Fans pick 98 books like Summer in Williamsburg

I am convinced that my life would be better if I had read more books by Latina/Latine authors while growing up. To be able to see oneself in a story is powerful. I didn’t have that for a long time. It made me feel invisible. It made me feel like being an author was as realistic as becoming an astronaut or a performer in Cirque du Soleil. Now, as a professor of Creative Writing and author of several books (and more on the way!), I dedicated my life to writing the books I needed as a young Latina. I hope others find something meaningful in my stories, too.

“You spend your first 18 years as a sponge and the rest of your life using those early years as material.” Martin Short said this to me when I collaborated with him on his memoir, I Must Say: My Life As a Humble Comedy Legend. My own writing bears this out. My nonfiction books The United States of Arugula and Sunny Days are not first-person books, but they examine two significant cultural movements that defined my formative years: the American food revolution led by the likes of Julia Child and Alice Waters and the children’s-TV revolution defined by Sesame Street and Mister Rogers’ Neighborhood. Much of my journalism finds me chasing down the cultural figures who captured and shaped my young imagination, e.g., Sly Stone, Johnny Cash, Charles Schulz.

Since adolescence I’ve written scripts, stories, and songs. For ten years I wrote songs and sketches for NPR’s Morning Edition  as “Moe Moskowitz and the Punsters.” Among my young-adult novels, my favorite remains Alex Icicle: A Romance in Ten Torrid Chapters, a literate howl of romantic obsession by an over-educated and under-loved madman. I think my funniest comedy novel is Who’s Killing the Great Writers of America? that not only kills off some famous writers, but simultaneously parodies their style. And, of course, Stephen King ends up solving the whole crazy conspiracy. I taught writing for many years, and I’m pleased to report that my students taught me more than anything I ever taught them.

“You spend your first 18 years as a sponge and the rest of your life using those early years as material.” Martin Short said this to me when I collaborated with him on his memoir, I Must Say: My Life As a Humble Comedy Legend. My own writing bears this out. My nonfiction books The United States of Arugula and Sunny Days are not first-person books, but they examine two significant cultural movements that defined my formative years: the American food revolution led by the likes of Julia Child and Alice Waters and the children’s-TV revolution defined by Sesame Street and Mister Rogers’ Neighborhood. Much of my journalism finds me chasing down the cultural figures who captured and shaped my young imagination, e.g., Sly Stone, Johnny Cash, Charles Schulz.

As both a playwright and novelist, I tend to gravitate to complex characters with an internal struggle. Graphic Nature, my second novel, touches upon a particular character, Edmond de Capitoir, who while considering himself a well-meaning member of society, has kept himself at arm’s length from life in many ways – not the least of which is due to his commitment to his profession as an executioner in 1913 France. Much of the work I've recommended touches upon these similar protagonists who are somehow emotionally closed off and perhaps have developed a certain guilt about their actions by what they experience through the course of these stories – even a need for love.

As a practicing clinical psychologist, teacher of psychotherapy theory and technique, and author (Barbarians at the PTA, Madmen on the Couch, Money Talks) who writes about the psychopathology of daily life for various online and print publications, I am a participant in/observer of mom culture. I love a juicy mother-child story. 

I'm a contemporary romance writer with two novels: No Hard Feelings and Crushing, stories about complex, messy women making mistakes and learning from them. As I work on my third novel, I'm remembering how hard it is to write when you're in a reading rut. Sometimes every book I pick up is disappointing, and reading feels like a chore, and I risk losing momentum. Sometimes I need something familiar to get back on track and remember why I love my job. These books feel like a long exhale. I can come to them with an overloaded brain, bad moods and doubt and discontent, and turn the last page restored.

I’m an Australian writer with a passion for literary fiction, especially novels centered on complex and multi-layered power dynamics. To me, relationships between women are particularly ripe for this kind of exploration – my own friendships with other women have been influential and formative, but not always easy! My interest in these darker and more complex dynamics of close friendship eventually led me to write my own novel on the topic. I’ve also published a range of essays, reviews, criticism, and creative nonfiction. 

My life is one of two halves; I spent the first half living in the industrial West Midlands, at school and then training to become a doctor, and the second half living in rural bliss in the southwest of England. For the day job, I’m an anesthesiologist, but my true passion, thanks to my mother being an English teacher, is reading romance and writing my own. I am well-travelled and spend a quarter of each year in France, so my books often have characters from all over Europe as well as characters working in the medical profession or overcoming/ living with a variety of health conditions.

I’ve been reading ever since kindergarten, and when I entered high school and discovered YA books, I found my home. Even when I read adult books now, I tend to gravitate towards rough-around-the-edges male leads. There’s just something fun and tempting about an anti-hero, bad boy, or morally gray male lead that always delivers spice and yearning. I’m a sucker for those bad boys who are only good for the girl who has their heart. While not all of my male leads are “bad boys,” naturally, I do tend to find myself writing quite a few of them and enjoying them, especially when you can show they’re multidimensional and have a soft side.