90 books like The Mere Wife

After a “massacre” of a herd of elk on a protected reservation forest—a scene which spoke more of frenzied bloodlust than hunting for sustenance—four Blackfoot men become the prey of a creature bent on revenge.

Jones’s narrative satisfied my thirst for wholly original horror while exploring the clash of Native American traditional and contemporary culture. The story touches on the characters’ drive to assimilate, guilt and sense of identity, and the need to move beyond resentments to create a life worth living.

I loved the originality of the beast, the slice of reservation life, and the endearing, flawed characters, all rendered with gorgeous precision.

As an author, Warren possesses the enviable power to create complex, flawed, and often deeply unlikeable characters – at least when you first meet them on the page – who remain utterly and irresistibly engaging to the reader. Theresa, the protagonist in The Grief Hole, is no exception. Not only can she see ghosts, but she can also tell how a person is going to die, but what she does – and doesn’t do – with these abilities isn’t what you might expect. I’ve been reading Warren’s fiction for decades and this novel is among her finest and most challenging work – which is no small thing, believe me! Dark and disturbing, weird and wry, The Grief Hole is a ghost story that will haunt you for a very, very long time.

This book lives in my Brain rent-free, ironic since my brain is also not a space in which anyone should take Up residence.

I love the layers of narraTors, Johnny, Zampanò, and Navidson, all of Them unreliable, telling lies from cOnscious design, from iNability to face the truth, from shifting realities. Maybe one day I'll find my way through to someone who loves my ironieS.

Kiernan is, without question, one of the best practitioners of dark weird fiction working today. I’ve been reading their work almost since I started writing myself and will happily – and gratefully – admit to the early influence on my own writing. While their short stories always held a greater attraction for me personally, The Red Tree is a powerful and ambitious novel that brings together everything I love about their work. Sarah Crowe is burned-out writer fleeing from all her life contains, including herself, and the old, isolated farmhouse chosen as a refuge proves to be precisely the opposite. There are stories nested within stories, autobiography threaded through metafiction, dread mingled with wonder, and a satisfying ambiguity that resists a neat resolution. 

I literally guffawed as I read this—enough times that my kids begged me to read it to them (which I did). This retelling of Beowulf played with expectations, twisting and turning in unexpected ways. The characters were fully fleshed out, with plenty of faults and quirks. No one was who I thought they were. Intrigue, magic, and stubborn independence mixed to make this delightful tale. 

This is the most important book people have never heard of. It was immensely popular in the Middle Ages – 300 manuscripts survive in nine languages (Beowulf, another monster tale, survives in one copy). The probably-fictional “John Mandeville, knight, though I am not worthy” sets out from England in 1332, travels the known world on pilgrimage to Jerusalem, and continues all the way to India. He encounters wondrous places, people, and beasts. The book is fundamentally flawed, with rampant racism, anti-Semitism, Islamophobia, sexism, and on, but this is why it matters. Mandeville was Columbus’s reading on his voyage to “the Indies,” and encouraged him to see indigenous populations as monstrous. It is terrible, and terribly important. Bale’s excellent introduction and translation are the best of many versions.

There aren’t many discussions in my field that don’t at least nod to, if not begin with, Cohen’s contribution, "Monster Culture". Cohen lays out a way to think about monsters as embodiments of culture that has been invaluable to their study, a way to “mine” monsters for the cultural “gold” from which they are made. While the field has expanded since Cohen, it should be the starting point for anyone seriously interested in monstrosity. There are also stand-out chapters on a variety of topics, from Frankenstein and Jurassic Park to Beowulf and the perception of medieval Muslim monstrosity. 

Most people don't even know about this book. Written in 1946, it's just a little older than I am. I read it years ago and was delighted by Myers' world woven from existing fantasy and legend. I also use what has worked before to make my own books both familiar and new. How convenient when you have a perfectly fantastic cauldron of long-held material completely free for the taking. I, as did Myers, took full advantage of the vast pool of wonderful existing ideas. “Silverlock” certainly showed me I could freely dip from the pool and just twist it a bit to fit my own tale.

Beowulf is fascinating because it was written in Angle-land, probably Suffolk, probably in the 900s AD, when the Angles (Southern Scandinavians) held sway, with the Danes in Northumbria and Mercia, before the Anglo Saxons began to create the first truly English dynasty in Alfred the Great. It tells of a hero from Geats (in modern Sweden, possibly in the 600s AD) who rids the king of the Danes of the monster Grendel. Of all the translations Seamus Heany is the most vigorous and beautiful, and I often return to it as a reference.

When I first read this book, not only was I struck by its central theme that ‘myths’ have meaning but also by the fact that it is our problem that we cannot today recognize myths for what they once were. All oral traditions evolve through time, sometimes over thousands of years and across hundreds of generations of retelling, but if their core is sufficiently memorable, then it can remain recognizable. It is up to us to unpack the stories we hear today, to learn how they changed through time, and try to see whether there is an empirical core in their hearts. This book is a must for anyone interested in learning more about the meaning of ‘myth’ rather than romanticizing it.