Here are 100 books that The Kings of Cool fans have personally recommended if you like
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I have just written my twelfth novel and quite possibly my last. I’ve returned to where my heart is. My first five crime novels came about through the generous help of some undercover California wildlife agents. Now, in a sense, I’m back where I started, except that my latest book is also a love story. We make plenty of mistakes in life, some much worse than others. My characters deal with them in their own way. I can understand that, and I like that. And hey, there’s always the possibility of redemption.
I remember summers growing up when we were out of the house seeking freedom from parents as we streamed toward our teenage years, so I can identify with this story’s start. We’d follow deer trails through brush and trees to spots up in the hills we’d claimed as our own. This book begins with a prologue made vivid with three children and Tana French’s gorgeous prose.
The children go up and over a rock wall and into “A summer full-throated and extravagant in a hot pure silk skin blue…your tongue tasting of chewed blades of long grass, your own clean sweat…” “…long slow twilight and mothers silhouetted in doorways…” and the haunted last sentence, “These children will not be coming of age, this or any other summer.”
The bestselling debut, with over a million copies sold, that launched Tana French, author of the forthcoming novel The Searcher and "the most important crime novelist to emerge in the past 10 years" (The Washington Post).
"Required reading for anyone who appreciates tough, unflinching intelligence and ingenious plotting." -The New York Times
Now airing as a Starz series.
As dusk approaches a small Dublin suburb in the summer of 1984, mothers begin to call their children home. But on this warm evening, three children do not return from the dark and silent woods. When the police arrive, they find only…
I have just written my twelfth novel and quite possibly my last. I’ve returned to where my heart is. My first five crime novels came about through the generous help of some undercover California wildlife agents. Now, in a sense, I’m back where I started, except that my latest book is also a love story. We make plenty of mistakes in life, some much worse than others. My characters deal with them in their own way. I can understand that, and I like that. And hey, there’s always the possibility of redemption.
I’ve long been a fan of James Lee Burke’s novels. His lyrical and likely heartfelt descriptions of Louisiana’s land, water, and people offset and illuminate the contrasting violence. Burke acknowledges the darkness in humanity and the possibility of redemption.
Into that mix goes Dave Robicheaux, the protagonist, who had his own ups and downs. Robicheaux can read between the lines and keeps a pretty clear eye on the truth. Here’s the opening sentence of this book, Robicheaux narrating in his own way:
“Years ago, in state documents, Vachel Carmouche was always referred to as the electrician, never the executioner.”
'When James Lee Burke writes, the little birdies sing, the sun comes out and old men learn to dance again. That's how good he is. And now he's back . . . Purple Cane Road may be the finest novel Burke has written' INDEPENDENT ON SUNDAY
'At times Burke's writing and atmosphere remind one of William Faulkner; at other moments Raymond Carver. I cannot think of much higher praise that can be accorded a novel' THE TIMES
'No crime writer in America can hold a pen to Burke's mastery of style and powers of evocation and empathy' GUARDIAN 'PURPLE CANE…
I have just written my twelfth novel and quite possibly my last. I’ve returned to where my heart is. My first five crime novels came about through the generous help of some undercover California wildlife agents. Now, in a sense, I’m back where I started, except that my latest book is also a love story. We make plenty of mistakes in life, some much worse than others. My characters deal with them in their own way. I can understand that, and I like that. And hey, there’s always the possibility of redemption.
We all make choices we later have to live with. Back from war and trained as an Army ranger, Quinn Colson is the sheriff now in Tibbehah, Mississippi, and finds himself hunting an old high school friend turned arms dealer. When you open this book, it’s already flowing, a feel of which I love. It’s as if you’re not watching; you’re already in the boat and can hear the roar of the coming rapids. Colson is in motion. He’s on the hunt. Here’s the way the novel starts,
“A couple of roustabouts had been asking about guns at the Tibbehah County fair, but by the time the word had gotten back to Donnie Varner, they’d long since packed up their Ferris wheel, corn dog stands and shit, and boogied down the highway.”
When Army Ranger Quinn Colson, the new sheriff of Tebbehah County, is called out to investigate a child abuse case, what he finds is a horrifying scene of neglect, thirteen empty cribs, and a shoe box full of money. Janet and Ramon Torres seem to have skipped town - but Colson's sure they'll come back for the cash. Meanwhile, Colson's sister has returned - clean and sober for good she says. His friend Boom has been drinking himself into oblivion and picking fights at the local bar. And his old flame is pregnant.
I have just written my twelfth novel and quite possibly my last. I’ve returned to where my heart is. My first five crime novels came about through the generous help of some undercover California wildlife agents. Now, in a sense, I’m back where I started, except that my latest book is also a love story. We make plenty of mistakes in life, some much worse than others. My characters deal with them in their own way. I can understand that, and I like that. And hey, there’s always the possibility of redemption.
This book got a lot of well-deserved buzz when it was published in 1976, about a year after North Vietnamese tanks rolled into Saigon. It’s not hard to remember tear gas and chants of “Hell no, we won’t go.”
Thornburg captured a mood and feel of what was like out on the street, an America divided. Cutter is wounded badly in Vietnam. Bone had a loathing of self, and the novel opens with, “It was not the first time Richard Bone had shaved with a Lady Remington, nor did he expect it to be the last.” He and Cutter were odd, but somehow, they fit into the zeitgeist. If you come across it someday, read it.
The headline reads ? LOCAL GIRL SLAIN, BODY FOUND IN TRASHCAN. When Richard Bone sees a picture of conglomerate tycoon J.J. Wolfe in the newspaper, he's struck by how closely he resembles the man Bone saw dumping the body: could this millionaire redneck be the killer? Bone's close friend Cutter, a crippled Vietnam vet, is convinced that Wolfe is the killer. With nothing much more to lose, the reckless Cutter and handsome gigolo Bone hit the road to the Wolfe headquarters in the Ozarks, totally unprepared for what awaits them. Cutter and Bone are two of the most brilliantly drawn…
It took a career as a librarian to help me understand my need for order, instead of the emotional chaos I grew up with in a large family. Being the child of an alcoholic father and a codependent mother gave me little personal value. After gaining some sense of worth in college, I wanted to give my kids the stability and support every child deserves, but I had to learn how to do this. I used my resources: education, self-scrutiny, honesty, art, nature, and the good Lord of the universe.
Inspired by the works of Thomas Wolfe, Conroy’s autobiographical novel begins after his high school years, with flashbacks to earlier days as it leads toward the end of each of his parent’s lives.
Once a brutal alcoholic, his ex-military father remains verbally abusive but allows a viable relationship with Conroy, the eldest son, while the mother fantasizes relentlessly. As adults, Conroy and his six siblings try to make sense of the negative repercussions they endure from their chaotic, unstable childhood.
I appreciated Conroy’s sincerity, especially when he witnesses another one of his novels being made into a movie and realizes he is watching art in its creation. “It was so powerful in its purity and its sheer honesty that it shook me, terrified me. But it changed me. That is what art always does.”
NEW YORK TIMES BESTSELLER • “A painful, lyrical, addictive read” (People) by the cherished author of The Great Santini that brings his extraordinary career full circle
Pat Conroy’s great success as a writer has always been intimately linked with the exploration of his family history. As the oldest of seven children who were dragged from military base to military base across the South, Pat bore witness to the often cruel and violent behavior of his father, Marine Corps fighter pilot Donald Patrick Conroy. While the publication of The Great Santini brought Pat much acclaim, the rift it caused brought even…
I’ve been researching and teaching the history of the novel since I was a graduate student in Cambridge in the late 1980s, and along the way, I’ve published trade editions of several classics beyond those recommended here, including Defoe’s Robinson Crusoe,Richardson’s Pamela, Fielding’s Tom Jones, and Beckford’s Vathek. It’s a great opportunity to take a break from specialist academia and reach a broader community of readers, as I’ve also tried to do in a recent introductory book about Jane Austen. I now teach at the University of Toronto, where I’m blessed with amazing students on two of my favourite undergraduate courses, “The Rise of the Novel” and “Austen and Her Contemporaries.”
The towering achievement of eighteenth-century fiction, but long, very long—and not because of the plot so much as the form. “There isno Story,” wrote Hester Thrale, an early admirer of Clarissa(1747-8): “A man gets a Girl from her Parents—violates her Free Will, & She dies of a broken heart.”Around this brutal, elemental tale of toxic courtship and finally rape, however, the novel uses competing, divergent points of view to problematize access to the action, its causes and effects, its rights and wrongs, its large implications for sexual politics and social class. With its multiple narrators, Clarissaprobes complex psychologies in startling new ways and throws the burden of interpretation and judgment on its readers. It’s not just a compelling story but a vast, endlessly troubling altercation about that story, with each narrator, one way or another, “throwing dust in the eyes of his judges.”
Pressured by her unscrupulous family to marry a wealthy man she detests, the young Clarissa Harlowe is tricked into fleeing with the witty and debonair Robert Lovelace and places herself under his protection. Lovelace, however, proves himself to be an untrustworthy rake whose vague promises of marriage are accompanied by unwelcome and increasingly brutal sexual advances. And yet, Clarissa finds his charm alluring, her scrupulous sense of virtue tinged with unconfessed desire. Told through a complex series of interweaving letters, Clarissa is a richly ambiguous study of a fatally attracted couple and a work of astonishing power and immediacy. A…
As a mental health therapist, I’m passionate about helping daughters heal. Daughters who have experienced repeated abuse, hurt, trauma, or neglect from their mothers will often grapple with the decision to stay connected to their mothers or estrange in adulthood. Many of these women come to therapy for additional support on their self-discovery journeys and have felt validated and seen when books were written for their experiences and perspectives. I’ve seen how these books have helped my clients heal their attachment trauma over the years, and I’m confident they can help even more women from here!
I love this book because it gives adult daughters clarity on the generational trauma mom might be acting out with them when in conflict together. By looking at patterns of behaviors (criticizing, dismissing, avoiding), social expectations of each generation (i.e., stay home, be small, be a caregiver, be polite), and mom’s own trauma, adult daughters can look at mom with more awareness and compassion.
I loved the grandma-mother-daughter genogram exercise in this book, which maps out these patterns in such a powerful, visual way!
From the sales desk to the boardroom, too many women feel as though they are "giving from a place of empty," constantly putting their wants and needs last in a culture that expects them to give and never take. If this describes you, take heart! The source of your dilemma might well spring from the relationship you have (or had) with your mother, your daughter, or both. In The Mother-Daughter Puzzle, Rosjke Hasseldine, an internationally recognized expert on the mother-daughter relationship, provides a step-by-step guide on how to connect the dots between what's happening in your own mother-daughter relationship and…
In the 1980s, my mother “divorced” her mother with a letter in the mail. In 2010 I did the same via email. I thought it was just my dysfunctional family, but come to find out, mother-adult daughter estrangement is not unusual and difficult mother-daughter relationships don’t happen in a vacuum, they happen in the context of patriarchy, white supremacy, internalized misogyny, and other oppressive systems. Through therapy and, later, when I trained to be a life coach, allllll my “mother stuff” came up. The tools and practices I learned and developed were so helpful to me, I couldn’t keep them to myself.
Wells’ novel takes readers to the heart of the pain that an adult daughter experiences at the hands of a troubled mother.
It explores how the pain and trauma of being a woman in a culture that doesn’t value women equally are passed down through generations and how each generation picks it up and carries it, in similar but different ways.
This “wound” shows up in the relationships of mothers who grew up in the 1950s and 60s and their daughters who grew up in the 1970s and 80s. The mothers want so much for their daughters to have more freedom than they themselves did, but instead find themselves experiencing fear, bitterness, and unexpected jealousy.
Film tie-in edition of the international bestseller. When Siddalee Walker, eldest daughter of Vivi Abbott Walker (Ya-Ya extraordinaire - part Scarlett, part Katharine Hepburn, part Tallulah) is interviewed about a hit play she has directed, her mother is described as a 'tap-dancing child abuser'.
Enraged, Vivi disowns Sidda - devastating her daughter who postpones her wedding and puts her life on hold until she is granted forgiveness. Trying to repair the relationship, the Ya-Yas, Vivi's intrepid tribe of Louisiana girlfriends, sashay in and insist Sidda is sent 'The Divine Secrets of the Ya-Ya Sisterhood', a scrapbook of their lives together…
Maybe because I was raised by strong, independent women. Maybe because I went to an all-women’s college for a bit. Or maybe because I worked with so many powerful women in advertising. All those things combined to create my interest in fearless females in fiction. Women with natural ambition and power needs have many more obstacles put in their way than men do. For me, the character of Angela, the “angel” in Angel of Ambition, emerged naturally. She is part and parcel of the best and worst traits of the fearless females I’ve known in life and the fearless females in fiction that I’ve sometimes loathed and, in the end, always loved.
Mildred starts out trying to fulfill all the traditional roles society expects of women as a wife and mother. But she discovers, through travails, that she is too smart, too talented, and too natively ambitious to settle for those limitations. As Mildred gains success in the “man’s world,” she becomes the provider for everyone around her. She learns the bitterest lessons imaginable as her men and her daughter, first use her, then betray her. Against her will, Mildred Pierce becomes a fearless female in a cold cruel world. She triumphs in the end as a woman of courage, relying not on the unreliable love of others, but on her own independent spirit.
In Mildred Pierce, noir master James M. Cain creates a novel of acute social observation and devasting emotional violence, with a heroine whose ambitions and sufferings are never less than recognizable.
Mildred Pierce had gorgeous legs, a way with a skillet, and a bone-deep core of toughness. She used those attributes to survive a divorce and poverty and to claw her way out of the lower middle class. But Mildred also had two weaknesses: a yen for shiftless men, and an unreasoning devotion to a monstrous daughter.
I consider myself a topologist of story, ever fascinated by the shapes stories take, and how those underlying forms—as much as their specific content—guide our reactions and our emotions. In a social-media-saturated age, it’s more important than ever that we practice the skills of comprehending story landscapes so that we can understand who benefits from them—and who doesn’t. Ditch the GPS: whether memoir, reportage, or fiction, these books showcase some of the map-and-compass skills we all need to navigate a complicated new era.
During a group summer vacation on a beachy East Coast hideaway, the age-old dynamics of young vs. old—and the have-a-lots vs. the have-less—are in full play. The result sounds like any number of 20th-century American literary dramas, until it becomes clear that the disasters that loom are far larger than any single-family or community. Millet’s playful, snarky novel is a portrayal of what may come as the young realize how thoroughly older generations have sold out their future. The adults may be lost, but the kids are alright.
Pulitzer Prize finalist Lydia Millet's sublime new novel-her first since the National Book Award-longlisted Sweet Lamb of Heaven- follows a group of eerily mature children on a forced vacation with their parents at a lakeside mansion. Contemptuous of their elders, who pass their days in a hedonistic stupor, the children are driven out into a chaotic landscape after a great storm descends. The story's narrator, Eve, devotes herself to the safety of her beloved little brother as events around them begin to mimic scenes from his cherished picture Bible.
Millet, praised as "unnervingly talented" (San Francisco Chronicle), has produced a…