69 books like Quit Monks or Die!

Shapiro’s Edsel appeared in 1971, well after Shapiro had established himself as one of America’s greatest poets and 25 years after he won the Pulitzer Prize. Like many novels by poets, the protagonist is a writer, in this case a poet named Edsel Lazerow. Also like many other novels in this grouping the setting is academia. I’m particularly fond of academic satires, from John Barth’s Giles, Goat Boy, to Richard Russo’s Straight Man, to the novels of British writer, David Lodge. Perhaps I enjoy these romps because I am a failed academic—I went to college for five years without getting a degree. They had the audacity to suggest that I take Zoology! Anyway, this novel is a hoot, and unjustly forgotten.

This book is more autobiographical, based on his struggle with alcoholism. Berryman had already written a book of poems, The Dream Songs (my favorite book of poems), which practically reads like a novel. It’s full of wit and playfulness and jerry-rigged syntax. Recovery is also witty but not quite as playful. It’s darker, of course. Perhaps one’s perception of it is colored by the knowledge that Berryman had committed suicide in 1972, a year before its release. So, it’s a melancholy book, yet its difficulties are human and common and, here, well-wrought by a poet’s grace.

Leonard Cohen is one of my touchstones, an artist I take personally, someone who speaks to me deeply. He is best known as a singer/songwriter, the author of “Suzanne” and “Hallelujah.” He is not quite as well-known as a poet, but that’s how he started and he’d already published books of verse before his first album appeared. He also wrote two novels, the first when he was in his 20s. It is entitled The Favourite Game and it’s an autobiographical, Jewish, coming-of-age story. It’s so good it seems like an early Philip Roth novel.

In an interview, Cohen once said, “There’s no story so fantastic that I cannot imagine myself the hero. And there’s no story so evil that I cannot imagine myself the villain.” His protagonist is a little of both in this book. And the prose, as you might imagine is beautiful, simpler perhaps than in his poetry,… show more.

Pictures from an Institution, to my mind, is the best novel written by a poet. It’s comical, biting, engrossing, moving, and flat-out entertaining. Once again, we are back in academia, at a woman’s college based loosely on Sarah Lawrence, and never has academia been skewered more amusingly. Regarding the college, one character muses, “You Americans do not rear children, you incite them; you give them food and shelter and applause.” The novel’s jokes—aphorisms, wisecracks, putdowns—come so fast and furious one could lose track of the story, if the story itself were not so interesting…and jovial. It’s funnier than throwing a hardboiled egg into an electric fan. Pictures from an Institution is also learned and wise and, underneath the drollery, there is a basic humanism that does not allow you to dismiss the book as mere satire.

This first book in Kelle Riley’s new series has it all—a plot full of twists and turns, a super-smart sleuth, and just a smidge of romance. I love that the sleuth doesn't act impulsively and instead observes and deduces. In addition, there are yummy recipes, a cranky rescue cat, and several quirky secondary characters. I especially like the couple who own a dog bakery and their trained dog that discourages the goose population.

Peter Singer’s Animal Liberation is usually taken to be the founding philosophical text for the animal rights movement, but I think Tom Regan’s The Case for Animal Rights presents the more compelling, more multi-dimensional argument.

Where Singer grounds moral standing in the fundamental interest in avoiding suffering, Regan foregrounds the “inherent value” of being the “experiencing subject of a life,” for whom avoiding suffering is only part of the question.

There’s plenty of disagreement about whether the rights framework is the best way to think about our moral duties to animals (cf. Derrida above). And Regan’s position is available in less rigorous and scholarly form in some of his other books. But for the full walk-through of the best argument for animal rights, this is the text.

I admire how Torres traces his own process of awakening to the realities of industrial farming, from the happy farm life he had been led to imagine to the brutal exploitation that makes animals themselves and their products into commodities for human consumption. His account is both deeply personal and unflinching in its uncovering of the hidden production methods that most of us would prefer not to see.

My Marxian-inflected approach to seeing animals both as products and as their own laboring class was heavily influenced by this powerful book and its focus on lived experiences that are the polar opposite of what children's books typically portray. 

Grounded in philosophy and law, Thalia Field’s book explores how human/animal relationships are codified by human systems. Like Field’s other ecocritical work, this one is formally bold, blurring the lines between lyric essay and poetry.

I am particularly intrigued by 'Happy/That You Have The Body (The Mirror Test),' where Field uses the legal concept of habeas corpus and the Mirror Self-Recognition test to discuss the rights of a captive elephant named Happy, isolated from her own kind for 40 years.

This book is exactly the kind of animal writing I love because each piece asks loudly why “some animals are more equal than others.”

To properly understand dehumanization—which represents human beings as subhuman creatures—it is important to recognize our less-than-humane relations with other animals.  In this compact, vividly-written book, Marjorie Spiegel powerfully juxtaposes the oppressive and cruel treatment of enslaved people with the terrible treatment of nonhuman animals. The book is largely concerned with the dehumanization of enslaved Africans and their descendants, but it is also pertinent to other episodes of racial dehumanization.

I have waited for years for the new book from the animal rights legend (and president/founder of the Institute for Humane Education), which provides a roadmap for building a better world through a transformative course of action called the Solutionary Process.

As always, I appreciate how Weil makes a compelling case for compassion for nonhuman animals; here, she pays special attention to the plight of hens used for egg production, dairy cows, veal calves, and the secrecy and deception surrounding their treatment by the animal-industrial complex.

The author’s signature mix of accurate (and often shocking) facts with personal storytelling and gentle myth-busting encourages compassion without plunging would-be change agents into apathy or depression.