Fans pick 75 books like Morgue to Love

Well-chosen stories with commentary that makes sense. A classic. Both authors were founders with others of The Fugitives, who published for a short time a literary magazine at Vanderbilt University, in Nashville, Tennessee. Both were giants in the expanding popularity of fiction writing. As a teacher of creative writing and creating great fiction stories, I have found the wisdom of these writers essential in nurturing writers to elevate their work and careers.

This book is set just after the war and deals with the aftermath of a devastated land. Rich in detail with characters that tug at the heartstrings, it is a story of complex loyalties and dealing with betrayal. A beautiful and powerful story of tender hearts left wounded by a very difficult time. I listened to the audio version of this story and found it to be one I wanted to stop everything I was doing to savor.

Thank goodness those in Nashville’s world are nurturing and full of common sense. He’s like no other child but his story shows that difference doesn’t need fixing. His adoptive family doesn’t always expect him to adapt to the way they do things, sometimes adapting their own behaviour. I love how Nashville and his sister bake cake every night because there are 364 non-birthdays to celebrate each day.

Nashville’s tale embraces the idea that impossible is a ridiculous little word and shows that no matter how different we are, we share the same hopes, fears and a need to stay true to ourselves. One of my favourite lines in the book relates to a life-changing injury Nashville accidentally causes to another being. The vet says this little bird will just have to make do. It’s true for any of us in many situations.

Hemphill’s book captures country music in the 1960s.

His portraits of country stars and the Grand Ole Opry at the Ryman Auditorium present vivid images. They are so artful that you feel you have yourself experienced the moment from the inside. This is really an excellent book in any category—a tour de force of nonfiction.

Musicologist Lydia Hamessley delved into Dolly’s songwriting corpus over the course of a decade, analyzing her tremendous output of songs, according to different categories.

“Coat of Many Colors,” for example, is the most beloved from among Dolly’s autobiographical songs. Lydia breaks down the harmony, and relationships between melody and lyrics to explain why the song works so well.

Songs about women’s lives, in another section, includes deeply affecting vignettes like “Down from Dover,” about a pregnant young woman’s despair after being abandoned by her lover and rejected by family.

Lydia’s book systematically unpacks the musical heart of Dolly’s creative genius, a quality that can at times be overshadowed in writings about her by the outsized nature of Dolly’s public persona.

A little star swiftly turns into a superstar!

I was lucky enough to meet Taylor, so I dove into this book with gusto. It’s an easy and highly engaging read. I love how the author emphasizes the importance of Taylor’s values: hard work, perseverance, and love of a supportive family. What I found particularly appealing was the adorable description of how an 11-year-old Taylor had the gumption to hand out CDS of her music to record execs in Nashville! Five years later, she released her first album and it was a hit!

I love how this talented young lady has used her life experiences—both good and bad—to build a bridge to success. This is a well-researched, inspirational, and enjoyable read. 

This book is a classic. Along with the Smithsonian Collection of Classic Country recordings and Bill Malone’s Country Music, U.S.A., my own interest in writing about country music began here. 

When a senior scholar advised that country music lacked “respectability” as an academic topic, this book was among the small set of works that sealed my confidence to do what I wanted and figure it would all work itself out (Dolly does what she wants, too!).

In compiling biographical profiles of women in country music, this book also filled in a whole portion of history typically glossed over in most country music writing up until that point. It likewise planted seeds for future research and writing on the history of women in the genre, which continues to bear fruit today.

Marissa centers on three contemporary songwriters, Kacey Musgraves; Maren Morris; and Mickey Guyton, to illuminate the experiences of country women more broadly during the twenty-first century. Facing closed doors and narrowed constraints, this trio carved channels for music business success, using new-century tools to reach audiences and ears. The industry-old guard was left to catch up.

The backdrop for their stories is the well-documented nosedive for women on country radio airwaves since 2000, but terrestrial radio matters less for this younger generation. Dolly’s own path-clearing journey inspired these artists. At one notable intersection of their stories and hers, Dolly’s surprise appearance onstage during an all-women performance at the Newport Folk Festival drew a reaction from musicians and the crowd alike. One close observer remembered it was like they had seen “f-ing Snow White.” 

I became a Brandi Carlile fan through her memoir, first. Various bookish people had been excited about it, and I love a memoir in audiobook, especially from a creative person. She sings! In the audiobook! Coming of age as an openly gay young person in the 1990s Pacific Northwest who loved country music wasn’t the easiest way to fit in. (I saw her in concert recently, and she joked about performing three-part harmony in Seattle at the height of grunge.) But she has always embraced her inner misfit. For example, some of her early performance costumes were inspired by the outlandish outfits of ‘70s Elton John…who is now a personal friend. “The Joke”, one of her most beautiful songs, is all about the misfits winning out in the end, and I love her for this stubborn faith.

This book positions Dolly as an icon for women’s struggles for equality and autonomy, through the lens of working-class women Sarah knew growing up. 

In songs like “Just Because I’m a Woman,” Dolly lays out issues of gender-based double standards just as clearly as any feminist analysis published in an academic journal, arguably, more clearly. Songs like “Eagle When She Flies” convey, in Sarah’s words, the “simultaneous vulnerability and deep power of women.” The first example was banned in its time on US radio, while many country radio DJs refused to play the latter during the early 1990s.

Sarah connects the dots and argues that Dolly’s feminism is embodied in her creative output and her actions, decade after decade. Dolly’s 2018 song “A Woman’s Right” makes a good follow-up.