Here are 100 books that Nazi Literature in the Americas fans have personally recommended if you like
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I am a professor of American literary history. Still, as an undergraduate, I studied with a charismatic, postmodern French-American fiction writer, Raymond Federman, who, in a theatrical accent, called me by my last name, “Pel-tone.” Atop the Kurt Vonnegut I’d read in high school that gave me my taste for crazy, socially-conscious novels that I have tried myself also to write, I imbibed the books Federman sent my way: Gabriel Garcia Marquez, Italo Calvino, Samuel Beckett. In years since, I’ve championed innovative novels through my own small press, Starcherone Books. I am an artist whose greatest passion is discovering writing that makes me see in new ways.
All that happens throughout most of this book is that a Nigerian grad student in psychiatry nightly wanders end-to-end the streets of New York City, observing. And yet I couldn’t put this book down, riveted by this angry mind on fire and the differences in the landscape he sees from the one I thought I knew so well.
Author Teju Cole is highly visual, as one would expect from one whose other job as he wrote this was as photography editor of the New York Times Magazine. But then, as you get to the ending of his narrator’s musings, as you feel you have a handle on this plotless novel, the trap is sprung so that you cannot but reevaluate everything that has come before. This book is a stunner!
The bestselling debut novel from a writer heralded as the twenty-first-century W. G. Sebald.
A haunting novel about national identity, race, liberty, loss and surrender, Open City follows a young Nigerian doctor as he wanders aimlessly along the streets of Manhattan. For Julius the walks are a release from the tight regulations of work, from the emotional fallout of a failed relationship, from lives past and present on either side of the Atlantic.
Isolated amid crowds of bustling strangers, Julius criss-crosses not just physical landscapes but social boundaries too, encountering people whose otherness sheds light on his own remarkable journey…
I am a professor of American literary history. Still, as an undergraduate, I studied with a charismatic, postmodern French-American fiction writer, Raymond Federman, who, in a theatrical accent, called me by my last name, “Pel-tone.” Atop the Kurt Vonnegut I’d read in high school that gave me my taste for crazy, socially-conscious novels that I have tried myself also to write, I imbibed the books Federman sent my way: Gabriel Garcia Marquez, Italo Calvino, Samuel Beckett. In years since, I’ve championed innovative novels through my own small press, Starcherone Books. I am an artist whose greatest passion is discovering writing that makes me see in new ways.
What a breathtaking scope Tokarczuk gives us! This Polish novelist was new to me when I first picked this book up, but even though she won a Nobel Prize, I think she will be new to most U.S. readers.
This book begins as a meditation on travel and human movement, moving episodically through different fictional and historical plots, investigating sexualities, artificial humans, geographies, and the human compulsion not to sit still. But this just scratches the surface, as she has a kind of Garcia Márquez touch for identifying stories where bodies (both real and fake) exert their magic, even as the stories she tells are purportedly historical.
Did an 18th-century noblewoman during wartime smuggle a jar that contained Chopin’s heart in her undergarments? Tokarczuk answers: Is this so unbelievable?
NATIONAL BOOK AWARD FINALIST FOR TRANSLATED LITERATURE
A visionary work of fiction by "A writer on the level of W. G. Sebald" (Annie Proulx)
"A magnificent writer." — Svetlana Alexievich, Nobel Prize-winning author of Secondhand Time
"A beautifully fragmented look at man's longing for permanence.... Ambitious and complex." — Washington Post
From the incomparably original Polish writer Olga Tokarczuk, Flights interweaves reflections on travel with an in-depth exploration of the human body, broaching life, death, motion, and migration. Chopin's heart is carried back to Warsaw in…
I am a professor of American literary history. Still, as an undergraduate, I studied with a charismatic, postmodern French-American fiction writer, Raymond Federman, who, in a theatrical accent, called me by my last name, “Pel-tone.” Atop the Kurt Vonnegut I’d read in high school that gave me my taste for crazy, socially-conscious novels that I have tried myself also to write, I imbibed the books Federman sent my way: Gabriel Garcia Marquez, Italo Calvino, Samuel Beckett. In years since, I’ve championed innovative novels through my own small press, Starcherone Books. I am an artist whose greatest passion is discovering writing that makes me see in new ways.
I love experiments in the novel form, and this book by the Czech Ourednik startled me from the first words of its opening, a deadpan sentence telling us that the Americans who died at Normandy in 1944 were unusually tall. What follows is an accounting of important and trivial happenings of a hundred years of war-riddled world history in roughly the same number of pages.
Throughout, we read random details, skipping from how often people bathed to psychologists’ recommendations about venting aggression through competitive sports to the changes in human lives occasioned by contraceptives and tear-off toilet paper. Every page is always the tongue-in-cheek narration of absurdities I couldn’t help reading aloud to whoever was nearby. No book is like this one, and maybe no other so profound.
Tracing the Great War through the Millennium Bug, 1999 through 1900, Dadaism through
Scientology through Sierra Leonean bicycle riding and back, award-winning Czech author Patrik
Ourednik explores the horror and absurdity of the twentieth century in an explosive
deconstruction of historical memory.
Europeana: A Brief History of the Twentieth Century opens on the beaches of Normandy in
1944, comparing the heights of different forces' soldiers and considering how tall, long, or good
at fertilizing fields the men's bodies will be. Probing the depths of humanity and inhumanity,
this is an account of history as it has never been told: "engaging,…
I am a professor of American literary history. Still, as an undergraduate, I studied with a charismatic, postmodern French-American fiction writer, Raymond Federman, who, in a theatrical accent, called me by my last name, “Pel-tone.” Atop the Kurt Vonnegut I’d read in high school that gave me my taste for crazy, socially-conscious novels that I have tried myself also to write, I imbibed the books Federman sent my way: Gabriel Garcia Marquez, Italo Calvino, Samuel Beckett. In years since, I’ve championed innovative novels through my own small press, Starcherone Books. I am an artist whose greatest passion is discovering writing that makes me see in new ways.
I loved the brash daring of this novel by an unknown writer of my own generation that I first read in the manuscript. I don’t believe it has yet gotten its due. Sarah Falkner has taken the near-familiar twentieth-century mise en scène of the Alfred Hitchcock-ish animal thriller movie and created characters in starlet Kitty Dawson and her son Rory who create their own inventions with this space.
Kitty founds a big cat sanctuary, and Rory trains as a lion tamer and turns this into performance art. Throughout, I felt like I was in a live-action museum of Post-War American Psycho-Cinema, powered by Falkner’s mimicry of discourses–interviews, publicity releases, film theory, and memoir–and the blend of excitement for film, language, and compassion for animals and their magnificence.
Booklist review: In a stealthily affecting reportorial voice, debut novelist Falkner tells the story of tepidly successful 1960s movie actress Kitty Dawson via interviews, critiques, press coverage, and plot summaries of her movies (one involves packs of rampaging dogs, another giant mutant rabbits). Kitty's intensifying affinity for animals inspires her and her husband to open a California sanctuary for abused and neglected "exotic big cats." We're also granted glimpses into the lives of Kitty's body double, a college student searching for a missing friend while on location in Africa; director Albert Wickwood, a clever and cutting variation of Alfred Hitchcock;…
I grew up in the eighties, and that means I grew up watching movies such as Sixteen Candles, The Breakfast Club, Pretty in Pink, and Say Anything. Thirty years after watching those movies, some iconic scenes have stuck with me: the characters of The Breakfast Club sliding across the hallway to Simple Minds’ song “Don’t You Forget About Me,” John Cusack holding the boombox over his head while blaring Peter Gabriel’s “In Your Eyes,” and the Psychedelic Furs “Pretty in Pink” song playing on the soundtrack of a movie by the same name. The books in this list do a lot with those same ingredients of heartbreak, music, and hope that the characters who so often remind me of myself might find love.
This is a funny and dramatic book and movie in which Grady Tripp is a university writing teacher who makes a mess out of his relationships. He’s having an affair with the chancellor of the college he teaches at, his wife has moved out maybe for good, and one of the students he has in class and who rents a room from him is attracted to him.
Tripp’s life is like a train wreck you can't stop watching, but also somehow funny. This book also became a great movie of the same name, starring Michael Douglas as the professor, Robert Downey Jr. as his agent, Frances McDormand as the chancellor, and Tobey Maguire and Katie Holmes as students. I mean, c’mon, doesn’t that sound great?!!!
A deft parody of the American fame factory and a piercing portrait of young and old desire, WONDER BOYS is a modern classic from the Pulitzer Prize-winning author of THE ADVENTURES OF KAVALIER & CLAY.
Grady Tripp is an over-sexed, pot-bellied, pot-smoking, ageing wunderkind of a novelist now teaching creative writing at a Pittsburgh college while working on his 2,000-page masterpiece, WONDER BOYS. When his rumbustious editor and friend, Terry Crabtree, arrives in town, a chaotic weekend follows - involving a tuba, a dead dog, Marilyn Monroe's ermine-lined jacket and a squashed boa constrictor.
I have been a writer for more than twenty years and have favored pursuing “truth in fiction” rather than “money in formula.” As author Edward St. Aubyn quotes: “Money has value because it can be exchanged for something else. Art only has value because it can’t.” I find books about writers are closer to my lived experience and connect me intimately with both the characters and their author.
A story about a biographer who pokes into the corners of a Nobel-winning author’s salacious life to write an exposé is juicy enough, but what happens when the latter uses the opportunity to write a counter-exposé on the former? Unstructured in plot and other novel-craft, this book is laden with pithy quotes on the writing life. The biographer and his subject are libidinous, adulterous, and self-absorbed, a testament to the fact that a writer has to be appreciated separately from their work. Also on display are the strategies employed by the publishing industry to keep the reputation and marketability of a once best-selling author alive, long after their effective shelf-life.
Mamoon is an eminent Indian-born writer who has made a career in England -- but now, in his early seventies, his reputation is fading, his book sales have dried up and his new wife has expensive tastes. Harry, a young writer, is commissioned to write a biography to revitalise Mamoon's career. He greatly admires Mamoon's work and wants to uncover the truth of the artist's life, but Harry's publisher seeks a more salacious tale of sex and scandal to generate headlines. Meanwhile, Mamoon himself is mining a different truth altogether -- but which one of them will have the last…
Having written in the genre of psychological/crime thriller fiction for some years, I am always drawn to original voices, particularly those who are prepared to go that extra mile to produce something fresh or a concept that hasn’t been touched on before. With this kind of writing, it is quite easy to get pigeonholed, and the author has to be as meticulously authentic as they possibly can. Thinking and then using the absurd in writing is probably the best endorsement for any book; the stranger, the better. In this modern, media-fueled world, you always have to go to different places and ignite new ideas and narratives.
A true storyteller, Orwell invites us into a world of harrowing poverty in which individuals rage against a changing modern society.
An excellently crafted novel; you can almost smell and touch the grime littered throughout this novel. What struck me most was the seamless plot and intriguing characters.
Extremely well-written, fast-paced, gripping, and full of twists and turns, this is a must-read. The finale is quite unexpected. A real old-fashioned page-turner you will probably read more than once in your lifetime.
A pre-cursor to his more famous works of Animal Farm and 1984, Keep the Aspidistra Flying is Orwell's social commentary on capitalism's constraints. Orwell captures the struggles of an aspiring writer with almost pitch-perfect attention to psychological detail, exploring the gulf between art and life. Gordon Comstock is a poor young man who works in a grubby London bookstore and spends his evenings shivering in a rented room, trying to write. He is determined to stay free of the "money world" of lucrative jobs, family responsibilities, and the kind of security symbolized by the homely aspidistra plant that sits in…
I love reading adaptations of classics which complicate the original texts in interesting ways, I have just written one myself, The Middle Daughter. Transcultural adaptations, particularly remind us that we are all members of one human family, dealing with the same kind of problems across time and space and cultures. In these times of deepening polarization, it's important to see that there's more that unites us than not.
FROM THE BOOKER PRIZE-WINNING AUTHOR OF GIRL, WOMAN, OTHER
LONGLISTED FOR THE ORANGE PRIZE FOR FICTION 2009 WINNER OF THE ORANGE YOUTH PANEL AWARD 2009 FINALIST FOR THE HURSTON WRIGHT LEGACY AWARD 2010
'A phenomenal book. It is so ingenious and so novel. Think The Handmaid's Tale meets Noughts and Crosses with a bit of Jonathan Swift and Lewis Carroll thrown in. This should be thought of as a feminist classic.' Women's Prize for Fiction Podcast
Welcome to a world turned upside down. One minute, Doris, from England, is playing hide-and-seek with her sisters in the fields behind their cottage.…
Life is taking a bite of the comedy/tragedy sandwich, savoring the mix of flavors, deciding how you feel about the taste, and taking another bite. I love writing that can gather experiences from across the emotional spectrum and incorporate them into a narrative that is absurd and all the more true because of it. These five books do it better than the rest.
In this male-heavy list, this book refreshingly provides a female protagonist to follow into a maze with no discernable exit. Oedipa Maas is underwater from the outset as she wanders around California, the exact vector and identity of danger never quite clear (though it has something to do with warring, private postal services).
Like many post-modern, maximalist works, there are far too many abstract references to parse at the moment, but the overall ride is a delight just the same.
By far the shortest of Pynchon's great, dazzling novels - and one of the best.
Suffused with rich satire, chaotic brilliance, verbal turbulence and wild humour, The Crying of Lot 49 opens as Oedipa Maas discovers that she has been made executrix of a former lover's estate. The performance of her duties sets her on a strange trail of detection, in which bizarre characters crowd in to help or confuse her. But gradually, death, drugs, madness and marriage combine to leave Oepida in isolation on the threshold of revelation, awaiting The Crying of Lot 49.
Inspired by my dad–a fan of Hammond Innes, Alistair MacLean, and the like–and two older brothers, I discovered Desmond Bagley as a teenager. My passion for his style of action-adventure has never dwindled. As the crime thriller genre appears to move relentlessly in the direction of dark, gritty, serial-killer territory, I can’t help but wonder if there isn’t something to be said for the now less-fashionable escapist worlds these writers created. Thanks to HarperCollins, I was given the chance to work on Bagley’s last posthumous novel, Domino Island, and my own original books inevitably followed.
It’s impossible to talk about action-adventure thrillers without recommending something by Graham Greene. It could have been any one of his great novels, but I’ve settled on this book as one of his shortest and most easily accessible stories.
It’s quirky without being obscure, full of atmosphere and intrigue, and wonderfully witty in its portrayal of its central characters. For sheer panache, this book is hard to beat.
'Manages to say more about love, hate, happiness, grief, immortality, greed and the disgustingly rich than most contemporary English novels three times the length' The Times
Doctor Fischer despises the human race. A millionaire with a taste for sadism, he spends his time and money planning notorious parties, entertainments designed to expose the shallowness and greed of his craven hangers-on. Black comedy and painful satire combine in a totally compelling novel.
