Here are 92 books that Luckenbooth fans have personally recommended if you like
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I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
The setting of this masterful story is contemporary London, but one dominated by water: rain, rivers, canal boats, ponds. As the novel progresses, the characters’ only partially successful attempts to connect feel hampered by the decreasing definition of the boundaries between land and water. A sense of hopeless inevitability pervades every page, that in the world of this drowning London something has changed. Something irreversible.
'A mesmerising, mysterious book . . . Haunting. Worrying. Beautiful' Russell T. Davis
'Brilliantly unsettling' Olivia Laing
'A magificent book' Neil Gaiman
'An extraordinary experience' William Gibson
Winner of the Goldsmiths Prize 2020, this is fiction that pushes the boundaries of the novel form.
Shaw had a breakdown, but he's getting himself back together. He has a single room, a job on a decaying London barge, and an on-off affair with a doctor's daughter called Victoria, who claims to have seen her first corpse at age thirteen.…
I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
This wonderful novel begins with the inheritance of an ancestral pile in rural England and slowly, by twists and turns, reveals the story of the once ornate house and gardens down the centuries. Ladies and lords of the manor, gardeners and servants, painters, photographers, and WWII land girls all flit fleetingly through its pages, but the novel’s heart is the mysterious walled garden whose secrets only a very few get to witness.
American owner of a failing gallery, Toni, is unexpectedly called to England when she inherits a manor house in Hertfordshire from a mysterious lost relative.
What she really needs is something valuable to sell, so she can save her business. But, leaving the New Mexico desert behind, all she finds is a crumbling building, overgrown gardens, and a wealth of historical paperwork that needs cataloguing.
Soon she is immersed in the history of the house, and all the people who tended the gardens over the centuries: the gardens that seem to change in the twilight; the ghost of a fighter…
I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
This thrilling novel explores what we would do in the face of eco-catastrophe in a really unique way. Two young women—one in Doggerland in 6200 BC and the other in London in 2156—find themselves fleeing to save themselves and their children as the world they’ve always known becomes uninhabitable. The trick of using the same landscape, separated by eight thousand years brings a wonderful sense of perspective to the story, and to our own place in the world.
Doggerland, 6200 BC. As rivers rise, young mother Shaye follows her family to a sacred oak grove, hoping that an ancient ritual will save their way of life.
London, AD 2156. In a city ravaged by the rising Thames, Shante hopes for a visa that will allow her to flee with her four-year-old son to the more prosperous north.
Two mothers, more than 8,000 years apart, struggle to save their children from a bleak future as the odds stack against them.
At the sacred oak grove, Shaye faces a revelation that cuts to the core of who she is; in…
I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
This stunning coming-of-age story is set in the rural Midlands in the 1960s. Fern is apprenticed to Mammy, the village wise woman, but the influence of modernity—medicines, the National Health Service, the increased connectivity afforded by motor car—spells the end for their traditional way of life. In a novel without any other overt fantastical elements, one magnificent scene where Fern, torn between loyalty to the past and the pull of the future, opens herself to the latent wonders of the woods and fields and hedgerows around her, is the key to understanding what the world loses with the passing of old knowledge.
The story of a young woman in the midlands in 1966. A woman who may be a witch. She and her family live on the margins of society. Nevertheless her family life is stifling and she seeks freedom with more outsiders, a group of beatniks, but fights to find acceptance there also. And all the time she is struggling with her fey powers. Isabel Allende said of Joyce's previous novel, The Facts of Life: 'This is the kind of book I love to read! I have not been so charmed by a novel in a long time'.
When I was starting out as an illustrator, I stumbled into two art director jobs, first at the innovative New York Herald Tribuneand then at The New York Times. Working with great journalists gave me the startling idea that a comic strip could have no better subject matter than real life. This led me to create my popular comic strip “Stan Mack’s Real Life Funnies,” which ran in The Village Voice and reported on the rowdy New York city of the '70s and ‘80s. Back then, I was alone in combining real-life stories with comics; today many artist-writers use the comic strip format to tell complex and multilayered true stories of the human experience.
In my comic strips, all my people, streets, and buildings look real because I walked those New York streets and sketched from life. Eisner’s fictional stories are also jam-packed with reality. But his people, Bronx streets, and buildings were already stored in his memory banks, ready to be released onto the page through his bold and expressive ink lines. Hang on, because Eisner will take you by the sleeve—or, more often, the throat—saying, “Look at this world, at these people, listen to them, this is life!” and you sense that it’s also his life he’s talking, and drawing, about.
Will Eisner (1917-2005) saw himself as "a graphic witness reporting on life, death, heartbreak, and the never-ending struggle to prevail." The publication of A Contract With God when Eisner was sixty-one proved to be a watershed moment both for him and for comic literature. It marked the birth of the modern graphic novel and the beginning of an era when serious cartoonists could be liberated from their stultifying comic-book format.
More than a quarter-century after the initial publication of A Contract With God, and in the last few months of his life, Eisner chose to combine the three fictional works…
As the author of 73 published books, I have four goals for writing. I want to write more women into history, emphasize how everyday activities children accomplish are important, empower young readers, and tell a story that moves readers, either through an emotional response or the knowledge that they can do what whoever I wrote about did. My biographies cover role models who have been groundbreakers in their time and place. Readers can be, too.
I found this book a haunting reminder of how factory workers, especially women, were treated during the early twentieth century.
This historical novel brings the horrific New York Triangle Shirtwaist Factory fire to life by telling the story of a fictional Irish immigrant and her struggle to stay alive when her work environment turned to fire and smoke.
How do you survive when abusive bosses lock the doors during workdays?
When Rose Nolan arrives on Ellis Island as a seventeen-year-old Irish immigrant, she is looking for a land of opportunities; what she finds is far from all she'd dreamed. Stubborn and tenacious, she refuses to give up. Left alone to fend for herself and her younger sister, Rose is thrust into a hard-knock life of tenements and factory work.
But even as she struggles, Rose finds small bright points in her new life―at the movies with her working friends and in the honest goals of her mentor, Gussie. Still, after her exhausting days as a working girl, Rose must face…
I’m deeply interested in the lives of my ancestors including the times they lived through so in researching our family tree I took into account the historical events they witnessed. This is what led me to read and write historical fiction. One branch of my family where survivors of the Great Hunger so I have done a lot of research on this dark period of Irish history. During WW1 my husband’s great uncle died in the trenches as an Irishman fighting in the British Army while at the same time my English grandfather and his two brothers were imprisoned as conscientious objectors, one of them dying as a consequence.
I first read this book in my teens and it profoundly affected me. The storyline is set in Dublin from 1907 to 1914, when a third of the city’s residents were destitute. Large families lived in single rooms in the dilapidated former homes of wealthy landlords. The author weaves the lives of his fictional characters into the workers’ revolt and great lockout of 1913, a tragic time for the ordinary people of Dublin. In spite of this, there are wonderful scenes of kindness and self-sacrifice that a close-knit community will often provide. I feel this book greatly influenced my own writing decades after first reading it.
Set in Dublin during the Lockout of 1913, Strumpet City is a panoramic novel of city life. It embraces a wide range of social milieux, from the miseries of the tenements to the cultivated, bourgeois Bradshaws. It introduces a memorable cast of characters: the main protagonist, Fitz, a model of the hard-working, loyal and abused trade unionist; the isolated, well-meaning and ineffectual Fr O'Connor; the wretched and destitute Rashers Tierney. In the background hovers the enormous shadow of Jim Larkin, Plunkett's real-life hero.
Strumpet City's popularity derives from its realism and its naturalistic presentation of traumatic historical events. There are…
Before I could start writing Into the Lion’s Mouth, I spent a lot of time researching the medieval and renaissance Venice. I was astounded to see how relevant that history is to today. Not only are there many parallels that can be drawn between the past and today there is so much to learn about the consistency of human nature. I find myself currently gravitating towards books that mix history and fiction and these are some of my favorites.
I found this book through a recommendation from a friend and I am glad I did. A truly spinetingling page-turner, The Crowfield Curse has all the elements of a medieval thriller. A strange magical creature, a mysterious grave, and a deadly curse. What more could you expect from your average medieval abbey? Beautifully written and thoroughly engaging it’s a keeper for your bookshelf.
*"Suspenseful and spooky...with an edgy battle between good and evil." --School Library Journal, starred review
If the deepest secret has been spoken, can the deadliest curse be broken?
Sent into the forest to gather firewood for the medieval abbey where he's an apprentice, Will hears a cry for help, and comes upon a creature no bigger than a cat. Trapped and wounded, it's a hobgoblin, who confesses a horrible secret: Something is buried deep in the snow, just beyond the graveyard. A mythical being, doomed by an ancient curse...
My passion for female-led fantasy began from the time I was a young girl and spans across a lifetime of reading the genre—but not necessarily always seeing my own heart reflected in the tough-as-nails, devil-may-care girls and women who began to dominate the fantasy landscape once I hit my teens. By sharing about an array of fantasy female leads who range across a wide spectrum of origins, personalities, and perspectives, I hope to help other readers just like me find characters they resonate with and stories that stick with them for a lifetime—just like these ones have for me.
Serilda was such a breath of fresh air in the fantasy genre landscape! I can’t think of a single female lead who quite feels like her. From the rich lore that surrounds her origins, to her vivid imagination, storytelling prowess, and the way she sees the world, Serilda became an instant favorite for me. Her nurturing love of the children in her care and her father are so perfectly at odds with the call to intrigue and adventure that makes up the other, more mischievous half of who she is. Watching the tug of war between these two halves of Serilda’s heart made this thick book absolutely fly by.
All magic comes at a price, but love was never part of the bargain . . .
The look he was giving her. Serilda had never been looked at like that before . . . The intensity. The heat. The raw astonishment. He was going to kiss her.
Cursed by the god of lies, a miller's daughter has developed a talent for storytelling - but are all of her tales as false as they appear?
When one of Serilda's stories draws the attention of the devastating Erlking, she finds herself swept away into a world of enchantment, where ghouls prowl…
I’ve been obsessed with art since I was a kid. When I look at art, I see stories, not just about what I’m seeing, but about what it was like when the painting was created: was the artist tired, grumpy, frustrated? Why’d they paint it the way they did? Sadly, my artistic talent is limited, but fortunately, I can tell stories. After visiting William Orpen’s painting of Mona Dunn at the Beaverbrook Art Gallery, I couldn’t help wondering why he made her look so pensive. The only way I could answer that question was by writing my own story about Mona and the other paintings in the gallery!
As a kid, I was always enthralled by the idea of paintings coming to life. Blame it on old Vincent Price movies and Scooby-Doo cartoons! This book is clever and creepy, and at its heart, speaks to the power art has to change the world by unleashing truths we might not want to talk about. You may want to read some of this book with the lights on! (I did!)
Lemony Snicket meets Oscar Wilde meets Edgar Allan Poe in this exciting and scary middle-grade novel inspired by The Picture of Dorian Gray -- a family curse is unleashed!
Bryony Gray is becoming famous as a painter in London art circles. But life isn't so grand. Her uncle keeps her locked in the attic, forcing her to paint for his rich clients . . . and now her paintings are taking on a life of their own, and customers are going missing under mysterious circumstances.
When her newest painting escapes the canvas and rampages through the streets of London, Bryony…
