Here are 100 books that Riders in the Chariot fans have personally recommended if you like
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I grew up in a culture that both fears and embraces spirits or outrightly rejects the idea that spirits live on beyond death. I grew up on stories of rolling calves and duppies that caused havoc among the living. Since then, I’ve been fascinated by what haunts us—whether it be our familial spirits that float among the living and continue to play a role in our lives, our memories, or our past actions. I’ve written three books that play with this idea of past actions lingering long into the characters’ lives and returning in unexpected ways.
This book is a longtime favorite of mine. Toni Morrison was a master at blending the personal story and the political, and in this book, she blends the true story of a mother who kills her child to prevent slave catchers from returning the baby to life as a slave.
Morrison’s fictional Sethe is haunted by the ghost of the baby she killed and the memories of her difficult life as a slave. This is one of the novels I return to time after time, both for the beauty of the writing and the portrayal of a mother’s love, guilt, and the lingering impact of slavery.
'Toni Morrison was a giant of her times and ours... Beloved is a heart-breaking testimony to the ongoing ravages of slavery, and should be read by all' Margaret Atwood, New York Times
Discover this beautiful gift edition of Toni Morrison's prize-winning contemporary classic Beloved
It is the mid-1800s and as slavery looks to be coming to an end, Sethe is haunted by the violent trauma it wrought on her former enslaved life at Sweet Home, Kentucky. Her dead baby daughter, whose tombstone bears the single word, Beloved, returns as a spectre to punish her mother, but also to elicit her…
After graduating with a BA in English, I moved to England to pursue a master’s in Literature and Visual Culture. My focus was on women artists working in London during the Blitz and I wrote my dissertation on Lee Miller, who went on to photograph (and doggedly publish) the liberation of German concentration camps. Later I worked in arts administration and marketing, and didn’t start writing my debut noveluntil I was thirty-five. My work is inspired by my favorite authors from the 1940s:Elizabeth Bowen, Patrick Hamilton, and Penelope Fitzgerald.I’m also drawn to historical fiction about ordinary people in difficult social conditions, especially when there’s a love story involved.
I used to moderate a book club for museum members at what is now the Institute of Contemporary Art, Los Angeles. Love Medicine was chosen by one of our exhibition artists. This astonishing debut is a masterwork about family, poverty, and passion.
The book is set where my grandparents came from, Minnesota and the Dakotas, and illustrates how settlers from Europe (my ancestors) continued to disrupt and destroy Native lives well into the 20th century. Ojibwe spiritual beliefs and Catholicism tangle as tightly as the characters that embody them. Spanning from 1934 to 1985, this novel should not be missed by anyone interested in Native American history.
“The beauty of Love Medicine saves us from being completely devastated by its power.” — Toni Morrison
Set on a North Dakota Ojibwe reservation, Love Medicine—the first novel from master storyteller and National Book Award-winning author Louise Erdrich—is an epic story about the intertwined fates of two families: the Kashpaws and the Lamartines.
With astonishing virtuosity, each chapter of this stunning novel draws on a range of voices to limn its tales. Black humor mingles with magic, injustice bleeds into betrayal, and through it all, bonds of love and family marry the elements into a tightly woven whole that pulses…
Nothing about the art of writing is more interesting to me—as both reader and writer—than the power of language to open, or to enhance, or to teach, our perceptions about life and about living in the richest emotional and thoughtful ways possible. My own Sweetbitter is my major effort at imagining in language or with language as a kind of perception. Our intuitions are immensely valuable, when we can catch hold of them; for the writer, the process of imagining and articulating is a kind of method of deepening our perceptiveness and our intuitions. My books of poems, also, are a necessary—for me—practice of the art of writing.
William Goyen’s The House of Breath—a relatively short, lyric, novel—is a unique creation.
Set in the early 20th century in small-town Texas, it portrays a family of misfits and an almost supernatural world in which a deep well and a river narrate two of the chapters, while other chapters are told in a different voice.
In the family, each of its four wayward grown children is a remarkably distinct character. They differ in their sexuality, and one of the main dramas they have in common is their feeling of wanting to leave the small town in which they were born and go out into the larger, while at the same time longing, in the larger world, for the small town again, and the original house of the family.
The narrative is told in different voices. The house, too, seems a character. I learned from this book (and from Goyen’s…
Readers can now rediscover one of William Goyen's most important works in this restoration of the original text. The House of Breath eschews traditional conventions of plot and character presentation. The book is written as an ethereal address to the people and places the narrator remembers from his childhood in a small Texas town. More than a story, it is a meditation on the nature of identity, origins, and memory.
Nothing about the art of writing is more interesting to me—as both reader and writer—than the power of language to open, or to enhance, or to teach, our perceptions about life and about living in the richest emotional and thoughtful ways possible. My own Sweetbitter is my major effort at imagining in language or with language as a kind of perception. Our intuitions are immensely valuable, when we can catch hold of them; for the writer, the process of imagining and articulating is a kind of method of deepening our perceptiveness and our intuitions. My books of poems, also, are a necessary—for me—practice of the art of writing.
I *adore* Katherine Mansfield’s work. She wrote short stories, not novels.
She was still rather young when she died of tuberculosis. Her portrayals of love, family, and especially of children, are for me gloriously wonderful with insight and perceptiveness about relationships. From the New Zealand settings of many of her stories (where she was born and grew up), she emigrated to London, then to France (where she received medical treatment for TB), and Switzerland (also for treatment for TB—unsuccessful).
She seems to me a lonely genius—perceiving deeply not only other persons (of many sorts) on whom she modeled her short stories but also herself. Her seemingly idyllic childhood in NZ is perhaps the core source of her accomplishment—especially the novellas At the Bay and Prelude. But her adult life was difficult and she seems to have been uncertain about her writing, even though to me she seems a genius…
With an Introduction and Notes by Professor Stephen Arkin, San Francisco State University.
Katherine Mansfield is widely regarded as a writer who helped create the modern short story. Born in Wellington, New Zealand in 1888, she came to London in 1903 to attend Queen's College and returned permanently in 1908. her first book of stories, In a German Pension, appeared in 1911, and she went on to write and publish an extraordinary body of work. This edition of The Collected Stories brings together all of the stories that Mansfield had written up until her death in January of 1923.
I’m an author from New Zealand, and I’ve always been drawn to the personal stories from WWII. I am interested in the moral and ethical decisions made by ordinary people in those extraordinary times. I often wonder if I would have made the right choices in the same situation. I gravitate towards reading books about the Second World War, especially books that include previously unknown information, view the war from a different angle, or offer a new insight. I’ve been fortunate to travel the world with my career, and my novel, The Paris of the East was inspired after visiting Poland on an author tour. I’ve also written other novels, non-fiction books, and children’s books.
I am recommending this memoir for its beauty and kindness, which is even more extraordinary when considering this is Eddie Jaku’s story of being a Holocaust survivor. He tells the reader that "life can be beautiful if you make it beautiful. It’s up to you." These are powerful words from a man whose life was changed forever when he was beaten, arrested, and taken to a concentration camp. For the next seven years, he witnessed the worst of mankind, the horrors of the death camps, first in Buchenwald and then in Auschwitz, and then the infamous Nazi death march. He lost many friends and family. But Eddie survived with his spirit intact, determined to live his best possible life and be happy. A truly surprising and inspirational book.
'Eddie looked evil in the eye and met it with joy and kindness . . . [his] philosophy is life-affirming' - Daily Express
Holocaust survivor Eddie Jaku made a vow to smile every day and now believes he is the 'happiest man on earth'. In his inspirational memoir, he pays tribute to those who were lost by telling his story and sharing his wisdom.
Life can be beautiful if you make it beautiful. It is up to you.
Eddie Jaku always considered himself a German first, a Jew second. He was proud of his country. But all of that changed…
Reseda, California plays an important part in my novels. I grew up there in a middle-class Jewish family, and we experienced the turmoil of the 1960s and 1970s. My parents got divorced, and my brother and I were raised by our working mom until she became paralyzed by a stroke. I found refuge in writing. I wrote The Remainders in 2016 during a tumultuous time when issues of family conflict, homelessness, and the growing cruelty of society came into focus. Still, I believe decency and compassion will prevail. The books I write and enjoy reading seek to find light in the darkest of circumstances.
I read this powerful graphic novel series when the first collections came out in the 1980s.
It shows the horrors of the Holocaust and the impact it has on the families of the survivors. Maus is best known for depicting Jews as mice and Nazis as cats, but Art’s troubled relationship with his father Vladik and the death of his mother Anja by suicide frame the story.
Maus is my favorite graphic novel series and a must-read for understanding the Holocaust and how it shaped Jewish life since.
The bestselling first installment of the graphic novel acclaimed as “the most affecting and successful narrative ever done about the Holocaust” (Wall Street Journal) and “the first masterpiece in comic book history” (The New Yorker) • PULITZER PRIZE WINNER • One of Variety’s “Banned and Challenged Books Everyone Should Read”
A brutally moving work of art—widely hailed as the greatest graphic novel ever written—Maus recounts the chilling experiences of the author’s father during the Holocaust, with Jews drawn as wide-eyed mice and Nazis as menacing cats.
Maus is a haunting tale within a tale, weaving the author’s account of his…
My father never talked about his experiences during the war. After he died at 67, we found his handwritten itinerary of three years and ten days in the Army Signal Corps. Plotting it on a map sparked a passion that continued for years, taking me twice to sites in Europe and through hundreds of records and books. I am amazed at all he never told us—the Queen Mary troopship, his radar unit’s landing on Omaha Beach (D+26), the Normandy Breakout, Paris after liberation, fleeing Bastogne, and so on. I grew up on WWII films but never grasped till now what my dad may have seen.
To learn about the Holocaust, I read personal remembrances, eyewitness accounts, and detailed descriptions of ghettos, camps, and transports, but this graphic novel based on Spiegelman’s father captured me like none of the others. Its words tell its terrible story masterfully and its drawings fill in what words can’t say, both as his father lived it and as his son learns about it. Banning it from U.S. schools would be completely wrongheaded. It should be required reading.
The first and only graphic novel to win the Pulitzer Prize, MAUS is a brutally moving work of art about a Holocaust survivor -- and the son who survives him
'The first masterpiece in comic book history' The New Yorker
Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist coming to terms with his father's story. Approaching the unspeakable through the diminutive (the Nazis are cats, the Jews mice), Vladek's harrowing story of survival is woven into the author's account of his tortured relationship with his aging father.
I've written books about Jewish subjects before. A few years ago I published a biography about a Jewish Dutch actress named Jetta Goudal who invented a new life story for herself and became a Hollywoodstar. Before that I wrote a book about my Jewish great-grandfather Emanuel Brouwer who traveled to London in 1908 to compete in the Olympics. He traveled to the UK by boat with his best friend Isidore Goudeket, who was murdered in a German deathcamp. My great-grandfather did not win a medal in Londen (63rd place!), but he had a lot of fun in London, with loads of beer, whisky, and cigars. In 1943 he was sent to a camp as well.
The son of the protagonist wrote this book. His father Harry Haft was born in Poland under a different name, fought against the Nazis, got deported, and became a boxer in a subcamp of Auschwitz.
He won almost all of his fights, his nickname became The Beast of Auschwitz. Harry Haft survived the war because of his boxing skills, emigrated to the US, and made a name for himself as a professional boxer. Incredible story about determination, luck, and surviving.
Alan Scott Haft provides the first-hand testimony of his father, Harry Haft, a holocaust victim with a singular story of endurance, desperation, and unrequited love. Harry Haft was a sixteen-year-old Polish Jew when he entered a concentration camp in 1944. Forced to fight other Jews in bare-knuckle bouts for the perverse entertainment of SS officers, Harry quickly learned that his own survival depended on his ability to fight and win. Haft details the inhumanity of the "sport" in which he must perform in brutal contests for the officers. Ultimately escaping the camp, Haft's experience left him an embittered and pugnacious…
I was an angry girl, railing against the difference between the expectations and restrictions on me and my younger brother. I was also the child of survivors and victims of the Armenian genocide, and I grew up in 1950 when my immigrant family didn’t fit the representations of “Americans” as they were then depicted. And I was white. I wanted to change myself, the world and learn why there was so much injustice in the U.S. I went back to school at UMass, got connected to faculty in the Afro-American Studies Department, and joined the group that was creating the Women’s Studies Program. I am still learning and trying to change the world.
This book is hard to read, but its rewards are great.
I was literally shaking when reading it because it described my life as a child of survivors and victims of the Armenian genocide in a way that I had not experienced before, illuminating new aspects of the genocide story I have been excavating for most of my adult life.
Focusing on mass murder, colonialism, South African Apartheid, and U.S. slavery and white supremacy, Schwab addresses the trauma of the generation experiencing these atrocities as well as the way it is passed through to their progeny.
She also explores the damage done to the perpetrators of violence into her analysis, weaving her own experience as a German growing up in the wake of WW II and the holocaust and as a white person living in the U.S. Schwab also goes beyond exploring trauma to address the necessity of perpetrators’ taking…
From mass murder to genocide, slavery to colonial suppression, acts of atrocity have lives that extend far beyond the horrific moment. They engender trauma that echoes for generations, in the experiences of those on both sides of the act. Gabriele Schwab reads these legacies in a number of narratives, primarily through the writing of postwar Germans and the descendents of Holocaust survivors. She connects their work to earlier histories of slavery and colonialism and to more recent events, such as South African Apartheid, the practice of torture after 9/11, and the "disappearances" that occurred during South American dictatorships. Schwab's texts…
Having edited 5 newspapers in North London a few years ago, I found that my love of reading–especially historical novels–expanded to writing once my business was sold to a well-known newspaper publishing company. All history fascinates me, as is obvious from my recommendations, and even though these could be listed as fiction, they all have a great deal of fact within them. I delved into historical reading as a very young girl and progressed from the Georgette Heyer novels to my current more in-depth novelists, so my range has been quite vast and varied over the years. I truly wish I had more time to read.
This book haunted me long after I had finished it.
It is based on a true story and takes us back to the horrendous days of Auschwitz, where Sophie had to make the choice of saving just one of her two children and she chose her son, Jan, sending her daughter Eva to the gas chamber. A choice no mother should have to make, and after making such a choice, sadly, she never saw her son again.
We must fast forward to 1947, and Sophie is a Polish immigrant in New York, where she lives in a boarding house with Nathan and Stingo. Her second choice, I will leave you to read, but there is so much more to this story by William Styron, and if you want to be depressed as well as impressed, this is definitely the book for you.
In this extraordinary novel, Stingo, an inexperienced twenty-two year old Southerner, takes us back to the summer of 1947 and a boarding house in a leafy Brooklyn suburb. There he meets Nathan, a fiery Jewish intellectual; and Sophie, a beautiful and fragile Polish Catholic. Stingo is drawn into the heart of their passionate and destructive relationship as witness, confidant and supplicant. Ultimately, he arrives at the dark core of Sophie's past: her memories of pre-war Poland, the concentration camp and - the essence of her terrible secret - her choice.
