Here are 65 books that Silverlock fans have personally recommended if you like
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Growing up in Indiana and Illinois meant that Chicago has always been, for me, the city—the place where people went to make a name for themselves and took the world by storm. From my local Carnegie Library, I read voraciously across genres—history, science, literature. They transported me out of my small town—across the universe sometimes. I learned that setting in fiction was for me a major feature of my enjoyment, and Chicago was where I set my own mystery series. These books, when I read them, explored that grand metropolis—and brought Chicago to life on and off the page. I hope you enjoy these books as much as I have.
When I first encountered Harry Dresden, a professional wizard solving a double homicide in Chicago, I was instantly hooked by its noir, fantasy, and traditional mystery with dollops of humor. This novel—the first in The Dresden File series—kept me engaged the entire time with a fast-moving plot and interesting characters.
I could see in my mind’s eye Chicago’s skyscrapers and their reflection in Lake Michigan as Harry dug deeper into the crimes and the supernatural world. This was my first urban fantasy read, and Butcher’s ability to blend a private investigator story with the supernatural ensured it was not my last.
In the first novel in the #1 New York Times bestselling Dresden Files series, Harry Dresden’s investigation of a grisly double murder pulls him into the darkest depths of magical Chicago…
As a professional wizard, Harry Dresden knows firsthand that the “everyday” world is actually full of strange and magical things—and most of them don’t play well with humans. And those that do enjoy playing with humans far too much. He also knows he’s the best at what he does. Technically, he’s the only at what he does. But even though Harry is the only game in town, business—to put…
Fascination by the night sky as a young child led to an ambition to become an astronomer. This ambition took me to an honors degree in physics from the University of Sydney in Australia and later to a PhD in astronomy. Afterward, I joined Sydney Observatory, initially as one of four astronomers, and later, after the Observatory became part of a large museum, as Curator of Astronomy. During my 30 years working full-time at Sydney Observatory, I became intrigued by the history of astronomy. A manifestation of that interest was the 2011 book Transit of Venus: 1631 to the Present and, more recently, my book, listed below.
This satirical novel, with a total eclipse of the Sun at its heart, was one of the most loved books of my childhood. It tells the story of Hank Morgan, the foreman of an American factory in the late 1800s, who receives a blow on the head from one of the employees. He wakes up in Camelot at the time of King Arthur. As he does not fit in, he is brought before the king and sentenced to be burned at the stake.
Fortunately, just as the execution is about to begin, a total solar eclipse occurs, and Morgan persuades the king and the assembled crowd that he is responsible. This leads not only to his release but also to his appointment as the second most powerful person in the kingdom.
In this classic satiric novel, published in 1889, Hank Morgan, a supervisor in a Connecticut gun factory, falls unconscious after being whacked on the head. When he wakes up he finds himself in Britain in 528 — where he is immediately captured, hauled back to Camelot to be exhibited before the knights of King Arthur's Round Table, and sentenced to death. Things are not looking good. But Hank is a quick-witted and enterprising fellow, and in the process of saving his life he turns himself into a celebrity of the highest magnitude. His Yankee ingenuity and knowledge of the world…
Philosophical novels challenge rather than appease. They subvert. They obscure. As a former acquisitions editor at major publishing houses, I am confounded by the scarcity of chances taken on books that don’t fit the status quo or, are "difficult." I am most interested in how books—even when they meander and cavort—lead to surprising and unsettling revelations. Or how they don’t lead to revelations at all but keep the reader guessing as to when some semblance of grace will be achieved. I don’t wish to sound pessimistic; if anything, I wish to be realistic. Philosophical novels are reflections of life, which is often confusing, contradictory, and, yes, difficult. With a touch of grace for good measure.
This one needs no plot description. If you don’t know what The Wizard of Oz is about, then I don’t know what to tell you. Watch the movie, or better yet, read the book. It’s considered a children’s classic, but like the best kid-lit, there is so much sinisterism and cynicism hiding behind the curtain (no pun intended).
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'"Come along, Toto," she said. "We will go to the Emerald City and ask the Great Oz how to get back to Kansas again."'
Swept away from her home in Kansas by a tornado, Dorothy and her dog Toto find themselves stranded in the fantastical Land of Oz. As instructed by the Good Witch of the North and the Munchkins, Dorothy sets off on the yellow brick road to try and find her way to the Emerald City and the Wizard of Oz, who can help her get home.…
I have had a love of sci-fi and fantasy since I was twelve, and I have been an avid reader since then. I have always had an obsession with all things space and the mysteries that reside out there, and it was my dream to create a story that intermixed that with the fantasy worlds I grew up adoring. Since I released my debut book, I have broken into the indie social scene across multiple platforms. I am part of a sixteen-person author group where we share our passion and ideas for one another’s writing, and I have been on numerous BookTube channels and podcasts discussing the craft.
I recommend this book because, like many kids, it was one of my first introductions to the world of fiction. And given its popularity, it is a story I have always thought back on when thinking about my own writing. What elements of it are a reason for its popularity that I could establish in my own work?
The big one I took away was how the story is intermixed with our reality. I think contemporary urban fantasies, or those in the magical realism realm, I think a big part of the appeal is that readers find it believable and more relatable because it is set in our “reality." Of course, to reach such a status as Harry Potter, it needs to be a great story, but that was an element I tried to mimic, albeit in a space opera sense. This is the first book in the series…
Galloping gargoyles ... 2022 is the silver anniversary of J.K. Rowling's magical classic Harry Potter and the Philosopher's Stone!
The boy wizard Harry Potter has been casting a spell over young readers and their families ever since 1997. Now the first book in this unmissable series celebrates 25 years in print! The paperback edition of the tale that introduced us to Harry, Ron and Hermione has been updated and dressed in silver to mark the occasion. It's time to take the magical journey of a lifetime ...
Harry Potter has never even heard of Hogwarts when the letters start dropping…
One of my favorite sections in the library is the collections of folk and fairy tales. Especially the lesser-known tales. My novel, Vasilisa, is inspired by the Russian folktale Vasilisaand Staver, plus my question of “how did Vasilisa get so strong?” I love combining folk tales with extensive research of the culture and history of their settings, as well as delving into characters who have vastly different experiences than mine. And I love reading character and detail-rich novelizations of traditional tales. It was difficult to pick only five novels based on lesser-known fairy tales. Enjoy, then go find some others!
I literally guffawed as I read this—enough times that my kids begged me to read it to them (which I did). This retelling of Beowulf played with expectations, twisting and turning in unexpected ways. The characters were fully fleshed out, with plenty of faults and quirks. No one was who I thought they were. Intrigue, magic, and stubborn independence mixed to make this delightful tale.
Plagued by misfortune, Ingrid Norling treks into the woods to clear her head. She emerges a monster-slayer, the shaken executioner of a creature so ferocious that even the king's strongest warriors could not destroy it. In a land that reveres swords and worships strength, this accidental heroism earns Inge an audience at court and an ill-fated prize: King Halvard impulsively adopts her and names her as his heir.
Under constant guard to prevent her escape, Inge confronts the ignoble underbelly of the royal court: a despotic king, a clueless princess, a proud warrior, and a dangerous intrigue. As secrets unravel…
I saw my first Godzilla movie when I was seven years old, and I immediately fell in love: what kid doesn’t want to be a giant radioactive monster with attitude? But unlike baseball cards, I never outgrew Godzilla and, over the decades, came to appreciate the cultural significance of one of the world’s most enduring film icons. In my writing on Godzilla, I explore my own fascination with monsters and contemplate why all societies, from the dawn of time to today, have compulsively created imaginary creatures that terrify them. The books on this list have helped me understand the human obsession with monsters, and I hope you will find them equally enlightening and enjoyable.
I am generally not a big fan of hardcore academic theory, but this collection of essays edited by Jeffrey Jerome Cohen gave me a steady stream of "aha!" moments when I first read it about twenty years ago.
I struggled a bit with some of the jargon here, not to mention the fact that it only deals with monsters in the Western tradition, but I know of no better book for helping readers understand why humans create (and need) monsters, what roles monsters play in affirming (and undermining) social norms, and what the study of monsters can reveal about the anxieties and fault-lines in the cultures that spawn them. “Monsters are our children,” Cohen writes at one point: that still blows my mind after two decades of chewing on it.
Monsters provide a key to understanding the culture that spawned them. So argues the essays in this wide-ranging collection that asks the question, what happens when critical theorists take the study of monsters seriously as a means of examining our culture? In viewing the monstrous body as metaphor for the cultural body, the contributors consider beasts, demons, freaks, and fiends as symbolic expressions of very real fears and desires, signs of cultural unease that pervade society and shape its collective behaviour. Through a sampling of monsters as a conceptual category, these essays argue that our fascination for the monstrous testifies…
Growing up, I rewatched Star Wars until I wore out my VHS tape. I read every Dragonlancenovel. I played a bit of D&D. When I got to college, I finally was allowed work on things that interested me. I found Art History, dove into Medieval Studies, and, in grad school, got serious about monsters. Monster Studies didn’t exist, but books were out (especially by Jeffrey Jerome Cohen), and my advisor encouraged me to follow my passions. My 15-year-old self would be astonished to learn that I’d get to read monster books, study monster art, and watch monster movies as a job!
This is the most important book people have never heard of. It was immensely popular in the Middle Ages – 300 manuscripts survive in nine languages (Beowulf, another monster tale, survives in onecopy). The probably-fictional “John Mandeville, knight, though I am not worthy” sets out from England in 1332, travels the known world on pilgrimage to Jerusalem, and continues all the way to India. He encounters wondrous places, people, and beasts. The book is fundamentally flawed, with rampant racism, anti-Semitism, Islamophobia, sexism, and on, butthis is why it matters. Mandeville was Columbus’s reading on his voyage to “the Indies,” and encouraged him to see indigenous populations as monstrous. It is terrible, and terribly important. Bale’s excellent introduction and translation are the best of many versions.
'Another island in the Great Ocean has many sinful and malevolent women, who have precious gems in their eyes.'
In his Book of Marvels and Travels, Sir John Mandeville describes a journey from Europe to Jerusalem and on into Asia, and the many wonderful and monstrous peoples and practices in the East. He tells us about the Sultan in Cairo, the Great Khan in China, and the mythical Christian prince Prester John. There are giants and pygmies, cannibals and Amazons, headless humans and people with a single foot so huge it can shield them from the sun . Forceful and…
Today, I teach fantasy at the University of Maryland, but I’ve been hooked on Tolkien from a young age. As a kid, I was wary that serious study of Tolkien might “destroy the magic,” but decades spent in strange corners of Tolkien’s invented universe have only deepened my appreciation for the inexhaustible depth of his sub-creation—it’s simply steeped in a profound sense of untold stories. I hope you enjoy digging in as much as I have.
I loved this book because it illuminated Tolkien’s lifelong fascination with Beowulf, probably his greatest influence. The translation is good, but the commentary is better, and the inclusion of two short works, Sellic Spell and the Lay of Beowulf, showed me Tolkien’s delight in “re-tellings.”
His creative genius was seldom far removed from his scholarly work.
The translation of Beowulf by J.R.R. Tolkien was an early work, very distinctive in its mode, completed in 1926: he returned to it later to make hasty corrections, but seems never to have considered its publication.
This edition is twofold, for there exists an illuminating commentary on the text of the poem by the translator himself, in the written form of a series of lectures given at Oxford in the 1930s; and from these lectures a substantial selection has been made, to form also a commentary on the translation in this book.
To experience another's thoughts and emotions, one first has to feel them. Eyes, lips, tongue, and teeth are involved before the brain/heart can engage. Translation of poetry is the same. My mother has sung Chinese poetry to me since forever, and English poetry came alive for me through verse speaking. I studied and taught as I wrote for many years. I cannot say I find my way into every poem I come across, but the poems I translate are ones I know and love. That is why I am passionate about translation. For me, it is not a secondary experience but a primary, primal performance art!
That I would love a poem written/translated by Seamus Heaney did not come as a surprise to me, but that it is Beowulf, a poem/story steeped in the Germanic warrior culture and soaked in blood that enthralled me, did surprise me.
I do not remember the occasion that prompted my reading, but even as I opened the book to its Introduction, and read “...And now this is ‘an inheritance’ --/Upright, rudimentary, unshiftably planked/ In the long ago, yet willable forward...Again and again and again,” I could not put it down.
In fact, you might say, it is not the story but the voice of the poet and how he brought this ancient language and people back to life that compelled me to read on. Of course, the voice is that of the poet of “Digging,” as he traces his roots back to these unlikely ancestors.
Composed towards the end of the first millennium, the Anglo-Saxon poem Beowulf is one of the great Northern epics and a classic of European literature. In his new translation, Seamus Heaney has produced a work which is both true, line by line, to the original poem, and an expression, in its language and music, of something fundamental to his own creative gift.
The poem is about encountering the monstrous, defeating it, and then having to live on, physically and psychically exposed, in that exhausted aftermath. It is not hard to draw parallels between this story and the history of the…
Becoming immersed in oral cultures was a massive wake-up call for me! Taught to privilege the written over the spoken word, as most literate people are, it took me years of living in the Pacific Islands, travelling regularly to their remoter parts, to appreciate that people who could neither read nor write could retain huge amounts of information in their heads – and explain it effortlessly. We undervalue orality because we are literate, but that is an irrational prejudice. And as I have discovered from encounters with oral traditions throughout Australia and the Pacific, India, and northwest Europe, not only are oral traditions extensive but may be thousands of years old.
When I first read this book, not only was I struck by its central theme that ‘myths’ have meaning but also by the fact that it is our problem that we cannot today recognize myths for what they once were. All oral traditions evolve through time, sometimes over thousands of years and across hundreds of generations of retelling, but if their core is sufficiently memorable, then it can remain recognizable. It is up to us to unpack the stories we hear today, to learn how they changed through time, and try to see whether there is an empirical core in their hearts. This book is a must for anyone interested in learning more about the meaning of ‘myth’ rather than romanticizing it.
Why were Prometheus and Loki envisioned as chained to rocks? What was the Golden Calf? Why are mirrors believed to carry bad luck? How could anyone think that mortals like Perseus, Beowulf, and St. George actually fought dragons, since dragons don't exist? Strange though they sound, however, these "myths" did not begin as fiction. This absorbing book shows that myths originally transmitted real information about real events and observations, preserving the information sometimes for millennia within nonliterate societies. Geologists' interpretations of how a volcanic cataclysm long ago created Oregon's Crater Lake, for example, is echoed point for point in the…
