Here are 100 books that The Dream of the Ridiculous Man fans have personally recommended if you like
The Dream of the Ridiculous Man.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
I've been reading science fiction since the age of seven, when I first read Madaleine L’Engle’s A Wrinkle in Time. Then it was Podkayne of Mars by Robert Heinlein,A Rite of Passage by Alexei Panshin, Dune by Frank Herbert, The Lord of the Rings by J.R.R. Tolkien, etc. My list is in honour of Women’s History Month and to recognize the gifted female writers of the past who faced discrimination in the publishing world and yet still triumphed. When I started writing fiction, with my medical background, it had to be about medicine. Thus The Grace Lord series was born. My protagonist, Dr. Grace Lord, is a fearless and compassionate combat surgeon.
Murasaki Shikibu was a lady of the Heian Court of Japan in the eleventh century and has been credited with creating the first novel ever written.
The Tale of Genji has stood the test of centuries. It reveals a world of political machinations, danger, passionate intrigue, and forbidden love in an exotic setting of a time long forgotten. Genji is the son of an emperor and, once you read him, you will understand why his tale is still so popular today.
In the early eleventh century Murasaki Shikibu, a lady in the Heian court of Japan, wrote what many consider to be the world’s first novel, more than three centuries before Chaucer. The Heian era (794—1185) is recognized as one of the very greatest periods in Japanese literature, and The Tale of Genji is not only the unquestioned prose masterpiece of that period but also the most lively and absorbing account we have of the intricate, exquisite, highly ordered court culture that made such a masterpiece possible.
Genji is the favorite son of the emperor but also a man of dangerously…
I like history. I also like myth. And I revere the imagination, the liberal use of which can lead to what many call “fantasy.” Though the portions change, almost all the fiction I’ve written—from The Chess Garden to John the Baptizer to my latest, The Unknown Woman of the Seine—is the product of this recipe. Some moment from the past captures my attention, digs its hooks in, invites research, which begets questions, which beget answers that only the imagination can provide, informed both by experience and by the oldest illustrations of why we are the way we are. Dice these up, let simmer until you’re not sure which is which, and serve.
Why not start with the oldest surviving long-form narrative there is. While purporting to account for the late reign of the very real King of the very real Sumerian city-state Uruk, the epic of Gilgamesh—very like the epics that the Greeks would offer some 4 to 14 hundred years later—trots out a world replete with the goddesses, monsters, magical drums, forests, and sacred undersea plants. The flavor of this world is first and most memorably signaled by the deliberate creation of a rival for its protagonist. Sculpted from river clay, then sexually domesticated by a temple maiden, the wild man Enkidu fights his way into a lifelong bromance with Gilgamesh that eventually confronts each with his own mortality. Again, for being the oldest such tale we know of, and for having to be chiseled on tablets, the whole thing holds up as a very living document, wildly entertaining, psychologically…
An English-language rendering of the world's oldest epic follows the journey of conquest and self-discovery by the king of Uruk, in an edition that includes an introduction that places the story in its historical and cultural context.
I like history. I also like myth. And I revere the imagination, the liberal use of which can lead to what many call “fantasy.” Though the portions change, almost all the fiction I’ve written—from The Chess Garden to John the Baptizer to my latest, The Unknown Woman of the Seine—is the product of this recipe. Some moment from the past captures my attention, digs its hooks in, invites research, which begets questions, which beget answers that only the imagination can provide, informed both by experience and by the oldest illustrations of why we are the way we are. Dice these up, let simmer until you’re not sure which is which, and serve.
The Bible, by committee. Well, sure. Provided we can leave to others—or maybe just to each individual reader—the problem of deciding which parts are the history, which the myth, and which seem to be, let’s just say, imaginatively conceived (and which of these can claim the firmest purchase on the Truth we should probably also leave to the reader), the Good Book remains the deconstructed prototype for the kind of literary braid we’re talking about, the all-time album of mirrors, fashioned from pretty much all the same genres we still write in—poetry, philosophy, allegory, parable, vignette, epistolary, horror, and IKEA instruction manual.
Regarding the blend of the natural and supernatural, the moment I’ve been looking at with students recently—this for a class I’ve offered on the subject of mental health and literature—is the meeting of Jesus and the Gerasene Demoniac,…
The top-selling ESV Thinline Bible is ideal for use at home and on-the-go. At one inch thick and available in multiple designs, there is a perfect ESV Thinline Bible for everyone.
I like history. I also like myth. And I revere the imagination, the liberal use of which can lead to what many call “fantasy.” Though the portions change, almost all the fiction I’ve written—from The Chess Garden to John the Baptizer to my latest, The Unknown Woman of the Seine—is the product of this recipe. Some moment from the past captures my attention, digs its hooks in, invites research, which begets questions, which beget answers that only the imagination can provide, informed both by experience and by the oldest illustrations of why we are the way we are. Dice these up, let simmer until you’re not sure which is which, and serve.
No, not the Donna Tartt novel, which I also like a lot, but the 6th-century text from which she copped her title, the one by Procopius about the reign of Justinian and Theodora (admirably and unflinchingly translated by Richard Atwater). I have a weak spot for the work of “contemporaneous” historians, especially when their self-interest is so patent. The great virtue of such texts is that they remind us: as wild and wonderful as the human imagination may be, there’s some stuff you just can’t make up. In the case of Procopius, however, it’s not clear that he isn’t making this stuff up, the Secret History being an alternate account of his experience in the Imperial court, the one he kept in a locked drawer just in case the Barbarians ever took over and needed proof he wasn’t just a toady to the former regime.
Thank you for checking out this book by Theophania Publishing. We appreciate your business and look forward to serving you soon. We have thousands of titles available, and we invite you to search for us by name, contact us via our website, or download our most recent catalogues. Procopius of Caesarea (in Palestine) is the most important source for information about the reign of the emperor Justinian and his wife Theodora. From 527 to 531 Procopius was a counsel the great general of the time, Belisarius. He was on Belisarius's first Persian campaign, and later took part in an expedition…
Jordanna Max Brodsky is the author of the Olympus Bound trilogy, which follows the Greek goddess Artemis as she stalks the streets of modern Manhattan, and The Wolf in the Whale, a sweeping epic of the Norse and Inuit. Jordanna holds a degree in History and Literature from Harvard University, but she maintains that scholarship is no substitute for lived experience. Her research has taken her from the summit of Mount Olympus to the frozen tundra of Nunavut, and from the Viking ruins of Norway to Artemis’s temples in Turkey.
The Oxford Companionis an encyclopedia, not a narrative, but I love that it includes stories from the Bible, the Quran, and other sacred texts alongside fantastical legends that span the globe. The line between myth and religion is, after all, largely subjective. King David, the nymph Daphne, and the Dayak myths of Borneo all share the same page. For those of us seeking inspiration in myth, the Oxford Companionoffers ideas from Abraham to Ziusudra.
Cave paintings at Lascaux, France and Altamira, Spain, fraught with expression thousands of years later; point to an early human desire to form a cultural identity. In The Oxford Companion to World Mythology, David Leeming explores the role of mythology, or myth-logic, in history and determines that the dreams of specific cultures add up to a larger collective story of humanity. Stopping short of attempting to be all-inclusive, this fascinating volume will nonetheless be comprehensive, opening with an introduction exploring the nature and dimensions of myth and proposing a definition as a universal language. Briefly dipping into the ways our…
Michelle Lute is a conservation scientist and advocate with fifteen years’ experience in biodiversity conservation on public and private lands around the globe. She dedicates her professional life to promoting human-wildlife coexistence through effective public engagement, equitable participatory processes, and evidence-based decision-making. Michelle is the National Carnivore Conservation Manager for Project Coyote whose mission is to promote compassionate conservation and coexistence between people and wildlife through education, science and advocacy.
Wolves may be more prevalent in literature and film than they are in reality. For an ecocritical perspective on canid cameos in American narrative, Robisch examines 200 texts to understand the real and imagined wolves and their places across cultures and what that tells us about humans and nature more broadly.
This book presents a new perspective on the role of the wolf in American literature. The wolf is one of the most widely distributed canid species, historically ranging throughout most of the Northern Hemisphere. For millennia, it has also been one of the most pervasive images in human mythology, art, and psychology. ""Wolves and the Wolf Myth in American Literature"" examines the wolf's importance as a figure in literature from the perspectives of both the animal's physical reality and the ways in which writers imagine and portray it. Author S. K. Robisch examines more than two hundred texts written in…
I’m probably too dishonest to write a real non-fiction book, but the sort of non-fiction book that has some wiggle room for me to “improve” on reality when I think it needs tightening up, or a little more schmaltz—that’s the strange twilight area the books I write live in, and all irresponsible history books dwell in this neighborhood. Remember, kids, as long as you make it clear when you’re lying, it still counts as non-fiction!
GdS and HvD have assembled in this book such an overwhelming superflux of fascinating tidbits about ancient history, literature, and myth that reading it you barely notice that every conclusion they come to is completely bonkers and necessarily false.
There really can’t be any connection between ancient civilizations in Polynesia, Mesoamerica, India, and Finland—but the fact that someone dug up stories about whirlpools (!) from each place and located points of convergence among them is amazing! I feel like such a killjoy even bringing up my objections (that cloud doesn’t really look like a castle! that Rorschach blot doesn’t really look like your mother!) that I’ll just shut up. Hamlet’s Mill is a great work of science fiction, the most exhaustively detailed what if? you’re likely to find.
A truly seminal and original thesis, this is a book that should be read by anyone interested in science, myth, and the interactions between the two. In this classic work of scientific and philosophical inquiry, the authors track world myths to a common origin in early man's descriptions of cosmological activity, arguing that these remnants of ancient astronomy, suppressed by the Greeks and Romans and then forgotten, were really a form of pre-literate science. Myth became the synapse by which science was transmitted. Their truly original thesis challenges basic assumptions of Western science and theories about the transmission of knowledge.
I have been fascinated by the weather since as a schoolboy I avidly followed the cricket scores and the fate of tomorrow’s match. This co-dependence of my passion for cricket with the state of the weather turned into a professional career as, first, a research scientist and then later a professor of geography, I studied the idea of climate and the many ways in which it intersects with our social, ecological and imaginative worlds. As human-caused climate change became a defining public and political issue for the new century, my interests increasingly focused on understanding why people think so differently about the climate, its changes, its future trajectory—and what to do about it.
This short punchy book is written by ex-policy advisor Alex Evans, following his disillusionment with high power international climate politics. Having worked for the British Government and for the UN Secretary-General in the 2000s, Evans realised that scientific evidence and rational arguments were not enough to change the world for the better. In The Myth Gap, he therefore makes the case to recognise – or else to create – different stories, or myths, which provide the orientation and motivation for different people groups to act out change in their own different worlds. No one story will do the job; we need many.
Why, with absolutely no idea what Brexit actually meant, did the UK vote for Brexit? Why, rather than vote for the best-qualified candidate ever to stand as US President, did voters opt for a reality TV star with no political experience? In both cases, the winning side promised change and offered hope. They told a story voters longed to hear. And in the absence of greater, more unifying narratives, then true or not, voters plumped for the best story available. Once upon a time our society was rich in stories. They brought us together and helped us to understand the…
I was an avid reader of science fiction as a teenager and developed a love of science and how elegantly and yet how alive and ever-changing it is as we learn more. It explains the world. I couldn’t settle on any one field: physics, biology, neuroscience, astronomy, geology? So I began a writing career where I could draw on my faithful reading of Science News and popular science books. Scientific inaccuracies in fiction still irritate me (don’t get me started), and to the best of my ability Ι ground stories in what we know with some confidence, though science will always be a moving target. My recent book, Mixed Harvest, embeds fiction in archaeology and anthropology.
A controversial, scholarly attempt at synthesizing and organizing the foundations of world mythologies may seem a strange selection. It’s certainly an enormous task, and Witzel could be wrong, but this sweeping book tantalizes and enriches any open mind with an interest in mankind’s story on Earth: two great separate migrations out of Africa carried differing concepts of the world’s origins. The first made its way around India to Australia. In this story, the world had no origin, it always existed in Dreamtime. Mankind emerged into time and joined all creatures and their landscapes. The second migration into Europe and Asia brought the foundations of Western traditions. The story is more familiar: an all-powerful deity created the world out of chaos or primordial waters, fashioned and breathed life into human beings, and thrust them into a world of constant struggle and conflict. If for some reason that doesn't sound familiar, reread…
In this comprehensive book Michael Witzel persuasively demonstrates the prehistoric origins of most of the mythologies of Eurasia and the Americas ('Laurasia'). By comparing these myths with others indigenous to sub-Saharan Africa, Melanesia, and Australia ('Gondwana Land') Witzel is able to access some of the earliest myths told by humans. The Laurasian mythologies share a common story line that dates the world's creation to a mythic time and recounts the fortunes of generations of deities across four or five ages and human beings' creation and fall, culminating in the end of the universe and, occasionally, hope for a new world.…
Although I write in many genres, fantasy was my first love in reading. I fell in love with the possibilities of a boundless world. And as the years went on, I realized that fantasy could be more than just dragons and sorcery. Fantasy was this big umbrella that housed all the impossible dreams. So, I gravitated toward the genre. I also have an affinity for fun things. I don’t like to be sad, so I prefer movies, music, games, and books that revolve around fun and humor.
Although this isn’t the first book in the series, I find it the most fun. I have a deep love for the myth series because it was the first series of books I ever read. They are a very traditional fantasy story about a wizard, his dragon, and a demon he pals around with. But, it is a tongue-in-cheek comedy rather than a serious epic tale.
The series reads fine out of order and you could start anywhere, but this one is my favorite.
Skeeve is feeling rather restless and suddenly remembers the treasure map he bought on his last adventure. Knowing Aahz's lust for money, he shows him the map. Quicker than a Deveel at the Bazaar of Deva can take your possessions, they were off to find the Golden Cow! There were a few problems, aren't there always. Tanda decides that she is in on the hunt; for a share, of course. Since Aahz is not too up on vortexes, just dimensions, they have to visit a shifter at the Bazaar for directions - he/she/it gets a five-percent cut of the treasure…
