Hoping for the best while often witnessing the worst, John, his younger sister Linda and their mother, Jeanette, saw the darkest fears they had for Gary played out in drug deals, prison and bankruptcy. While his life spiralled downward and the love the…
I have loved visiting country houses ever since I was a child. There is something unique about the combination of art, architecture, and people. Over my lifetime, I have been privileged to visit all sorts of houses and castles. I used to work at Christie’s and during that time I visited many country houses, some of which were completely private. It was a natural progression when I moved to Goodwood and became the curator of the art collection, enjoying the house as part of my daily life. The view from my office looks out through the columns of the portico, across the park, with the sea glinting in the distance. What could be better?
The country house is a subject that has always fascinated me, but I’ve often struggled to define it accurately. Clive Aslet, former editor of Country Life magazine does a brilliant job of refining the topic into very readable, succinct, chapters filled with plenty of anecdotes and charming illustrations. As soon as I finished it, I wanted to read it all over again.
The fascinating story of the evolution of the country house in Britain, from its Roman precursors to the present
The Story of the Country House is an authoritative and vivid account of the British country house, exploring how they have evolved with the changing political and economic landscape. Clive Aslet reveals the captivating stories behind individual houses, their architects, and occupants, and paints a vivid picture of the wider context in which the country house in Britain flourished and subsequently fell into decline before enjoying a renaissance in the twenty-first century. The genesis, style, and purpose of architectural masterpieces such…
I first turned to the ‘dark side’ of travel when a student of mine introduced me to ‘dark tourism’. Sadly the world is littered with places of tragedy where our misfortunes are exposed by dark tourism. As a social scientist, I have been writing about visiting our significant dead for over 20 years. I am fascinated as to why particular deaths are remembered, by whom, and how our dead are (re)presented within visitor economies. I have lectured and published extensively within academia, as well as being a media consultant. I continue to tell tales of our dead and how we attach cultural importance to certain kinds of death.
This book enlightened me by learning that people have long travelled to visit the dead. With ‘dark tourism’ initially portrayed as an imitation of postmodernity, Westover dispelled that perspective. Instead, I learnt that travelling to meet the dead had long been a feature of the literary tourism landscape. A provocative play on the word ‘necro’ with visiting deceased authors’ homes, haunts and graves during the Romantic period, Westover offers an inspired contribution to understanding Romanticism within the context of death studies and travel history. I argue that in an age of antiquarian revival and a love of books, the emergent ‘Necromantic’ culture that created touristic habits continues to the present day. To that end, Necomanticism exposes a nexus of book love and memorial ritual that has deeply influenced (Western) literary culture.
Necromanticism is a study of literary pilgrimage: readers' compulsion to visit literary homes, landscapes, and (especially) graves during the long Romantic period. The book draws on the histories of tourism and literary genres to highlight Romanticism's recourse to the dead in its reading, writing, and canon-making practices.
Nancy Blanton is an American author of Irish descent. She’s written three award-winning Irish historical novels and has a fourth underway. A former journalist, her focus on the 17th century derives from a history lesson about Oliver Cromwell, weariness of Tudor stories, decades of enlightening research, and a little help from supportive friends in County Cork.
Also not specifically set in Ireland, this book reveals in wonderful detail what life was like in the great manor houses of both England and Ireland. Such houses distinguished the 17th century from the age of castles and fortresses, and were lavishly constructed and furnished as tangible statements of power and wealth. You’ll learn what daily life was like from chambermaid to earl.
William Cavendish was a gifted horseman, prolific womaniser and skilled diplomat. Famously defeated at the Battle of Marston Moor in 1644, he went into a long and miserable exile before returning to England in triumph on the restoration of King Charles II to the throne in 1660. But this is not just the story of that one remarkable man and the courtly world of King Charles I and his Cavaliers. More than that, Lucy Worsley brings to life the complex and fascinating household hierarchies of the seventeenth century, painting a picture of conspiracy, sexual intrigue, clandestine marriage and gossip. From…
I’ve always loved unreliable narrators and how they place us as readers into the role of detectives, piecing the "truth" of a story together. The narrators I’ve picked below vary in their intent: some deliberately deceive, and others do so unconsciously or through omission. In several, the twist hinges on the use of an unreliable narrator, while in others, narrative unreliability poses a moral dilemma for the reader. In a few, an added layer of unreliability emerges: the narrator’s perception is distorted by technology. In an age of AI, simulations, and deep fakes, the unreliable narrator is arguably more needed than ever, holding a mirror up to the unreliability of our own world.
I find it interesting when first-person unreliable narrators pose a moral dilemma for the reader: how far we sympathise with a character who may or may not be culpable of a crime.
From the very opening of the novel, we are told, "Tonight will be my first night under house arrest." Ruth Ardingly has just been released from prison to serve out a sentence of house arrest for arson and suspected murder (after the death of her seven-year-old grandson) at her farm, The Well. Returning to The Well, Ruth must piece together the tragedy that shattered her marriage and tore her family apart, amid the backdrop of a drought-ridden country, where, miraculously, The Well has water.
The novel is told retrospectively by Grandmother Ruth, whose narrative reliability is impacted by both memory and grief.
AN OBSERVER NEW FACE OF FICTION 2015 A HUFFINGTON POST 'ONE TO WATCH IN 2015'
LONGLISTED FOR THE CWA JOHN CREASEY (NEW BLOOD) DAGGER 2015
'I was gripped by Catherine Chanter's The Well immediately. The beauty of her prose is riveting, the imagery so assured. This is an astonishing debut' Sarah Winman, author of When God was a Rabbit
'I loved this book!' JESSIE BURTON, author of The Miniaturist
When Ruth Ardingly and her family first drive up from London in their grime-encrusted car and view The Well, they are enchanted by a…
Writing my eighth novel, The Testament of Jessie Lamb, I had to move the story into the future in order to explore the topics I was trying to understand. I think through writing: sometimes I feel it is only through writing that I really engage with the world. Work on Jessie Lamb entailed a lot of scientific and future research, and after that I read more and more future fiction, with an increasing appetite for the work of writers who are really interested in exploring where we are headed as a species, and how we might try to survive the damage we have inflicted on the earth.
I came across Salt Lick when hunting for novels on the topic of climate breakdown.
I was looking for writers who go beyond the doom and gloom, to find either rays of hope or at the very least a story where life and love might survive. For me, hope was an essential element in Jessie Lamb’s story. And in Salt Lick, Allison does deliver a dogged kind of hope for her strange trio of wandering central characters.
Beyond that, she delivers bewitchingly beautiful prose; her first page is a masterclass in description.
'A compelling fable of decline, a lament for a way of life, and a warning about what society is already becoming. It is a capsule of England and its dystopian present ... as sad and angry as it is memorable' Ronan Hession
'Salt Lick is that rare beast - imaginative, risky storytelling where every sentence is a gift' Heidi James
Britain is awash, the sea creeps into the land, brambles and forest swamp derelict towns. Food production has moved overseas and people are forced to move to the cities for work. The countryside…
