Here are 100 books that The Shadow Knows fans have personally recommended if you like
The Shadow Knows.
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I’ve always been fascinated by how we remember the past and why some things get written into histories and other things don’t. I realized that Nothing happens all the time but no one has thought to ask how we remember it. Once I started looking for how Nothing was being remembered, I found it all around me. Books I read as a kid, movies I’d seen, songs I’d heard – these were my sources. So when I started working, Nothing got done (yes, I love puns!).
I haven’t recovered yet from the way Hartman recovers the lives of young Black women through historical photographs. The images were made to rob these women of their individuality, make them fit “types,” letting them say Nothing about themselves.
But Hartman writes like she’s talking to them, and they’re wonderful. She messes with categories used by authorities who thought they “knew” these women by their transgressions. I was utterly transfixed by how she imagined these women’s lives and loves in the ordinary stairways and back alleys they called home.
The photos are gorgeous. You could talk about them for days and still have more to think about—like how when it comes to women being framed for doing something wrong, maybe Nothing has changed.
Beautifully written and deeply researched, Wayward Lives, Beautiful Experiments examines the revolution of black intimate life that unfolded in Philadelphia and New York at the beginning of the twentieth century. In wrestling with the question of what a free life is, many young black women created forms of intimacy and kinship indifferent to the dictates of respectability and outside the bounds of law. They cleaved to and cast off lovers, exchanged sex to subsist, and revised the meaning of marriage. Longing and desire fueled their experiments in how to live. They refused to labor like slaves or to accept degrading…
I write about contemporary art, and much of the work I’ve been drawn to was made by women and by artists in other sidelined communities. Early on, I also focused on marginalized disciplines: artists’ books, performance, and art that responded directly to the vacant sites that abounded in New York City when I started out in the late 1970s. It was an enormously exciting time, but also a tough one. Violence was very hard to avoid. I didn’t focus on that at the time, but ultimately, I realized I needed to look more directly at trouble, and how artists respond to it.
I didn’t read Last Days ofHot Slit in time to include it in my own book about sexual violence. In truth, I could have (barely; it was published just before I finished). But I felt comfortable with my aversion to Dworkin, a crusader against assault who had found common cause with conservative activists. And Dworkin was a self-defeating font of vituperation, wasn’t she? Well, no. She was in fact altogether brilliant. Fateman’s wonderfully lucid, deeply researched introduction and the careful selection she and Scholder made of Dworkin’s surprisingly wide-ranging work, demonstrate the force and courage not just of this radical feminist’s writing, but also of her character.She was dauntless.
Selections from the work of radical feminist author Andrea Dworkin, famous for her antipornography stance and role in the feminist sex wars of the 1980s.
Radical feminist author Andrea Dworkin was a caricature of misandrist extremism in the popular imagination and a polarizing figure within the women's movement, infamous for her antipornography stance and her role in the feminist sex wars of the 1980s. She still looms large in feminist demands for sexual freedom, evoked as a censorial demagogue, more than a decade after her death. Among the very first writers to use her own experiences of rape and battery…
I write about contemporary art, and much of the work I’ve been drawn to was made by women and by artists in other sidelined communities. Early on, I also focused on marginalized disciplines: artists’ books, performance, and art that responded directly to the vacant sites that abounded in New York City when I started out in the late 1970s. It was an enormously exciting time, but also a tough one. Violence was very hard to avoid. I didn’t focus on that at the time, but ultimately, I realized I needed to look more directly at trouble, and how artists respond to it.
An audaciously experimental novelist, Siri Hustvedt is also a highly respected scholar of neuroscience who is not afraid to bring the philosophy of mind into her fiction. In Memories of the Future, she adroitly employs some revisionist art history as well. And there is a breathtakingly vivid evocation of the sensory lag that occurs with trauma. But what grabbed me first and unrelentingly in this novel is its evocation of a time and place—New York in the 1970s (the then scruffy Upper West Side, to be exact)—and of the social and sexual perplexities it produced for young women. The protagonist negotiates independence and loneliness, courage—and memory—both true and false, and men safe and otherwise. I wish I’d known her then.
A provocative, wildly funny, intellectually rigorous and engrossing novel, punctuated by Siri Hustvedt's own illustrations - a tour de force by one of America's most acclaimed and beloved writers.
Fresh from Minnesota and hungry for all New York has to offer, twenty-three-year-old S.H. embarks on a year that proves both exhilarating and frightening - from bruising encounters with men to the increasingly ominous monologues of the woman next door.
Forty years on, those pivotal months come back to vibrant life when S.H. discovers the notebook in which she recorded her adventures alongside drafts of a novel. Measuring what she remembers…
As a journalist, lawyer, and writer, I've been thinking and writing about state regulation of sexuality for 20 years. Political writing about sex can easily fall into orthodoxy; whether conservative or liberal, each side has its expected talking points. When I began investigating ways of thinking about public displays of sexuality in Park Cruising, I returned to the cache of sex-positive writing of the 1980s and 1990s. Some of it was invigorating, and some stale. So I sought out new writing about sex and sexuality, and I was richly rewarded. These books are just the tip of the iceberg; there's a feast of contemporary writing and thinking. So much to think through and explore!
I spent a lot of the last year pressing The Right to Sex into the hands of my smartest friends.
This book tackles some of the thorniest issues in sexual politics today, teasing out the seeming contradictions in feminist thought on campus sexual assault investigations, the Me Too movement, incels, and more. It’s compulsively readable; I was hooked from the first essay.
“Laser-cut writing and a stunning intellect. If only every writer made this much beautiful sense.” —Lisa Taddeo, author of Three Women
“Amia Srinivasan is an unparalleled and extraordinary writer—no one X-rays an argument, a desire, a contradiction, a defense mechanism quite like her. In stripping the new politics of sex and power down to its fundamental and sometimes clashing principles, The Right to Sex is a bracing revivification of a crucial lineage in feminist writing: Srinivasan is daring, compassionate, and in relentless search of a new frame.” —Jia Tolentino, author of Trick Mirror: Reflections on Self Delusion
My first job upon graduating from college was working for an invention-marketing firm. This wasn’t my intention; armed with a degree in journalism, I was ready to take on the world. Unfortunately, the country was enduring a recession, and after six months of unemployment, I was happy to be offered a copywriting position. So often during the two years I spent there, I would think to myself, “This could make such a great novel.” It took me a while—and with more than a few rejections along the way—but inspired by the writers and books I’ve included in my collection, I finally got around to penning my own tale.
I’m both inspired and depressed by this book. Yes, the book itself is on the depressing side, but what truly saddens me about it is that I’ll never write as well as Richard Yates. He packs so much into this 57,000-word work that it almost defies logic. Still, he’s an inspiration as a writer, and I will always use him as a guidepost. No one’s ever going to confuse me with Michael Jordan, either, but I’m still going to shoot hoops (poorly) in my driveway.
In The Easter Parade, first published in 1976, we meet sisters Sarah and Emily Grimes when they are still the children of divorced parents. We observe the sisters over four decades, watching them grow into two very different women. Sarah is stable and stalwart, settling into an unhappy marriage. Emily is precocious and independent, struggling with one unsatisfactory love affair after another. Richard Yates's classic novel is about how both women struggle to overcome their tarnished family's past, and how both finally reach for some semblance of renewal.
As a Certified Divorce Coach and Certified Divorce Financial Analyst®, I work with clients during one of the most difficult stages of their lives. Clients often feel regretful about the past and fearful for the future, and the right book recommendation can really help them move forward. I often give clients reading assignments between coaching sessions that help them process their grief, figure out their goals, educate themselves about finances, feel less alone in the divorce process, and become more confident in making major decisions. I’m never not reading on this subject.
The number one fear for women in divorce tends to be money, since a woman’s standard of living often falls significantly post-divorce. Barbara Stanny, a journalist and the daughter of H&R Block founder Richard Bloch, found herself in financial straits after her then-husband gambled away their money, left her with a massive tax bill, and fled the country. She had to learn to make and manage her own money to support her three children and has since become a financial educator. This book is critical for any woman who is worried about her finances in divorce. Stanny tackles both financial literacy and the psychology of money in this powerful and practical read.
A guide for women explains how to get smart about money by sharing the practical advice and insights that financially successful women use to get ahead. 15,000 first printing. Tour.
When I was studying Japan in graduate school, my advisor once told me that he hoped I wouldn’t pursue research in women’s history, calling it a fad. He was wrong, but it took me well over ten years to figure that out. Thanks to colleagues and friends, I helped build the field of Japanese women’s history in English, especially for the early modern period. As professor emerita at the University of California, Irvine, I remain committed to the possibility of uncovering the lives of yet more amazing women who challenge the stereotypes of docile wife and seductive geisha all too prevalent in fiction set in Japan.
The fascinating tale of Tsuneno’s journey from respectable daughter and sister in a family of Buddhist priests to a hand-to-mouth existence in Edo—now Tokyo—could well have been titled “down and out in the city.” And she chose her fate. A fiery, headstrong woman, she endured three marriages that all ended in divorce, and when confronted with the possibility of a fourth, she ran away from her home in the storied snow country region along the Japan Sea to try her luck working as a maid. She detailed her adventures and her demands for money and clothes in letters to her brother, letters that Stanley has used to wonderful effect in recreating not only Tsuneo as an individual but also the world of people on the margin among whom she lived.
** SHORTLISTED FOR THE BAILLIE GIFFORD PRIZE 2020 **
A vivid, deeply researched work of history that explores the life of an unconventional woman in Edo - now known as Tokyo - and a portrait of a great city on the brink of momentous change
The daughter of a Buddhist priest, Tsuneno was born in 1804 in a rural Japanese village and was expected to live a life much like her mother's. But after three divorces - and with a temperament much too strong-willed for her family's approval - she ran away to make a life for herself in one…
I fell in love with quirky, funny, female protagonists early in my reading life, starting with Ramona Quimby and her unique way of seeing the world. As a kid, I always felt different, you know? I was sensitive, shy, and observant, and I delighted in finding characters in books who also bucked up against what I thought of as typical. As a writer, I love writing interesting, unconventional women, and I love using humor to elevate my characters’ voices. I think humor is one of the best ways to establish voice and also, paradoxically, to navigate tragedy. I hope to write many more quirky, funny female characters in future books.
I laughed out loud reading Sara Pritchard’s Crackpots, the story of spunky Ruby Reese and her complicated coming-of-age. This book was a huge influence on the structure of my own novel. Pritchard plays with chronology and point of view in a way that made me think, wow, I didn’t know you could do that. And then, ooh, I want to do that. Lyrical, detailed, and hilarious, this ranks as one of my all-time faves.
When we first meet Ruby Reese she’s a spunky kid in a cowgirl hat, tap dancing her way through a slightly off-kilter 1950s childhood. With an insomniac mother and a demolitions-expert father, her entire family is what the residents of her small town would call "a bunch of crackpots." Despite the dramas of her upbringing, Ruby matures into a creative, introspective, and wholly beguiling woman. But her adulthood is marked by complex relationships and romantic missteps -- three unsuitable marriages, dramatic crushes, the complicated love between siblings. As Sara Pritchard deftly guides us through Ruby's story, from the present to…
I am a reader, writer, and professor specializing in memoir writing. I think every single person has a fascinating life. But, when writing it down, it can be difficult to find a narrative structure that allows the story to feel as unique as the human being writing it. I am drawn to memoirs that have fresh, creative ways of organizing their material—memoirs that go beyond or subvert the conventional, straightforward, chronological approach. After all, our memories are often scattered, fragmented, interrupted, non-linear, or just bizarre; memoirs that capture not only the person’s lived experience but also the messiness of memory itself feel more powerful and true to me.
The best memoirs, to me, are not only records of past events. They are also the record of a writer grappling with how best to tell the story. Jeannie Vanasco takes this idea to an entirely new level in this brilliant meta-memoir that not only chronicles a sexual assault she experienced in college, but also her present-day investigation into her rapist’s memories of the event, his motives, and his present-day thoughts about what happened. This book challenged me to think in new ways—not only about sexual assault, but also about the ways we remember it and write about it.
A New York Times Editors’ Choice and Best Book of the Year at TIME, Esquire, Amazon, Kirkus, and Electric Literature
Jeannie Vanasco has had the same nightmare since she was a teenager. It is always about him: one of her closest high school friends, a boy named Mark. A boy who raped her. When her nightmares worsen, Jeannie decides—after fourteen years of silence—to reach out to Mark. He agrees to talk on the record and meet in person.
Jeannie details her friendship with Mark before and after the assault, asking the brave and urgent question: Is it possible for a…
As an investigative journalist, I’ve spent my career interviewing and trying to understand the worst of humanity: murderers, child molesters and rapists. They are all predators, but rape is personal for me. I was a young journalist starting my career when a serial rapist assaulted my neighbor. He entered many things uninvited—homes, bedrooms, and my mind. For twenty years, I was obsessed—learning everything I could about him and sexual assault. I read these books to understand why the justice system and society sometimes fail survivors. Yet these remarkable survivors still manage to heal their trauma–at least, that’s what I found in each of these books.
I don’t know about you, but I’ve often fantasized about revenge. I think anyone who suffers some sort of trauma thinks about righting the wrong. In cases of rape, the punishment often does not fit the crime. And many women never get justice at all—if the rapist is not caught.
But in this book, that’s not the case. It could be argued that justice comes in the form of revenge when three women strike back at their abusers. Elizabeth Flock’s intimate narrative stems from her own experience as a young woman who was drugged and raped while in Europe in her twenties.
This beautifully investigated book forces you to contemplate the true meaning of justice.
'An arresting, deeply reported new book' Washington Post
'This gripping, inflaming book, itself an act of fury, shows how revenge can transmute into politics or be crushed by it' Larissa MacFarquhar
'Flock has a novelist's knack for creating suspense . . . This one will stick with readers' Publishers Weekly
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In this profoundly moving book, Emmy-winning journalist Elizabeth Flock explores the stories of three women living in deeply patriarchal places with destructive cultures of honour, places in which institutions - government, police, courts - failed to protect women from violence, leaving them no option but to stand up and…
