27 books like Magic for Beginners

One of my top short story writers, the word ‘unique’ was invented for Saunders. Selling in the literary category, he has a vernacular style all his own. His stories comment on American society and the horrors of capitalism but never shove a message down your throat. Saunders is simply immersed in these concerns and it comes out naturally in his writing. His stories contain sci-fi and futuristic elements, and use these, as well as a deadpan surrealism, to comment on the now. The story I will never forget from this collection is "The Semplica Girl Diaries", in which ‘Semplica Girls’, women from ‘third-world’ countries, are trafficked to be used as human lawn ornaments. Saunders faces things head-on, with dark hilarity.

I lived in Buenos Aires, Argentina, for a year in 1988, five years after the last military dictatorship ended. I remember seeing the Mothers of the Plaza de Mayo holding vigils in front of the Casa Rosada presidential palace for los desaparecidos, their children who 'disappeared' during the last dictatorship. Enriquez creates strange, dense worlds of horror in these stories, with dark, unexplained, and sometimes magical undercurrents. The stories are not directly about the events, but reference them obliquely, only adding to the terror. Enriquez’s writing style blew me away, and her stories defy easy categorisation.

Blending sci-fi, fantasy, and horror, Bradbury’s The Illustrated Man takes readers to places they’ve likely only seen in their dreams or, more likely, their nightmares.

From heartbreaking tales of space disasters (“Kaleidoscope”) to frightening tales of a VR nursery gone wild (“The Veldt”), the strength of Bradbury’s legendary fiction is found in the way he brought humanity to even the wildest, most out-of-this-world premise. In addition, his immaculate prose is as much a joy to appreciate on the word-by-word, sentence-by-sentence levels, as it is on the story level.

The Illustrated Man was one of the first short story collections I ever read. The fact that so many of the tales included within its pages still stick with me to this day is proof of its power and legacy.

I’d been writing for a few years, when I came across this book. It was an exciting discovery because it introduced me to a type of story I’d never read before, stories that did weird things I hadn’t thought possible, and included brilliant writers I hadn’t heard of, like Kelly Link and Aimee Bender. I was also excited by the inclusion of writers who were considered literary, who no one would usually put in the strange category, like George Saunders and Michael Chabon. The sheer range of stories and styles was mindblowing. It broadened my ideas about what stories could be, and what I could do in my writing. The introduction by the editors is titled "Slipstream, the Genre That Isn’t," and for me that says it all.

Published in 1983, I only recently came across this anthology. A Sunday Times review says: “As an introduction to the delights of fiction about “the impossible seeping into the possible” Black Water has not been surpassed.” This book is on my indispensable reading list. It includes seventy-two stories that span a broad range of writers, many of whom would not be considered writers of the fantastic, from D.H. Lawrence and Edith Wharton to Julio Cortázar and Ray Bradbury. An eye-opening book that demonstrates a myriad of techniques for using strangeness to illustrate reality, and is an absolute reading feast of wonder and imagination. My favourite story is "The Third Bank of the River" by João Guimarães Rosa.

No one writing horror fiction today is better at punching the reader in the guts (or ripping those guts out and showing them to you) like Stephen Graham Jones. While he’s been touted more recently for his novel-length works, I first came to know SGJ’s writing via short stories. This collection is one of several stand-outs from his catalog.

When it comes to horror and weird fiction writing, SGJ’s versatility knows no bounds. Whether it’s the literary strangeness of “Father, Son, Holy Rabbit,” or the freaky folk horror of “Raphael” (elements of which SGJ has revisited in his Indian Lake novel trilogy), there are all kinds of scares in this collection. He even pulls off a shocking jump-scare fright in “Crawlspace” that has to be experienced first-hand.

While his stories might be some of the shortest word-count-wise from the tales featured in these listed collections, Brian Evenson’s prose does not lack for the weird and terrifying.

With many pieces going no further than the flash fiction of 1000 or so words, Evenson’s writing has taught me that it’s not about how many words you use, but how you use them.

In this collection, he adds Westerns to the mix of genres where horror and the weird can take seed and bloom into something mind-bendingly unsettling. “Black Bark” is one such story. At first, it seems to be a tale of two Wild West bandits on the run but as the nightmarish end arrives, readers will find they’ve been reading a very different tale all along.

When I first read this compendium edition collecting the three volumes of Barker’s ground-breaking debut short-story collections my interest in horror and dark fantasy was only recently reignited. Stories like “Fear” and “In the Hills, The Cities” (one of my favorite short stories of all time) opened my mind to the possibilities of fear and phantasmagoria that one could achieve in a brief span of time.

Barker’s prose and characters are lurid, provocative, and unashamed of who/what they are. Not only was he taking risks in crafting these stories, he was also inviting subsequent generations of writers to express themselves fearlessly. While Stephen King’s impact on contemporary mainstream horror and thriller writing is well known, Barker’s hand in shaping the more literary and plain weird side of horror should not be overlooked.

The Year of Dangerous Days is another of those city books that braid together several storylines into a single vibrant portrait. This time the city is Miami, and the year of crisis is 1980, when the Florida metropolis faced a toxic combination of racial unrest, cocaine-fueled gang violence, and an uncontrollable refugee crisis.

Nicholas Griffin anchors his narrative on a few central characters – a police captain, a prominent journalist, a drug lord, and the city's dynamic mayor – creating a cinematic account of a city that somehow managed to emerge from its annus horribilis scarred and chastened, but primed for an unlikely urban rebirth. 

I read this book a few months ago. I was looking for a psychological thriller. And to an extent it was, but it is definitely a crime read that will leave you breathless. 

The story for me was just brilliant. It helps you understand the mind of a second wife to the point of obsession. How we tend to over analyse everything, scrutinize the very basis of what is real and not. 

There is a thin line between perception and misconception. I learned sometimes that the deeper you dwell on finding something that is wrong, the further away from the truth you go.