100 books like NDA

Before becoming a published writer, I was a lawyer litigating primarily large, multi-district environmental insurance coverage cases. I became familiar with the many ways by which we damage our precious natural resources, be it groundwater or soil or the air we breathe. Beginning with Rachel Carson, we have rich literature that speaks to the degradation of the planet, including the devastating changes wrought by global warming. The stories in this anthology speak to the physical and emotional topography of our current climate crisis, from a Sami woman who studies fish populations to a Wisconsin man contemplating the animals who make his trailer a portal to a world unsullied by humans. Fish & Water is a smart collection on a topic we ignore at our peril.

When the authors in Distant Flickers formed Telltale, a writers’ collective, we brainstormed ways to reach out to readers and give them insight as to how our life experiences are transformed into art. We decided to put together an anthology as part of our endeavor. In doing so, we researched how other writer collectives reached out to their readership. A number of us are historical fiction writers and/or members of the Womens Fiction Writers Association (WFWA), which is how we came to be acquainted with Paper Lanterns, the collective of historical fiction writers behind this anthology. The stories in Unlocked are works of historical fiction that revolve around the common element of an old wooden chest. The settings are varied and span seven centuries, from 1225 Ireland to 1679 Amsterdam to the American Civil War to Regency London to World War II to the Nineteen Seventies.

Sheila Kohler, a mentor of mine whose work is featured in this thrilling collection, is fond of saying that suspense arises from putting a vulnerable character in a dangerous situation. A literary writer of the highest caliber, Sheila knows how to generate the suspense that keeps the page turning. Crime fiction has a long history going back to Dostoevsky and beyond, to the great tragedians—the commission of a crime entails motive, means, and is inherently dramatic. This eclectic selection of mystery and female noir, edited by Joyce Carol Oates, features superstar writers like Edwidge Danticat, Margaret Atwood, Sheila Kohler, Elizabeth McCracken, and Joyce Carol Oates herself. The writing is luminous, the themes are varied—from domestic horror to the erotic to dark fairy tales—and the tales keep the reader turning the page.

The prevailing narrative regarding adoption, at least in the U.S., is crafted by adoption professionals and adoptive parents and largely overlooks the experiences of the parties directly impacted—the adoptees themselves. As an adoptee—one who undertook a search for and was reunited with my first family, reassuming the name I was given at birth—I am always on the lookout for the work of other adoptees. Only we truly understand what it is like to be “split” between two families, to lose our roots and culture, and—perhaps most devastating—not to have our losses acknowledged. These stories, by Ethiopian adoptees, challenge traditional narratives that cast adoption as a benevolent practice, revealing the racist, classist, and colonialist roots that give rise to the modern institution. The stories speak to themes of displacement, bewilderment, and what it is like to grow up estranged from one’s culture, identity, and roots.

Crusoe is a failed slaver, a reckless son, a bad sailor, a pretty crap boss, a parrot lover and, in all of that, he shows us how damaged and imperfect a system we have inherited.

I love Robinson Crusoe for its audacity. When it was first published in 1719, readers were furious to discover that there was no such person as Crusoe but that, instead, the story was fabricated by one Daniel Defoe, who had recently spent three days in the stockades for seditious libel. I love the insanity of this story, how it wants us to believe that a man spends 28 years on a deserted island and still comes home to England richer than when he left. A flawed novel but our first in English, it is also our first autofiction. 

I didn't realize a book could get the zoomies. América del Norte has instilled in me such great wonder and vicious prose envy that I may never recover. Rambunctious, bombastic, and sprawling, this work of autofiction left me saying things like, “No way!” and “What the hell?!” out loud like a complete buffoon. Sometimes because of the story and sometimes because of the audacity of the sentence structures.

Medina Mora weaves history, literature, politics, translation, and much more into a grand chronicle. Amid devastating historical narratives and global tragedy, I still laughed out loud at some parts and startled my little cat, who then also got the zoomies.

Anna Kavan’s Asylum Piece presents exciting stylistic possibilities for the world of “personal fiction.” The book defies easy genre categorization, but one might describe it as an experimental, thematically connected collection of autofiction. Drawing on her own experiences in a Swiss sanitarium (from which she was dispatched in 1938), Kavan excavates her psychological traumas and filters them through sequences of vignettes and short stories, conveying states of extreme emotional distress through a restrained, intensely lucid form. An unblinking study of alienation, mental disarray, and feelings of helplessness under bureaucratic control, Asylum Piece takes up a lot of space in my mind.

After eight successful books, Marie Chaix was abruptly dropped by her publisher. An editor-in-chief of another publisher picked her up, helped her dust herself down, became her writing support, friend and best reader, and published her next book. Three months later, he went to bed and never woke up. Shattered, Chaix decided that she couldn’t—wouldn’t—just didn’t write, not for thirteen years. In finally breaking her silence, Chaix draws a strange, delicate self-portrait of a writer paradoxically both stubborn and profoundly unconfident. I’m not Chaix, and I don’t always like autofiction, but as she weaves in and around the causes and consequences of her decision, her story seems to be about all writers.

I love I Love Dick! This is a hilarious, shocking, keenly intelligent interrogative adventure into the art world and ideas about stalking a muse and being female. The book was published in 1997 but I didn’t discover it until a decade later, so I was late to the game. In her forward, Eileen Myles describes Chris Kraus as “marching boldly into self-abasement and self-advertisement,” which is a perfect way of putting it. Shredding the veil between reality and fiction, in her relentless pursuit of Dick (a real person), Chris Kraus embraces the world, no holds barred. If you’re curious about being female, being an artist, being a failure (whatever that means), chasing your desires, and fighting your way out of limitations both within and without, this riveting, lacerating, revealing, surprising book is for you.

I have never read a book about motherhood or writing like this one. As I read Debre’s autofictional account of losing custody of her child after leaving her marriage, I couldn’t shake the feeling that I was reading something truly original.

Women are not supposed to leave their families to pursue their artistic ambitions, but Debre’s queer character does just that. This is a really slim, sometimes shocking book. I will admire and continue thinking about this book forever.