100 books like The Daughter of Time

A multi-day walking trip requires a page-turning thriller. It is one of the most intriguing mysteries I’ve ever read. It dragged me into another world and then deeper into a story within a story. Lying in uncomfortable beds in noisy hostels while backpacking in Australia, I was beguiled and forgot my own reality.

Years later, this book stayed with me and influenced my debut novel despite, I think, never really understanding it. However, writing this review has made me start reading it again. I’m already baffled, but I'm hooked!

Though I did enjoy the earlier Wolf Hall I found Bring Up the Bodies more readable and compelling.

Hilary Mantel paints intimate word pictures of Henry VIII, Anne Boleyn, Jane Seymour, and especially Thomas Cromwell, struggling to make his way through the minefield of political intrigue at Henry’s court. Though it is against almost every principle he holds dear, Cromwell charts a course which one step at a time ultimately brings Anne Boleyn down.

Finding himself in an almost impossible situation, he agonizes over every decision, looking at it from many sides: legal, political, ethical, spiritual, and religious. Meanwhile not far in the background we see the Church’s Pope Clement trying desperately, like Oz’s man behind the curtain, to control events.

Mantel’s genius was her ability to transform dry history into compelling, character-driven stories.

I’ve read In Cold Blood at least twice, but I think three times is the actual count. The first time, I was in my early twenties, not yet a writer, and I remember being gobsmacked—love that word—by a single sentence.

I remember reading the sentence again. And again. It was a marvel to me how alive it was, and how it told me all I needed to know about a place to understand that place. Nothing happens here; move on, it said—“Like waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama in the shape of exceptional happenings had never stopped there.”

Memoirs don’t often feature mysteries, but Elroy, known for tough, cynical crime novels such as L.A. Confidential, centers his around his obsession with the unsolved murder of his mother in 1958 when Elroy was ten. With allusions to the famous Blue Dahlia case, Elroy writes with brutal frankness about his own pathologies and his weirdly loving relationship with his neglectful, alcoholic father. If nothing else, this absorbing book—hard to read and equally hard to put down—solves the mystery of why Elroy and his novels come off as so creepy.

Everybody loves this book because it, of course, has become an international classic of literature and one of the best works F. Scott Fitzgerald wrote, which takes the reader on a time-traveling secretive world of the upper-class set in New England life in the 1920s.

In F. Scott's work, we are casually and comfortably introduced to an America where new money met old money, and the tender tightrope one had to walk in order to vie for position, marriage, and peer acceptance in a world founded on wealth and prestige.    

This is a Gothic suspense classic, but the suspense is gradual in the most delicious way. The book begins with a 1930s meet-cute in which a young paid companion to a rich and unpleasant woman meets a wealthy, unhappy widower at a resort. The young woman befriends the man while her employer is bedridden with a cold, and the two share some funny and touching moments.

The Gothic part comes when he unexpectedly proposes marriage, and they return to his gargantuan family estate, Manderley, which was formerly run by his late wife, Rebecca. Now, the spookiness permeates the story, from the shadowy corners of the mansion to the constant watchfulness of the very creepy housekeeper, Mrs. Danvers. Rebecca has been in print for almost a hundred years, and that alone is evidence of its awesomeness.

In this modern feminist era, Maxim DeWinter might seem horribly patriarchal, but it’s utterly believable… show more.

Despite draft-stage admonitions from his great friend, the Jesuit priest Ronald Knox, the amount of sex Waugh layers into Brideshead Revisited is surprising for 1945: functionally heterosexual couplings, more given over to class imperatives of property, inheritance and trophy wives, and the tentatively homosexual (depending on interpretation), as located in the awakenings of young adulthood, as sluiced by wine, aesthetic beauty, cigars and Venice in Summer.

But it’s Venice and its architecture that’s the actual location of the full sensual awakening, triggering the protagonist’s eventual journey to Catholicism as he passes time among the Venetian stone of churches… and a fountain: “This was my conversion to the baroque...I felt a whole new system of nerves alive within me, as though the water that spurted and bubbled among its stones was indeed a life-giving spring.” Eroticized Ruskinalia, finally stepping beyond the Anglo-Catholicism of the Oxford Movement.

Did this book give birth to hardboiled literature? No, but I feel it mothered and fathered it. 

Did this book—when filmed in 1941—give rise to film noir? I would say yes or “oui.”

This book lives on in libraries and bookstores, in minds and memories, on screens big and small, as a cultural masterpiece. But please don’t get me wrong about masterpiece. Hammett’s existential story of antiheroic private detective Sam Spade wriggling out of death as he fends off the cagey but crazed pursuers of a worthless “jeweled” bird breathes more deeply, more compellingly every time I re-read it. Through the book, I face the dark—and find the gloom almost charming. 

I don't think there is an author who hasn't at least once wished that he was the one who wrote a book by another author. Ever since I first read Umberto Eco's masterpiece, I wished I had written it. That wish only intensified whenever I reread it—and I did it many times. It is a perfect novel by all standards. It is a superb literary work based on storytelling virtuosity and a colossal erudition.

The detective narrative drive is a background of the main theme—how the Renaissance was borne. No other novel in the history of literature has managed to depict a long-gone century in such an impeccably authentic way. Among many authors who influenced my writing, Umberto Eco is certainly the most prominent.

I was looking for a writer to breathe new life into the sometimes-stuffy traditional English novel format, and Wilkie Collins is that man. In what is widely considered the first detective novel, Collins introduces many of the tropes of the classic whodunit, including the English country house setting, the gentleman detective, the skilled professional contrasted with the bungling local investigator, and a generational curse arising from the initial theft.

Underlying this gripping tale is the truth that the moonstone belongs not to one of the principal players who compete for it but to the religious site in India from which it was originally stolen. Justice has an immediate, local, eternal, and global context. The result is a book with memorable characters and enough twists and turns to keep you guessing until the end.