Fans pick 100 books like She Come by It Natural

Is there anything Dolly can’t do?

In 2022 she teamed with best-selling thriller author James Patterson on a novel about an aspiring country musician with a troubled past. AnnieLee hitchhikes her way to Nashville, but just as her musical career starts to gain traction, the demons from her past start to catch up.

Knowing Dolly co-wrote the story makes it hard to avoid reading her voice into the experiences of the youthful main character, but also into the voice of the older country music legend Ruthanna, who takes the struggling newcomer under her wing.

This book reminds you that Dolly, at her core, is a skillful storyteller.

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 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.

I chose this book for two reasons. First, Cowie masterfully documents the hugely significant political and social shift that took place in the 1970s, as America transitioned from the liberalism of the New Deal era to the conservatism of the Reagan revolution. And second, he assumes that culture is just as important as economics in the constructions of and understandings of social class.  Cowie engages the reader in a fascinating look at popular culture to reveal the ways in which a coherent white, working-class male identity fell apart, a process that contributed to the overall decline in organized labor’s power in this crucial decade.  As a bonus, the book is beautifully written. 

Weaving in her own ancestral history, Kelley knits an extraordinary journey of the Black working class from slavery to our contemporary world—from Georgia to Philadelphia, Florida to Chicago, Texas to Oakland, we engage generations of mostly unheralded workers whose radical genius shaped our labor history and forged nourishing and joyful lives out-of-view of most white accounts of the working class.

Kelley’s prose celebrates and brings to the surface the hidden lives that improved our contemporary world. 

The 27 interviews in The Corpse Walker are selected from the 60 interviews in Liao Yiwu’s book, originally titled Interviews with People from the Bottom Rung of Society in Chinese. Liao gives voices to social outcasts: a human trafficker, corpse walkers, a leper, a peasant emperor, an abbot, a mortician, a Tiananmen father, artists and shamans, crooks, even cannibals. Ironically, every one of them speaks more honestly than Chinese official media, which causes the book to be banned in mainland China. These are the stories of unsung heroes and epic tragedies, but to me, most importantly, the work that people performed, the families they raised, many lost to famines, political purges, and massacres, and the persecutors they forgave, the conscience they wrestled with, their past, present, and future—these are the remarkable stories of ordinary Chinese people from 1949 to present in their raw, unvarnished form.

While a lot of attention has been paid to the industrial decline in cities, the loss of jobs in industries such as mining has caused distress in rural areas. Recently, we have seen rises in drug abuse, overdose deaths, and suicides in rural America. Jennifer Silva did fieldwork in a rural Pennsylvania area that has experienced these shocks to its system, and she shows us the difficulties its residents are having.

For a wide range of scholarly — yet highly readable — essays on the onetime French stronghold, Aspects of Louisbourg offers a great starting point. It’s an eclectic collection of fifteen essays by ten different authors. The focus in each paper varies, with some writers examining economic or social themes, and others looking at military history. From the rugged life of 18th-century fishers to gardens and material culture, to the complexities of the garrison or recent commemorative activities, the essays paint a comprehensive picture of both French colonial Louisbourg and what in the 20th century became the Fortress of Louisbourg National Historic Site of Canada.

A key aspect of the “India story,” as described on the macro level by Kaur, is entrepreneurship and the ethos of jugaad (innovating by making do). The idea of India as the new Silicon Valley has captured the global imagination, while the creative use of technology promises to solve longstanding social and economic problems within the country. Lilly Irani’s study questions the dominant framework of “entrepreneurial citizenship” among the new middle classes and the centrality of design practice to India’s current development model. This is another stellar example of interdisciplinary scholarship, based on ethnographic fieldwork at a Delhi design studio and drawing on the author’s background in computer science.