100 books like Run, Rose, Run

This book by Celeste Ng is one of my favorite novels. It’s a beautifully told literary mystery that examines the lives of the five members of the Lee family. Ng masterfully writes from several points of view while unraveling the narrative that led to the death of the oldest Lee daughter by drowning. Was it suicide, or was she killed?

The story weaves in and out of the past, presenting each character’s aching need to belong and be accepted by those they love. There are no villains, but there are flawed parents who push their children to be reflections of their own desires and are driven to fit into a society that rejects them on the basis of either race or gender.   

I read this book years ago, but it stuck with me.

The idea that when a loved one dies they watch over us, wishing to end our pain, is a powerful one. And for a novelist it’s a rich seam to mine. And yet The Lovely Bones did it so well, that few have tried to follow where it leads.

Although it moves in a very different direction, my own book clearly owes a debt of inspiration to Alice Seebold and I couldn’t not make it first on my list.

I loved The Waltons, the closeness of the family, and how they solved typical family squabbles. As an adult, I watched every episode again with my kids, so I was thrilled when I actually met The Homecoming author Earl Hamner, Jr. (the real John-Boy Walton/Clay-Boy Spencer) in an online writers’ group way back when the internet was first invented. We became great online friends. His John-Boy character inspired the character in my book, a good-hearted teen who, despite living in modern times, traverses his small southern town on a horse, just as John-Boy rode Blue, his mule.

Christian Schwarz deftly creates a rising tension between two sisters who are torn apart by secrets. Ruth gradually pieces together memories from her childhood, bringing the story to a climax when her secrets are revealed and the consequences come to pass. This story was one I read and studied multiple times during my journey to publication.

Marissa centers on three contemporary songwriters, Kacey Musgraves; Maren Morris; and Mickey Guyton, to illuminate the experiences of country women more broadly during the twenty-first century. Facing closed doors and narrowed constraints, this trio carved channels for music business success, using new-century tools to reach audiences and ears. The industry-old guard was left to catch up.

The backdrop for their stories is the well-documented nosedive for women on country radio airwaves since 2000, but terrestrial radio matters less for this younger generation. Dolly’s own path-clearing journey inspired these artists. At one notable intersection of their stories and hers, Dolly’s surprise appearance onstage during an all-women performance at the Newport Folk Festival drew a reaction from musicians and the crowd alike. One close observer remembered it was like they had seen “f-ing Snow White.” 

Musicologist Lydia Hamessley delved into Dolly’s songwriting corpus over the course of a decade, analyzing her tremendous output of songs, according to different categories.

“Coat of Many Colors,” for example, is the most beloved from among Dolly’s autobiographical songs. Lydia breaks down the harmony, and relationships between melody and lyrics to explain why the song works so well.

Songs about women’s lives, in another section, includes deeply affecting vignettes like “Down from Dover,” about a pregnant young woman’s despair after being abandoned by her lover and rejected by family.

Lydia’s book systematically unpacks the musical heart of Dolly’s creative genius, a quality that can at times be overshadowed in writings about her by the outsized nature of Dolly’s public persona.

This book positions Dolly as an icon for women’s struggles for equality and autonomy, through the lens of working-class women Sarah knew growing up. 

In songs like “Just Because I’m a Woman,” Dolly lays out issues of gender-based double standards just as clearly as any feminist analysis published in an academic journal, arguably, more clearly. Songs like “Eagle When She Flies” convey, in Sarah’s words, the “simultaneous vulnerability and deep power of women.” The first example was banned in its time on US radio, while many country radio DJs refused to play the latter during the early 1990s.

Sarah connects the dots and argues that Dolly’s feminism is embodied in her creative output and her actions, decade after decade. Dolly’s 2018 song “A Woman’s Right” makes a good follow-up.

This book is a classic. Along with the Smithsonian Collection of Classic Country recordings and Bill Malone’s Country Music, U.S.A., my own interest in writing about country music began here. 

When a senior scholar advised that country music lacked “respectability” as an academic topic, this book was among the small set of works that sealed my confidence to do what I wanted and figure it would all work itself out (Dolly does what she wants, too!).

In compiling biographical profiles of women in country music, this book also filled in a whole portion of history typically glossed over in most country music writing up until that point. It likewise planted seeds for future research and writing on the history of women in the genre, which continues to bear fruit today.

So. Much. Drama. When a couple of dead bodies turn up, no one can be trusted, and everyone’s a suspect since there are more than enough motives to go around.

I found this wildly entertaining and engrossing, not knowing who was “good” and “bad.” Discovering that as the pages went on made the journey so much fun, with surprises around every corner.

Not just anyone can grow up dirt poor, build a successful consulting business in Miami, survive being stalked, and keep the world in the dark about their crippling anxiety.

Brett Fontaine does it without letting a lock of hair get out of place – true bombshell style. A relationship with her new client, the media-clueless cinnamon roll chef Will Te’o, is completely ill-advised. So of course, that’s exactly what happens.

I adored this book because it so easy to identify with Brett. We all want to be together on the outside and respected in our fields. But there’s still the fear that we’re whatever weaknesses we may have had in the past.

Will helps Brett see the badass inside of her. Walden-West does the same for her readers.