Here are 100 books that The Reenactments fans have personally recommended if you like
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When my father died in 1998, bladder cancer, I was 41 years old and privileged to be his primary caregiver for five weeks. My first major loss and it was as though a mack truck had been driven through my chest. Ten years later, my mother died, after nine years of dementia, which is like losing someone twice. That was a more ravaging grief. Twelve years later, my nephew died, a month away from his 36th birthday. And in 2022, one close friend of mine took his own life and another died of cancer at age 57. Grief is the subject I gravitate toward in the books I read and the essays I write.
This book is about the most horrifying loss imaginable: the author loses her parents, her husband, and her two young sons all at once, in the tsunami in the Indian Ocean, the day after Christmas, 2004. She and her family were spending the holiday in Sri Lanka when the wave hit and overtook the jeep in which they were attempting to flee. I can’t come up with a better justification for suicide than this—she’s lost everyone; she wonders why she was spared, just to suffer these losses every minute of every hour of every day. The book is both a horror story and a testament to human strength. I assure you, you won’t be able to put it down.
The book opens and we are inside the wave: thirty feet high, moving at twenty-five mph, racing two miles inland. And from there into the depths of the author's despair: how to live now that her life has been undone?
Sonali Deraniyagala tells her story - the loss of her two boys, her husband, and her parents - without artifice or sentimentality. In the stark language of unfathomable sorrow, anger, and guilt: she struggles through the first months following the tragedy -- someone always at her side to prevent her from harming herself, her…
There are very few novels written by psychiatrists, and even fewer that accurately show psychiatrists at work. That is one of the major reasons that I wrote The End of Miracles. I’ve been a professor of psychiatry at the University of Michigan, seen many patients, and taught many psychiatry residents, so I know a good deal about people with mental illness and its treatment. As a novelist, I also wanted to write a book that is exciting and gives pleasure to readers. I think I succeeded. Here are some comments from reader reviews online: “gripping”… ”thought-provoking”… ”spell-binding”… ”illuminating”… “a page-turner”… ”a rich and satisfying read”.
In Ordinary People, the boating-accident death of the older teenage son shatters the family.
Conrad, the younger son who was also on the boat, is tormented by self-blame for his brother’s death. After a suicide attempt and a psychiatric hospitalization, Conrad is released. He is still beset with guilt and depression and begins outpatient treatment with Dr. Berger, a blunt yet also an empathetic psychiatrist.
I like the way he helps Conrad reconsider his unrealistic guilt and helps him look at the limitations of his mother, a parent unable to provide him the warmth and support he needs. I like the way Dr. Berger is portrayed as caring and skilled, an example of how psychiatrists effectively treat their patients.
One of the great bestseller of our time: the novel that inspired Robert Redford's Oscar-winning film starring Donald Sutherland and Mary Tyler Moore
In Ordinary People, Judith Guest's remarkable first novel, the Jarrets are a typical American family. Calvin is a determined, successful provider and Beth an organized, efficient wife. They had two sons, Conrad and Buck, but now they have one. In this memorable, moving novel, Judith Guest takes the reader into their lives to share their misunderstandings, pain, and ultimate healing. Ordinary People is an extraordinary novel about an "ordinary" family divided by pain, yet bound by their…
My most recent book,If There Are Any Heavens, tells the story of my mother’s death from COVID-19 at the peak of the pandemic in America. As I wrote this book, I returned to some of the most powerful books I had read about grief. Because my book is a memoir in verse, I found myself reading mostly memoirs and poetry. My previous books are all fiction—three novels and a short story collection. No matter the book or genre, I’m attuned to the sonic qualities of the writing. My favorite writing, the kind I aspire to, strives for the emotional immediacy of music.
James Agee might be one of the most underappreciated American writers of the 20th century and one of its great stylists. I splurged for a first-edition hardcover of this novel: its pages smell like 1957, the year it was published, two years after Agee died suddenly at 45. It won the Pulitzer Prize. Its famous prologue, “Knoxville: Summer 1915,” is a masterpiece. This autobiographical novel, largely based on the death of Agee’s father in 1915, tells the story of a boy’s father killed in a car accident. It is an alternately quiet and lyrical work that is as much about love as loss.
The classic American novel, re-published for the 100th anniversary of James Agee's birth
Published in 1957, two years after its author's death at the age of forty-five, A Death in the Family remains a near-perfect work of art, an autobiographical novel that contains one of the most evocative depictions of loss and grief ever written. As Jay Follet hurries back to his home in Knoxville, Tennessee, he is killed in a car accident-a tragedy that destroys not only a life, but also the domestic happiness and contentment of a young family. A novel of great courage, lyric force, and powerful…
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
I felt, after the AIDS crisis, as if I had been one person before it and another after it. I lost so many friends, collaborators, colleagues, and then finally, my own lover, I felt like the shell-shocked survivor of a war after it at least abated somewhat. Then my two sisters and both my parents died, and I became someone whose topic, no matter how veiled it is, is grief and loss. I am a living coffin on its way to a funeral to the sound of a cortège I composed.
Marie’s poems are separated into three sections: childhood (which included an alcoholic and abusive father), the illness and death of her brother Johnny from AIDS, and life beyond his death, including her relationship with James Shannon, a tree surgeon and a fisherman. They were like lifelines to me after Jeffrey died.
I memorized the title poem and said it repeatedly in my head like a litany. These poems are clearly spoken; life boiled down to a stock with the healing power of fresh air and cool water. No other book of poems has ever helped me so much through a catastrophic time, and I ended up setting many of these poems to music.
Informed by the death of a beloved brother, here are the stories of childhood, its thicket of sex and sorrow and joy, boys and girls growing into men and women, stories of a brother who in his dying could teach how to be most alive. What the Living Do reflects "a new form of confessional poetry, one shared to some degree by other women poets such as Sharon Olds and Jane Kenyon. Unlike the earlier confessional poetry of Plath, Lowell, Sexton et al., Howe's writing is not so much a moan or a shriek as a song. It is a…
Since an early age, I loved getting lost in a good story and knew I wanted to be a writer one day. As an adult, I tried writing in many genres but it was when I had my children that I knew I wanted to write children’s bedtime stories. I loved that special time at the end of a busy day when I could snuggle down with my children and get lost in a story with them. I now write children's bedtime stories for a podcast called Koko Sleep. The stories are written in a soothing way and are designed to help the listeners drift easily to sleep.
My eldest daughter is called Rosie and she absolutely adored this book. It has lift-the-flaps inside which children always love. It's a simple story about a rabbit getting ready for bedtime, and it gently encourages children to have a bedtime routine. I read it every night and it wasn't long before my daughter knew the words and she started reading it to me. It is such a treasured book and I still have it in my family box of memories.
Following mysterious trails and uncovering esoteric stories: it’s what I love to do, and it’s also what I love to read about. Before I released Extreme Music, I wrote extensively about unusual music subcultures and audiological anomalies, for example artists who put out hourlong blocks of unchanging white noise. I’ve learned that the most interesting ideas – and tales – exist in these outer fringes.
The filmic counterpart to Amanda Petrusich’s exposé on collectors of 78 RPM records, Do Not Sell at Any Price, this book uncovers the eccentric characters who have devoted their free time to collecting theatrical prints of movies, often risking harm (and jail time) in the process. One highlight is a profile of Mike Vraney, the man who founded Something Weird Video, a film distributor famous for re-releasing arcane Z-movies and shock films. The self-professed owner of the “largest sexploitation archive on Earth,” his stories, and those of a range of other specialized collectors, make this book a worthy compendium of a unique subculture.
A Thousand Cuts is a candid exploration of one of America's strangest and most quickly vanishing subcultures. It is about the death of physical film in the digital era and about a paranoid, secretive, eccentric, and sometimes obsessive group of film-mad collectors who made movies and their projection a private religion in the time before DVDs and Blu-rays.
The book includes the stories of film historian/critic Leonard Maltin, TCM host Robert Osborne discussing Rock Hudson's secret 1970s film vault, RoboCop producer Jon Davison dropping acid and screening King Kong with Jefferson Airplane at the Fillmore East, and Academy Award-winning film…
I’m an artist, designer, writer. I usually work in collage. I enjoy how the constraints of collage generate more inventive thinking, forcing me to come up with unexpected solutions. I also like how the found material retains traces of its original context. I’ve always been interested in the interplay between words and images – for 15 years I did the weekly Lost Consonants series in the Weekend Guardian – and that gradually led me to writing fiction. All my books have visual or structural elements designed to bring an additional narrative dimension to the story. Over the years, I’ve become fascinated by what makes great stories great. Hence this list.
Another book focusing on the medium of film, but again the lessons to be learned about good storytelling are universal. Alexander ‘Sandy’ Mackendrick directed such classic Ealing comedies as The Man in the White Suit and The Ladykillers, also the Hollywood masterpiece, Sweet Smell of Success. After retiring from filmmaking in 1969, he spent nearly 25 years as a professor at CalArts in Los Angeles where he helped students to write better stories and communicate them effectively through the craft of filmmaking.
This book is compiled from Mackendrick's legacy of masterly handouts and lectures. One section I found incredibly insightful is his comparison of two versions of a key scene from the script of Sweet Smell of Success (initially written by Ernest Lehman and subsequently rewritten by Clifford Odets), seeing how increased tension between the characters is achieved.
An invaluable analysis of the director's art and craft, from one of the most revered of all film school directors. Alexander 'Sandy' Mackendrick directed classic Ealing comedies plus a Hollywood masterpiece, Sweet Smell of Success. But after retiring from film-making in 1969, he then spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles.
Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story…
I grew up in Taiwan and have always been fascinated by cinema. I received my Ph.D. in 1998 in the UK in communications studies and shifted my research priority from media to Taiwan cinema in 2005 when I became Head of Chinese Studies at the University of Nottingham Ningbo, China. I had fun working on several projects, screening Taiwanese films, discussing Taiwan cinema and society with filmmakers and audiences, and publishing widely in Chinese and in English. I have travelled, lived, and worked in different cities and countries since 2005 and have continued to find it rewarding to study what I have been passionate about since childhood.
When I decided to study Taiwan cinema more systematically, I tried to read as much on the subject as possible. I enjoyed this book because it offered me a broad overview of many kinds of questions that can be asked about and through Taiwan cinema.
For example, I realized that it is possible to try and understand Taiwanese domestic & international politics, cross-strait relations, colonial history, and the impact of globalization in a more relatable manner by reading films and documentaries as texts. It is also possible to analyze different festivals, genres, filmmakers, and individual films from the perspectives of the film industry and film artistry.
I was totally energized by the enormous potential the subject of Taiwan cinema can offer because of this book.
Following the recent success of Taiwanese film directors, such as Hou Hsiao-hsien, Edward Yang, Ang Lee and Tsai Ming-liang, Taiwanese film is raising its profile in contemporary cinema. This collection presents an exciting and ambitious foray into the cultural politics of contemporary Taiwan film that goes beyond the auterist mode, the nation-state argument and vestiges of the New Cinema.
Cinema Taiwan considers the complex problems of popularity, conflicts between transnational capital and local practice, non-fiction and independent filmmaking as emerging modes of address, and new possibilities of forging vibrant film cultures embedded in national (identity) politics, gender/sexuality and community activism.…
My dad instilled in me a love of, and respect for, history and an avid interest in golden-era Hollywood. In my adult life as a professional writer, that paternal guidance has translated into eight books about various aspects of old Hollywood, with a growing focus on the intersection of Hollywood and World War II. My career to date was punctuated by the international success of Dutch Girl: Audrey Hepburn and World War II, which detailed the future star’s very hard life in the Netherlands under Nazi occupation. Dad didn’t live long enough to know I’d written anything, let alone a number of books he would have enjoyed reading.
The year before Errol Flynn blew into Hollywood, the “pre-Code” era ended. What was the “pre-Code” era? It was the period in the early 1930s when Hollywood rode the cliff, making movies about sensational topics like adultery, pay-for-play, drug use, and more. Many of the pictures included a scene or two with leading ladies scantily clad and even braless. Leading men were often scoundrels.
This book entertainingly details both the point of view of studios struggling to remain relevant in the depths of the Great Depression by creating salacious products and the outcry from alarmed parents who took their kids to the movies only to cover their eyes and rush them back out again.
The author backs up his narrative with eye-popping photos illustrating just what was so shocking about the pre-Code era. This interesting period of Hollywood history ended abruptly and, unfortunately, with the puritanical “Production Code” that ushered…
A Last Survivor of the Orphan Trains
by
Victoria Golden,
Four years old and homeless in 1930, William Walters climbed aboard one of the last American Orphan Trains, and, without knowing it, embarked on an extraordinary path through nine decades of U.S. history.
For 75 years, Orphan Trains transported 250,000 children from the East Coast into homes in the emerging…
I’ve been fascinated by celebrities and heroes ever since I was a child. That compulsion became something I wanted to understand. I got my chance as the head editor of People magazine. Over the years, I met more than my share of celebrities – Ronald Reagan, Tom Hanks, Malcolm X, and Princess Diana, to name only a few. I began to take notes about my brushes with fame and think about celebrities in history and why they have recently become so dominant in our culture. Celebrity Nation is the result. Enjoy it!
Neal Gabler is one of our most astute cultural critics.
I met him when I invited him to be my guest in a Princeton seminar called “Writing about Popular Culture.”
He talked compellingly about his books like Winchell: Gossip, Power and the Culture of Celebrity and An Empire of Their Own: How the Jews Invented Hollywood, which carefully examined the inner workings of entertainment and celebrity.
In Life: The Movie, Gabler takes the argument even further, drawing on examples ranging from Elizabeth Taylor and Tom Cruise to Princess Diana and Oprah Winfrey to show how celebrity hagiography has turned everything from news to religion and politics into an inescapable public entertainment.
The story of how our bottomless appetite for novelty, gossip, and melodrama has turned everything—news, politics, religion, high culture—into one vast public entertainment.
Neal Gabler calls them "lifies," those blockbusters written in the medium of life that dominate the media and the national conversation for weeks, months, even years: the death of Princess Diana, the trial of O.J. Simpson, Kenneth Starr vs. William Jefferson Clinton. Real Life as Entertainment is hardly a new phenomenon, but the movies, and now the new information technologies, have so accelerated it that it is now the reigning popular art form. How this came to…
