Fans pick 100 books like The Red Widow

This isn’t a recent book, but it remains one of my favorite dives into the underworld! Who doesn’t like a salacious rag sheet or a grisly murder? It focuses on sexual danger in Victorian London and has everything: tabloid journalism, child prostitution, and narratives about Jack the Ripper and the “bad women” he killed!

All these stories uncover the ways that the general masses made sense of new sexual categories and illuminate how legislators and politicians used those categories to both challenge and push women out of public spaces and back into so-called traditional gender roles.

I remain fascinated by how the story of a serial killer could be subverted to instead denigrate white women (racialized as Other because of class) who were in public spaces where they didn’t belong. Or how often those same working-class white women used the ideas of sexual danger to show that it was, in… show more.

In Central Park, there used to be a statue of J. Marion Sims, the so-called “father of gynecology.” Mercifully, it was removed in 2018, but the memory of his and other white doctor’s butchery on the bodies of several enslaved women isn’t so easily erased.

This book uncovers how Sims performed experimental (and anesthetized) cesarean sections, ovariotomies, and obstetric fistula repairs primarily on powerless Black women and scores of poor Irish women. In turn, those medical “breakthroughs,” which were medical experimentations, were used to benefit middle–and upper-class white women’s reproductive lives. While properly eviscerating Sims, Owens also highlights the medical skills of the same enslaved women disregarded by doctors.

I was infuriated at the mental hopscotch needed to render these women both skilled practitioners and nameless bodies to be cut up at will. You won’t feel good when you finish reading this essential book, but you will remember Lucy, Anarcha,… show more.

This book astonishes me every time I open its pages, and I return to these stories again and again. Taking the 18th-century urban city of Bridgetown, Barbados, as its canvas, Fuentes uncovers, often using fragmentary sources, the lives of Black enslaved and free women of color, narrating their violent stories of survival in ways that broke my heart.

Equally important, the power of Fuentes’ writing forces me to interrogate how histories of vulnerable women are produced while they are alive and how to reckon with how archives produce and reinscribe violence on their disfigured bodies after death. It is impossible not to feel the full weight of my responsibility as a scholar after reading this book.

It is the first book I hand to students who want to write about Black women, regardless of their geographic interests.

So many books about slavery and slaveholders focus on men. They either ignore white women or relegate them to passive observers in the world’s most “peculiar institution.” This book shatters that argument, detailing in often excruciating details how white women in the American South not only had a stake in enslavement but were enthusiastic participants.

From its very opening, recalling a little white girl splitting up her Black enslaved mammy’s family in a fit of anger, these stories made me seethe with rage. You will never look at the institution of slavery–and the role of white women at its center–in the same way again.

I grabbed this historical true crime nonfiction book in order to conduct research for one of my own projects. 

This book is about the rampant crime in 1600s Paris and, by extension, the Affair of the Poisons and Louis, The Sun King’s, solution. The king’s solution was to hire a police chief, La Reynie, to bring peace to the city streets. La Reynie ordered candles put in every window in the belief that the light would deter the criminal element, thus creating the City of Lights.

La Reynie was also the central investigator in the Affair of the Poisons and responsible for arresting the key figures in the crimes. Tucker also shows in this fascinating book how many of these criminal incidents were related to witchcraft and black magic. 

The beauty of this book is how it reads more like a novel than nonfiction history.

The chief attraction of Fred Vargas’s novels is her cast of characters, led by Chief Inspector Adamsberg, a most unconventional leader of any criminal investigation outfit. Small and disheveled, good with animals and children, dreamy and often seemingly idle, Adamsberg is not only extremely bright but has confidently surrounded himself with remarkable colleagues. Hard-drinking Adrien Danglard, a single father of five with a huge store of ready information, and Violette Retancourt, a woman of prodigious strength and courage, are among his entertaining subordinates, along with Snowball, the division’s cat that proves equally remarkable in one memorable outing. 

Ballgowns, swords, and secrets abound in One for All, a fresh retelling of The Three Musketeers. As the daughter of one of the original Musketeers, the main character Tania is an expert sword fighter who also struggles will the chronic illness, POTS.

There is so much action, intrigue, and mystery in this book while adding fresh and needed representation to the genre. Even though this isn’t strictly a historical event, a lot of us associate The Three Musketeers with the time of Louis XIV, and it’s fantastic to see that time period in a new light from a fresh perspective.

I didn’t come into contact with Remembrance of Things Past until I was in my late twenties—and was immediately turned off. I thought, what a windbag and slammed the book shut. Later, I gave it another try. Then another. I never did finish Swann's Way and the other novels in Remembrance of Things Past. And yet Proust remains not only a powerful influence on my writing, but a guide in the practice of good prose. What has stayed with me were Proust’s long gorgeous sentences. Any time my writing slackens, or my vision falters, I pick up Proust. I read those long long sentences with my lips moving. They inspire me. They make me pay attention to the most important craft element in the writer’s tool kit—the sentence.

The bad boy falls in love with the young innocent girl, and for her sake, he fully intends to keep her at a distance. The only problem is she won’t stay away. It’s the heart deep inside of the bad boy that we are always drawn to, that need to protect her, but finding she’s too stubborn for her own good so the only way to protect her is to be with her. 

A gruesome story of murder and desire that also happens to have the most vivid olfactory descriptions of any genre.

Suskind’s preternatural ability to summon odor from the page makes you feel as if you are there beside him, walking through the flowered hillsides of Provence, or in the back room of a perfume shop on the Pont au Change. His twisted use of classic perfume techniques is as accurate as it is chilling.