Here are 67 books that The Journal of the Institute for Hacks, Tomfoolery & Pranks at MIT fans have personally recommended if you like
The Journal of the Institute for Hacks, Tomfoolery & Pranks at MIT.
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Jeremy N. Smith is the author of three acclaimed narrative non-fiction books, including Breaking and Entering, about a female hacker called “Alien” and the birth of our information insecurity age. He has written for The Atlantic, Discover, Slate, and the New York Times, among other outlets, and he and his work have been featured by CNN, NPR, NBC Nightly News, The Today Show, and Wired. He hosts The Hacker Next Door podcast and lives in Missoula, Montana.
Hackers is a classic account of the computer revolution, centered on the pioneering tinkerers, gamers, social theorists, entrepreneurs, and other explorers who made military and corporate technology personal. These are not hackers in the criminal sense most people understand the term today, but men (and a few women) like Bill Gates, Steve Jobs, and others far less famous. Their interwoven biographies are brilliantly researched and reported, underpinned by what Levy calls a common “hacker ethic” whose tenets dominate our economy, politics, and culture today.
Steven Levy's classic book about the original hackers of the computer revolution is now available in a special 25th anniversary edition, with updated material from noteworthy hackers such as Bill Gates, Mark Zukerberg, Richard Stallman, and Tim O'Reilly. Hackers traces the exploits of innovators from the research labs in the late 1950s to the rise of the home computer in the mid-1980s. It's a fascinating story of brilliant and eccentric nerds such as Steve Wozniak, Ken Williams, and John Draper who took risks, bent the rules, and took the world in a radical new direction. "Hacker" is often a derogatory…
Jeremy N. Smith is the author of three acclaimed narrative non-fiction books, including Breaking and Entering, about a female hacker called “Alien” and the birth of our information insecurity age. He has written for The Atlantic, Discover, Slate, and the New York Times, among other outlets, and he and his work have been featured by CNN, NPR, NBC Nightly News, The Today Show, and Wired. He hosts The Hacker Next Door podcast and lives in Missoula, Montana.
The New Hacker’s Dictionary is the foremost compilation of the first fifty years of hacker lore, combining hilarious anecdotes and definitions to illuminate a hugely-influential but wildly-misunderstood culture more similar to beer-brewing monks than black-clad criminals. Though last updated in 1996, the technology, terms, and theories explained within still underlie the modern Internet, making this dictionary a dual cultural and architectural blueprint for anyone interested in how computing got to the present moment—and how to build a better future.
This new edition of the hacker's own phenomenally successful lexicon includes more than 100 new entries and updates or revises 200 more.
This new edition of the hacker's own phenomenally successful lexicon includes more than 100 new entries and updates or revises 200 more. Historically and etymologically richer than its predecessor, it supplies additional background on existing entries and clarifies the murky origins of several important jargon terms (overturning a few long-standing folk etymologies) while still retaining its high giggle value.
Sample definition
hacker n. [originally, someone who makes furniture with an axe] 1. A person who enjoys exploring the…
Jeremy N. Smith is the author of three acclaimed narrative non-fiction books, including Breaking and Entering, about a female hacker called “Alien” and the birth of our information insecurity age. He has written for The Atlantic, Discover, Slate, and the New York Times, among other outlets, and he and his work have been featured by CNN, NPR, NBC Nightly News, The Today Show, and Wired. He hosts The Hacker Next Door podcast and lives in Missoula, Montana.
We Are Anonymous, along with Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous by Gabriella Coleman, explores the politics and personalities of the best-known real-world hacktivist group, Anonymous, how it rose to prominence and power, its impact and influence, and the government machinations that ultimately turned members against each other. Its pages reveal hackers at their most human—brilliant, idealistic, vulnerable, and conflicted.
A thrilling, exclusive exposè of the hacker collectives Anonymous and LulzSec.
We Are Anonymous is the first full account of how a loosely assembled group of hackers scattered across the globe formed a new kind of insurgency, seized headlines, and tortured the feds -- and the ultimate betrayal that would eventually bring them down. Parmy Olson goes behind the headlines and into the world of Anonymous and LulzSec with unprecedented access, drawing upon hundreds of conversations with the hackers themselves, including exclusive interviews with all six core members of LulzSec.
In late 2010, thousands of hacktivists joined a mass digital…
Jeremy N. Smith is the author of three acclaimed narrative non-fiction books, including Breaking and Entering, about a female hacker called “Alien” and the birth of our information insecurity age. He has written for The Atlantic, Discover, Slate, and the New York Times, among other outlets, and he and his work have been featured by CNN, NPR, NBC Nightly News, The Today Show, and Wired. He hosts The Hacker Next Door podcast and lives in Missoula, Montana.
A famous hacker’s real-life story, told from his own perspective, Ghost in the Wires explains how criminal hackers think and act and the diverse techniques they use, no keyboard necessary—all, in this case, with little motive beyond a compulsion to explore and exploit. The hacking community has no bigger characters than Kevin Mitnick and no better first-person accounts of the art of “social engineering,” or human hacking—manipulating people (including, in Mitnick’s case, the FBI and other would-be pursuers) to your own advantage.
In this "intriguing, insightful and extremely educational" novel, the world's most famous hacker teaches you easy cloaking and counter-measures for citizens and consumers in the age of Big Brother and Big Data (Frank W. Abagnale).
Kevin Mitnick was the most elusive computer break-in artist in history. He accessed computers and networks at the world's biggest companies -- and no matter how fast the authorities were, Mitnick was faster, sprinting through phone switches, computer systems, and cellular networks. As the FBI's net finally began to tighten, Mitnick went on the run, engaging in an increasingly sophisticated game of hide-and-seek that escalated…
I have written three verse novels; two YA, Skyscraping and The Way the Light Bends, and one half-verse, half-prose MG Every Shiny Thing (co-authored with Laurie Morrison.) I teach verse novel specific classes for The Highlights Foundation and The Writing Barn, on topics like plotting verse novels, creating an image system in verse novels, revising verse novels. I also edit verse novel manuscripts, working with one private student per month. Along with this, I’ve taught a Writing for Children class at Bryn Mawr College. Presently, I teach kids and teens through the Kelly Yang Project and run a local, kids’ literary journal here in Philadelphia called the Mt. Airy Musers.
The main character in The Magical Imperfect has selective mutism. This is a clever idea for a main character written in verse because, typically, there’s little dialogue in the form. What really stood out to me, though, is the climax of the story that takes place during an earthquake. Baron cleverly uses time stamps and white space in a striking way to help create story tension and layer meaning during this exciting and scary twenty-page multi-poem scene.
For fans of Wonder, Chris Baron's The Magical Imperfect is an affecting middle grade story of two outcasts who become friends…
Etan has stopped speaking since his mother left. His father and grandfather don’t know how to help him. His friends have given up on him.
When Etan is asked to deliver a grocery order to the outskirts of town, he realizes he’s at the home of Malia Agbayani, also known as the Creature. Malia stopped going to school when her acute eczema spread to her face, and the bullying became too much.
As a screenwriter I’ve always enjoyed noir stories, whether books or movies. Stories where the characters are not your squeaky-clean “good guys.” I like to see “ordinary” people; people who are flawed (like all of us), or maybe with a shady past, who are swayed or manipulated by dire circumstances into doing something they would not ordinarily do. I enjoy stories with unique, interesting characters that are not your run-of-the-mill private eyes, and whose moral compass might be a bit off. I particularly like stories where characters are forced to become investigators because of a situation they are thrust into, whether by accident or by their own dubious actions.
Set in the seventies, a sexy female celebrity journalist sets out to find the reason for the break-up of a singing/comedy duo alá Lewis and Martin and uncovers a gruesome murder. Full of sex, drugs, and behind-the-scenes entertainment business debauchery, this story is told in a masterful way that is funny, frightful, suspenseful, and disturbing. A truly unique noir tale where no one comes away clean. Just how I like it. And written by my good friend and former employer, Rupert Holmes. The same guy that gave us “Escape, The Pina Colada Song” and the Broadway hit The Mystery of Edwin Drood.
O’Connor, a vivacious, free-spirited young journalist known for her penetrating celebrity interviews, is bent on unearthing secrets long ago buried by the handsome showbiz team of singer Vince Collins and comic Lanny Morris. These two highly desirable men, once inseparable (and insatiable, where women were concerned), were driven apart by a bizarre and unexplained death in which one of them may have played the part of murderer. As the tart-tongued, eye-catching O’Connor ventures deeper into this unsolved mystery, she finds herself compromisingly coiled around both men, knowing more about them than they realize and less…
I have been a Broadway fan since I discovered the 60’s vinyl cast albums my parents collected. Seeing them in person added another level to the magic, and after every show, while still basking in the creative spark, I’m already planning my next visit! Sharing a list of books instead of a playlist is my way of sharing a deeper view of the world we Broadway fans love so much. It’s also the list I used as the basis for my research, while writing my new series (which follows the journey of a fictional Broadway musical from script to opening night)!
Woolford describes his book as a prenatal guide for musicals and it is indeed just that. He breaks down the process from idea to opening night for a thorough examination of what goes into each part of writing a musical. From the tickle of inspiration—and everything that went into its construction after that point, including the steps back and sideways, trying to find the right formula for success—there isn’t much left out. Warning: You might be inspired to try your hand at writing once you finish this book!
I felt as if I’d taken a college-level theatre course at the end of How Musicals Work, with an instructor who revels in the complicated chaos that is musicals! It opens up a whole extra level to watching/experiencing a musical.
Musicals are the most popular form of stage entertainment today, with the West End and Broadway dominated by numerous long-running hits. But for every Wicked or Phantom of the Opera, there are dozens of casualties that didn't fare quite so well. In this book, Julian Woolford explores the musical-theatre canon to explain why and how some musicals work, why some don't, and what you should (and shouldn't) do if you're thinking of writing your own. Drawing on his experience as a successful writer and director of musicals, and as a lecturer in writing musicals at the University of London, Woolford…
I’ve enjoyed dark fiction ever since I picked up Dracula for school. But I mostly avoided crime and thriller fiction. I couldn’t relate to a rogue detective with an alcohol problem or an FBI agent on the heels of the next Hannibal Lector. Police procedural books just aren’t my thing. But then Gone Girl came out and changed the genre. The domestic suspense subgenre has exploded over the last decade, and now there’s an abundance of books centered around the dangers within our family and friendship circle. And isn’t that the scariest part of life? Serial killers are rare, but domestic violence is, unfortunately, not rare. Where is more dangerous than in our own homes?
Gone Girl started the domestic suspense trend and showed us that suspense can be driven by family/household dynamics. Louise Candlish takes this to another level in Our House when the main character comes home to find another family moving into her house. She soon discovers that her husband has sold the house from under her feet and disappeared. This is a fantastic, slow-burn literary thriller with a great ending.
On a bright morning in the London suburbs, a family moves into the house they've just bought on Trinity Avenue. Nothing strange about that. Except it's your house. And you didn't sell it. 'If 2018 brings a better book than Our House I will eat my hat. Addictive, twisty and oh so terrifyingly possible' Clare Mackintosh, author of I See You
'Property-porn looks set to become a staple of crime fiction and Our House is an excellent example of this burgeoning subgenre. Husband and wife pass the narrative baton between them in this masterfully plotted, compulsive page-turner' Laura Wilson, Guardian…
Having taught college courses on and written books about theatre, film, and popular music for over forty years, I have great respect for those who write about the popular art form known as musical theatre. As a theatergoer, I've watched the Broadway (and Off-Broadway) musical develop, change, and sometimes decline. It seems musicals are more popular today than ever before; they certainly are more diverse. I grew up with the traditional Rodgers and Hammerstein model and have seen musicals take on new forms over the years.
It is an exciting art form that deserves to be written about.
If you are looking for a highly opinionated and passionate account of the Broadway musical and the changes it has undergone over the decades, this book is for you. Grant does not pull his punches and the general tone is one of despair at the decline in the quality of musicals. But the book is well researched and offers many provocative ideas which the die-hard musical fan will find fascinating. It's the kind of work that you want to read after you have a solid knowledge of American musical theatre and you want to have your traditional ideas challenged.
Winner of the ASCAP–Deems Taylor Award (2005)Many of today’s Broadway shows, from Rent to The Lion King, have become commercial hits, but do they have the cultural importance or the dramatic and musical artistry of such enduring productions as Oklahoma!, Show Boat, or Kiss Me, Kate? Mark N. Grant traces the transformation of singing and melody, libretto and lyric writing, dance rhythms, sound design, and choreography and stage direction through three distinct eras: the formative period (1866–1927), the golden age (1927–1966), and the fall (1967 to the present). He explores how and why the unsophisticated genre of pre-1927 musical comedy…
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.
While the prose style of Act One is a little fussy, florid, and overly eager to impress, this is still a moving, funny, and emotional biography of a talented, ambitious young man who is determined to make his mark as a Broadway playwright. And, at the end, when he single-handedly turns his out-of-town failure (co-written with George S. Kaufman) into a hit, you want to stand up and cheer.
Moss Hart's Act One, which Lincoln Center Theater presented in 2014 as a play written and directed by James Lapine, is one of the great American memoirs, a glorious memorial to a bygone age filled with all the wonder, drama, and heartbreak that surrounded Broadway in the early twentieth century. Hart's story inspired a generation of theatergoers, dramatists, and readers everywhere as he eloquently chronicled his impoverished childhood and his long, determined struggle to reach the opening night of his first Broadway hit. Act One is the quintessential American success story.
