100 books like Reinterpreting Modern Culture

Nietzsche studies are a cottage industry unto themselves. There are thousands of monographs, anthologies, and papers, which are conveniently searchable at the Weimarer Nietzsche-Bibliographie. My “five best books” are not necessarily the interpretations I personally consider by some measure the ‘best’, in the sense of being the most ‘correct’. They are instead the ones I find most helpful for a reader to interpret Nietzsche in a responsible, well-informed way for themselves. 

R. J. Hollingdale is a great starting point for a novice. He was that rare combination of translator, biographer, and philosopher—and as such, his work is approachable for any intellectually curious reader. It was first published in 1965, at a time when one really did have to argue for Nietzsche’s place as a canonical philosopher rather than just a brilliant writer, bombastic iconoclast, or politically-dangerous driver of the pre-war German Zeitgeist. Even if somewhat dated, his book… show more.

When I was a struggling young graduate student, I was fortunate enough to have Volker Gerhardt host me as a Fulbright Scholar at the Humboldt Universität in Berlin. A former vice-president of the Berlin-Brandenburgischen Akademie der Wissenschaften, Gerhardt is one of those remarkably industrious luminaries, who, with even a word of encouragement, can launch an entire area of inquiry. Working within what one might call a Kantian-Humanistic orientation, he has written widely on the most varied aspects of intellectual culture. This introductory book on Nietzsche, which is now in its fourth edition, is masterly in balancing the needs of new readers with the sort of nuances from which seasoned scholars continue to draw. Gerhardt’s Nietzsche is somewhat the cultural pragmatist, concerned above all with living an authentic life in the context of a continually-forming Europe. 

Reading Nietzsche without understanding the contexts he was working in and against is a bit like trying to interpret a text thread among friends from only one of their vantages. Without the context of ‘who,’ ‘what,’ and ‘when’ Nietzsche was reading and responding to, interpreters cannot grasp why he used the particular terms, phrasings, or rhetorical devices he did. Campioni, D’Iorio, Fornari, Fronterotta, and Orsucci—each remarkable scholars in their own right—deserve our gratitude for having cataloged Nietzsche’s (mostly) still-preserved personal library as it stands in the Weimar archives. Even better, they chronicled the margin notes, dog-eared pages, and various frustrated cross-outs or excited approbations that Nietzsche scribbled into those books. Nietzsches persönliche Bibliothek has sat next to my keyboard for years, and still offers surprises when I wonder ‘did Nietzsche read Dostoyevsky in German or French translation’ or ‘which biology anthologies influenced his understanding of Darwinism?’

If the previous text was a trusty aid for readers, then Krummel’s monumental assemblage of ‘Nietzscheana’ is a treasure chest, the single most comprehensive resource for understanding what Nietzsche meant to Germany. Much more than a bibliography, it is a ‘Wirkungsgeschichte’ or ‘history of influence’ of seemingly everything and everybody touched by the person or thought of Nietzsche from 1867-1945. Krummel, who was an American Germanist, offers the reader excerpts of more than five thousand articles, letters, published speeches, and even diary entries on the subject of Nietzsche. In fact, the massive cultural-historical library that Krummel amassed while compiling these volumes became the foundational collection of the Nietzsche-Dokumentationszentrum in Naumburg. 

Nietzsche’s greatest admirers often distort his views. Mishima is no exception. Considering his nationalism, militarism, and ritualistic suicide, it’s little surprise he endorses the popular misconception of Nietzsche as a champion of egoism and power. 

In this fascinating, disturbing story, adolescent boys create a club devoted to an amoral, pseudo-Nietzschean ideal. When they encounter a mysterious sailor, they worship him as a living embodiment of their values until he defies the image they’ve created. 

Mishima misinterprets Nietzsche but in a critically illuminating way. The boys’ ultimate reaction to their disappointing demi-god proves their hypocrisy, revealing that they idolize precisely the qualities they lack. So Mishima inadvertently debunks the stereotypical image of the “overman,” a cartoonishly impossible superhero, a fantasy who attracts only his polar opposites: the insecure, resentful, conformist, and childish.

I was gifted this book recently and it is the gift that keeps on giving.

I am an avid walker and the way the author interspersed poignant life stories with his own on walking was lovingly poetic. This quote “the walker is king, and the earth is his domain” is the one that defines the entire message of the book. I’ve been on many pilgrimages in life and witnessed many a transformation but none like the ones these philosophers uncover.

It was a joy to read the profound messages in staying present while walking as exercise. Grab a friend and enjoy walking together as you put one foot in front of the other and have meaningful conversation. 

Nietzsche said; “Only those with very large lungs have the right to write long sentences.” Montaigne was of the same opinion. He pre-dated Nietzsche in couching his philosophy simply and clearly in short, sharp aphorisms. Like Nietzsche’s aphorisms, they are often very funny.

The most charming and subtly Nietzschean of Dazai’s usually bleak novels, this book plants readers directly inside the mind of a young girl over the course of a day. Some compare her to Catcher in the Rye’s Holden, a child pretending to be a grown-up. But schoolgirl’s a true contradiction: too childish and too mature, naive and wise, Holden’s little sister mixed with Mrs. Dalloway. 

Holden is a “bad Nietzsche,” overcoming internal strife with protective cynicism, but schoolgirl’s a bundle of possibilities: Nietzsche’s “undersouls” battle to control her identity, veering between “becoming what she is” or expected to be and “decadence.” 

She’s confusing, endearing, and heartbreaking because everything’s still possible. She could as easily become Holden, a dutiful daughter, or a Dazai double-suicide, and any passing experience might decide that fate. 

Thanks to its love/hate relationship with Western individualism, Japanese literature boasts the most sophisticated examples of the Nietzschean novel. This book's simple story about school bullying is really a philosophical meditation on friendship, courage, and meaning. 

The bully shares the contradictions of the stereotypical “overman,” declaring his right to immorality and feigning indifference while seeking others’ approval. His victim, in turn, mirrors “slave morality,” nursing bitterness rather than finding his own path. 

However, this predictable setup is upended by Kojima, a schoolgirl who takes defiant pride in her outcast status. Exploding the simplistic dichotomies of pop-Nietzsche, Kojima combines the inner strength of the “ascetic,” the compassion of the “slave,” and the courageous self-affirmation of the “noble” in a nuanced, critical Nietzscheanism that’s truer to Nietzsche in spirit than perhaps any other novel.

This book is a quiet, understated masterpiece about quiet, understated lives and a critical counterpoint to Soseki’s earlier I Am a Cat. That novel was a cruelly comic parody of Nietzscheanism, its arrogant feline narrator portraying his owner, a small-town schoolteacher, as embodying everything wrong with miserable, mediocre, insignificant humanity. 

This book is more ambiguous and sympathetic, portraying a similarly humble, childless couple. Initially, we feel contempt for their uneventful, indecisive, dispassionate lives. But their troubled past reveals, beneath their failings, a deep undercurrent of authentic courage and love.

They may even achieve something like Nietzsche’s “love of fate,” hinted in the title’s reference to the gate between past and future, where Zarathustra wills the “eternal recurrence” of every detail of his existence, whether joyful or painful, exciting or dreary, beautiful or ugly.