100 books like The Power of Myth

Markus Zusak’s book is definitely not for the faint of heart or those easily bored: its narrator is Death, and the book is over 500 pages long. Not really the kind of book you’d think of for those aged 12 and up (as it’s listed). But it is one that really ought to be universally read.

The book follows two young children battling for survival in Nazi Germany. Entropy hangs in the air like Death’s shadow. Life’s harsh realities—like evil, heartache, pain, and mortality—are ever-present. In Max's (the young boy) dreams, he is boxing with Hitler and lands a punch, knocking the Fuhrer down, but soon he’s overtaken by the crowd.

This is one of the reasons I appreciate this book: winners sometimes lose; bad things happen to good people. And yet, the response to this existential injustice isn’t to become a mere survivor, victim, or martyr. It’s to… show more.

Joan Didion’s book is heralded for its bravery, clarity, and confessional witness about grief and loss. Indeed, it’s all these things, but for me, more importantly, this book paints a masterful depiction of the loss of innocence that comes when you lose something meaningful—like a loved one.

Particularly, it shows, with exhilarating force, the fragmented sense of time of such an experience, moving from Didion’s darkest moments of despair at the loss of her husband in the present to treasured memories of her life before his passing and musings about what comes now—in the future.

This book is not for the faint of heart, but it is for the savoring soul who, like Didion, possesses an inherent human desire for a sense of coherence and wholeness after life has torn it asunder.

Sarah Bradford also wrote one of the best biographies of Queen Elizabeth II. Her Jackie biography is authoritative. It covers everything from her parents' troubled marriage to Jackie’s own disappointing liaisons with powerful men. The life she built in New York after the death of Onassis is proof of what an extraordinary woman she was, perhaps the most important of America’s former first ladies. She was in a league with Eleanor Roosevelt and Abigail Adams. She had an intelligence and discernment equal to theirs but with style all her own.

This volume collects the memories of people who were close to Jackie. Carl Anthony met Jackie, and better, he was in touch with Jackie’s friend Nancy Tuckerman, who helped him with addresses and telephone numbers. These are people who were willing to speak about Jackie following her premature death at the age of 65. Anthony is also an expert on presidential wives and families.

This set of 8 CDs and corresponding transcripts, with hours of interviews between Jackie Kennedy and the Pulitzer Prize-winning historian, Arthur Schlesinger, Jr., brings alive the First Lady’s memories of her husband, their marriage, and life in the White House, only a few months after JFK’s assassination. I will never forget listening to Jackie’s authentic voice as if I were sitting in the room with her as she relived the triumphs and tragedies of Camelot. Her description of the Cuban Missile Crisis, for example, when she told her husband, “I want to die with you,” is riveting.

This is an exhibition catalogue that began with a show at the Kennedy Library: the clothes Jackie wore in the White House. It has a smart introduction by Hamish Bowles, an editor at Vogue. He shows how her clothing choices were not just about looking pretty. They were about her historical vision for the role of the president’s wife, her sense of the women who had come before her, and of the American craftsmen at work in the fashion industry. The pictures are ravishing. 

C.S. Lewis is widely known for his children’s book series, The Chronicles of Narnia. His list of publications is, however, much longer. This little volume of essays gives a reader (or a writer) insight into how the form of a story shapes its meaning. For instance, he writes about stories for children and how some authors mistakenly think that children are only interested in childish things. He compares that to people who have the gift of being able to access the child that is still in them and speak with them in a shared experience. 

Of science fiction, he shares the difference between an author who is a creator of worlds, and one who rearranges alien props to make a pedestrian story appear clever. The key is a story that makes contact with the reader.

At first glance, it appears to be a book about rabbits but it’s much more about humanity.

Watership Down was my childhood favorite story. Its themes of home, overcoming incredible obstacles, and finding a few good friends along the way are lessons I still carry with me. When I first read it as a young boy, I was lost in the gaps of the foster care system.

This book gave me a vision – and a plan – for how to overcome it. Those lessons apply to all of us and are desperately needed in a world that too often bends towards cynicism and chaos.

Rule #1: Writers should write what they know. Many science fiction readers know Isaac Asimov as a prolific genre author. First and foremost, however, he is a scientist, a biochemist by training. In this book, Isaac and Janet Asimov share essays on diverse scientific subjects from life on earth to discoveries in space. For me, I searched the book for everything from the fate of the dinosaurs to the height of sea-level rise in case of a major melt-down of Antarctica and Greenland. 

In this book, imagination runs a parallel reality. It is a place where a writer or a reader will see a jumping-off place from the real world to dystopia. 

Hang-gliding is a literal leap of faith. You jump from terra firma and hope that the wind rises beneath your airfoil. Running from Safety is the author’s leap of faith, and, by extension, the readers. “Have you ever met anybody…like the people in your books?”  This is the cryptic question that begins this life exploration. 

As a writer myself, I know that every character in my books is me. Bach knows this, too. But do we really learn from the collection of stuff we hold inside, stuff that is our history? The book begins when Bach is confronted by Dickie, his child-self. The boy asks for one thing: He wants his adult self to sign off on the meaning of life contained in his eight-year-old vision of maturity. Bach is appalled at his simple naiveté. What should you tell your younger self?