62 books like Sacred Smokes

I grew up on a family farm surrounded by larger vegetable and dairy operations that used migrant labor. From an early age, my siblings and I were acquainted with the children of these workers, children whom we shared a school desk with one day and were gone the next. On summer vacations, our parents hauled us around in a station wagon with a popup camper, which they parked in out-of-the-way hayfields and on mountainous plateaus, shunning, much to our chagrin, normal campgrounds, and swimming pools. Thus, I grew up exposed to different cultures and environments. My writing reflects my parents’ curiosity, love of books and travel, and devotion to the natural world. 

I came to Indigenous history through the experience as a settler growing up at the edge of a reservation. I also love cities as “texts,” and the ways in which urban places never fully erase what came before. These two interests led me to urban Indigenous studies. Urban and Indigenous histories are often treated as though they are mutually exclusive, when in fact they are deeply entangled with each other: for example, the majority of Indigenous people in the United States live in urban areas. These works capture the rich history of migration, political organizing, and cultural production that has taken place in Indigenous cities.

I came to Indigenous history through the experience as a settler growing up at the edge of a reservation. I also love cities as “texts,” and the ways in which urban places never fully erase what came before. These two interests led me to urban Indigenous studies. Urban and Indigenous histories are often treated as though they are mutually exclusive, when in fact they are deeply entangled with each other: for example, the majority of Indigenous people in the United States live in urban areas. These works capture the rich history of migration, political organizing, and cultural production that has taken place in Indigenous cities.

I came to Indigenous history through the experience as a settler growing up at the edge of a reservation. I also love cities as “texts,” and the ways in which urban places never fully erase what came before. These two interests led me to urban Indigenous studies. Urban and Indigenous histories are often treated as though they are mutually exclusive, when in fact they are deeply entangled with each other: for example, the majority of Indigenous people in the United States live in urban areas. These works capture the rich history of migration, political organizing, and cultural production that has taken place in Indigenous cities.

I am an anthropologist and studied homelessness in Paris and London for the last decade. I was drawn into the world of people on the streets when I moved to London and started observing their parallel world. I spent almost a year with people on the street in London and two years in Paris. I volunteered in day centers, safe injection facilities, and soup kitchens and slept in a homeless shelter. Since I finished my first book on my observations in Paris, I have advised both policymakers on homelessness and written countless journalistic articles. My goal is always to provide a clearer picture of homelessness through the eyes of the people themselves. 

I read at least 100 books each year, mostly novels, and before I became a published author in 2019, used to send a list of my favorite 30 to hundreds of friends, friends of friends, and family. I began hosting New Books in Literature, a podcast channel on the New Books Network, in 2018, and have interviewed over 180 authors so far. It was tough to choose just 5 top books, but in looking over all those interviews, I remembered how much I loved reading these books, all set in the United States long before the 21st century.

I’ve always been fascinated by the role of women in war: men may be on the front lines, but women deal with its impact and often struggle to have equal standing. I was inspired by stories told by my mother who was a nurse in World War II and participated in surgery under gunfire and helped liberate a POW camp in Germany. Yet, no one wanted to hear from her because she was “just a nurse.” Fast forward to Vietnam where women were still being marginalized. I wrote The Fourteenth of September to even the playing field by telling a story that was largely based upon my own experience in college during l969-1970.

I was born in Chicago and grew up in the suburbs. After a career at the University of Illinois, 150 miles downstate, I moved back to my hometown to recapture the urban vibe that I love. A historian, I love the stories that architecture tells me and wandering the streets of the city never stales. Having romance in my life is important and writing about how relationships can develop in the city is part of that. Everywhere I go in Chicago, I think of how my characters might interact with each other and the setting. Romance can be found in grand restaurants and in odd corners and Chicago has it all.

Namrata Poddar is an Indian American writer of fiction and nonfiction, literature and writing faculty at UCLA, and Interviews Editor for Kweli where she curates the series, “Race, Power and Storytelling.” Her work has explored ways in which writers from across the world decolonize Literature. Her debut novel, Border Less, was a finalist for Feminist Press’s Louise Meriwether Prize, longlisted for The Center for Fiction First Novel Prize, and featured in several media outlets including the “Most Anticipated” 2022 books for The Millions and Ms. Magazine. She holds a PhD in French literature from the University of Pennsylvania, an MFA in Fiction from Bennington College, and a Mellon Postdoctoral Fellowship in Transnational Cultures from UCLA. 

Ever since I was a little girl, I’ve loved history, devoured mystery fiction, and scribbled my own stories. Today I combine all those passions by writing books in classic mystery-suspense style, but set in the place and the period of history that fascinates me the most: the American West. I firmly believe that the Old West should be treated not merely as a myth or a set of tropes, but a historical period in its own right, and so I love to use it as the setting for character-driven stories drawing on my favorite elements of the mystery genre.