Here are 100 books that The Man Without Qualities fans have personally recommended if you like
The Man Without Qualities.
Shepherd is a community of 10,000+ authors and super readers sharing their favorite books with the world.
Shepherd is reader supported. When you buy books, we may earn an affiliate commission.
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
I never believed a word of it, yet here is a most challenging, extremely well-written, and powerful statement of the "new theory" of reference, which is so satisfactory, so promising, yet even comforting in many ways.
Contained within are various arguments (akin to thought experiments) aimed at nudging one towards a way of thinking about language that is compelling, of the "I knew it all along! How could anyone not see?" variety.
'Naming and Necessity' has had a great and increasing influence. It redirected philosophical attention to neglected questions of natural and metaphysical necessity and to the connections between these and theories of naming, and of identity. This seminal work, to which today's thriving essentialist metaphysics largely owes its impetus, is here reissued in a newly corrected form with a new preface by the author. If there is such a thing as essential reading in metaphysics, or in philosophy of language, this is it.
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
I first read this book at age twenty-one and have never stopped returning to it. It gets better and deeper each time.
Ludwig teaches that language and reality are bound up in so many ways. It also contains some famous themes and head-scratchers, such as language games, family resemblance, private language, and rule-following, discussed, as always, in a non-technical way.
Incorporating significant editorial changes from earlier editions, the fourth edition of Ludwig Wittgenstein's Philosophical Investigations is the definitive en face German-English version of the most important work of 20th-century philosophy The extensively revised English translation incorporates many hundreds of changes to Anscombe's original translation Footnoted remarks in the earlier editions have now been relocated in the text What was previously referred to as 'Part 2' is now republished as Philosophy of Psychology - A Fragment , and all the remarks in it are numbered for ease of reference New detailed editorial endnotes explain decisions of translators and identify references and…
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
I found this book's scientific rigor, systematicity, depth, and wisdom unmatchable. I liked "the passion for desert landscapes" together with the wit.
It’s not easy, at first, to see the philosophical significance of the discussion until you do, and you’re attracted to the idea that philosophy is too often a mere verbal tangle. Quine agrees, and he tries to explain why.
Willard Van Orman Quine begins this influential work by declaring, "Language is a social art. In acquiring it we have to depend entirely on intersubjectively available cues as to what to say and when." As Patricia Smith Churchland notes in her foreword to this new edition, with Word and Object Quine challenged the tradition of conceptual analysis as a way of advancing knowledge. The book signaled twentieth-century philosophy's turn away from metaphysics and what Churchland calls the "phony precision" of conceptual analysis.
In the course of his discussion of meaning and the…
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
Wollheim teaches that this is largely, if tacitly, a philosophical interest, in particular, an interest in philosophy in mind, depth psychology, and meaning. That is why pictures fascinate us in the way they do. It is the very opposite of deconstructionism; the facts of history, artistic intention, psychoanalysis, and perception make something urgently real out of painting.
One of the twentieth century's most influential texts on philosophical aesthetics
Painting as an Art is acclaimed philosopher Richard Wollheim's encompassing vision of how to view art. Transcending the traditional boundaries of art history, Wollheim draws on his three great passions-philosophy, psychology, and art-to present an illuminating theory of the very experience of art. He shows how to unlock the meaning of a painting by retrieving-almost reenacting-the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argues, critics must bring a much richer conception of human psychology than they have in the past. This…
I am a voracious reader of romantic fiction, and I’m always drawn in by books where time plays an important role. I love it when the characters have limited time and are on a countdown, or time is stretched out between their interactions, or when one single moment changes the course of their lives so completely. It always adds so much conflict and drama to a plot, as if time is a character in itself: it’s such a big thing in all our lives, but it’s also, in some respects, completely arbitrary. I love all these books because time and timing have such a big impact on the characters.
I felt every single emotion reading this book and felt as if I’d lived all the decades with Jen and Nick, who met as teenagers and soon became friends.
I love Sarra’s writing style, and I was fully invested in Jen and Nick from the very beginning, and found their complicated, messy relationship, which follows the most winding path, completely believable.
There was so much in this book that was unexpected, and by the end, I was a sobbing puddle of feelings. I know Jen and Nick will always stay with me, and I’m already looking forward to reading it again.
'A VERY special book. GORGEOUS, real believable and BEAUTIFUL' - Marian Keyes
London. Nine million people. Two hundred and seventy tube stations. Every day, thousands of chance encounters, first dates, goodbyes and happy ever afters.
And for twenty years it's been where one man and one woman can never get their timing right.
Jennifer and Nick meet as teenagers and over the next two decades, they fall in and out of love with each other. Sometimes they start kissing. Sometimes they're just friends. Sometimes they stop speaking, but they always find their way back to each other.
I love historical fiction, and with dual timelines, I often find myself identifying with a contemporary character who is trying to solve some mystery from the past. I wrote an article titled Five Questions to Ask Before Writing a Dual Timeline Novel, in which I addressed structure, how to relate the timelines to each other, and how to keep the reader engaged when going back and forth between time periods. I also wrote a blog post about how fitting the pieces together for this kind of work can be a bit like solving a jigsaw puzzle. Each of the novels I’ve recommended is an example of a satisfying final picture.
Joseph, a Berkeley student and the son of a Jewish mother and a Muslim father, receives a mysterious package from his estranged father. He embarks on a journey to understand a family mystery that can be traced back a thousand years.
I really cared about all of the characters who strive to lead good lives and demonstrate the many ways in which responsibility, forgiveness, love, and kindness shape the way we see and act in the world.
In this “wonderfully rich” (San Francisco Chronicle) novel from the author of the internationally bestselling The Oracle of Stamboul, a young man journeys from California to Cairo to unravel centuries-old family secrets.
“This book is a joy.”—Rabih Alameddine, author of the National Book Award finalist An Unnecessary Woman
WINNER OF: THE AMERICAN LIBRARY ASSOCIATION’S SOPHIE BRODY AWARD • THE NATIONAL JEWISH BOOK AWARD IN FICTION • THE SAMI ROHR PRIZE FOR JEWISH LITERATURE • Named One of the Ten Best Books of the Year by the BBC • Longlisted for the Northern California Independent Booksellers Association Fiction Prize • A…
We all read (or write) fiction for a bit of escapism, don’t we? To come face-to-face with the good, the bad, and the ugly of bygone days… The ancient Mediterranean is the place I would most love to visit in a time machine (albeit fully armed and in a hazmat suit), and these writers are – for me – the best at transporting readers there from the comfort of a sofa. I’ve tried plenty of historical fiction set in other times and places - much of it very good, but the smell of olive groves, the chirruping of cicadas, and the Aegean sun always call me back!
Some authors have an innate faculty for bringing the dim and distant past into such razor-sharp clarity that it’s hard not to believe that they were once present at the time. That’s how it is with Mary Renault (real name Eileen Mary Challans): any number of her books could have made this list.
What I particularly love about this duology (the sequel The Bull From the Sea isn’t quite as strong) is that Renault retold the ancient tale of Theseus and the Minotaur as historical fiction. Though she followed the main beats of the well-known story, she boldly stripped it of gods, monsters, and magic, and the narrative doesn’t suffer at all from it. If anything, it makes it even more compelling because it feels like she has stumbled upon a possible origin to the myth.
Theseus is the grandson of the King of Troizen, but his paternity is shrouded in mystery - can he really be the son of the god Poseidon? When he discovers his father's sword beneath a rock, his mother must reveal his true identity: Theseus is the son of Aegeus, King of Athens, and is his only heir. So begins Theseus's perilous journey to his father's palace to claim his birth right, escaping bandits and ritual king sacrifice in Eleusis, to slaying the Minotaur in Crete. Renault reimagines the Theseus myth, creating an original, exciting story.
The best fiction explores complex relationships between friends and lovers. I’ve been fascinated by this for as long as I can remember because love and friendship are the cornerstones of human existence. As concepts, they give life meaning yet can also take it away. They bring us together but can also leave us estranged. The sun-soaked cities of Europe have for so long been playgrounds for young lovers and friends, enjoying both the best of life and the most melancholy. I love traveling Europe–the grandeur, the romance, the happy-sad sentiment of it all. It embodies the topic and makes for the most beautiful setting.
The Trio captures the essence of friendship and love and the coexisting yet diametrically opposed social anxieties that can accompany them. This is why I love this book–love is presented as complex, challenging, and fraught with more that is unsaid than actually expressed.
I also love this book because it expresses love as a real feeling, something that is experienced but not always easy to explain (or get along with). The characters are relatable, honest, and flawed, yet likable. The book is also set in beautiful locations–Stockholm, Paris, London–which makes it beautiful to read.
Elegant, mature and richly atmospheric, a bittersweet love story glimpsed through the veil of memory
'The love child of Normal People and Brideshead Revisited... Sublime and elegiac' Francesca Reece
'[A] heady mix of hope and nostalgia, of desire and regret, of new love and lost love' Sunday Times
Thora, August and Hugo come from different worlds. One is an art school dreamer, one a wealthy scion of the old-world elite, and one an ordinary boy from out of town. But over the course of two sky-blue summers in Stockholm, they are drawn together…
I am a voracious reader of romantic fiction, and I’m always drawn in by books where time plays an important role. I love it when the characters have limited time and are on a countdown, or time is stretched out between their interactions, or when one single moment changes the course of their lives so completely. It always adds so much conflict and drama to a plot, as if time is a character in itself: it’s such a big thing in all our lives, but it’s also, in some respects, completely arbitrary. I love all these books because time and timing have such a big impact on the characters.
I fell in love with Lizzy and Ciaran as they tried to find their way back to each other after over a decade of not speaking. I loved the glamour of the Cannes film festival, which was a backdrop to the very real, human, unglamorous resentments they were harbouring, and I was gripped by the sense of time running out as the festival progressed.
The flashbacks to their time in France when they first met were gripping, and I was swept away by these two completely believable characters but was also caught up in the sizzle between them, and it’s such a funny, heartfelt book too.
I have always been intrigued by fantastical world-building that is complex, detailed, forensically credible, and immeasurably encyclopedic in scope. It should propel you to a world that feels almost as real as the world you leave behind but with intricate magic systems and razor-shape lore. Ironically, some of my choices took a while to love, but once they “sunk in,” everything changed. Whenever life gets too much, it has been cathartic, essential even, to transport to another universe and find solace in prose dedicated to survival, soul, and renewal.
Thomas Covernant is a leper shunned by society but finds himself in the Land where some herald him as the one who’ll save them from an evil sorcerer, Lord Foul. He is not always a sympathetic character, but being on society’s edge where all and sundry openly shun him can do that to anyone.
What I loved the most was the captivating Land with its many peoples and inhabitants, such as the sentient woods and the Forestals that ward them, the Elohim, a benign people with special powers, the Giants and the evil Viles, Waynhim, and ur-viles.
Outside being exotic, the world feels credible and immersive, especially the “wild magic” Covernant begins to wield. I ended up caring passionately about what happened to the Land and wanting Covernant to acknowledge his worth.
'Comparable to Tolkien at his best' WASHINGTON POST
Instantly recognised as a modern fantasy classic, Stephen Donaldson's uniquely imaginative and complex THE CHRONICLES OF THOMAS COVENANT, THE UNBELIEVER became a bestselling literary phenomenon that transformed the genre.
Lying unconscious after an accident, writer Thomas Covenant awakes in the Land - a strange, beautiful world locked in constant conflict between good and evil.
But Covenant, too, has been transformed: weak, angry, and alone in our world, he now holds powers beyond imagining and is greeted as a saviour. Can this man truly become the hero the Land requires?
Interested in
Austria-Hungary,
Vienna,
and
Austria?
10,000+ authors have recommended their favorite books and what they love about them.
Browse their picks for the best books about
Austria-Hungary,
Vienna,
and
Austria.
