Fans pick 9 books like The Plain Old Man

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

I grew up in New York City, practically within walking distance of the Broadway theatre district. My first show was the original production of 1776. Everything grabbed my attention: Ian McKellan in Amadeus, Patrick Stewart in Macbeth, Richard Dreyfuss in Julius Caesar, and Rex Harrison in My Fair Lady. In high school, I was an eager, if not especially talented, member of the theatre club. I became curious about the whole theatre scene, and what could be a better place for a mystery, where actors, directors, and scene designers are already creating an alternate world.

As a humorist and lover of all things comedy, I know how quickly a good joke can feel dated. (Heck, lots of great bits from last year don’t even work anymore.) Drama almost always holds up better than comedy. For example, you can still get swept up in dramatic narratives as ancient as The Odyssey. But do Aristophanes’ or Shakespeare’s “comedies” elicit even the slightest guffaws? Not from me. So, I hear you cry, are there any written works from more than 100 years ago that remain lol funny today? Well, don’t cry. Because yes, there are quite a few literary treasures that are still hysterically funny. The good news is that I’ve done some of that research for you.  

I’ve been fascinated by crime since I was young, at first reading historical true crime and then reading widely in the crime fiction genre. What intrigues me about crime is the sense of the world being broken, and although the perpetrator might be caught and punished, their actions forever change the world. I was a member of a crime book group that focused on crime novels, and I’ve reviewed a number of true crime books. I’ve also attended and spoken at the Bristol Crime Fest–an annual festival of crime writing. I regularly give talks on crime writing and how, as a crime writer, I go about picking the perfect poison. 

I’ve always been fascinated by our creative urges and ambitions, and by what makes us who we are and why we make the choices we do. While I’m interested in many aspects of human experience and psychology, from the mundane to the murderous, I’m especially drawn to narratives that probe our deeper psyches and look, particularly with a grain of humor, at our efforts to expand our understanding and create great works—or simply to become wiser and more enlightened beings. What is our place in the universe? Why are we here? Who are we? The books I’ve listed explore some of these matters in ways both heartfelt and humorous.

My name is Polly Schattel, and I’m a novelist, screenwriter, and film director. I wrote and directed the films Sinkhole, Alison, and Quiet River, and my written work includes The Occultists, Shadowdays, and the novella 8:59:29. I grew up loving fantasy—Tolkien, Moorcock, Zelazny—but phased out of it somewhat when I discovered writers like Raymond Carver, EL Doctorow, and Denis Johnson. Their books seemed more adult and more complex, not to mention the prose itself was absolutely transporting. In comparison, the fantasy I’d read often felt quite rushed and thin, with get-it-done prose. I drifted away from genre fiction a bit, but dove back to it with my first novel, the historical dark fantasy The Occultists.

I am Frederick L. McKay, the youngest son of the composer and author George Frederick McKay (1899-1970), and I have re-issued and edited Professor McKay’s theory books and also authored his biography titled McKay’s Music: The Composer Chronicles. George Frederick McKay hoped to have more American music performed in the concert halls of our country and also involved cultural elements from around the world in his musical works, including poetry and whimsical pieces for young people studying music. His other works include Creative Harmony, How Music Begins and Grows, and Workbook for Creative Orchestration.