Here are 94 books that Tales of the Klondyke fans have personally recommended if you like
Tales of the Klondyke.
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I’ve always loved science fiction because it offers a hope, a dream, or a future that we just haven't seen yet. When I write my stories, I feel there is no better use of my imagination, than to contemplate a new world, a new civilization, or future technology. At the same time, I hope to entertain readers and spark young imaginations. Inside Modified, I reached into a distant future with off-world colonies that float in the clouds of Venus, while robots toil on the planet’s surface. Of course, in such a future, when advanced modifications and recursive designs are used, leads one to wonder if my robot can love too.
No one explores the idea of A.I. better than Isaac Asimov, so when robotics experts Powell and Donovan build an advanced robot called QT-1 or “Cutie” for short, “be careful what you wish for,” comes to mind. Cutie isn’t so bad, except he seems to doubt everything he’s told after he’s created, including the fact that humans built him. When Powell asks Cutie why he doesn’t believe it, Cutie claims it’s intuition. When Powell tries to explain to Cutie about the stars, planets, and space, Cutie disagrees with him and decides to “reason” out things on his own. Unfortunately, this robot is so far advanced, it has the ability to form opinions and ideas, that don’t necessarily equate to logic—a primary lesson about intelligence which is learned early on in the story.
Voyager Classics - timeless masterworks of science fiction and fantasy.
A beautiful clothbound edition of I, Robot, the classic collection of robot stories from the master of the genre.
In these stories Isaac Asimov creates the Three Laws of Robotics and ushers in the Robot Age.
Earth is ruled by master-machines but the Three Laws of Robotics have been designed to ensure humans maintain the upper hand:
1) A robot may not injure a human being or allow a human being to come to harm 2) A robot must obey orders given to it by human beings except where such…
I was brought up on a farm in the middle of nowhere. Surrounded by standing stones, crypts, and burial mounds of races turned to dust. I started sending sci-fi tales to mags like Uncanny Tales, New Worlds, Astounding Tales, Amazing Stories when I was thirteen, but none were accepted. I left the wilderness for the city, Edinburgh, the “Athens of the North” when fifteen and entered university. All I yearned to do after that was go home. I never did. A little more experience of life behind me, I was first published in Peoples Own and in the same year in New Worlds and then it worked well for me for a while.
Known best for his Waverly novels as well as Ivanhoe and Rob Roy, Sir Walter wrote many of the greatest short tales ever told. “The Highland Widow” is perhaps the greatest short tale ever. A subdued Scotsman living in a foreign London (at that time) and the foremost writer of his time he railed against our English overlords whilst pragmatically trying to maintain the status quo. (The letters of Malachi Malagrowther are a good example, marvellous reading, where he impugns the bank of England with great wit and Scalding rhetoric.)
He gave birth to many volumes of short tales, many under Pseudonyms (such as Malachi Malagrowther) as the English authorities were aware of his influence over the populace of London and his gift for romanticising the “Highland gentleman”. As a writer, he was unsurpassed in his time both in terms of sales by volume and in the quality of…
Scott's short stories have been overshadowed by his novels, yet the title story in this selection has been described as `the first modern short story in English', and R. L. Stevenson considered `The Highland Widow' to be Scott's masterpiece.
I was brought up on a farm in the middle of nowhere. Surrounded by standing stones, crypts, and burial mounds of races turned to dust. I started sending sci-fi tales to mags like Uncanny Tales, New Worlds, Astounding Tales, Amazing Stories when I was thirteen, but none were accepted. I left the wilderness for the city, Edinburgh, the “Athens of the North” when fifteen and entered university. All I yearned to do after that was go home. I never did. A little more experience of life behind me, I was first published in Peoples Own and in the same year in New Worlds and then it worked well for me for a while.
Mr. Lindqvist is a Swedish author that came to worldwide notice with his novel Let the Right One In and has written many great novels since then. He is not normally a short story author, nor does he particularly enjoy reading short tales, so this is a strange choice for me but Let the Old Dreams Die is so dreadfully different from other recent horror writers that I felt I had to include it here. To date, it is the only book of short tales that Mr. Lindqvist has written. There is a zombie tale (and how many of them have appeared over the years) but should zombies have citizenship? How should the health service care for them? Is it really their fault that they wish to eat people? Can we happily live together?
There is little that has not been covered before in Mr. Lindqvist’s tales but every story…
A classic short story collection from the writer called Sweden's Stephen King that continues the breathtaking story begun in the internationally acclaimed classic Let the Right One In
Because of the two superb films made of John Ajvide Lindqvist's vampire masterpiece Let the Right One In, millions of people around the world know the story of Oskar and Eli and of their final escape from Blackeberg at the end of the novel. Now at last, in "Let the Old Dreams Die," the title story in this absolutely stunning collection, we get a glimpse of what happened next to the pair.…
I was brought up on a farm in the middle of nowhere. Surrounded by standing stones, crypts, and burial mounds of races turned to dust. I started sending sci-fi tales to mags like Uncanny Tales, New Worlds, Astounding Tales, Amazing Stories when I was thirteen, but none were accepted. I left the wilderness for the city, Edinburgh, the “Athens of the North” when fifteen and entered university. All I yearned to do after that was go home. I never did. A little more experience of life behind me, I was first published in Peoples Own and in the same year in New Worlds and then it worked well for me for a while.
Despite the author's name on the cover, this book was written by Karen Blixen, who wrote under different names depending upon the country she wished to sell to or where she was living at the time. Probably best known as the author of Out of Africa and the wonderful film it engendered she also wrote many “Gothic” tales including those gathered in this small volume. Many imagine Wilde’s “Dorian”, Stoker’s “Dracula”, Stephenson’s “Dr. Jekyll”, or even Brecht’s “Threepenny novel” as the ultimate gothic tale but I can assure you that Baroness Blixen far outshone each of the above with her wondrous tales. Only Mary Shelley I think, can vie with her for the queen of gothic dark majesty.
The Dreaming Child surpasses even M R James' take on the story which is also wonderful. “The Sailor Boys’ tale” is also horrible and wonderful at the same time. Baroness Blixen also…
I love Jane Austen’s novels. I first read Pride and Prejudice when I was about 14, but it’s far too long ago to remember when I first read the others, and I’ve now read them all many times. I’ve also always been a singer, and I learned the piano when I was young, so I immediately noticed the music in the novels. I started writing about it seriously in the 1990s, but it wasn’t until 2007 that I realized that her music collection was still around and started making concert programs out of it. The new book brings all these things together.
Kathryn Sutherland is a professor at Oxford, but that doesn’t mean her writing is dry and dusty. I find her one of the best guides for why Jane Austen is such an enduring success. She’s written a few books about Austen.
I chose this one because it explains where Austen fits in cultural history: what books she read and how she has influenced writers, dramatists, filmmakers, and everyone else ever since. It also tells the story of how her novels came into being, physically–as manuscripts and as printed books.
Through three intertwined histories Jane Austen's Textual Lives. offers a new way of approaching and reading a very familiar author. One is a history of the transmission and transformation of Jane Austen through manuscripts, critical editions, biographies, and adaptations; a second provides a conspectus of the development of English Studies as a discipline in which the original and primary place of textual criticism is recovered; and a third reviews the role of Oxford University Press in shaping a canon of English texts in the twentieth century. Jane Austen can be discovered in all three. Since her rise to celebrity status…
Perhaps because I get bored easily, or maybe because I hear voices, I have found that my writing lends itself to exploration (different points of view, traditions, styles). I write to learn and to play. I distrust writers whose characters all sound like them, live lives like their own. It feels completely unfanciful, completely disinterested in the long literary tradition of make-believe. Writing and reading, at the end of the day, are ways for me to escape boredom meaningfully, and why should I wish to do that with stories that don’t offer up a small amount of the great kaleidoscope that is life?
Similar to The Trojan War Museum, these stories are tonally more in synch (after all, with a title like that, it’s hard to overstate the role attitude plays in these), but also like Trojan War Museum, it’s a wonderful collection that shows how absolutely not-repetitive an attitude can feel when its voices are given such specific and niche jargons for each story, such interesting and far-flung locales and, such wacky and hopeless situations for its characters to overcome.
Jim Shepard is a must read for anyone interested in writing against the adage: “write what you know”. Also, the story “Zero Meter Diving Team” is one of my all time favorites.
Following his widely acclaimed Project X and Love and Hydrogen—“Here is the effect of these two books,” wrote the Chicago Tribune: “A reader finishes them buzzing with awe”—Jim Shepard now gives us his first entirely new collection in more than a decade.
Like You’d Understand, Anyway reaches from Chernobyl to Bridgeport, with a host of narrators only Shepard could bring to pitch-perfect life. Among them: a middle-aged Aeschylus taking his place at Marathon, still vying for parental approval. A maddeningly indefatigable Victorian explorer hauling his expedition, whaleboat and all, through the Great Australian Desert in midsummer. The first woman in…
My passion for Greek literature began as a child when I was captivated by Greek myths and epic tales. As a student, I became fascinated with tragic revenge plots involving women, especially mothers who kill their children, and since then, I have published extensively on gender and violence in ancient Greek literature and life. I speak modern Greek and love thinking about these topics in traditional Greek folk poetry and literature as well, especially works like Alexandros Papadiamantis’ The Murderess and Pantelis Prevelakis’ The Sun of Death.
My journey to specialising in gender and revenge in ancient Athens began when I read this trilogy of tragedies by Aeschylus in the original ancient Greek. These plays captivated me because of their stunningly powerful and breathtakingly beautiful use of imagery and language.
The characters are equally striking, especially the clever and determined queen Clytemnestra, a ruthless and duplicitous killer who murders her husband in the bath. In turn, her son Orestes is faced with the dreadful prospect of killing his own mother to avenge the death of his father. Performing matricide brings forth the terrifying Erinyes, goddesses of vengeance, who demand that Orestes pay the price.
The powerful female characters and the dilemmas of the revenge plot are what make this trilogy one I return to time and time again.
Agamemnon *Libation Bearers *Eumenides Aeschylus' Oresteia is the only trilogy to survive from Greek tragedy, and the religious and moral ideas it enacts afterwards influenced a great dramatic genre, as well as giving its three plays their lasting significance. In this family history, Fate and the gods decree that each generation will repeat the crimes and endure the suffering of their forebears. When Agamemnon is murdered by his wife, Clytemnestra, their son Orestes must avenge his father's death. Only Orestes' appeal to the goddess Athena saves him from his mother's Furies, breaking the bloody chain; together gods and humans inaugurate…
I have always been interested in stories about misplaced guilt, probably because my father died when I was very young and I grew up with a strong sense of survivor guilt. Miscarriages of justice for me dramatize the unjust verdicts passed against us in our hearts when we lose a loved one. Whether writing nonfiction for The New York Times Magazine and The Wall Street Journal or fiction for Penguin and Little Brown, this theme influences all my work.
If you want to know what Kafka’s The Trial would have been like without a sense of humor, try reading Aeschylus. Though this ancient Greek tragedian does not aim for laughs (and does not get any!) his depiction of the furies of conscience has an elemental power and purity like a Beethoven motif or a Picasso masterpiece. The Eumenides may well be the first-ever courtroom drama, with Orestes on trial for killing his mother Clytemnestra. Aeschylus goes straight at the most difficult of human emotions—guilt—and like Sophocles, he explores it specifically in a family context. Who, after all, makes us more guilty than our parents?
Professor Sommerstein here presents a freshly constituted text, with introduction and commentary, of Eumenides, the climactic play of the only surviving complete Greek tragic trilogy, the Oresteia of Aeschylus. Eumenides is of all Athenian tragic dramas the one most consciously designed to be relevant to the situation of the Athenian state at the time of its performance (458 BC), and seems to have contained daring innovations both in technique and in ideas. The introduction and commentary to this edition seek to bring out how Aeschylus shaped to his purpose the legends he inherited, and ended the tragic story of Agamemnon's…
Books—broadly defined as any kind of written or printed document—are the primary means by which civilizations are constructed, memories are preserved, ideas are communicated, wealth is distributed, and power is exercised. To understand any human society, you must read its books. And as Winston Churchill said, “Books last forever.” The physical structures of civilizations eventually crumble into ruins, but the books they leave behind are immortal.
More than a century before Oprah, emancipated African Americans organized their own book clubs. They studied mainly the Western classics but also emerging black writers.
While Booker T. Washington emphasized vocational training, more militant black leaders demanded the right to read the same authors taught in elite white academies: One of their syllabuses included Milton, Spenser, Homer, Aeschylus, Longfellow, Dryden, Pope, Browning, Pindar and Sappho. Those poets, said one reader, inspired the "hope [that] the great American epic of the joys and sorrows of our blood and kindred, of those who have gone before us[,] would one day be written."
And that's exactly what happened. A young Ralph Ellison read everything in the segregated branch of the Oklahoma City library; Malcolm X was profoundly affected by Paradise Lost; and Toni Morrison minored in classics at Howard University.
Over the past decade the popularity of black writers including E. Lynn Harris and Terry McMillan has been hailed as an indication that an active African American reading public has come into being. Yet this is not a new trend; there is a vibrant history of African American literacy, literary associations, and book clubs. Forgotten Readers reveals that neglected past, looking at the reading practices of free blacks in the antebellum north and among African Americans following the Civil War. It places the black upper and middle classes within American literary history, illustrating how they used reading and literary conversation…
I am an Emeritus Professor of Drama at the University of Hull, translator of some twenty plays from Greek or Latin into English, a professional director, and a member of Equity for more than fifty years. I hope and believe that my own experience as a practitioner has blended with an educational background in Greek and Latin from St Andrews combined in my extensive list of publications on theatre history as author and editor to be found listed on my website.
While the first two links are a good introduction to classical drama and theatre for the uninitiated, this third choice is different, a vast and unparalleled compendium covering productions of the whole corpus of direct and marginal translations of Greek tragedy on the English stage over some 250 years.
It is a work of reference rather than a ‘good read’, but it is a book into which I hope everyone would find reason to dip who believes in research as an essential feature of creative preparation for the new production of a ‘classic’.
The book is written by two of the most prominent and inspirational contemporary classical scholars whose prolific output in kindred areas of the classics and of theatre history has little rival.
Issues such as stage censorship, social and political change and translation bias show how the classical repertoire from Aeschylus through to Seneca has made it possible,…
This lavishly illustrated book offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aesthetic…
