100 books like The Mystery of Charles Dickens

In the plague years of 14th century England, a young runaway priest, Nicholas Barber, hides himself by joining a troupe of traveling players and thereby finds himself a new role in a wider world. Nicholas’s story begins at an inflection point, when the residents in a particular town are more interested in an actual crime of murder than in seeing yet another iteration of the traditional religious Morality play. To captivate and keep their audience, the actors—with Nicholas now one of them—create a play of real life about the town’s murder. Their drama evolves in a series of performances as they discover more details of the mystery, at last leading them to its resolution. A fascinating interplay of history, mystery, theater, and human nature! I love this book.

From her shocking first sentence to her final transcendent words, the narrator compelled me to travel with her through her memories of a lifetime on what might well be her last afternoon. In fact, I read the book in a single day, a unique experience for me since I am a slow reader who hears every word and pictures every action in my mind. Drawn to both reading and writing with a Southern Gothic sensibility, I was spellbound by the unfolding tale of a complex and courageous woman’s survival during the era of the American Civil War. This novel reads like a mesmerizing dramatic monologue delivered on the stage of history.

Biography is one of my favorite ways to explore history, and this double-biography is a doozy. The feud between Sarah Bernhardt and rival actress Eleonora Duse comes to dramatic life on the page as these remarkable women thrill theater audiences across the globe with their on-stage performances and off-stage scandals. Bernhardt created her public persona as the first superstar, and her name and fame certainly endure. But Duse intrigues me even more in contrast with the Divine Sarah. Unlike Bernhardt playing herself while playing a role, Duse disappeared into her roles with her natural, believable style of acting. Her technique revolutionized the theater from the late 19th century onward. And Duse’s style is the one that I find plays best in my head each time I read a novel.

I love this book because of the intricate links between a variety of very distinct characters. Setterfield tells wonderful individual stories and then brings them all together in a surprising and satisfying way. I enjoyed trying to piece the mystery together.

The river itself is a character who can alter lives for better or worse, providing life and livelihood or taking them away. Setterfield really leans into the river’s atmosphere (mists, floods, and miasmas), so this is a novel that you feel and smell as well as read.

This is a compelling and comprehensive study of Richard III’s reign. Annette Carson examines the events as they actually happened, based on the evidence of the original sources. In place of assumptions so beloved of traditional historians, she instead dissects motives and actions in light of the historical facts. Carson dares to investigate areas where historians fear to tread, raising many controversial questions and encouraging readers to think again.

“All women together ought to let flowers fall on the tomb of Aphra Behn... in Westminster Abbey, for it was she who earned them the right to speak their minds.” The first professional woman writer in England, best known for her scandalous stage comedies during the reign of Charles II, Behn ended her career with a hard-hitting novel about slavery and rebellion in colonial Suriname. It may not be true, as she says when dedicating Oroonoko (1688) to a Scottish nobleman, that “I writ it in a few hours.” But there’s real urgency to Behn’s narrative as she deplores the fate of her enslaved hero, an African prince she likens to “a lion taken in a toil,” while also sounding the alarm about regime change back home in England. 

Robin Evans was a versatile architectural historian and theorist who died too young. This highly original and unusual book, published after his death, is about the relationship of geometry to architecture, and how methods of drawing, including perspective and orthographic projection, can influence what is conceived and built. I admire the way in which Evans, unlike many architectural historians, is able to combine deep scholarship with a working practical understanding of how buildings are made, and how they are used in practice. There has been no other recent writer on architecture with so subtle a mind.

I love this book despite feeling frustrated by the excessive detail. Turner brings Chaucer’s cosmopolitan world and diverse literary works to life by focusing on places and spaces significant to him. I especially enjoyed the chapter on Households, where Chaucer was sent to serve in his adolescence, like many of his contemporaries, as page-boy, valet, entertainer, general factotum. I also learnt about his international travels, as a diplomat, prisoner of war, member of Parliament, and the sadness of his unfulfilled private life.

The last two chapters recount Chaucer’s final year living in the precincts of Westminster Abbey, his sudden death, relatively obscure burial, subsequent reburial in Poet’s Corner, and elevation as Father of English Literature, which Turner controversially challenges, placing him in a European cultural background.

This is a sparklingly funny play. I love its contemporary freshness, its fleetness of foot, and its irreverence. It satirizes the fashion for all things French among London’s social climbers. It sugars the pill of all that satire by bringing a fast-paced plot to a comic ending of marriage and reconciliation. It taught me that writers in seventeenth-century England like the play’s author, John Dryden, were importing words and ideas from France as they sought to trace a middle way between a servile mimicry of French culture and an insular rejection of it. 

While walking through a Barnes and Noble some thirty years ago, I stumbled upon Anthony Trollope—probably because he took up about three whole shelves. Curious, I chose one of his fifty novels and then another and another until I concluded that he is undoubtedly one of the most underrated authors in the English language. Both of his series—The Chronicles of Barsetshire and The Pallisers—make Downton Abbey look like upstairs/downstairs-lite. Highly recommended!