99 books like The File

Torpey’s book, first published in 2000, is now a classic. With it, he helped open up a whole field of inquiry into the history of official documents and identification techniques that both constrain—and make conceivable—modern society. Here, think of street addresses, fingerprints, birth certificates, credit records, driver’s licenses, tax forms, and visas. For Torpey, the passport, “that little paper booklet with the power to open international doors,” is a window into modern nation states’ interest in regulating movement. For his readers, it is a bracing reminder of how recent those controls are and how habituated we denizens of the 21st century have become to showing our papers.

What’s not to like about a book on “the psychic life of paperwork”? The Demon of Writing is a meditation on the rise of a modern “culture of paperwork” from the French Revolution onward. It brings to the foreground things we don’t tend to think about until we are caught up in some sort of bureaucratic morass: memos, forms, reports, and files. And it probes the ideologies buried under all that official paper. Linking the rise of paperwork to the rise of political representation, Kafka is interested in the way record-keeping promises uniformity or predictability but just as often produces an error, friction, and resistance. This is a witty and illuminating account of the rule of documents, packed with stories drawn from the bureaucratic archive.

She really gets at the heart of how Brown and Black bodies are seen, and what is fascinating to me is the approach through current “technical art” and a good discussion of architecture. I had a class focus on her discussion—lengthy—about surveillance and race. It’s extremely poignant, and something whites especially just don’t think about. I will never again go through an airport without thinking about her book. 

Vargas’s memoir begins, “I do not know where I will be when you read this book.”  An undocumented immigrant (and Pulitzer Prize-winning journalist) who was brought to the United States from the Philippines as a child, Vargas only learned that he was in the country illegally when he applied for a driver’s license at age 16.  In 2011, after two decades in the shadows, Vargas publicly revealed his legal status. His anxious, tireless quest for a driver’s license, like his quest to belong in the only country he knows as home, raises urgent questions about the power of documents and borders to define people’s life chances. I’ve taught this beautifully written book several times and it never fails to move my students – and me.

You can’t approve of Ursula Kuczynski, codename ‘Sonya’.

She was a spymaster, bomb-maker, and secret agent for the Soviet Union. Her work helped the Soviets build the atom bomb. But you can’t help being intrigued by this devoted wife and mother-of-three who rode her bicycle across the countryside to gather scientific information and used her children’s teddies to smuggle radio parts.

Ursula’s story, told by Macintyre in forensic, referenced detail, is astonishing. This cool, clever woman fooled everyone. I’m fascinated by the photographs, too; one of her cuddled up with her children in the garden, another of her in Berlin selling communist literature from a book barrow. They added to the feeling of alarm; so much went on in clear view.

When the Berlin Wall goes up, Gerta’s family is divided.

Her father and one brother are in the west. Gerta, her mother, and her brother Fritz are in the east. Four years later, the Statsi has their eye on Gerta’s family, Fritz is due to be drafted, and then Gerta catches sight of her father on the other side of the wall, signaling something about digging.

If they’re ever going to be free, they must do something daring, and do it soon. Though written for young readers, the excellent pacing, realistic characters, and powerful themes about freedom and family make this book a great read for all ages. 

This is a memoir written by a young man who grew up in East Germany. I picked this one up for research but found myself completely enthralled by the story. His attention to detail is excellent. If you ever want to know what it was like to grow up in East Germany on a day-to-day basis, this is a great source of information. When the author finally goes to West Berlin for the first time in his life, it made me cry. 

The author of this non-fiction book interviews eight people who were born and raised in East Germany’s totalitarian regime and have had to adjust to a new life after the Wall comes down. I liked this book because it gave me a different perspective on East Germany and how people felt about the regime. Turns out it was a little more complicated than simply thinking everything was bad. And once the Wall came down, many things became difficult for easterners, particularly the higher cost of living and the scorn they experienced from westerners. 

It is hard to describe what this book is about, except to say it is a profound attempt to think through the relation between memory and fact. Maybe the point is best summarized with the phrase, “One has to invent for the truth’s sake.”

Christa T. is Wolf’s creation and a real person, the act of writing her is an act of production, and maybe the best picture of Communism we have. Wolf is a complicated figure whose work—Marxist, feminist, deeply invested in subjectivity—is tougher and more serious about art and politics than any contemporary writer I know. 

This is the best book I know (even better than a complex spy thriller!) about what the Berlin Wall meant to individual East Germans.

I first read this novel about divided lovers in a West German edition back in the 1980s, when the “other” Germany still existed. I have often used the book in classes since then because I like it so much, enjoying it more and more as I peeled back the layers, admiring how cleverly Christa Wolf interweaves the personal and political.

She talks about “this strange stuff called life,” and that is one of the things I most love about the book: how it makes things that are apparently obvious and familiar seem strange.