100 books like Meander, Spiral, Explode

With an easy-going and very approachable style, Eakin explores how our identity is formed by the autobiographical stories we tell about ourselves. He wears his deeply informed theoretical insights very lightly, and when I encountered this book while working on my book on Hickey, I came away with an appreciation of the importance of narrative in determining who we are, who we think we are, and who we want others to think we are.

All of Solnit’s writings have been an inspiration but this book’s oscillations between the intimacy of her relationship with her dying mother, the poignant degradation of apricots, and the many little-known and fascinating histories that she miraculously weaves into a truly magical book. Solnit has a way of offering hope in the darkness of some of life’s most challenging times, by swinging from details of her own life to those of others she knows or has studied. It’s a remarkable read as it takes you along on the nimble journey of her mind and heart.

Le Guin is a star in fiction’s firmament but in this book she’s also a wonderfully modest practitioner of the art of writing. She discusses the sound of your prose, naming characters, repetition, and point of view. I found her chapter on crowding and leaping especially helpful. Crowding is when you follow Keats’ advice to load every rift with ore; leaping is when you skillfully leave things out—two invaluable skills in fiction, and in life.  

One might read Melville’s accounts of the Pacific and reckon with only literary sources and contexts for his books. Bercaw Edwards lays bare the sounds of Pacific voices, the oral sources for his work. Drawing on a wealth of popular accounts as well as theories of discourse and linguistics, she identifies three “languages” Melville learned in his Pacific travels: sailor talk, (a rich world of yarns, folklore, and tall tales), “cannibal” talk (both islanders’ stories and the narratives they inspired), and missionary talk (accounts by religious leaders in the islands). Bercaw Edwards brings deep appreciation and unforgettable zest to Melville’s work, showing his remarkable ear and memory for rich varieties of speech and what they convey about cultural encounters. 

There are many terrifying monsters, but few were as feared as the beast of Gévaudan, which terrorized the French countryside in the 1760s.

Said to be, variously, a werewolf, a dog-hybrid, a hyena, or some unknown beast, it was blamed for killing many dozens of villagers. The French government sent top hunters to kill the beast, and conspiracy theories ran rampant. I recommend Monsters of the Gevaudan because I love the way it blends history, folklore, and investigation into a compelling mystery.

Don’t believe the mystery-mongering TV shows offering wild theories: the truth is in this book—and it’s stranger than fiction. 

Without having to query Google that serves up writers in a single file, this book is a delightful repository of the entire “who’s who” of literature, particularly of little-known factoids, served up as a rich smorgasbord that you want to devour without end. It proves that “the pen is the tongue of the mind,” even though “writing is a dog’s life,” and is a comfort to writers to know that others, more famous than them, have skirted the edges of penury, fame, and madness. You will also laugh a lot, in relief, I think.

The classic study by Alan Watts with calligraphy and preface by Al Chung-liang Huang. This, Alan Watts’s final book, takes the reader on an exploration of Taoist philosophy, focusing on the world view inherent in the Chinese language, the dynamic balance of yin and yang, and the power of wu-wei, the art of flowing with the process. Watts’ insights and passion make the book a valued and enduring introduction to the world of Tao.

I first came across Georges Perec via his novels. Many (most) of these are experimental – a word that often puts me off – but their cleverness is additional to great writing and storytelling. One of his novels, for example – La Disparition (A Void) – is written entirely without the letter ‘e’ as, remarkably, is the English translation! Species of Spaces is a collection of non-fiction essays in which he encourages us to look, to observe what is around us, to become anthropologists of the everyday. What might we find? Yes, we lie on beds. But, as Perec observes, this is highly unusual as they’re one of the very few places where we adopt a horizontal posture, and the only general one (the others are things like operating tables, beaches, psychiatrists’ couches. Perec focuses on what he calls the ‘infra-ordinary’ (as opposed to extraordinary)  and offers something remarkable on… show more.

This book is absolutely clear about what makes good writing, and it really helped me avoid needless sesquipedalianism and circumlocutory prose. Sorry. It helped me avoid using long words and to write directly and to the point.

Zinsser uses lots of examples of good writing, but the whole book is a great example of practicing what you preach. I have a tendency towards fancy words and fancy grammar, which is not good for my readers when I’m trying to teach them something. This book cured me of that more than any other resource.

Writers often struggle to think of themselves as “writers” because the world has us believing that we can only carry that title if we are successfully published, and of course words such as “success” and even “published” can be fraught with subjective controversy. One of the lessons I learned from Brenda Ueland, among other great thinkers, is that we need to focus first on our own authenticity and only much, much later dare we think about what the world might have to say. This allowed me to let go and move on and trust myself on my writing path. It wasn’t easy, but as emphasized in If You Want to Write, we will be all right if we believe in our inner richness.